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【花鳥風月の心象と宗教への向き合い方】


　写真は先日参詣していた菩提寺の境内に立っていた菩薩像。名前とか由縁などは確認してはいない。たまたま写真に収めてあとでパソコン画面で確認したら、なんとうっすらと霧が立ちこめていたのが、写真に写り込んでいた。なんとも神々しい雰囲気。菩提寺は後背に山を背負っていて、一度も行っていないのだけれど88箇所の参拝ポイントがあるのだと聞いている。そういう山の「気」が映り込んでくれたのかも知れないと喜んでいる。
　ご多分に漏れず、加齢とともに「心的風景」のようなことにこころが自然に向かっていく。健康のこととか寿命のこととかに否が応でも向き合うようになって、ひととして自然なことなのでしょう。
　日本列島では四季の変化が非常に明瞭だけれど、その四季変化がながく日本列島人に「花鳥風月」という心性を日本人らしさの骨格にしてきたと思う。とくに北海道という寒冷地も日本人の自然環境観に加わってきたことで、より深い陰影感が加わった。
　先日観てきた後藤純男さんの日本画には、そのあたりの日本人の「花鳥風月感」が大きく拡大・拡張した様子が、心象風景として表現されているように思えてならない。日本画という表現形式自体、日本人的な「自然」観をわかりやすく伝えてくれている。
　「こういう景色を見て、やっぱりこういう表現に至るよなぁ」という日本人的な納得感、美感というようなものがつたわってくるのだと思う。そしてそういう表現の系譜、連綿と伝わってきた精神性に深く帰依したくなってくるのだと思う。
　もののあわれ、という日本人的心性のコアと思える領域が、花鳥風月と通底する世界観。四季変化の中で諸行無常という哲学も自然に日本人は獲得してきたのでしょう。縄文社会由来の生活様式伝統のなかで明瞭な四季変化はその骨格を形成してきた。たぶん八百万の神が祀られる神道の世界観のベースなのだろう。それに対して世界宗教である仏教が伝来してくるけれど、他国の場合とは違って、日本列島では両者が非対立的に、基層と表層のように機能してきたのではないか。ホンネと建前みたいな「落とし所」感覚が日本人に強く生起していったと思える。世界宗教である仏教寺院である高山寺の宝物として「鳥獣戯画」のようなマンガ表現が存続し続けてきた社会。
　おっと、お盆休暇はきのうまでだった（笑）。これは休暇の「総括」か。
　本日から、残っていた懸案を処理して、またあらたな役務がスタートであります。なんとかテキパキと処理して行きたいと思います。

English version⬇

The mental image of “Kacho Fugetsu” and the way of dealing with religion
As I age, I am drawn more and more to the “mercy of things” sentiment. The four seasons show us their diverse expressions from year to year. The Obon vacation is over, and I’m back on track. … .

　The photo shows a statue of a bodhisattva standing in the precincts of a family temple where I was paying a visit the other day. I did not confirm the name or the origin of the statue. I happened to take a picture of it, and when I checked it on my computer screen later, to my surprise, a faint mist was rising in the air, which appeared in the picture. It was a divine atmosphere. The Bodai-ji temple is backed by a mountain, and although I have never been there, I have heard that there are 88 places of worship. I am happy that the “spirit” of the mountain may have been reflected in the image.
　As is typical, as one ages, one’s mind naturally turns to things like “mental landscapes. We are forced to face our health and life expectancy, and this is a natural part of human nature.
　The Japanese archipelago has four distinct seasons, and I believe that this seasonal change has long been the backbone of the “Kacho Fugetsu” (flower, bird, wind, and moon) mentality of the Japanese people. In particular, the cold climate of Hokkaido has added a deeper sense of shade to the Japanese view of the natural environment.
　The Japanese-style paintings of Sumio Goto that I saw the other day seem to me to express, as mental landscapes, the expansion and extension of the Japanese people’s sense of “Kacho Fugetsu” (flowers, birds, winds, and the moon). The form of expression itself, Japanese-style painting, conveys the Japanese view of “nature” in an easy-to-understand manner.
　The Japanese view of “nature” is conveyed in a way that is easy to understand. I believe that the Japanese people are deeply moved by the lineage of such expressions and the spirituality that has been handed down from generation to generation.
　Mono no aware (mercy of things), a core area of Japanese spirituality, is a worldview that is commonly shared by Kacho Fugetsu (flowers, birds, winds, and the moon). The Japanese have naturally acquired the philosophy of the impermanence of all things through the changes of the four seasons. The distinct changes of the four seasons have formed the framework of the lifestyle traditions of the Jomon society. This is probably the basis of the Shinto worldview, in which 8 million deities are worshipped. In contrast, Buddhism, a world religion, was introduced to Japan, but unlike in other countries, in the Japanese archipelago the two have functioned in a non-confrontational manner, as if they were the base and the surface of the world. It seems to me that a sense of “the bottom line,” like “honne” and “tatemae,” has emerged strongly in the Japanese people. In a society where cartoon expressions such as “Birds and Beasts Caricatures” have continued to exist as treasures of Kozan-ji Temple, a Buddhist temple that is a world religion.
　Oops, my Bon vacation ended yesterday (laugh). This is the “summary” of the vacation.
　Today, I will start my new duties again, dealing with the remaining issues. I will try to handle it as quickly and efficiently as possible.

　
　

Posted on 8月 19th, 2024 by 三木 奎吾
Filed under: 日本社会・文化研究 | No Comments »

【蕎麦粉・カツオ節を業務用専門店に潜入して購入】



　さて蕎麦打ち修行開始するには、まずは準備運動・・・じゃない、用意しなければならないものがある。たしかに「蕎麦打ちセット」はみなさんからプレゼントされたけれど、練習するにしても蕎麦粉がなければ練習も出来ないということにハタと気付いた・・・って、当たり前ですが（笑）。
　そういえば蕎麦粉ってどこに行ったら入手できるのか、そういう段階の情報から探す必要がある。WEBで「蕎麦粉、札幌」と検索しても、いきなり専門店の情報しか出てこない。「え、初心者なのにいきなり蕎麦粉専門店、それも業者さん専門の工場かよ」という驚き。
　寿司ならば、お米は別段ふつうに家にあるし、ネタはちょっとした鮮魚コーナーのあるスーパーなどで仕入れることができる。わたしの場合、札幌中央市場の鮮魚卸店が経営している食品店によく行っているので（店頭のお魚写真のお店）、通常の買い出しに苦労はしない。そのほか、積丹の余市にはときどき情報を教えてくれるお魚屋さんもある。その他、買い出し先はそれこそ多様にある。
　蕎麦粉の入手について、蘊蓄系の大先輩にさっそく指南をお願いヘルプミーであります。で、紹介いただいたのが写真のところで、自宅から車で30分ほどかかる札幌市白石区の蕎麦粉工場、札幌蕎麦製粉さんであります。
　行ってみるとほとんどが業務用の生産工場で、大先輩のご指導通り、一般向けにも販売しているということでした。で、「道産石臼」という蕎麦粉を購入。当面はヘタな蕎麦を食べる人身御供は自分とカミさんということで、練習を重ねるために３kgほどを購入いたしました。だいたい１kgで10人前くらいの目安ということで、５−６回の練習素材になってくれそうであります。

一方で「そばつゆ」の方は、こちらも札幌市白石区の専門店・大熊商店さんに。店内に入ると工場から香り高い「カツオ節」の匂いがここちよい香りで激しく刺激してくる。こちらもいかにも業者向け専門店らしい雰囲気でしたが、やさしい女性スタッフの方がいて、当方の初心者ぶりに親切に対応していただけました。
　わたしの潜在意識として出汁系の方はお寿司料理とも共通するので、いろいろ工夫したいと思うのですが、まずは王道から教えを乞いたいと思っています。そんなお話をしていたら、こちらの店主の方はシロウトの蕎麦同好者向けに「蕎麦教室」も開かれているそうで、「蕎麦汁のレシピ」という入門者向けの印刷物までいただいた。感謝。
　こちらもさすがに奥行きの深さがプンプンと匂ってきます。さて、徐々に修行を開始していきたいと思います。もちろん潜行してやりますので、しばらく長い目で、よろしく。

English version⬇

Soba flour and dried bonito flakes are purchased at a specialty store for professional use.
As a man who is not a professional, I would like to start with “form” first, so I would like to introduce myself to a specialty store for professional use. The specialty store has a wonderfully educational atmosphere. The atmosphere is wonderfully educational.

　Now, before we can start our training, we have to prepare for the next step…….. I had a buckwheat noodle making set, but I realized that I could not practice without buckwheat flour……..
　I had to start from where to get Soba flour, and I had to search for it on the web. I was surprised to find only information on specialty shops, and I thought, “Oh, I am a beginner, and suddenly I find a soba flour specialty store, which is also a factory specializing in suppliers.
　For sushi, rice is usually available at home, and ingredients can be purchased at supermarkets that have a small fresh fish section. In my case, I often go to a food store owned by a fresh fish wholesaler at the Sapporo Central Market (the store in the photo of the fish in the storefront), so I usually have no difficulty in buying fish. In addition, there is a fish shop in Yoichi, Shakotan that sometimes gives me information. There are many other places to buy buckwheat flour.
　I asked a senior knowledgeable person for help in obtaining buckwheat flour. He introduced me to Sapporo Soba Flour Milling, a buckwheat flour factory in Shiroishi Ward, Sapporo City, about 30 minutes from my house by car.
　When I went there, I found that it is mostly a production plant for commercial use, but as instructed by a senior staff member, they also sell to the general public. So, I bought a buckwheat flour called “Dosan Ishiwa. For the time being, I bought about 3 kg of it so that I and my wife would be the only ones to eat bad buckwheat noodles, and we could practice making buckwheat noodles. One kilogram of Soba flour is enough for about 10 servings, so it will be enough for 5-6 times of practice.

On the other hand, for “soba-tsuyu”, we went to Okuma Shoten, a specialty store in Shiroishi Ward, Sapporo City. Upon entering the store, the aromatic smell of “katsuobushi” (dried bonito flakes) from the factory was here, a pleasant aroma that stimulated us intensely. The atmosphere of the store was very much like a specialty store for traders, but there was a friendly female staff member who kindly responded to our novice-like situation.
　I would like to devise various ways to use dashi as my subconscious, as it has something in common with sushi cuisine, but I would like to learn from the best first. As we were talking, I heard that the owner of this restaurant also holds “Soba classes” for novice Soba lovers, and he even gave me a printed material titled “Soba Soup Recipe” for beginners. We were very grateful.
　I could smell the depth of the restaurant. Now, I would like to start my training gradually. Of course, I will do it undercover, so please bear with me for a while longer.
　
　
　

Posted on 8月 18th, 2024 by 三木 奎吾
Filed under: おとこの料理＆食 | No Comments »

【日本画家・後藤純男美術館／上富良野】


　わたしは美術鑑賞というと基本的には「日本画」がメイン。東京では山種美術館がベースキャンプ的な存在で、だいたい展示替えがある度に鑑賞するのが習慣化しています。
　やはり自分の性向として絵画・美術がいちばん根の部分にあるのだと思っています。そういう人間として日本人が感じてきた「美感」の歴史みたいな部分への探究心が強くて、どうしても日本画が中心になっていくのだろうと思っています。京都高山寺の「鳥獣戯画」も高山寺に参観に行って観てきたので、いまちょうど北海道立近代美術館で展覧会については、もう見ているけれど一応と、参観に行ったのですが待ち時間が数時間と聞いてさすがに断念した。
　こうした日本画について北海道内では、唯一に近い存在として上富良野にこの美術館はある。これまでも数回このブログでも紹介していますが、往復では250kmくらいのドライブになるので、さすがに加齢と共にややツラくなっていたのですが、連休でもあり今回また訪問。
　作家は日本画を追求していく中で、北海道の自然に深くこだわられて、その雄大な自然造形を描くなかで神々しいまでの体験をしたと述べられている。
　氏は現・千葉県野田市の真言宗寺院に生まれて、父君のみちびきで奈良京都の古刹寺院に宿泊しながら絵を描き続けていたのだという。宗教人としてそれらの建築体験がベースを形成して、それと対話するなかで、ある「視点」を獲得されたのではないか。
　そういう視線で北海道の雄大な自然造形に接したとき、心理の内奥から強い感動が襲ってきたに違いない。その雄大で厳しい自然のなかに立ち尽くしながら、スケッチしていた。日本人が立ち向かったこの大地への感動を体の中に蓄積させられたのだろう。
　旭川市内で氏が層雲峡などの作品について講演されたときに受講されていた上富良野町の役場のひとたちが、ぜひ現在地にアトリエをと積極的に誘致したとされる。下の写真は上富良野のこの美術館から遠く西に視線を伸ばした空撮写真。＜冬期の図＞

　何回も行っているけれど、今回は氏の娘さんが案内役で紹介されているビデオが上映されていて、上の写真の「違いがわかる男のゴールドブレンド」という珈琲のコマーシャルに出演された経緯もユーモラスに紹介されていた。このCMは1967年に日本初のフリーズドライ製法を取り入れて発売した、ネスカフェゴールドブレンドの広告キャッチフレーズ。これ自体、50数年前という歴史の中に沈んでいるけれど、その時代の空気感がなつかしい（笑）。
　日本画家として名を残したあと、こういうお茶目な側面も見せていただいた。北海道はすばらしい美術館を持っていると思います。

English version⬇

Japanese Painter Sumio Goto Museum / Kamifurano
More than 50 years have passed since the commercial “of a man who understands the difference. In this way, what Japanese people live becomes history as it is. This is the legacy of sensitivity. The Japanese Art House, Goto Sumio Museum of Art/Kamifurano

　When it comes to art appreciation, my main focus is basically on Japanese-style paintings. In Tokyo, the Yamatane Museum of Art is my base camp, and I make it a habit to visit the museum whenever there is a new exhibition.
　I believe that painting and art are the most fundamental part of my nature. As a human being, I have a strong desire to explore the history of the “sense of beauty” that Japanese people have always felt, and I believe that Japanese-style paintings will inevitably take center stage in my life. I went to see the “Birds and Beasts Caricatures” at Kozanji Temple in Kyoto, and I have already seen the exhibition at the Hokkaido Museum of Modern Art, but I gave it up when I heard that the waiting time was several hours.
　The museum is located in Kamifurano, which is the only place in Hokkaido where Japanese-style paintings such as these are exhibited. As I have mentioned several times in this blog, the round-trip drive is about 250 km, which has become somewhat tedious as I get older, but I visited again this time because of the consecutive holidays.
　In his pursuit of Japanese-style painting, the artist was deeply attached to the nature of Hokkaido, and he says that he had a divine experience while painting its magnificent natural formations.
　He was born in a Shingon Buddhist temple in Noda City, Chiba Prefecture, and continued to paint while staying at ancient temples in Nara and Kyoto under his father’s guidance. As a religious person, these architectural experiences formed the basis of his work, and he must have acquired a certain “point of view” while interacting with them.
　When he came into contact with the magnificent natural formations of Hokkaido from such a perspective, he must have been strongly moved from deep within his psyche. I was sketching while standing in the midst of this magnificent and severe nature. He must have let his body accumulate the impressions of this land that the Japanese people had faced.
　It is said that when he gave a lecture on his works in Sounkyo and other places in Asahikawa, the people of Kamifurano who were attending the lecture actively invited him to build his studio in the present location. The photo below is an aerial view from the museum in Kamifurano, looking far to the west.

Posted on 8月 17th, 2024 by 三木 奎吾
Filed under: 日本社会・文化研究 | No Comments »

【寿司ネタの誘惑、蕎麦粉のいざない（笑）】



温暖化傾向は北海道周辺の海産物に広く及んできて、イマドキの鮮魚では「イナダ」とか「カツオ」という大型のお魚さんたちがこれくらいの値段で入手できる。
　「こんなの捌いたら冷凍庫、満杯になるっしょ」「なに考えてるのさ」みたいなコワい顔をしてカミさんが横からにらみつけてくるので隠れて（笑）しげしげと見ております。こういった魚体を捌いていく快感に脳味噌が刺激され続けています。読者のみなさんご承知のように、わたしの最大の趣味傾向は「握り寿司」フェチなので、こういう海の幸には深くとらわれてしまうのです。
　たぶんこれくらいのサイズの魚からは、数百カンの寿司ネタが供給されるでしょう。調理の魅力はこういう「素材」とのふれあい、対話という要素が大きい。人間はかれらのいのちをいただくことで支えられてきた。そういう思いから、根深いところでの愛情が育っているのかも知れませんね。物言わぬかれらの表情から、「食べるんなら、うまく捌けよ！」と訴えてきているように思えるのです。
　イキモノ同士のながい「付き合い」からこういった交感は続いてきたのでしょう。

　一方で、スタッフのみんなからはこういう「そば打ちセット」もプレゼントされている。「お寿司もいいんだけど、ぜひ蕎麦をふるまって欲しいなぁ（笑）」というかれらからのメッセージもアタマのなかにこだましている。工務店関係の知人たちのなかでは蕎麦の「挽き」からこだわって石臼で挽いて仕上げている猛者たちもいる。あの蘊蓄満載の世界もまた刺激的で、底なし沼の様相を感じさせてくれる。
　たしかに食べている分にはメッチャうまい。蘊蓄の深淵ぶり、魅力はよくわかりますね。
　しかしどうなんだろうか、寿司職人さんは同時に蕎麦職人の志向性も兼ねているモノなのだろうか。たしかに和食の２大領域であることは間違いないし、寿司と蕎麦は相性も抜群にいい。しかし「作り手」としてはどうも志向性の方向がすこし違っているように思える。・・・
　という料理大好き高齢者の「不惑」すぎの迷い満開であります（笑）。
　当面、蕎麦については自分で石臼を買って蕎麦粉づくりから、みたいなのめり込みはせず、手軽に蕎麦粉を入手して、せっかくの「セット」を生かして使ってみたい、まずは手ごねから始めたいと思っております。しかしやがてどっぷりとハマり込みそうなドツボの予感。・・・

English version⬇

[The temptation of sushi items, the lure of buckwheat flour…]
I am 40 years old, but I have not had enough training and I am far beyond that age, but I am still confused between sushi and soba. I am now far beyond the age of 40, but I am still confused between Sushi and Soba, and I am thinking of joining Soba as well. I’m not sure.

The warming trend is spreading to marine products around Hokkaido, and large fish such as “inada” and “katsuo” (bonito) are now available at prices around this level.
　My wife glares at me from the side with a scary look on her face, as if to say, “The freezer will be full if we process this kind of fish,” or “What are you thinking? The pleasure of processing these fish continues to stimulate my brain. As readers know, my greatest hobby is my “nigiri-zushi” fetish, so I am deeply attracted to this kind of seafood.
　A fish of this size would probably supply several hundred kan of sushi material. The fascination of cooking lies in the element of interaction and dialogue with these “ingredients. Human beings have been sustained by receiving their life. Perhaps it is from this thought that we have developed a deep-seated affection for them. The expression on their faces, which do not say much, seems to be appealing to us, “If you are going to eat them, handle them well! If you are going to eat them, handle them well!
　This kind of communication must have continued through the long “relationship” between the creatures.

　On the other hand, the staff members also presented me with a “soba noodle making set” as a gift. I am also thinking of the message from them, “Sushi is good, but we would like you to serve Soba (buckwheat noodles) to the guests. Among my acquaintances in the construction industry, there are some who are particular about the “grind” of buckwheat noodles and grind them on a millstone to make their own buckwheat noodles. This world full of knowledge is also exciting and makes me feel like a bottomless swamp.
　It is true that the food is very tasty. I can understand the fascination of the abundance of knowledge.
　However, I wonder if sushi chefs also have the orientation of buckwheat noodle chefs. There is no doubt that sushi and soba are two major areas of Japanese cuisine, and sushi and soba go very well together. However, as a “creator,” it seems to me that the direction of his orientation is a little different from that of a sushi chef. The “cooks” are not so different from the elderly who love to cook.
　I am an elderly person who loves cooking, but I am too “confused” to think about it (laugh).
　For the time being, I do not want to buy a millstone to make buckwheat flour by myself, but I would like to get buckwheat flour easily and make the best use of the “set” of buckwheat flour. However, I have a feeling that I will be addicted to it before long. I am looking forward to getting some more.

Posted on 8月 16th, 2024 by 三木 奎吾
Filed under: おとこの料理＆食 | No Comments »

【オモシロ野菜発見、農産物市場探訪】


　札幌の近郊、長沼には国道沿いに広大な駐車スペースをそなえた農産物市場があります。ときどき手軽な行楽として季節の野菜類を探すことが習慣化しています。
　きのう、ちょっと朝寝坊したので長距離移動を避けて、こちらに向かった。行ってみたら各店舗棟が建て替えられていて、リニューアルしていた。わたしの実家、父親は入植した祖父から受け継いだ畑で「まるで野菜類の品評会だ」といわれるほど多種多様な野菜生産に取り組んでいた。そこでいろいろ実験して成果の得られた野菜類をほかの農家に伝え製法の勘所などを教えて、多量生産にして、その生産物を遠く大阪の市場に出荷して北海道野菜の販路拡大に取り組んでいた。そういうなかで「ユリ根」は大当たりしたと聞いている。
　その生産にあたっては当時のもっとも先端的農業者だった岐阜県からの移住者一家で育った母親が、その生産技術で取り組んでいた。わかい夫婦が手を取り合って新品種開拓に取り組んでいたのだというのですね。３歳までしか農家にいなかったわたしとしてはすべてが伝聞。
　だけれど、こういう農産物市場に来ると、無意識でそういう新品種に目が行く。はるかな父母のことをそういうカタチで「探している」のかも知れません。
　そんな目に飛び込んできたのが写真の「コールラビ」。〜アブラナ科の越年草。原産地は地中海北部。球状に肥大した茎部を、皮をむいて食用とする野菜である。茎は緑色系と紫色系があり、キャベツやブロッコリーの茎に似た味で、サラダやピクルスなどにする。語源はドイツ語で、キャベツを指すkohlとカブを指すrabiより。〜


　値段を見るとなんと「100円」。買ったときにはその素性詳細はわからなかったのだけれど、内面から「騒ぐ血」を感じて即座に購入（笑）。市場の売り場でもカンタンに説明があった通り、浅漬けにしてみた次第です。
　ということで頃やよし、ということでさっそく食してみた。軽く塩を振って「浅漬けのもと」を加えて厚手のビニールパックに入れ、なおコンブを小さく切って混ぜ合わせて加圧しまくる。で、放置して数時間。口に入れてみた。
　まぁライトな「カブ」か。カブ大根よりもちょっと「キャベツ」っぽい味わいがあって、カブよりも皮が厚くてごつい。「あ、こりゃぁ皮は剥いた方が無難かな」というところですが、切り方を薄くしたヤツだと、それなりの柔らかさは出てくる。まぁワルくはないといった一品でありました。
　店頭ではこれ一個だけの出品だった（売り切れ寸前だった？）ので、まだ実験的段階なのでしょう。さて日本人の味覚ワールドに参入できるかどうか、でありますね。でも姿はカワイイ。

English version⬇

Discovering New Vegetables, Exploring Produce Markets
I have a strong desire to pioneer new vegetables from my parents’ farming days, and my eyes tend to swim at the market. What is the reaction of the Japanese market to the “in-between cabbage and daikon” variety? …

In Naganuma, a suburb of Sapporo, there is a produce market with a large parking lot along the national highway. It has become a habit for me to look for seasonal vegetables as an occasional easy outing.
　Yesterday, I overslept a bit so I headed here to avoid a long-distance trip. When I got there, I found that each store building had been reconstructed and renovated. In my family, my father was engaged in the production of a wide variety of vegetables in the fields inherited from my grandfather, who settled in the area, to the extent that it was said, “It’s like a vegetable fair. He experimented with a variety of vegetables and taught other farmers the secrets of their production methods, which led to mass production and the shipment of their products to markets as far away as Osaka, thereby expanding the sales channels for Hokkaido vegetables. The “lily bulb” was a big hit among such efforts.
　The mother, who grew up in a family of immigrants from Gifu Prefecture, the most advanced agricultural community of the time, was the one who used the most advanced production techniques. As I was only a farmer until I was three years old, this is all hearsay to me.
　However, when I come to a farmers’ market like this, I unconsciously pay attention to such new varieties. It may be that I am “looking for” my parents in that way.
　The one that caught my eye was the “kohlrabi” in the photo. 〜Kohlrabi is a perennial herb of the Brassicaceae family. It originates from the northern Mediterranean. It is a vegetable whose globularly enlarged stems are peeled and used for food. The stems are green or purple in color and taste similar to cabbage or broccoli stems, and are used in salads and pickles. The word is derived from the German words kohl for cabbage and rabi for turnip. ~ (from the German kohl, meaning cabbage, and rabi, meaning turnip)

　When I looked at the price, I saw that it was 100 yen. When I bought it, I didn’t know the details of its identity, but I felt its “noisy blood” inside and bought it immediately (laugh). I tried to make asazuke (pickled in soy sauce), just as the explanation at the market had explained.
　So it was about time, and I tried it right away. I lightly sprinkled salt, added “Asazuke no Moto” and put it in a thick plastic pack, cut kelp into small pieces, mixed them together, and pressurized it. And left it for a few hours. I put it in my mouth.
　It was a light “daikon”. It tasted a little more like cabbage than daikon, and the skin was thicker and tougher than daikon. It was a bit like “Oh, it would be safer to peel the skin off,” but if you cut it thinner, it would have a certain softness to it. It was not bad at all.
　This was the only one of its kind on display at the store (or was it on the verge of being sold out?), so it is still in the experimental stage. So, it is probably still in the experimental stage. Now, it remains to be seen if it will be able to enter the world of the Japanese taste buds. But it looks cute.

Posted on 8月 15th, 2024 by 三木 奎吾
Filed under: おとこの料理＆食 | No Comments »

【素木（しらき）造の神社と光のふしぎな美感】


　東北を横断して大きな被害をもたらした台風５号は熱帯低気圧に変わったけれど、北海道南西部の海上に停滞しているということで、お盆の最中ですが、１日中不安定な天気に翻弄されている札幌。
　どこにも出掛けられず、仕方なく「肉じゃが」をノンビリと作り置き（笑）。大鍋にいっぱい作って子どもに連絡したら、平らげるのに協力を申し出られた。ありがたく料理の腕をふるってほぼ８割方は持って帰ってくれた。いろいろな趣味があると思いますが、わたしの場合は、どうも最大の趣味は料理のようです。カミさんよりもノンビリ自由に作れるという男料理の気楽さを勝手に満喫している。ほんとうはそういうスタンスは良くないだろうと思いつつ、そういう自由さはウレシイ。
　ときどきスタッフに寿司を握ったりするのは、そういう勝手気ままの発露と思っています。ただ、わたしの場合は日常の３食の料理でもあれこれと工夫と任務は果たしてはおりますので誤解なきよう。
　本日の写真は、数日前の好天の朝に参詣していた北海道神宮末社「開拓神社」の本殿の様子。素木の簡素な造りの社殿なのですが、参詣時にちょうど朝日が差し込んできて、光のコントラストで抽象絵画っぽい、ちょっと不思議な反射ぶりを見せてくれていた。
　朝日の照射角度は季節によって微妙に変化するし、その日の日射条件によっても万化する。素木という素地はそういった環境のうつろいの一瞬の美感を映し出す鏡のような効果を持つのですね。
　単純に素材としての木の表情の自然さに惹かれていたけれど、このような美感装置にもなるということに今更ながら気付かされた次第。
　日本の神性感覚にはこういう美感感受の側面が大きいのかも知れないと思わされた。
　素木造りといえば、伊勢神宮社殿の式年遷宮で知られるけれど、日本建築のひとつの極点を表しても居るのでしょう。ひいては日本人の心性に強く影響して「伝統」を形成してきたと思われる。
　簡素な形式だからこそ、自然の豊穣なうつろいを象徴的にそこに反映できるのか。たぶん、こういった「効果」の認識は日本建築の中のひとつの大きな柱のような美感認識なのでしょう。
　さてお盆休み後半戦。台風から変わった熱帯低気圧からの天候不順も気になりますが、北海道らしいパノラマ景観、もうすこし楽しみたいと思っています。みなさんも良い休暇を。

English version⬇

The mysterious beauty of light and a shrine made of shiraki wood.
The simplicity of this sacred stage allows it to beautifully reflect the changes of the four seasons in the fertile Japanese archipelago. Is this an honest achievement of Japanese architecture? The shrine and the light

　Typhoon No. 5, which crossed the Tohoku region and caused great damage, has turned into a tropical cyclone but is now stagnant over the southwestern seas of Hokkaido, so Sapporo is at the mercy of unstable weather all day long, even though it is the middle of the Bon Festival.
　Unable to go out anywhere, I had no choice but to make “meat and potatoes” in a nonchalant manner (laugh). I made a big pot full of it and called my children, who offered to help me flatten it. Thankfully, they took almost 80% of it home with them with their cooking skills. I know there are many different hobbies, but in my case, apparently my biggest hobby is cooking. I enjoy the ease of men’s cooking, which allows me to cook more freely and nonchalantly than my wife. While I think this is not a good stance to take, I appreciate the freedom.
　I sometimes make sushi for my staff as a manifestation of that kind of self-indulgence. However, in my case, I do fulfill my duties and devise various ways of cooking for the three daily meals, so please don’t misunderstand me.
　Today’s photo is a view of the main shrine of Kaitakushi Shrine, a branch of Hokkaido Jingu Shrine, where I paid a visit on a fine morning a few days ago. The shrine is a simple wooden structure, but the morning sun was shining just as I was visiting the shrine, and the contrast of the light gave the shrine a slightly mysterious reflection, almost like an abstract painting.
　The angle of the morning sun’s rays changes slightly with the seasons, and the light changes depending on the day’s solar radiation conditions. The bare wood has a mirror-like effect that reflects the beauty of the momentary changes in the environment.
　I was attracted to wood simply for its natural expression as a material, but now I realize that it can also be used as an aesthetic device in this way.
　It made me think that the Japanese sense of divinity may have a large aspect of this kind of aesthetic perception.
　Speaking of “sukimoku-zukuri,” the Ise Jingu shrine pavilions are known for their ceremonial relocation of shrines, but they may also represent the extreme point of Japanese architecture. It is thought to have strongly influenced the mentality of the Japanese people, and thus to have formed a “tradition.
　Is it because of its simple form that it is able to symbolically reflect the fertile changes of nature? Perhaps, the recognition of such “effects” is an aesthetic perception like one of the major pillars in Japanese architecture.
　Now, the second half of the Bon vacation. Although I am concerned about the bad weather from the tropical depression that has changed from a typhoon, I would like to enjoy the panoramic landscape that is typical of Hokkaido a little more. I hope you all have a nice vacation.

Posted on 8月 14th, 2024 by 三木 奎吾
Filed under: 日本社会・文化研究 | No Comments »

【お盆につき菩提寺参詣、ご本尊「不動明王」さま】



　お盆の休み期間に入って、ことしは連休が続いていますね。だんだん加齢とともに自分自身のこととして身近になってくる。ということで、ときどきは参詣しているわが家の菩提寺参詣。小学校低学年ころ家族で、母親と次兄の３人でこの菩提寺に預かっていただいていた祖父と祖母の遺骨に詣っていたときの写真記録がある。そのときの空間の空気感を鮮明に覚えている。もう65年ほど以前の記憶。
　お骨は骨壺に収められていて、父はふさわしい墓地をどこにするか決めかねていたのだと思う。わが家系は広島県福山市近郊の「今津」から北海道に移住してきた。祖父は移住にあたって自分がどこに永遠の住み処を求めるのか、明確ではなかったのだと思う。そして末子でありながら結果として祖父の遺骸を管理する「家長」としての役柄が自分に下ってきて、父はさて、その亡骸を広島県に埋めるか、それともはるかに移住してきた北海道の地に埋めるべきか、という決断に迫られたのだろう。
　事実として、父の長兄・叔父の家はやがて福山に墓所を求めていくことになる。
　やがて父は札幌市の里塚霊園に墓所をもとめてそこに祖父・祖母とともに自分の遺骨も納骨した。結局父はそのように祖父を「北海道に骨を埋める」結論を出したのだ。自分の遺骨は北海道でと一択だったことと、同時に両親の遺骨もいっしょに葬ってもらったのだ。残された母は、その父の意思に忠実に従った。
　その墓所に納骨した日のことも記憶がある。
　ときは巡って、わたしたち兄弟世代のそういう瞬間もやがてやってくる。で、わたし自身はその家系の家の末子として、自分自身のことはまた別に思案せねばならない。ときどきわたしたち夫婦でそんなことを話題にすることがある。カミさんの家もほぼ同様のことをやがて選択せねばならなくなる。
　いま、北海道の住宅についての諮問会議に委員として参加しているけれど、自分自身の「行く末」自体も決めていかなければならないのだと思う。いま、人口減少期に入ってきてわたしたちの世代が管理しなければならない住宅は相当程度「複数」になってくる。それと似たようなテーマ構図が、人の世のNEXTの世界でも起こってきているのだと思う。

　この寺は1993年にこの本堂を新築した。そのときの「芳名録」があって、うかつにもはじめてそれを見た。そこに30年以上前の自分の意思と名前を発見して、菩提寺というコトバが現実的に感じられた。
　あ、こちらの寺院のご本尊は「不動明王」さま。密教特有の尊格である明王の一尊。大日如来の化身とも言われる。また、五大明王の中心となる明王でもある。 謹んで合掌。

English version⬇

The main deity of the temple, Fudo Myoo, is the Buddhist deity of the family temple.
Nobunaga is said to have said, “When you die, you have nothing. However, “Nobunaga’s Tomb” is located by the approach to the inner sanctuary of Koyasan where Kukai is laid to rest. Is this the truth of the Japanese people? …

　We are now in the Obon vacation period, and things have been going on for consecutive holidays. As I age, I gradually become more and more familiar with the holiday as my own personal matter. So, I have been paying a visit to my family’s family temple from time to time. I have a photo record of the time when my mother, second brother, and I visited the remains of my grandfather and grandmother who were kept at the temple when I was in the early elementary school years. I vividly remember the atmosphere of that time. It was about 65 years ago.
　The bones were in an urn, and I think my father was trying to decide where to place them in a suitable cemetery. My family had immigrated to Hokkaido from Imazu, near Fukuyama City, Hiroshima Prefecture. I think my grandfather was not clear about where he wanted his eternal home when he emigrated. As the youngest son, he was given the role of “patriarch” in charge of my grandfather’s remains, and my father was faced with the decision of whether to bury his remains in Hiroshima Prefecture or in Hokkaido, where he had moved far away from his family.
　As a matter of fact, my father’s eldest brother and uncle’s family eventually sought a cemetery in Fukuyama.
　Eventually, my father found a cemetery in the Satozuka Cemetery in Sapporo, where he buried his own remains as well as those of his grandfather and grandmother. In the end, my father concluded that my grandfather’s remains should be buried in Hokkaido. He had no other choice but to have his own remains buried in Hokkaido, and at the same time, his parents’ remains were buried there as well. My mother followed my father’s wishes to the letter.
　I remember the day I laid their ashes in the cemetery.
　Time goes by, and such a moment for my siblings’ generation will soon come. As the youngest child in the family, I have to think about my own life separately. Sometimes my wife and I talk about such things. My wife’s family will have to make a similar choice.
　I am currently participating as a member of the Hokkaido Housing Advisory Council, but I think that I must also decide my own “future” as well. Now that we are entering a period of declining population, the number of houses that our generation will have to manage will be considerably “multiple”. I believe that a similar thematic composition is occurring in the NEXT world of the human world.

　The temple built a new main building in 1993. The temple built a new main hall in 1993, and there was a “Houmeiroku” from that time, which I saw for the first time inadvertently. I found my name and my intention more than 30 years ago, and the word “Bodhidai-ji” seemed realistic to me.
　The main deity of this temple is “Fudo Myoo,” a deity unique to esoteric Buddhism. He is one of the Myoo, a deity unique to esoteric Buddhism. He is said to be an incarnation of Dainichi Nyorai. He is also the central Myoo of the Five Great Myoo. We respectfully bow our hands in prayer.

　

Posted on 8月 13th, 2024 by 三木 奎吾
Filed under: 日本社会・文化研究 | No Comments »

【東京都心宿泊予約大失敗〜救世主カプセルH（笑）】


　いやはやこの年齢になってのお恥ずかしい大失敗。仕事現役のころとそう変わりなく全国をあちこち出張して「深掘り型」住宅取材を行動していますが、そういうなかで予想もしていなかった大失敗。予約を入れていたと思っていたホテルについてきちんと確認することなく、夜になっていざ行ってみたら、宿泊予約の不通を知らされ、なお、当日の宿泊予約は満杯で、露頭に迷ったという恥ずかし体験。
　つい先日、7/28夕刻に問題の事態は発生した。当日は東京都内でよく行く博物館施設を参観した後、有楽町でちょっと大きな講演会があってそちらに長時間参加。終わる時間が20時頃だったので、新橋でホテルを予約した（つもりだった）。前日までの千葉県内ホテルに戻るには1.5時間くらいの移動時間がかかるので、面倒なので新橋にしたのですが、数軒みていて「ここにしよ」と決めたつもりが、「じゃらん」での予約が「どうしようかな」と宙ぶらりんのままになっていたのです。
　で、20時過ぎに「ようやく寝られる」と思って現地に行ったら、自分の勘違いを思いっきり知らされてしまった。こういう間違いはわたし人生初であります。自分でも心底驚いたのですが、しょがない。仕方なくそこから宿泊ホテル探しin現地対応。こういう体験もはじめて。いまいる新橋周辺で探そうと思った。その近くでそのホテルで１軒は聞いて向かったのですが、足下を見られてか、とんでもない高額を言われたので退却。カプセルでたしか20,000円近いふっかけぶり。値段以上に安心できる環境とはとても言えない。そこでスマホに探索をさせる手も考えたけれど条件設定が相当にメンドイ。
　ということで、以前に１度宿泊のそこそこ便利で清潔感のあった上野のカプセルホテルに向かった。こういう時間に宿泊難民になった心境というのは、まことに心細く、東京サラリーマン暮らしをしていた酒飲み人生まっ盛りのときにも経験がなかった。一瞬は、宿泊場所がなくこのまま大都会で流浪しながら野宿して時間を潰さなければならないかもと覚悟した。
　さすがにそういうのは若くない身にはちょっと堪える。けどまぁ、それもしょがないとまで思っていた。翌日には札幌までの帰還フライト予定だったので「早めに空港に向かって待合でゴロ寝しているか」と考えたりしていた。万が一を考えて札幌のわが家のカミさんに相談連絡。「もしなんかあったら、後、頼むな」。

Screenshot


　新橋−上野はJRで６駅。そこから歩いて３分ほどの目的地。夜にも及んで総歩数は18,000歩超レベルに達していた。たしか時間は21:00過ぎ。そうしたところ、ラッキーにも下段の場所が空いていた。価格も5,500円ということで緊急避難にしては格安。
　上の写真はすこし落ち着いてから撮影した「室内」写真。カプセルだけれど、この室内左手前側にキー付きの洋服・荷物の収納があって、無事一宿の場を確保できた。
　現代版・高齢者放浪人。世間にご迷惑にならないように、慎重な計画性が不可欠だと思い知らされた次第です。深く反省。
　
English version⬇

[Tokyo Central Accommodation Reservation Fiasco – Savior Capsule H (Laughs)
No, it is not a laughing matter. A stable lodging environment for rest and relaxation is essential for the elderly. Confirmation of reservations, not just sitting around. …

　Well, this is an embarrassing fiasco at my age. I have been traveling around the country to conduct “in-depth” housing interviews, much as I did when I was still working, but in the midst of all this, I made a huge mistake that I did not anticipate. I had an embarrassing experience when I went to a hotel I thought I had made a reservation for without checking it properly, only to find out at night that the reservation was not available and that the hotel was fully booked on the day of my visit.
　The problem occurred just the other day, on the evening of July 28. On that day, after visiting a museum facility that I often go to in Tokyo, I attended a rather large lecture in Yurakucho, which I attended for a long time. Since the lecture was to end around 20:00, I booked a hotel room in Shinbashi (or so I thought). It would take about 1.5 hours of travel time to return to the hotel in Chiba Prefecture where I had stayed the day before, so I decided to stay in Shimbashi because it was too much trouble.
　When I arrived there after 8:00 p.m., thinking that I could finally sleep, I found out to my surprise that I had made a mistake. This was the first time in my life that I had made such a mistake. I was deeply surprised at myself, but I had no choice. I had no choice but to look for a hotel to stay in and deal with the situation locally. This was also the first time for me to have such an experience. I thought I would look for a hotel in the Shimbashi area where I am now. I heard about one hotel near there, but I was told that the price was outrageously expensive, so I retreated. I think it was close to 20,000 yen for a capsule. It was not a very secure environment for more than the price. I thought about having my phone search for me, but it would be too much trouble to set up the conditions.
　So I headed for a capsule hotel in Ueno, where I had stayed once before and found it to be convenient and clean. I had never experienced the feeling of being a lodging refugee at this time of the day, not even when I was in the prime of my drinking life as a salaryman in Tokyo. For a moment, I thought I might have to pass the time wandering around the metropolis and staying in the open.
　As one might expect, it was a bit hard on my young body. But I thought, well, that’s just the way it is. I was scheduled to fly back to Sapporo the next day, so I thought, “I’ll head to the airport early and sleep in the waiting area. I called my wife in Sapporo for advice, just in case. She said, “If something happens, don’t forget to take care of it.

　Shimbashi – Ueno is 6 stops by JR. From there, the destination is a three-minute walk away. The total number of steps had reached the level of over 18,000 steps over the course of the night. The time was after 21:00. Luckily, the lower level was available. The price was 5,500 yen, which was cheap for an emergency evacuation.
　The photo above is an “indoor” photo taken after I had settled down a bit. Although it is a capsule, there is a storage space for clothes and luggage with a key on the left front side of the room, and I was able to secure a place to stay for the night.
　A modern-day version of an elderly vagabond. I am reminded that careful planning is essential so as not to cause trouble in the world. Deeply regretful.

Posted on 8月 12th, 2024 by 三木 奎吾
Filed under: 出張＆旅先にて | No Comments »

【入道雲とセミ時雨が知らせる、至る「お盆」 】


　きのうから人によっては９連休という方も多いようです。カミさんとあちこちと遠出していましたが、ふだんのドライブとは勝手の違う運転者も多いので、要注意ですね。
　自分ではルールに則った運転をしていても、ふだんあんまり運転していない人が、ふだんあんまり走ったことのない道をノロノロとか、暴走とか、いろいろあるので気を抜けません。みなさん安全運転で。
　さすがに盛夏でセミの時雨がドライブコースに木霊し続けている。
　「木霊」と書いてみて、まさにセミってそのように表現するのが的確ではないかと気付いた。深い森全体から、その周辺の地中を生き続けた末に、特定の木に留まっていのちの咆哮を上げ続ける。１匹のちいさないのちの叫び声が、合唱となって森全体に響き渡ってくる。まさに「木霊」。
　種としてのイキモノ全体の本然のままが、ふかく刺さってきて仕方がない。西行さんはこういうセミ時雨にどんな詩を読んでいたかなぁ、などと脳内を探してみるけれど、不勉強で一句も浮かんでこなかった。あとで調べてみたらこんな句があった。
　水の音に暑さ忘るるまといかな
　　　　　梢のせみの声もまぎれて
　・・・漂泊の僧となった西行法師は日々和歌を詠み花鳥風月への耽溺を深めていく。ゆえに解脱し得ず六道輪廻を彷徨う。この詩では水が主テーマでセミはその付随対象。・・・
　太古から人間はかれらの木霊に接してきて、それが輪廻転生の定めであることを知り続けてきている。そういう知見から季節のひとつの極限を知って、お盆とか彼岸とかという宗教的な言霊をそれに冠してきたのではないだろうか。たしかに万物自然の「至る季節」という感覚があったのだろう。
　写真はきのうのドライブの途中、ムクムクと湧き続けてくれた入道雲に、心がとらわれ続けて、ひょっとしてこのカーブを曲がったら、と期待していたらまさにその通りのタイミングでこちらに微笑み返してくれたショット。こういう瞬間の美感に癒されている。
　空と大地は、この北海道の地でその季節季節で雄大にパノラマを見せてくれるけれど、だんだんとこういった雲の有様などにこころが導かれるようになってくる。そしてそういう心理には同時に少年期に感じていたこころ模様がオーバーラップもしてくる。
　盛夏を知らせるセミ時雨、まだ数日は楽しめそうですね。

English version⬇

　It seems that many people have been on a nine-day weekend since yesterday. My wife and I were out for a long drive here and there, but I have to be careful because there are many drivers who are not used to driving like normal drivers. Even if you are driving according to the rules, there are many drivers who are not used to driving and who drive very slowly on roads they have never driven before, or who drive out of control. So please drive safely.
　It is indeed mid-summer, and the cicadas are still singing on the driving course. When I wrote the word “spirits,” I realized that cicadas are aptly described as such. The cicada’s cry of life echoes throughout the forest as a chorus. It is truly a “spirit of the trees.
　The true nature of the entire creature as a species is so deep and piercing that it cannot be helped. I wondered what kind of poems Saigyo-san read in this kind of semi-rainstorm, but I could not come up with any poems due to my lack of study. Later, I looked it up and found this poem.
　The sound of the water makes me forget the heat.
　　　　　The sound of cicadas in the treetops is muffled
　Saigyo Hoshi became a monk drifting in and out of Japan, composing waka poems every day and deepening his indulgence in flowers, birds, wind, and moon. Unable to attain liberation, he wanders through the cycle of reincarnation in the six realms. In this poem, water is the main theme and the cicada is the incidental object. The Cicada is a concomitant object.
　Since ancient times, humans have been in contact with their spirits and have come to know that this is the destiny of reincarnation. From this knowledge, we have come to know one of the extremes of the seasons and have given it the religious term “Higan” (the other shore). Indeed, he must have had a sense of “the season that leads to the end” of all things in nature.
　The photo was taken during a drive yesterday, when I was hoping to catch a glimpse of the iridocumulus clouds that kept bubbling up, and when I rounded this curve, they smiled back at me at exactly the right moment. I am soothed by the beauty of moments like this.
　The sky and the earth show us a magnificent panorama in Hokkaido in every season, but gradually my mind is being guided by the clouds and the like. At the same time, the mental pattern of my childhood also overlaps with this kind of mentality.
　I think we can still enjoy the cicadas that signal the beginning of midsummer for a few more days.

Posted on 8月 11th, 2024 by 三木 奎吾
Filed under: 日本社会・文化研究 | No Comments »

【思わず「絵画鑑賞」〜むかし絵・松下紀久雄作品】


　一昨日の高校同期会の会場はお世話になっていた「三川屋会館」という宴会専門のお店。中学校・高校と同級生だった友人の実家のビジネス。かれも当然参加していたのですが、わたしがあらためて見入ってしまっていたのが、宴会場の背景画として掛けられていたこの絵。
　こういう店舗の仕掛けマネジメントは、友人のお母さんだったことが記憶の底から蘇ってきて思い出され、その絵の選定の感覚について酒を飲みながら、やや耽溺していた。
　この絵自体は松下紀久雄氏（1918年生まれで2010年死去）という画家の作品で、現代人でありながら、克明にその地の歴史を解明しながらそのいとなみぶりを活写する作風を確立したように思われる。この作品についてオーナーに聞いたけれど、かれはあまり知識を持っていなかった。札幌西高は東京芸大への進学率も高い高校なので、たまたま同席していたもと美術部に確認を求めたけれど、自分で描く方が専門だからそういう「知識」は持っていなかった。
　「好み」が伝わってきて、かれのお母さんと久しぶりに対話しているようだった。酒の肴にはたしかにちょうど良かったのかも知れない。お母さんはすごい（笑）。

　全景はこんな感じなのだけれど、江戸期までの全国のどこかの商業市街地を描いたモノだろうか。日本社会のむかしのある局限点を再生させながら、私の好きな「洛中洛外図」という日本独特の絵画文化領域をあざやかに再現してくれている。住宅建築についての情報を自分のライフワークテーマとして選択してきた人間として、こういう「市井」への目線は数寄なのだ。


　住宅・店舗の建物のつらなりと、そのそれぞれの「なりわい」の間に流れる「生き方・暮らし方」の実相があざやかに再生されてくる。その間をうごく人間たちは、その体動の描写で暮らし方・生き方が表現されている。
　街区というものがどのような成り立ちで生まれ出てきたのか、そういった部分が匂い立ってくるかのように思われる。
　ふと、自分のライフワークと、こうした表現の間に共通する内容があるように思えた。わたしは住宅建築を取材し、その写真を「表現手段」の最たるものとして活用して、その家で人間はどのような思いをいだき、暮らそうとするのか、そこに強いこだわりを持ってきている。ただ、個人情報については一般的には触れないように配慮する。
　この絵画表現では「無名性」に徹して、それぞれの人間の暮らしを正面から表現していく。そのあたりの根源的な部分で「対話」しているような時間だった。

English version⬇

Unintentionally “Appreciation of Paintings” – Mukashi E, Kikuo Matsushita’s works
I am strongly attracted to “Rakuchu Rakugai-zu”, a picture I drew in the first grade of elementary school in the U.S.A., which shows the Japanese people from the viewpoint of the people living in the city. …

　The venue for the high school class reunion the day before yesterday was a restaurant specializing in banquets called “Mikawa-ya Kaikan”, which we were indebted to. It is a business owned by the family of a friend of mine who was a classmate of mine in junior high and high school. He was naturally in attendance, but what I found myself looking at again was this picture hanging as a background painting in the banquet room.
　I was reminded of the fact that my friend’s mother was the manager of this kind of store, and I was somewhat indulged in the sensation of the selection of the painting while drinking sake.
　The painting itself is the work of Kikuo Matsushita (born in 1918 and died in 2010), a contemporary artist who seems to have established a style of vividly capturing the history of the place while conclusively elucidating the history of the place and its lifestyle. I asked the owner about this work, but he did not have much knowledge about it. Sapporo Nishi High School has a high percentage of students who go on to Tokyo National University of Fine Arts and Music, so I asked the former art club member who happened to be in attendance to confirm his knowledge, but he did not have any such “knowledge” because he specializes in painting by himself.
　I could feel his “taste” and it was like talking to his mother for the first time in a long time. It was like talking to his mother for the first time in a long time. His mother is amazing (laugh).

　The overall view looks like this, but it probably depicts a commercial district somewhere in Japan up to the Edo period. While reproducing a certain localized point in the past of Japanese society, this work vividly recreates my favorite “Rakuchu Rakugai-zu,” a uniquely Japanese pictorial cultural area. As someone who has chosen information on residential architecture as my life’s work theme, I appreciate this kind of “city” perspective.

　The reality of the “way of life” that flows between the rows of houses and stores and their respective “livelihoods” is vividly reproduced. The people who move between the buildings express their way of life through their body movements.
　It is as if one can smell the origins of the city block and how it came to be.
　It occurred to me that there are similarities between my life’s work and this kind of expression. I have been reporting on residential architecture and using photographs as my “means of expression,” I have been strongly interested in what people think about and try to live in their houses. However, I will take care not to mention personal information in general.
　In this pictorial expression, I am committed to “anonymity” and express each human being’s life head-on. It was a time as if we were having a “dialogue” on the fundamental aspects of this area.
　

Posted on 8月 10th, 2024 by 三木 奎吾
Filed under: 日本社会・文化研究 | No Comments »

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