週末は北海道日本海側は風雪が強まるという冬の嵐の予報。いよいよ来るか冬将軍様・・・であります。用心しながら過ごしたいと思いますが、写真はここのところの寒波でのわが家周辺の「冬の景観」です。寒さには独特の美のたたずまいがある。上の写真は発寒川の段差、言ってみれば人工の滝ですが、そこが結氷している様子。だんだんと震え上がるような結氷美を見せてくれるようになる。恐る恐る見るのはやや自虐感があるけれど、寒冷地の人間の密かな楽しみ（笑）。冬でもあったかい家の中と、まっ盛りの冬の寒さがコントラストを暮らしに与えてくれる。その落差が大きいほど、花鳥風月感が深まる・・・。
西行のような詩人が現代の北海道を旅してくれたら、どんな心象風景を謳るか、想像すると面白みがある。やはり高断熱高気密という住環境がほぼ普遍的に獲得されてからは、冬の外部環境を楽しむ余裕が生まれてきて、それなりの体験が熟成してきている。日本人にどんな新・花鳥風月を追加できていくのか、興味を持っている次第。

そういう新・花鳥風月のテーマとして写真のような家と雪氷がもたらすオモシロ風景がある。まぁ、住宅性能的に見ればこれは屋根の断熱が十分ではなくて室内の熱が屋根トタン面にまで漏出し、屋根面で凍結爆裂融雪を繰り返して、結果、屋根端部にずり下がっていく光景。いわゆる「雪庇（せっぴ）」という現象であります。写真は非住居の建物で数日前の撮影ですが、毎年の気温変化・降雪量推移によって千変万化する。屋根の軒先から50-60cm程度張り出している。いまのところ日中最高気温も零下なので、屋根面雪崩は発生していませんが、温度変化によってはそういう危険もあり得る。まだそこまでではないのですが、もうちょっと危険性が高まると警告のコーンが設置されたりする。危険性が「見える化」しているので歩行者のみなさんも充分注意する。寒冷地としての生活常識も存在する。
ただ、わたしの少年期などではこういう雪庇や氷柱などが街中至るところで発生していて、それが当たり前だったから、動物的な危険回避の臨界感覚が育っていたかも知れない。屋根雪崩はだいたい、２−３月の晩冬時期の危険性が高い。とはいえ、冬の期間中こういう軒先付近にはなるべく近づかないようにはすべきでしょう。そういう危険性はあるけれど、一個の造形物と考えるとまことに「冬の風物詩」。ことしの冬のいろいろな気候痕跡が正直に露出しているので、興味深くもある。
さて夜の間にしっかり降ってくれたので、除雪頑張ります（泣）。

English version⬇

Winter, cold weather brings snow and ice beauty and slightly dangerous formations.
A weekend of heavy snowfall. The snowfall was so heavy that my body is screaming from every node. The peak of winter is just around the corner. …

A winter storm is forecast for the weekend, with wind and snow strengthening on the Sea of Japan side of Hokkaido. The winter storm is forecast to intensify wind and snow in the Sea of Japan area of Hokkaido over the weekend. The photo shows the “winter landscape” around our house during the recent cold wave. Cold weather has its own unique beauty. The photo above is a step of the Hassamu River, a man-made waterfall if you will, where the ice is forming. It gradually shows us the beauty of ice formation that makes us shiver, and although it is somewhat self-deprecating to see it with trepidation, it is a secret pleasure for people living in cold regions (laugh). The contrast between the warmth of a house in winter and the coldness of winter at its height provides a contrast to our lives. The greater the difference between the two, the deeper the sense of “kacho-fu-getsu” (flowers, birds, winds, and the moon) becomes.
It is interesting to imagine what a poet like Saigyo would say if he were to travel to Hokkaido today. After all, since the almost universal adoption of a highly insulated and airtight living environment, people have been afforded the luxury of enjoying the external environment in winter, and the experience has matured in its own way. I am interested to see what kind of new “kacho-fu-getsu” (the Japanese traditional seasonal festivals of flowers, birds, and winds) will be added to the Japanese people’s experience of the winter.

One such new Kacho Fugetsu theme is the wacky scenery brought about by the house and snow and ice, as shown in the photo. Well, from a housing performance point of view, this is a scene where the roof insulation is not sufficient and the heat inside leaks out to the tin surface of the roof, causing the snow to freeze, explode, and melt repeatedly on the roof surface, resulting in the snow sliding down to the edge of the roof. This is the so-called “snow eaves” phenomenon. The photo was taken a few days ago on a non-residential building, but it changes drastically depending on annual temperature and snowfall changes. The snow is sticking out about 50-60 cm from the eaves of the roof. At the moment, the maximum daytime temperature is also below zero, so no roof-surface avalanches have occurred, but such a danger is possible depending on temperature changes. It is not to that extent yet, but when the danger increases a little more, warning cones will be installed. Since the danger is “visualized,” pedestrians should be very careful. There is also the common sense of living in a cold region.
However, when I was a boy, such snow cover and icicles were commonplace throughout the city, and I may have developed a critical sense of danger avoidance like an animal. Roof avalanches are usually most dangerous in the late winter months of February and March. Nevertheless, we should try to stay away from such areas near the eaves during the winter months. Despite these dangers, when considered as an artifact, it is truly a “winter wonder”. It is also interesting because it honestly exposes various traces of the winter climate.
Now that it fell during the night, I’m going to work hard to remove the snow.

Posted on 1月 21st, 2023 by 三木 奎吾
Filed under: 住宅マーケティング, 住宅性能・設備 | No Comments »

出版という仕事にわたしは人生時間をほぼ費やしてきました。どうしてなのか？小学校に上がるかどうかのころに日本のテレビ放送が始まって、力道山のプロレスが札幌大通公園の街頭テレビで放送し始めた。父に連れられてそれを１−２度は見たのだろうか。映像の迫力とその臨場感に熱狂した父はさっそく２軒となりの電気屋さんに頼んですぐにテレビを購入した。以来、映像文化のたぶん最初期受容世代としてメディアというものに惑溺してきた。また街中の小学校だったので、ときどきNHK地方局の「子ども参加番組」に出演することもあった。メディアというものが身近な存在であって将来そういう仕事をと夢想していたのだろうか。
その後、結局メディアというのは経済的に広告事業の一環であることが腑に落ちて、広告業でその成立の根源的な部分について学習し経験を積んだ。結果として「カラー写真がたっぷり表現された」地域メディアというものを創造する事業に邁進してきた。そういう自分の体験と照らし合わせたとき、日本史の中でこの江戸期の「浮世絵」がもたらした大衆芸術の世界はまぶしい民族的先行事例として自分の中で光を放っていた。これは想像するしかないけれど、江戸期の人びとにとって手頃な価格で入手できたカラー印刷物の即物性は無上の存在だっただろう。浮世絵の醸し出す想像力世界に触れることで、全国旅行ブームというのが江戸期を通じて盛んになっていった事実。また見世物芝居のスターたちがブロマイドのように表現された。さらに女性美というものがはじめて「メディア化」していった。結果として人間の本然を刺激する自由な大衆の娯楽が驚異的な盛り上がりを見せた。江戸期の浮世絵は名所・役者絵・美人画というジャンルを開拓したけれど、わたしは地域の「いい家」という空間の奥行きを表現したいと祈念している。「いごこちの見える化」というテーマか。


「房総のむら」でそれが町家の一典型として建築的に明示されていたことは思ってもいなかった奇跡的な遭遇。「そうか具体的にはこういうしつらいの空間から浮世絵は生産されていったのか」という驚異の体験なのです。ちょうど自分がテレビ世代として映像文化に惑溺したように、江戸期の人びとは浮世絵からのわかりやすいカルチャーショックに惑溺していたのだと思う。日本社会の大衆文化にとってこうした変化はまさに革命だったと思える。
その基礎になったのが、絵師と彫り師・刷り師という技術者たち。絵師については芸術家としての名声がはるかな後代まで名を残すけれど、しかしそのベースは彫り師・刷り師の技術開発がすべての根源だっただろう。基盤は江戸期の大衆芸術を支えた映像表現の知の結晶がもたらしたもの。その努力の痕跡を見て、はるかに触発され続けている自分がいる。

English version⬇

Ukiyo-e and the Popular Media Revolution – 3: Edo Period, Boso Machiya – 12
For those of us who experienced the postwar TV cultural revolution, the rise of popular color painting and publishing in the Edo period seems to us to be a dazzling trace of our ancestors. …

I have spent most of my life in the publishing business. Why? When I was about to enter elementary school, Japanese TV broadcasting started and Rikidozan’s wrestling began to be broadcast on street TV in Sapporo Odori Park. My father took me to see it once or twice. My father was so enthralled by the power and realism of the images that he immediately asked an electronics store two doors down to buy a TV set. Since then, as one of the first generations to be exposed to the visual culture, I have been absorbed in the media. Since it was an elementary school in the city, I sometimes appeared in “children’s participation programs” on NHK’s local station. Perhaps I was so familiar with the media that I dreamed of working in such a field in the future.
Later, it became clear to me that the media was economically part of the advertising business, and I learned and gained experience in the fundamental aspects of its formation in the advertising business. As a result, I have been working hard to create local media that are “richly illustrated with color photographs. In light of my own experience, the world of popular art brought about by ukiyo-e in the Edo period shone in my mind as a dazzling national precedent in Japanese history. One can only imagine what the immediacy of affordable color prints must have been like for the people of the Edo period. The fact is that the nationwide travel boom that was triggered by exposure to the imaginative world of ukiyo-e prints flourished throughout the Edo period. The stars of freak shows were represented in the form of bromides. In addition, female beauty was “mediatized” for the first time. As a result, the free entertainment of the masses, which stimulated human nature, enjoyed a phenomenal rise. Ukiyo-e of the Edo period pioneered the genres of famous places, portrayals of actors, and paintings of beautiful women, and I wish to express the depth of the space of “good houses” in the region. The theme of “visualization of comfort”?

It was a miraculous encounter that I had never expected to see it manifested architecturally as a typical “machiya” (townhouse) in the village of Boso. It was a marvelous experience for me to realize that Ukiyo-e was produced from this kind of space. Just as I was dazzled by visual culture as a member of the television generation, I believe that the people of the Edo period were dazzled by the easy-to-understand culture shock from Ukiyo-e. I believe that these changes were truly revolutionary for the popular culture of Japanese society.
The basis for this change was the painter and the engraver/printer. Although painters will remain famous as artists until far into the future, I strongly believe that the development of engraving and printing techniques was the basis for all of these changes. The foundation for this was the crystallization of the knowledge of visual expression that supported popular art in the Edo period. Seeing the traces of these efforts, I find myself continually inspired.

Posted on 1月 19th, 2023 by 三木 奎吾
Filed under: 住宅マーケティング, 日本社会・文化研究 | No Comments »

さてこの房総のむらでもいちばん魂を揺さぶられる江戸文化の精緻の町家店舗。「本・瓦版」の店・葛飾堂のご紹介であります。わたしどもの主領域・出版は江戸の浮世絵文化の大興隆、大衆文化大革命を見ずには語ることができないと思う。出版に主要な人生時間を費やしてきた人間として、町家建築としてこういう業態の店舗を参観できる機会に恵まれて心躍る思いがした。
出版、それも木版印刷の歴史について、京都の先達「竹笹堂」さんのHPから要旨引用。
〜戦国の世を家康が統一し泰平が訪れ文化の中心が町民に移行した江戸時代。初頭に京都で商業的な出版が行われ本を取り扱う「本屋」が誕生した。瞬く間に市中に数多くの本屋が並び、続いて大阪に本屋が登場して上方で出版文化が育まれていった。寛永（1624-1645年）には江戸でも本屋が開業。のちに美人画の名手喜多川歌麿や、役者絵の奇才東洲斎写楽などの錦絵を出版して一大版元となる蔦屋重三郎も吉原に書店を構えた。〜
〜伝統木版画技法の確立　大量印刷物を限られた時間と費用で生産するため無駄をそぎ落とし、表現方法をシンプルにすることで浮世絵木版画独特の構図の妙や色彩表現が生まれた。制作工程を分化させ、下絵を描く「絵師」、版を彫る「彫師」、色を摺る「摺師」、それぞれ専門職として作業する三者分業制印刷が確立した。一般に知られる葛飾北斎や喜多川歌麿は絵師で大手版元のお抱えや独立して活動した。素材や色彩、表現全てが独自性に富んだ日本の木版多色カラー印刷は、当時世界最高峰の技法。のちにゴッホをはじめとする多くの芸術家たちに影響を与え世界中を驚愕させた。【豆知識】世界に日本の高度な木版印刷技術が知られたのは、印刷に失敗した木版画を陶器や磁器などの他の輸出品の緩衝材として海を渡ったからだという。〜


いやはや、紙くずとして梱包材に浮世絵を使ったというさりげない事実から江戸期社会の大衆芸術の浸透ぶりに驚かされる。宗教芸術や貴族層の趣味生活に奉仕させられる存在であったヨーロッパ芸術に対して、無造作に紙くずとして利用された木版印刷ニッポン芸術が、まさに文明的驚愕をもたらせたことは日本人として誇らしい。けっして豊かではない都市住民の生活の中で、それでも多色印刷の絵画が各家庭に飾られて、夕餉の一家団欒に話題を提供していたのだろう。その絵画のテーマに則して旅の話題であったり、有名歌舞伎スターのゴシップであったり（笑）、大いに平和な家庭のいっときを彩っていた。もちろん識字率の高さから活字本で学習・情報収集にも余念がなかっただろうけれど、多色印刷のわかりやすさは、ひとのこころに強烈なインパクトを与え続けた。わたし自身はテレビという映像文化に染まった最初期世代だけれど、この江戸期の浮世絵文化にはじめて触れた人びとも、どうも似たような文化革命体験世代だったのではないだろうか。この空気感が愛おしい。

English version⬇

Ukiyo-e Civilization that Astonished the World -1 Edo Period, Boso Townhouse-10
Europeans were horrified by the culture shock of Ukiyo-e paintings being used as packaging cushioning material (laugh). Nippon, a society leading the popularization of art. …

The most soul-stirring store in the village of Boso is a machiya store that is an exquisite example of Edo culture. I would like to introduce Katsushikado, a “book and tile edition” store. Our main area of business, publishing, cannot be described without referring to the great rise of Ukiyo-e culture in Edo, the great revolution in popular culture. As someone who has spent a major part of my life in publishing, I was thrilled to have the opportunity to visit this type of store, built as a machiya (traditional townhouse).
The following is a brief history of publishing, especially woodblock printing, from the website of Takezasa-do, one of Kyoto’s forerunners in this field.
〜The Edo period (1603-1868) was a time of peace and prosperity as Ieyasu united the warring states, and the center of culture shifted to the townspeople. In the beginning of the Edo period, commercial publishing took place in Kyoto, and “bookstores” that dealt in books were born. In no time, numerous bookstores lined the streets of the city, followed by the appearance of bookstores in Osaka, which fostered a publishing culture in the Kamigata region. During the Kan’ei period (1624-1645), bookstores also opened in Edo. Tsutaya Shigesaburo, who later became a major publisher of nishiki-e prints by artists such as Kitagawa Utamaro, a master of beautiful women paintings, and Toshusai Sharaku, a prodigy of actor pictures, also had a bookstore in Yoshiwara. 〜The first woodblock print shop in Yoshiwara was established by Tsutaya Shigsaburo.
〜Establishment of Traditional Woodblock Printing Techniques In order to produce large quantities of prints in a limited amount of time and at a limited cost, the ukiyo-e woodblock printing method was simplified to eliminate waste and create the unique composition and color expression unique to ukiyo-e woodblock prints. The production process was differentiated, and a three-person division of labor system was established, with the “painter” drawing the preliminary sketches, the “engraver” engraving the plates, and the “printer” printing the colors, each working as a specialist. Katsushika Hokusai and Kitagawa Utamaro, both well-known artists, were either employed by major publishers or worked independently. Japanese woodblock multicolor printing, with its unique materials, colors, and expressions, was the world’s most advanced technique at the time. The technique later influenced many artists, including Van Gogh, and astonished the world. Trivia: Japan’s advanced woodblock printing technology became known to the world when woodblock prints that failed to print were shipped across the sea as buffer material for other exports such as ceramics and porcelain. ~.

The casual fact that ukiyo-e prints were used as packing materials for paper scraps is surprising in its permeation of popular art in the Edo period society. In contrast to European art, which had been a form of religious art or an object of service to the aristocracy’s lifestyle, Japanese woodblock-printed art, which was used carelessly as paper scraps, was a civilized wonder, and as a Japanese, I am proud to say that it brought about a sense of wonder. In the not-so-affluent lives of city dwellers, polychromatic paintings were still displayed in each household and provided a topic of conversation for the family dinner table. The paintings were often about travel or gossip about famous Kabuki stars, depending on the theme of the painting (laugh), and they added a lot of color to the peaceful family life. Of course, the high literacy rate in Japan meant that people probably had to learn and gather information from printed books, but the ease of understanding provided by multicolor printing had a powerful impact on people’s hearts. I myself am of the first generation to be imbued with the visual culture of television, but I suspect that the people who first came into contact with the Ukiyo-e culture of the Edo period were of a similar generation that experienced a cultural revolution. I love this atmosphere.

Posted on 1月 17th, 2023 by 三木 奎吾
Filed under: 日本社会・文化研究, 歴史探訪 | No Comments »

家は希望する人がいて成立する。住宅雑誌・メディアって建築要素把握と生活の関連にスポットを当てる役割。住宅の意味はそこでシアワセな暮らしが営めるかどうか、が最大ポイント。もちろん作り手の紹介は大きい要素ではあるけれど、家を希望する人にとって本当の最大助言者は、すでに建てたひとの実感だろうと思います。それを第３者的な視線で「取材」して表現していくことがメディア最大の役割。シアワセな「だんらん」生活が実現しているのかどうか、取材センサー機能を働かせて、これから建てる人に伝える役割が社会機能の中核。
そんな意識を持つと連綿と繋がってきている昔人の暮らしから現代と通底する普遍的な価値観が自然に浮かび上がってくる。ちょっと（笑）以前の時代の人間生活・民俗の歴史とか、古民家群から発掘できてくる。生活の「だんらん」には実に多様な要素、シアワセのカタチがあると思わされる。そんなことがら・ものごとを深掘りしてみたいということで、いまは江戸期房総の商家群をピックアップ中。
本日はひとを蕩けさせる甘味の世界・町家の「お菓子屋」さんであります。甘いものは実はその甘味料・砂糖の歴史からして実は新しい部類の人間体験だと気付かされる。


財団法人・農畜産業振興機構のHPに甘味の歴史が詳述されている。以下要旨抜粋。
〜砂糖がもたらされる以前の庶民の甘味料は、ヨーロッパでは蜂蜜であり日本では飴であった。飴はもち米などのデンプンを麦芽（麦もやし）で糖化して作られる我が国古来の甘味料。『日本書紀』において初代の天皇とされる神武天皇の即位前紀に「飴（たがね）」が記されているほか『延喜式』には平安時代の都に「糖（あめ）」の店があったとされる。
江戸時代の初めまでは餡といえばもっぱら味噌味や塩味だった。長崎に来航する唐船・オランダ船により砂糖が大量輸入されるようになると、金平糖などの南蛮菓子のほか従来の飴に加え新たに砂糖を用いた飴が作られるようになる。嘉永6年（1853）の『近世風俗志』の「饅頭」の項では「昔は菜饅頭・砂糖饅頭の二制あり。何時よりか菜饅頭は廃れ今は砂糖饅頭のみなり。今の饅頭、表は小麦粉を皮とし、中に小豆餡を納る。小豆は皮を去り砂糖を加ふ。砂糖に白黒の二品あり。昔は諸国ともに菜饅頭廃しその後は塩饅頭と云ひて小豆餡に塩を加へたり。近世は鄙といへども皆専ら砂糖饅頭なり。文化以来やうやうかくのごとくなり」とある。〜
いずれにせよ、家庭で甘味の菓子を作ることは珍しく、このような商家・町家店舗で専業的に作られて購入されていたのが実態だっただろう。砂糖の普及に伴って徐々に家庭でも正月の餅つきで「あん餅」がつきあげられるように変化していった。昭和中期までのわたしの生家でも賑やかに多量のあん餅を作っていた。その餅つきの製造場所は深く記憶に残っている。前日までの材料仕込みから家族総出での餡作り、餅つき、手ごね作業の隅々まで、深く記憶に残り続けている。年越しを飾るメインイベントとして、甘味は日本人にとって「だんらん」の豊かさを実感できる大きな機会だったことだろう。

English version⬇

Ethnographic History of Sweetmeats and Sweets -1 Edo Period, Boso Machiya-8
It was in the merchant and townhouse houses of the Edo period that “sweet foods” were first offered to the common people in their homes. The merchants and merchant houses of the Edo period were the first to offer sweet foods to the common people, enriching the Japanese home life.

A house is established when there are people who wish to live in it. Housing magazines and media are responsible for highlighting the relationship between the understanding of architectural elements and living. The most important point of a house is whether or not it is possible to live a happy life there. Of course, the introduction of the builder is a major factor, but I believe that the greatest advisor for people who want to buy a house is the experience of those who have already built one. The greatest role of the media is to “report” and express this from a third-party perspective. The core of the social function of the media is to use its sensor function of reporting on whether or not a “happy home” life has been realized, and to tell people who are going to build their own homes about it.
With such an awareness, universal values that are common to the present day naturally emerge from the lives of the ancients, which have been connected to the present day. The history of human life and folklore of an earlier era can be unearthed from the old houses. The “communal living” of daily life has a variety of elements and forms of happiness. In order to delve deeper into such things, I am now picking up a group of merchant houses in Boso during the Edo period.
Today, we are going to visit a sweets shop in a machiya, a world of sweetness that can make you fall in love with sweets. I realize that sweet food is actually a new kind of human experience, given the history of its sweetener, sugar.

The website of the Organization for Promotion of Agriculture and Livestock Industry details the history of sweetness. The following is an excerpt.
〜Before the introduction of sugar, the sweetener for the common people was honey in Europe and candy in Japan. Ame is an ancient Japanese sweetener made by saccharifying glutinous rice and other starches with malt (barley sprouts). In the “Nihon Shoki (Chronicles of Japan),” “tajane” is mentioned in the pre-century of Emperor Jinmu, the first emperor of Japan, and in the “Engishiki (Engi Shiki),” it is said that there was a “sugar” store in the capital during the Heian period.
Until the beginning of the Edo period (1603-1867), red bean paste was usually miso or salt-flavored. When sugar was imported in large quantities by Chinese and Dutch ships that arrived in Nagasaki, new candies made with sugar began to be produced in addition to traditional candies, such as kompeito (kompeito) and other Nanban confections. In the section on “Manju” in the “Kaei 6 (1853)” (Kasei Fuzoku Shi), it is written, “In the past, there were two types of buns: na-manju and sugar-manju. From some time ago, the greens buns were abolished, and now only sugar buns are available. Nowadays, the front of the bun has a flour crust and the inside is filled with azuki bean paste. The azuki beans are removed from the skin and sugar is added. There are two kinds of sugar, black and white. In the old days, many countries abolished the “naeba-manju” and later it was called “shio-manju” (salt buns). In modern times, all the local people have been making sugar buns. It has been like this since the Bunka era. ~…~…~…~…~…
In any case, it was rare to make sweet confections at home, and the reality was that they were made and purchased exclusively at merchant houses and townhouse stores like this one. With the spread of sugar, the home cook gradually began to make “anmochi” at the New Year’s rice-cake pounding. Until the mid-Showa period, my family was making large quantities of anmochi in a lively atmosphere. The place where the rice cakes were made remains deeply in my memory. From the preparation of ingredients up to the day before, to the family’s concerted efforts to make red bean paste, to the pounding of the rice cake, to every detail of the hand-kneading process, all remain in my deepest memories. As the main event that decorates the New Year’s Eve, sweetness must have been a great opportunity for Japanese people to experience the richness of “Danran” (gather together).

Posted on 1月 15th, 2023 by 三木 奎吾
Filed under: 日本社会・文化研究, 歴史探訪 | No Comments »

商家の町家群展示、千葉県の「房総のむら」で出会った「小間物屋」。町家建築はその時代の「消費動向」を把握できる。日本女性の美感探究のオリジナル性というのは有史以前から連綿と続いていたでしょう。一見奇妙な形態を見せる縄文土偶の一部にはそういう「髪結い」が反映されていたのかも知れない。きのう江戸期の髪結いの文化について見て改めて気付かされた。どうして日本列島社会ではこういうふうに髪結いが発展して、きわめてオリジナル性の高い髪結い習慣に発展したのか。考えて見ると日本人のナゾ。女性のファッション感覚が作り上げてきた歴史の重要なパーツだけれど、あまり考察してみたことはなかった。言ってみれば「美感の歴史」だけれど、美術作品の流れみたいなものは跡づけることができても、こういう感覚の歴史、あるいは流行の歴史というものは跡づけにくいのかも知れない。決定的なのはむしろこういう日常的な部分だろう。
個人的には娘の成人式での髪結いを思い出す。美容師さんがいろいろに髪型を考えてくれて「もっとこの辺を盛り上げましょうか」「いいね、それ」みたいなやり取りがあって、大いに盛り上がった記憶がある。やはり日本女性のDNAに触れる部分で奥深い審美眼が刺激されているように感じた。彼女たちの目の光のキラキラ感には思い出す度に微笑させられる（笑）。

こういう文化の結晶として櫛やかんざしの類は日本の工芸分野で独特の位置を占めていった。江戸期の職人図でも座っての手先作業ぶりが描かれている。手先に注意が集中する特殊な手工芸の世界。背景としての髪の色が日本民族の場合、黒が基調色になるので、赤と白がポイントカラーとして選択されてきたのだと思う。用途としては髪のデザイン造形をまとめ上げて美感を強調する役割。やはり黒い長髪で風土条件にも反応した質感というのがこの髪結い伝統の基板を形成してきたと思う。
この条件を活かしていくヘアデザインを長時間、およそ37,000年考え続けてきて、オリジナルの髪結い習慣に結晶してきたように思う。その後、明治に至って西洋文化を完全に受容したとき、和服に対して活動機能性に優れた洋服にファッションの背景条件が大変化した。このことで和の髪結い習慣は主流からは外れた。
しかしこのような手工芸の感覚世界は、その後の産業興隆の基盤になっていったと思う。日本独特のものづくり要素としてディテールへのこだわりがあるけれど、その文化風土は日本女性の黒髪が大いに関係していたという大胆な推論も可能に思う（笑）。

English version⬇

Oshare hair comb and hairpin, Edo period, Boso-machiya-6]
Japanese women have black hair. The hair quality nurtured by the climatic conditions also created a unique sense of beauty. The props and workmanship that suited the hair created the foundation for the manufacturing industry that followed.

Exhibition of a group of merchant townhouses, “komono-ya” (booth shop) encountered in the “Boso no Mura” in Chiba Prefecture. The originality of Japanese women’s search for aesthetics has probably been continuous since prehistoric times. Machiya architecture allows us to grasp the “consumption trends” of its time. Some of the seemingly strange forms of Jomon clay figurines may have reflected such “hairdressing. Yesterday, I was reminded of this when I looked at the Edo period’s hairdressing culture. I wondered why the custom of hairdressing developed in this way in the Japanese society and developed into a highly original custom. It is a puzzle for Japanese people. It is an important part of the history of women’s sense of fashion, but I have never given it much thought. It is a “history of aesthetics” in other words, but while we can trace the flow of art works, it may be difficult to trace the history of this sense or the history of fashion trends. However, what is decisive is the everyday part like this.
Personally, I recall my daughter’s hair at her coming-of-age ceremony. The hairdresser came up with various hairstyles, and there was a lively exchange of ideas such as, “Shall I make this part of her hair more lively? I felt that this was a part of Japanese women’s DNA that stimulated their deep aesthetic sense. The sparkle in their eyes makes me smile every time I recall it (laugh).

As a fruit of this culture, combs and hairpins occupied a unique position in the field of Japanese crafts. Even the Edo period craftsmen’s drawings depict the way they worked with their hands while sitting down. This is a special kind of handicraft in which attention is concentrated on the fingertips. The color of the hair as a background is black for the Japanese people, and red and white have been chosen as the point colors. The purpose of this technique is to emphasize the beauty of the hair by bringing it together in design and modeling. I believe that the texture of long black hair that responds to the climate conditions has formed the basis of this hair-tie tradition.
The hair design that makes the most of these conditions has been thought about for a long time, about 37,000 years, and has crystallized into the original custom of hairdressing. Later, when Western culture was fully embraced in the Meiji period (1868-1912), the background conditions for fashion changed drastically, with Western clothes having superior activity and functionality in contrast to Japanese clothes. This meant that the Japanese custom of tying hair fell out of the mainstream.
However, the sensory world of handicrafts became the foundation for the subsequent rise of industry. One of the unique elements of Japanese craftsmanship is the attention to detail, and it is a bold inference that the cultural climate had a lot to do with the black hair of Japanese women (laughs).

Posted on 1月 13th, 2023 by 三木 奎吾
Filed under: 未分類 | No Comments »