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【1588年滅亡の筑後「草野氏」史を伝承する地域性】




　九州福岡県の久留米の家と縁づいたことで、その地を巡った旅路。歴史・地理の社会科系が大好きな性格ですので、それを機会に仕事の一線から離れたこともあって、九州全県巡りをしました。
　で、その肝心の久留米をあちこち回って訪れてみたのが、この「草野歴史資料館」。
　住所名に「久留米市草野町」といまもその氏族名が残っているわけですが、学ばせていただいたところ、この氏族は1164年にこの地域に根付いて、豊臣秀吉の九州攻めに際して1588年に敗亡している。この地に深く関係したのが425年間で、滅亡してから438年経過している地域豪族。
　北海道人的な感覚からすると、まことにはるかなる世界。
　そういう歴史的存在に対してこの地域としては「歴史資料館」を建設してその情報を「鎮護」している。そのことがちょっと実感を持てない。やはり九州、その人間活動の歴史蓄積に驚く。
　この中世豪族・草野氏の要約は以下。
　〜筑後草野氏は、1164（長寛2）年に肥前高木より筑後吉木に入国してから始まる。源平争乱（1180-1190年）に際してはいち早く筑後平野を見晴らす高良山で兵を挙げ「竹野合戦」で平家軍を破ってから各地を転戦し源氏方の勝利に貢献した。その功により1186（文治2）年、源頼朝の推挙により筑後国在国司・押領使職に補任されて以来、当国に確固たる地位を獲得し。
　文永弘安の役（1274～82）に際して、草野永綱・経永父子は、神代良忠や西牟田弥次郎ら筑後の諸士とともに果敢に戦い侵攻した蒙古軍を撃退した。また南北朝期には南朝の征西将軍・宮良親王、菊池武光の下で活躍し、1361（正平16）年九州征西府の掛立に貢献。
　室町～戦国時代にあっては九州の覇権をめぐる豊後の大友、肥前の龍造寺、薩摩の島津らによる争いに翻弄されながら一族の存亡をかけて戦ったが、豊臣秀吉による九州国割後の1585（天正16）年、肥後南関において、肥後一揆鎖圧軍蜂須賀家政によって誘殺され、約425年間の歴史を閉じた。〜
　・・・阿倍比羅夫の遠征や奥州藤原氏の北方交易などの断片的な歴史事跡しか持っていない北海道人としては、こういう時代の事実関係の資料などが積層していることに、さらにそれも滅亡した氏族の痕跡が残り続けていることに驚嘆。ワクワクさせられる北の旅人。
　日本史の奥行き、民族史の深さに朦朧としながら、鮮烈さに目が覚める思いであります。

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English version⬇

[Regional Traditions Preserving the History of the Chikugo “Kusano Clan,” Which Fell in 1588]
I was just casually looking around, but I was overwhelmed by the fact that this region still preserves such a wealth of historical records about a medieval powerful clan that fell 438 years ago. …

　A journey through the region of Kurume in Fukuoka Prefecture, Kyushu, sparked by my connection to a family there. Since I’ve always loved social studies—especially history and geography—I took this opportunity to step away from the front lines of my work and tour every prefecture in Kyushu.
So, after exploring various parts of Kurume itself, I visited this “Kusano Historical Museum.”
　The address “Kusano-cho, Kurume City” still bears the name of this clan, and from what I learned, this clan took root in the area in 1164 but was defeated and wiped out in 1588 during Toyotomi Hideyoshi’s campaign to conquer Kyushu. They were a regional clan deeply connected to this land for 425 years, and 438 years have passed since their demise.
　From a Hokkaido resident’s perspective, this feels like a truly distant world.
　In response to such a historical presence, the region has built a “History Museum” to “preserve” this information. I find it a bit hard to truly grasp the significance of that. As expected of Kyushu—I’m amazed by the accumulated history of human activity here.
　Here is a summary of the Kusano clan, a medieval regional clan:
　~ The history of the Chikugo Kusano clan began in 1164 (Chōkan 2) when they entered Chikugo Yoshiki from Hizen Takagi. During the Genpei War (1180–1190), they were among the first to raise an army on Mount Kōra, which overlooks the Chikugo Plain. After defeating the Taira forces at the Battle of Takeno, they fought in various locations and contributed to the Minamoto clan’s victory. In recognition of these achievements, in 1186 (Bunji 2), upon the recommendation of Minamoto no Yoritomo, he was appointed Governor and Military Commissioner of Chikugo Province, thereby securing a firm position in the province.
　During the Bun’ei–Kōan Campaigns (1274–82), the Kusano father-and-son duo, Nagatsuna and Tsunehisa, fought valiantly alongside Chikugo warriors such as Kamidai Yoshitada and Nishimuta Yajirō to repel the invading Mongol forces. Furthermore, during the Nanboku-chō period, they played an active role under Prince Miyara, the Seishi Shōgun of the Southern Court, and Kikuchi Takemitsu, contributing to the establishment of the Kyushu Seishi-fu in 1361 (Shōhei 16).
During the Muromachi and Sengoku periods, while caught in the turmoil of conflicts over hegemony in Kyushu—including the Ōtomo clan of Bungo, the Ryūzōji clan of Hizen, and the Shimazu of Satsuma over hegemony in Kyushu. He fought for the survival of his clan, but in 1585 (Tenshō 16), following Toyotomi Hideyoshi’s redistribution of Kyushu, he was lured and killed at Nankan in Higo by Hachisuka Iemasa, a commander of the forces suppressing the Higo Uprising, bringing an end to a history spanning approximately 425 years. ~
　…As a Hokkaido native who is familiar only with fragmentary historical events—such as Abe no Hirafu’s expedition and the northern trade of the Oshu Fujiwara clan—I am amazed by the wealth of historical records documenting the facts of this era, and even more so by the enduring traces left behind by this extinct clan. It’s thrilling for a traveler in the North.
While I am somewhat dazed by the depth of Japanese history and the richness of ethnic history, I am also awakened by its vivid intensity.

● Announcement
My book, *Writers and Living Spaces*, has been published as an e-book by Gentosha.
Available on Amazon.
　

Posted on 7月 15th, 2026 by 三木 奎吾
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【松本清張の住空間の無念から小倉城庭園で癒される】



　わたしは司馬遼太郎という多作な作家の著作群に耽溺していた人間で、ほぼ同時代的な活躍時期だった松本清張さんについては、あまり強い興味を持っていませんでした。しかし「点と線」などの作品のひきこまれるような創作法の素晴らしさについては、強い印象を持っています。
　だからこそ、その住空間との「対話ぶり」を実体感したかったと言えるでしょう。
　これまで多くの作家の息づかいの残る住空間を体験してきて、そこからその人間について、いわば「会ってきた」印象が加わって、自分の中でその作家に対してのイメージが再構築される、そういう心象部分に数寄を感じているのですね。
　今回の機会は九州全周12日間の夫婦の旅路でのこと。スケジュール的な問題もあったので、制約のある参観条件からは、やむなしと納めざるを得なかったということ。いまは、各種資料を見返しながら「追体験」型の参観を継続してきています。図録資料をくくりながら思い返してきている。やはり作家と読者との「対話感」は継続できている。
　松本清張さんの仕事部屋、住空間についての写真は複数点、記念館の図録には紹介されていた。ただし、その図録も引用制限されている。これもまぁやむなし、でありますが・・・。
　ということで、建築的な取材は現地では断念したワケですが、今後書斎とMac環境で可能な限りリベンジして行きたい（笑）と考えております。
　そういう無念をすこし癒やしてくれたのが、写真の小倉城庭園のみごとな建築。
　日本人の住宅建築の数寄のなかで庭園は大きな意識の領域を占めているのでしょう。とくにながく人の暮らし・人跡が積層している本州以南地域では、人為的に操作された自然環境鑑賞「技法」が、大名庭園というカタチで遺されてきている。対して、ちょっと街を歩いただけでも太古以来の蝦夷地の自然環境が迫ってくる北海道人には、こういう「箱庭」感は同意しにくい。ですが、松本清張さんの住宅参観での残念無念感からは「それは悲しかったね、よかったらこういう大名庭園の良さも感じて」みたいな呼び声を感じた（笑）。
　全国のこういった庭園美には、ふーむ、とエトランゼ感いっぱいで「見るだけ」だったのですが、こういう経緯を経てくると、少しだけ癒やされる部分がありました。言ってみれば人為的な都合に遮られた「見る権利・視覚体験」が慰められた、といったところ。ややこころに平安。

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English version⬇

[Finding Solace in the Ogura Castle Gardens After Feeling a Sense of Regret About Seicho Matsumoto’s Living Spaces]
A sense of regret regarding the author and his living spaces. The scenery of the daimyo garden right next door seemed to comfort me, as if to say, “Even though it’s just a miniature garden like this, let your heart rest a little.” …

　I was someone who was completely absorbed in the works of the prolific author Ryotaro Shiba, and I didn’t have much interest in Seicho Matsumoto, who was active during roughly the same era. However, I was deeply impressed by the brilliance of his captivating writing style, as seen in works such as *Points and Lines*.
That is precisely why I wanted to experience firsthand the “dialogue” between him and his living space.
　Having experienced the living spaces of many writers where their very breath still lingers, I find a certain “suki” in that emotional aspect—where the impression of having, so to speak, “met” the person adds to my understanding, leading me to reconstruct my image of the writer within myself.
　This opportunity arose during a 12-day trip my wife and I took around Kyushu. Due to scheduling issues, we had to accept the limited viewing conditions as unavoidable. Now, I’m continuing a sort of “re-experience” of the visit by reviewing various materials. I’ve been reflecting on it while going through the exhibition catalog. Indeed, that sense of “dialogue” between the author and the reader continues.
　The museum catalog featured several photographs of Seicho Matsumoto’s study and living spaces. However, even that catalog is subject to citation restrictions. Well, I suppose that’s unavoidable, but…
So, while I had to give up on architectural research on-site, I’m thinking of making up for it as much as possible in the future from my study and on my Mac (laughs).
　What helped soothe that sense of regret, at least a little, was the magnificent architecture of the Kokura Castle Gardens captured in the photos.
　Within the Japanese aesthetic sensibility of residential architecture, gardens likely occupy a significant place in people’s consciousness. Especially in regions south of Honshu, where human life and traces of human activity have accumulated over a long history, “techniques” for appreciating artificially manipulated natural environments have been preserved in the form of daimyo gardens. In contrast, for us Hokkaido residents—who feel the natural environment of Ezo, dating back to ancient times, closing in on us even with just a brief stroll through town—it’s hard to relate to this “miniature garden” aesthetic. However, from the sense of regret and disappointment I felt during my tour of Seicho Matsumoto’s home, I sensed a voice calling out to me, saying, “That must have been sad. If you’d like, why not try to appreciate the beauty of these daimyo gardens too?” (lol).
　When it came to the beauty of such gardens across the country, I used to just “look” at them with a sense of being an outsider, thinking, “Hmm…” But having gone through this experience, I found a small measure of solace. You could say that my “right to see” and “visual experience”—which had been obstructed by human convenience—were finally consoled. I felt a slight sense of peace.

● Announcement
My book, *Writers and Living Spaces*, has been published as an e-book by Gentosha.
Available on Amazon.

Posted on 7月 14th, 2026 by 三木 奎吾
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【松本清張記念館でかれの住空間と断片的すぎる遭遇】


　作家（創造者）と住空間というテーマ領域はわたしのなかで強い興味分野。
　わたし的には手塚治虫や石ノ森章太郎、赤塚不二夫、藤子不二雄などのマンガ家たちと、埴谷雄高、司馬遼太郎などの文学者たちの世界の、中間からややマンガ家寄りなのかと自分では思っています。で、子どもたちとか孫たちの年代になってくると，マンガからさらにゲームの世界になっているのでしょう。それらと文学を同列に扱うなというような声が聞こえてくるかも知れないけれど、いわゆる「人間の想像力」をベースにした仮想現実呈示を主な領域とする文化ゾーンというとらえ方に従っているつもり。
　AIについても、そのような想像力・仮想現実創造という領域世界でいろいろ活用できるだろうと思っていますが、やはりAIは「まとめる」能力は高いだろうけれど、人間の基本的な「投企」行動意欲がそこに随伴している「創造性」というものは基本的に「無関係」なのではないかと思えています。「秘書・編集者」的な随伴者として利用したいと思っているのですが、相性はあまり、であります。使い方なんでしょうが。
　・・・おっと、松本清張記念館探訪ブログだった。
　非常に興味深い展示内容で、またかれの東京杉並・高井戸の住宅の一部が再現されていたので、興味ワクワクだったのですが、写真撮影は基本的に禁止だったので、ひたすら脳細胞に叩き込む一択。
　とくに人間の空間記憶というのは、自分自身が興味を強く刺激された住宅部位について、その興味の中身をなんどか追体験しながらその住み手の心情に自分自身を同期させて「湧き上がって」くるものだと思う。
　そういう意味で、その痕跡が残せないのでは、なかなか空間印象は整理統合するのが難しい。とくに仕事部屋などでの採光条件や参考図書類の書棚収納などとの配置関係、創造のプロセスとの相関関係を、作家の作品文章世界の残像と「照合」させていくことは、写真イメージが不可欠なのですね。
　写真は同記念館のHPに掲載のトップページ。外観と、館内で唯一「記念撮影許諾」されていた展示入口。かれの作品書籍表紙の集合写真が飾られた壁面の様子。まぁこれだけでは「隔靴掻痒」感ハンパない。
　ということで、遠隔地から訪ねて松本清張さんの住空間と対話するのはちょっとムリと判断した次第。まぁしかし、仕方ないですね。そこまでの親和感は持っていないので。やむなし。

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English version⬇

[A Fleeting Encounter with His Living Space at the Seicho Matsumoto Memorial Museum]
A living space is something that only “emerges” after repeatedly mulling over the “points of interest” that manifest in the choice of themes and angles in photographs. What a pity. …

　The thematic area of “creators” and “living spaces” is a subject that deeply interests me.
　Personally, I see myself as occupying a space somewhere between the worlds of manga artists like Osamu Tezuka, Shotaro Ishinomaki, Fujio Akatsuka, and Fujiko Fujio, and literary figures like Yutaka Haniya and Ryotaro Shiba—perhaps leaning slightly more toward the manga artists. Now, for children and grandchildren of this generation, the world has shifted from manga to video games. I can already hear voices saying, “Don’t put those on the same level as literature,” but I intend to adhere to the perspective that this is a cultural zone primarily focused on presenting virtual reality based on what is commonly referred to as “human imagination.”
　As for AI, I believe it can be utilized in various ways within this realm of imagination and virtual reality creation. However, while AI likely excels at “organizing” information, I suspect that the “creativity” inherent in humans’ fundamental drive to “conceive and project” ideas is fundamentally “unrelated” to it. I’d like to use it as a “secretary or editor”-type assistant, but the compatibility isn’t great. I suppose it just comes down to how you use it.
　…Oh, right—this was supposed to be a blog post about my visit to the Seicho Matsumoto Memorial Museum.
The exhibits were incredibly fascinating, and since part of his home in Takaido, Suginami, Tokyo, had been recreated, I was absolutely thrilled. However, photography was generally prohibited, so my only option was to hammer the details into my brain.
　In particular, I believe that human spatial memory “wells up” when, regarding parts of a residence that strongly piqued my interest, I repeatedly relive the essence of that interest while synchronizing my own feelings with those of the resident.
　In that sense, if I can’t leave any traces behind, it’s quite difficult to organize and integrate my impressions of the space. In particular, when “cross-referencing” the lighting conditions in a workroom, the layout of reference materials and document shelves, and their relationship to the creative process with the afterimages of the author’s literary world, photographic images are indispensable.
　The photos are from the homepage of the memorial museum’s website: the exterior and the entrance to the exhibition—the only place inside where “commemorative photos” were permitted. It shows a wall decorated with a group photo of the covers of his books. Well, just looking at this leaves me with an overwhelming sense of frustration—it’s like “scratching an itch through a shoe.”
So, I’ve concluded that trying to engage with Seicho Matsumoto’s living space from a distance is a bit of a stretch. Oh well, it can’t be helped. I don’t feel that strong of a connection to him anyway. It can’t be helped.

● Announcement
My book, *Writers and Their Living Spaces*, has been published as an e-book by Gentosha.
Available on Amazon.

Translated with DeepL.com (free version)
　
　

Posted on 7月 13th, 2026 by 三木 奎吾
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【北九州小倉城でオモシロ人形展示に癒やされる】




　北海道には函館、松前の２箇所、道南にしか城郭建築はありません。明治期以前は開拓入植がされていなかった地域なので当然ですが、日本人としての「共有文化」意識としては、やや無念だなぁとも思えます。たぶんその代替として道庁赤煉瓦庁舎はあるのでしょう。権力機構の象徴性。
　一方、豊かな歴史を持っている全国の地域では当然ながら、地域の観光の中核として城塞見物がある。歴史好きならば、まぁどっかに行けば必ず「お城見物」が定番コース。ただ、そういう観光客に対しての情報提供面ではどうも似たり寄ったりの展示内容で、やや平板な印象。
　そんなイメージを持ってこの福岡県北九州市の小倉城の内観展示を見せていただいていた。
　ここでは「城下の街の風景」をジオラマとして、人形に「生活文化」を託してそこでの暮らしの様子を展示してくれていた。文字や写真での展示が一般的な中で、庶民の生き様が肉感を持って伝わってきていた。わたしはマンガ世代なので、こういうわかりやすさとユーモア感覚が大好きであります。
　とくにお魚を捌いたりするのが趣味なので、「お、江戸時代の小倉の城下では、こんな魚が水揚げされていたのか」と興味津々で食欲までも刺激されていた（笑）。魚屋の女将さんとおぼしき高齢の女性が買い手の男性とやり取りしている様など、オモシロく生活の実相がうかがえていた。隣には大きな魚の「開き」をぶら下げている人物もいる。いや「デカいですね」という印象。
　また、この商店街の一角では店舗建築を造作工事している大工さんと棟梁が忙しそうに働いている洋も。商機を逃したくない建築発注者からの矢の催促を受けて、柱や壁材のカンナ掛け・構造造作工事と壁の木舞に向かって塗り職人の真っ最中ぶりが同時進行している。工務店の「◎◎組」という一般的な組織名称のいわれ、雰囲気が視覚的に表現されている。こういった生き生きとした現場作業風景自体が、大工工事・建築への視覚的メッセージにもなっていたことだろう。
　やはり定番的な展示の仕方の中でも、こういったジオラマ人形形式のわかりやすさ、親しみやすさは圧倒的。暮らしの実相についての想像力を大いに刺激されていた。

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English version⬇

[Find Solace in the Fun Doll Display at Kitakyushu Kokura Castle]
In the exhibition area dedicated to castle architecture as a symbol of power, there’s a diorama featuring easy-to-understand, manga-style dolls. The realism is so compelling, you can’t help but be drawn in…

　In Hokkaido, there are only two locations—Hakodate and Matsumae—and castle architecture is found exclusively in the southern part of the prefecture. Since this region wasn’t settled until after the Meiji period, this is to be expected, but from the perspective of a “shared culture” among Japanese people, I can’t help but feel a bit disappointed. Perhaps the Hokkaido Government’s red-brick building serves as a substitute for this—a symbol of the institutions of power.
　On the other hand, in regions across the country with rich histories, castle tours naturally serve as the core of local tourism. For history buffs, “visiting a castle” is practically a standard part of any trip. However, when it comes to providing information for these tourists, the exhibits tend to be rather similar, leaving a somewhat flat impression.
It was with this image in mind that I visited the interior exhibition at Kokura Castle in Kitakyushu City, Fukuoka Prefecture.
　Here, they presented “scenes of the castle town” as dioramas, using figurines to depict “everyday culture” and show what life was like there. While text and photos are the norm for such exhibits, the way ordinary people lived came across with a tangible sense of realism. As someone from the manga generation, I absolutely love this kind of accessibility and sense of humor.
　Since filleting fish is one of my hobbies, I was fascinated—thinking, “Oh, so this is the kind of fish that was landed in Kokura’s castle town during the Edo period”—and it even whetted my appetite (laughs). Scenes like an elderly woman—presumably the fishmonger—interacting with a male customer offered an entertaining glimpse into the realities of daily life. Next to her was a figure hanging a large, split fish. My immediate reaction was, “Wow, that’s huge.”
　In another corner of this shopping district, carpenters and a foreman were busily working on the construction of a storefront. Faced with urgent demands from the client—who didn’t want to miss out on business opportunities—they were simultaneously planing pillars and wall materials, carrying out structural carpentry work, and applying plaster to the wooden wall framework. The origin of the generic organizational name “◎◎-gumi” for the construction company, along with its atmosphere, was visually conveyed. These lively scenes of on-site work likely served as a visual message about carpentry and construction in and of themselves.
Even among standard exhibition methods, the clarity and approachability of this diorama-style display are truly overwhelming. It greatly stimulated my imagination regarding the realities of daily life.

● Announcement
My book, “Writers and Living Spaces,” has been published as an e-book by Gentosha.
Available on Amazon.　

Posted on 7月 12th, 2026 by 三木 奎吾
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【くずし字書簡に「眼光紙背」を念じて、牛歩対話の日々】


　ことし５月に長兄の本家でなにげに発見の古文書。ひとつは江戸期1803年時点の東広島市河内町入野の地域史とも関わる内容だったので、広島県立文書館に訪問し解析をお願いして、無事に公的な解析結果が判明した。江戸後期の地域社会のひとつの実相記録としてアーカイブされた次第。
　一方、1905年日本専売公社によって国内での塩業が国家独占とされたことによって、わが家系は江戸期からの広島県福山市松永で生産される塩の生産流通管理事業の存立基盤を喪失した。この経緯の中でどのような国家独占側との交渉などの経緯があったかは不明だけれど、このプロセスを当主として実体験したわたしの祖父は、そこから北海道へと拠点を移動させてきた。
　その時期の消息を発掘するのに、江戸末期に縁戚関係を結んでビジネス的にも強固な関係であった岡山県井原市の「庄屋」家である岸岩太郎氏からの「書簡」が２通発見されたのだ。が、こちらについては地域社会との関わりより、やはり家系史の資料と判断できたので、個人としてその解析作業に向き合うこととした。
　親族のなかの書の知識もある長老に意見も求め、書簡のコピーを渡してみたけれど「これはさっぱり・・・」との回答で、困難な局面に立ち至っていた。
　「古文書解析」について民間で請け負うサービスはWEBなどで発見されるけれど、その解析結果の信憑性ではイマイチと思えるし、さらに親族の背景事情について詳細に情報を共有させなければ、到底不可能だと思われた。結果２ヶ月以上、古文書とにらめっこしてきていた。
　祖父の性格までわきまえた親族でなければ，手紙のやり取りでの「息づかい」の部分までは判読できないということがわかってくる。牛歩のような日々を過ごしてきたのですが、TOPPANの開発した古文書解析環境「古文書カメラ〜ふみのは」なども活用し、徐々に実相が浮かび上がってきている。
　結局は正面から向き合って、徐々に判読できてくるくずし字の単語の積層から文意を掴んでいくしかない。　　昭和元年時点の社会動向も踏まえると、上の写真部分（赤字は判断結果）でも戦前期の「資本家層」と思える差出人・岸岩太郎さんのため息が聞こえてくる。
　「無配当」が「５年も続いていて少々閉口」している実感が見えてくる。
　先日、歴史家の磯田道史さんがテレビ番組で語っていましたが、くずし字判読についてはやはりその文章と正面から向き合うしかないのですね。ふ〜む、辛抱強く頑張るしかありません。

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[Days of Slow-Moving Dialogue, Meditating on “Gankō Shihai” While Deciphering Letters Written in Cursive Script]
As demonstrated by TOPPAN’s development of the “Ancient Document Camera—Fuminoha,” there is a market for deciphering ancient documents. The potential for new business areas in an aging society. …

　In May of this year, I casually discovered some old documents at my eldest brother’s family home. One of them contained information related to the local history of Irino in Kawachi-cho, Higashi-Hiroshima City, dating back to 1803 during the Edo period. I visited the Hiroshima Prefectural Archives to request an analysis, and the official results were successfully determined. It has now been archived as a record of the reality of a local community during the late Edo period.
　Meanwhile, in 1905, when the Japan Monopoly Corporation established a state monopoly on the domestic salt industry, my family lost the foundation for our business—the production and distribution of salt in Matsunaga, Fukuyama City, Hiroshima Prefecture, which had been in operation since the Edo period. Although the details of any negotiations with the state monopoly at that time remain unclear, my grandfather, who experienced this process firsthand as the head of the family, subsequently relocated the family’s base of operations to Hokkaido.
　In my efforts to uncover information from that period, I discovered two “letters” from Mr. Iwataro Kishi of the “Shōya” family in Ibara City, Okayama Prefecture—a family with whom we had formed kinship ties in the late Edo period and maintained strong business relations. However, since these letters were more relevant to our family history than to our ties with the local community, I decided to undertake their analysis on my own.
　I sought the opinion of an elder relative who was knowledgeable about calligraphy and gave him copies of the letters, but his response was, “I’m completely lost…,” leaving me at an impasse.
　While private services for “historical document analysis” can be found online, I found the reliability of their results to be lacking; moreover, I felt it would be impossible without sharing detailed information about our family’s background. As a result, I’ve been poring over these ancient documents for over two months.
　I’ve come to realize that unless you’re a relative who truly understands my grandfather’s personality, it’s impossible to decipher the “subtle nuances” in the correspondence. It’s been a painstakingly slow process, but by utilizing tools like “Fumino-ha,” an ancient document analysis environment developed by TOPPAN, the true nature of the letters is gradually coming into focus.
　Ultimately, there’s no choice but to face the text head-on and grasp the meaning of the text layer by layer as I gradually decipher the words written in cursive script. Considering the social trends at the start of the Showa era, even in the portion of the photo above (the red text indicates the analysis results), I can almost hear the sigh of the sender, Iwataro Kishi—who appears to have been part of the pre-war “capitalist class.”
You can sense his genuine frustration that “no dividends” have “continued for five years, which is a bit of a headache.”
　As historian Michifumi Isoda mentioned on a TV program the other day, when it comes to deciphering cursive script, there really is no choice but to confront the text head-on. Hmm, I guess I’ll just have to be patient and keep at it.

● Announcement
My book, *Writers and Living Spaces*, has been published as an e-book by Gentosha.
Available on Amazon.

Posted on 7月 11th, 2026 by 三木 奎吾
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【陶磁器とともに時間が積層している「有田」の街】



　有田焼とは、佐賀県有田町とその周辺地域で製造される磁器を指す。
17世紀初頭、朝鮮人陶工である初代金ヶ江三兵衛（通称：李参平）によって磁器の原料となる陶石が発見され、日本で初めて磁器が焼かれた。以来400年間、この地は食器や美術工芸品など、ものづくりの歴史を連綿と紡ぎ続けている。
　かれは豊臣秀吉の朝鮮出兵（1592年、1597年）の際、特殊技能技術者として身柄を確保され、強制的に来日させられた経緯を持つ。そのような過酷な運命にありながら、新天地にその技術を伝え、地道に原材料を発見・開発した功績は大きい。まさに、この地にとっての「厚恩のひと」。
　そもそも陶器とは陶土（土）を主な原料としてやや低めの温度で焼いたものであり、ざらっとした質感と吸水性を持つ。信楽焼や備前焼がその代表例。一方、磁器は陶石を砕いたものを原料にし、極限の高温で焼き上げられる。白く硬く、つるりとした表面を持ち、吸水性はない。その代表格こそが有田焼や九谷焼。
　有田で「色絵（上絵付け）」が始まったのは1640年代、初代酒井田柿右衛門による成功が端緒。陶磁器用の絵の具で釉薬（ゆうやく）の上に彩色を施す。この技法によりそれまでの染付のみの単色世界から、多彩色の華やかな世界へと飛躍を遂げた。
　1650年代からはオランダ東インド会社を介して東南アジアやヨーロッパ諸国への輸出が開始され、ヨーロッパの王侯貴族の間では、有田の磁器を持つことが最高のステータスシンボルとなった。日本の「製造業」が欧米世界を震撼させた嚆矢（こうし）であり、肥前鍋島藩が明治維新期に開明的な雄藩として主導的役割を果たせた背景には、間違いなくこの世界水準の産業的「下地」があった。
　・・・写真は、有田の街並みを歩いていてカミさんは美しい工芸美術に当然ながら目が行く（笑）のに対して、わたしは路傍に鎮座されている「お社」に惹き付けられていた。いかにも庶民の日常の「ものづくり」での祈りを受け止め続けてこられた素朴な存在。そして、焼き物の街らしく、割れた食器類が断片となっても「役に立てられている」様子。
　この有田で暮らす職人さんたち、その世帯の親子たちが手を合わせていた様子が目に浮かんだ。
　自分たちの暮らしを支えてくれる磁器に対して素朴に神仏に感謝するこころ。いかにも日本的な「心情」がそこに込められているように感じられ、しばしその「美感」に佇ませていただいていた。

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[The Town of “Arita,” Where Time Has Layered Itself Alongside Porcelain]
From its very beginnings, porcelain production in Arita has been conducted with an international perspective. Among European royalty and nobility, owning Arita porcelain became a status symbol. …

　Arita ware refers to porcelain produced in Arita Town, Saga Prefecture, and its surrounding areas.
In the early 17th century, the first-generation Kanegae Sanbei (commonly known as Lee Sanpei), a Korean potter, discovered the porcelain stone used as raw material for porcelain, and porcelain was fired in Japan for the first time. For the past 400 years, this region has continued to weave an unbroken history of craftsmanship, producing tableware, art objects, and other crafts.
　He had been taken into custody as a specialist craftsman during Toyotomi Hideyoshi’s invasions of Korea (1592 and 1597) and was forcibly brought to Japan. Despite such a harsh fate, his achievements—in passing on his skills to this new land and diligently discovering and developing raw materials—were immense. He is truly a “man of great benevolence” to this region.
　To begin with, earthenware is made primarily from clay and fired at a relatively low temperature, resulting in a rough texture and water absorption. Shigaraki-yaki and Bizen-yaki are prime examples. Porcelain, on the other hand, is made from crushed porcelain stone and fired at extremely high temperatures. It is white, hard, and has a smooth surface, with no water absorption. Arita-yaki and Kutani-yaki are the quintessential examples of porcelain.
　The practice of “iro-e” (overglaze decoration) began in Arita in the 1640s, pioneered by the first-generation Sakaieda Kakiemon. This technique involves applying colors over the glaze using pigments specifically designed for ceramics. Thanks to this technique, the world of ceramics made a quantum leap from the monochromatic realm of traditional blue-and-white (sometsuke) to a vibrant, multicolored world.
　Starting in the 1650s, exports to Southeast Asia and European countries began via the Dutch East India Company, and among European royalty and nobility, owning Arita porcelain became the ultimate status symbol. This marked the beginning of Japan’s “manufacturing industry” that shook the Western world, and there is no doubt that this world-class industrial “foundation” was the reason the Hizen Nabeshima Domain was able to play a leading role as an enlightened and powerful domain during the Meiji Restoration.
　…In the photo, while my wife’s eyes were naturally drawn to the beautiful arts and crafts as we walked through the streets of Arita (laughs), I was captivated by the “shrine” enshrined by the roadside. It was a simple presence that had continued to receive the prayers of ordinary people engaged in their daily “craftsmanship.” And, as befits a town of pottery, even broken tableware, reduced to fragments, seemed to be “serving a purpose.”
　I could picture the artisans living here in Arita—and the parents and children in their households—joining their hands in prayer.
A simple heart of gratitude toward the gods and Buddhas for the porcelain that sustains their lives. I felt that a quintessentially Japanese “sentiment” was imbued there, and I lingered for a while, absorbed in that “aesthetic beauty.”

● Announcement
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Posted on 7月 10th, 2026 by 三木 奎吾
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【TOTO第５代社長の「窯場を抱く」有田の生家】




　有田の伝統的街並みのなかに佇む公開されている住宅「小路庵」〜しゅうじあん〜（江副孫右衛門旧家）を探訪した。＜現在は喫茶店として営業＞この建物はTOTO第５代社長にして公選初代町長だった江副孫右衛門（1885～1964）年）の生家という旧家。大正14（1925）年に建設。有田では町なかの狭い通りを小路と呼び、この家の前の道は「柿の木小路」と呼ばれ、そこから「小路庵」と名付けられたという。
　幼友達から「マゴエンシャン」と呼ばれていたかれの生家は祖父から続く窯焼きの家。父八蔵の理解のもと、明治33（1900）年に佐賀県立工業学校有田分校に入学後、東京高等工業学校の窯業科へ進学。
　しかし八蔵は石炭窯の導入に失敗し継ぐべき窯を失ったマゴエンシャンは創立早々の「日本陶器合名会社」に就職。そこでディナーセットの開発に成功し、高圧碍子や点火碍子、耐酸磁器の創製にも成功し、戦時中「日本碍子」や「日本特殊陶業」の社長を歴任した。
　しかし、軍部とのあつれきが原因で社長を辞任し、窯業界の第一線からは退いたが、とはいえ各窯業企業のご意見番として多忙を極め、その上「月の半分くらいしか有田にはいられないが」という事情をわかってもらった上で昭和22（1947）年、有田町長に就任したのだという。・・・
　上の写真は昨日紹介した有田の街のランドマーク「トンバイ塀」に囲まれ、窯場を抱え込んだような配置で建てられている住宅の様子。いまはうっすらと痕跡が残っているだけだが、窯場の写真は展示資料からその様子を転載してみた。焼き物から片時も目を離さないぞという窯業家の魂魄が伝わってくる。

　南面した窯場を朝夕、丹念に観察し日々の生産を思う暮らしぶりだったのだろう。
　そして、この有田の窯場産業は、佐賀藩の反射炉完成のための技術的要素を供給していたことは先日のブログでも触れたとおりだけれど、その幕末期からかれが生きた戦前・戦中期には当然、軍部との関係性も強まったことと想像できる。そのあたりは詳細にまで立ち入りたくはないが、あつれきとはそういったことの絡みなのだろう。
　有田という、日本の製造業・日本人全般にとっても重要な地域での「生産者の息づかい」が具体的に感受できる家だと思われた。

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[The Birthplace of TOTO’s Fifth President in Arita: “Embracing the Kiln”]
A home in Arita where you can feel the “breath of a potter” still lingering. The way of life and mindset of someone who fired pottery as part of daily life come to life here. …

　I visited “Shuji-an” (the former home of Magobei Ezoe), a private residence open to the public nestled within Arita’s traditional townscape. This historic house is the birthplace of Magobei Ezoe (1885–1964), the fifth president of TOTO and the first popularly elected mayor of Arita. It was built in Taisho 14 (1925). In Arita, the narrow streets in town are called “koji” (alleys), and the street in front of this house is known as “Kakinoki Koji” (Persimmon Tree Alley), which is said to be the origin of the name “Shuji-an.”
　His childhood friends called him “Magoenshan,” and his family home was a pottery-firing business passed down from his grandfather. With the support of his father, Hachizō, he enrolled in the Arita Branch of the Saga Prefectural Industrial School in Meiji 33 (1900) and later advanced to the Ceramics Department at the Tokyo Higher Technical School.
　However, after Hachizō failed to introduce coal-fired kilns and Magōenshan lost the kiln he was supposed to inherit, he joined the “Nippon Toki Gomei Kaisha” shortly after its founding. There, he successfully developed a dinner set and pioneered the creation of high-voltage insulators, ignition insulators, and acid-resistant porcelain; during the war, he served as president of both “Nippon Insulators” and “Nippon Special Ceramics.”
　However, due to friction with the military, he resigned as president and stepped back from the forefront of the pottery industry. Nevertheless, he remained extremely busy as a trusted advisor to various ceramics companies. Furthermore, after ensuring that people understood his situation—namely, that “I can only stay in Arita for about half the month”—he reportedly assumed the position of mayor of Arita Town in Showa 22 (1947). …
The photo above shows a residence built in a layout that seems to envelop the kiln, surrounded by the “Tonbai Wall”—a landmark of Arita that I introduced yesterday. Although only faint traces remain today, I’ve reproduced a photo of the kiln from the exhibition materials to illustrate its appearance. You can sense the spirit of a family dedicated to the pottery trade—one that never takes its eyes off the ceramics for even a moment.

　His daily life must have revolved around carefully observing the ruins of the south-facing kiln site every morning and evening, while reflecting on the day’s production.
　As I mentioned in a recent blog post, the Arita kiln industry supplied the technical expertise needed for the completion of the Saga Domain’s reverberatory furnace; naturally, one can imagine that his ties to the military grew stronger from the late Edo period through the pre-war and mid-war years in which he lived. I don’t wish to delve into the details of that, but the tensions likely stemmed from such entanglements.
　It struck me as a house where one can tangibly sense the “breath of the producers” in Arita—a region of great importance to both Japanese manufacturing and the Japanese people as a whole.

Posted on 7月 9th, 2026 by 三木 奎吾
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【陶芸の極地・有田で「トンバイ塀」に目が釘付け・・・】



　佐賀県の探訪記、いよいよ日本有数の「陶芸産業の地」有田に没入。
　そう、気分的には「沈殿」してしまう街並み。歴史を経た日本的産業基盤としての「陶芸」のひとつの極地のように思えていた。以前、愛知空港の近くの常滑を街歩きしていて、はじめはカミさんの強い興味に付き合うという心理だったモノが、徐々にその陶芸の作り手たちの歴史積層の「空気感」に心象世界が満たされていって、日本人的な「ものづくり」のコアに近づく感覚に浸っていた。
　有田では、その空気感に再度、脳内が満たされてしまった。
　溺れてしまう、というような表現がいちばんふさわしい。
　佐賀城探訪で、江戸末期に独自に高性能な大砲を独自開発できた素地として反射炉製鉄の様子を知ったが、その独自技術開発では、この有田の陶器焼成技術がその基盤を担っていた事実を知らされた。江戸期社会から明治の文明開化に至るには、こうした日本的な技術集積があったことが沁みてきた。
　まことに先人たちの努力の巨大蓄積を思い知らされる。
　江戸時代に設けられた上の番所（泉山）から、下の番所（岩谷川内）の大通り沿いを中心とする約2kmの細長いこの町並みは、平成3（1991）年に「有田内山伝統的建造物群保存地区【製磁町】」として選定された。江戸時代から昭和初期に至る漆喰塗の町家や洋館など、江戸、明治、大正、昭和というそれぞれの時代の特徴を持つ、質の高い建物が混在し焼物の町らしい町並みを形成している。
　そしてその街並みの中に、まるでデザインコードのように「トンバイ塀」が地低音を響かせている。
　「トンバイ」とは窯壁に使用する耐火レンガのこと。古窯の耐火レンガや窯道具を再利用した土が「トンバイ」と呼ばれる。これは窯の中で高温に熱せられ様々な釉薬が付着してできた微妙な色合いをもち、有田独特の景観を表現している。
　わたしは北海道人として、自宅を建てたとき基本素材としてコンクリートブロックを使い、最後の表層外壁には道庁建築を象徴するレンガを積むことにこだわった。自分という人間は、ある時間の走り手として生きるけれど、それは多くの先人たちからのバトンを受け継ぐのだという漠然とした思いがあって、北海道での暮らしが始まったときの先人たちへのリスペクトが大きかった。
　このトンバイ壁には、その時間感覚をはるかに超える積層感があった。・・・

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[In Arita, the Mecca of Ceramics, My Eyes Were Glazed on the “Tonbai Wall”…]
My wife seems to be interested in the aesthetic beauty of the ceramics, but I found myself deeply “immersed” in the marks of time etched into this Tonbai wall. …

　In my travelogue of Saga Prefecture, I finally immersed myself in Arita—one of Japan’s leading “centers of the ceramics industry.”
Yes, it’s a townscape that makes you feel as if you’re “sinking” into it. It struck me as the very epitome of “ceramics” as a time-honored Japanese industrial foundation. Previously, while strolling through Tokoname near Aichi Airport, I initially went along simply to accommodate my wife’s keen interest. But gradually, my inner world became filled with the “atmosphere” layered with the history of those ceramic artisans, and I found myself immersed in a sense of drawing closer to the very core of Japanese “craftsmanship.”
　In Arita, my mind was once again completely filled with that same atmosphere.
　“Drowning” is probably the most fitting way to describe it.
　During my visit to Saga Castle, I learned about the reflection furnace ironmaking process—the foundation that enabled the independent development of high-performance cannons in the late Edo period—but I was also made aware that Arita’s pottery firing techniques served as the bedrock for that independent technological development. It really sank in that this accumulation of Japanese technology was essential for the transition from Edo-period society to the Meiji era’s “Civilization and Enlightenment.”
　I am truly struck by the immense accumulation of effort made by our predecessors.
　This narrow, approximately 2-kilometer-long stretch of townscape—centered along the main street running from the Upper Checkpoint (Izuyama), established during the Edo period, to the Lower Checkpoint (Iwaya-gawauchi)—was designated in Heisei 3 (1991) as the “Arita Uchiyama Traditional Buildings Preservation District [Ceramic Town].” A mix of high-quality buildings—including plaster-walled townhouses and Western-style buildings dating from the Edo period to the early Showa era—each embodying the characteristics of the Edo, Meiji, Taisho, and Showa periods, forms a streetscape befitting a town renowned for its pottery.
　And within that streetscape, “Tonbai walls” resonate like a design code.
　“Tonbai” refers to the firebricks used in kiln walls. The clay created by reusing refractory bricks and kiln tools from old kilns is called “Tonbai.” Heated to high temperatures inside the kiln, it takes on subtle hues from the various glazes that adhere to it, embodying Arita’s unique landscape.
As a native of Hokkaido, when I built my own home, I used concrete blocks as the base material but was determined to lay bricks—symbolic of the Hokkaido Government Building—on the final outer layer of the exterior walls. I have a vague sense that, while I live as a runner through time, I am actually passing the baton handed down from many predecessors, and I felt a deep respect for those who came before me when I first began my life in Hokkaido.
　This Tonbai wall possessed a sense of layered depth that far transcended that sense of time. …

● Announcement
My book, *The Writer and Living Space*, has been published as an e-book by Gentosha.
Available on Amazon.
　
　

Posted on 7月 8th, 2026 by 三木 奎吾
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【わが家系を「甲子夜話」で紹介・松浦静山の平戸城訪問】



　さて九州全周の旅、佐賀県という自分にとって「未踏の地」を歩きながら、ずっと気になっていた場所があった。
　それは、平戸（ひらど）のこと。
　わが家系は江戸後期、広島県福山市の西、尾道に隣接する今津で「商家・あが屋」を営んでいた。当時この地は参勤交代の大名たちが泊まる宿場町として機能しており、薩摩藩をはじめとする雄藩もここを利用していた歴史がある。わが家は本陣職を司る河本氏と強い縁戚関係だったことから本陣・脇本陣の用向きを「手代（てだい）」的な立場で受託し、実務を取り仕切っていたと伝承されている。当然、宿泊する大名たちと直接言葉を交わす機会も多くあった。
　そうした大名の一人が、平戸藩主の松浦（まつら）氏。
　幕末期、当主であり希代の文人・随筆家として名高い松浦静山がその膨大なエッセイ集『甲子夜話（かっしやわ）』の中で、1800年頃のわが家の当主・寛蔵（静山は「勘蔵」と記述）一家の様子を書き残してくれている。以下、その登場部分の引用。

〜29日 夜にいれば雨ふりたれど、つよからで、暁にはやむ。
宿立いで、流れにそひ提の上行に、けさはあたたかに覚え、夜も明、
安芸の国をも出て、備後の国三原の城もあとになし、
糸崎なる八幡の宮をふし拝み、磯辺ゆきつつながむれば、海路
は波も平かなれど、嶋山は霧を帯、雲冠て日も晴やかならず。
尾の道の塩焼くはまの冬げしき、煙もたえだえ心も慰まで、
坂こえ行けば一里あまり、今津村にいたり、ここに宿る。
家はこだかきところにて、河本保平という圧屋（庄屋）なり。
この家一室に男女群居して、妻のごとき者多しと聞けば、
家内いかほどか住ると問に、いふ。主人保平年四十余、妻も
また四十余、妾は三十ばかり京の人、養子材太二十三、材太の
妻は保平女ニ十ニ、その妹十ー、弟八十吉八、其妹は妾の子年ニ、
『手代 勘蔵三十余、其妻年詳ならず、子正二郎十』
婢三人僕六人、ともに二十人住居ける。これ和睦友愛の家というべきか。
抑男女無別の室か。何にせよ父子夫婦兄弟臣妾、めでたき栄なり。〜

　この『』で表記された部分がわが三木家の先祖。三木寛蔵とその子である10歳の正二郎（のちの三木文蔵）の記述部分。
　各自の年齢までこれほど詳細に記載されるのは、殿様と先祖との間に直に言葉を交わす昵懇な会話があったことの何よりの例証ではと。とくに「其妻年詳ならず（妻の年齢は詳しく分からない）」というあたり「いやぁ、あたしの歳まではちょっと・・・」なんていう、旅宿の夜の笑顔混じりの会話の残響が聞こえてくるよう（笑）。
　歴史に名を残す文人大名にこうして記録されていたおかげで、わが家のルーツ調査は大きな手がかりと確信を得ることができた。まさに一族にとっての厚恩。
　そんなわけで、今回の九州旅ではどうしても「静山公へのお礼参り」として平戸城に行きたかったワケ。２枚目の空撮写真（出典: 国土画像情報 ）が示す通り、平戸城は海に突き出た見事な天然の要害。１枚目の写真の堂々たる城郭を仰ぎながら、はるばる瀬戸内海を渡りわが先祖の暮らす今津宿に泊まり温かい文章を書いてくれたと、深い感謝の念。
　・・・なんですが、てっきり地理的に「佐賀県」と思い込んでいたら、実は「長崎県」だったことが判明。直前になって自分の無知ぶりに再度驚かされることとなりました（笑）。
　県を勘違いとは。われながら困った無知ぶり（泣）。

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[Introducing My Family Lineage in *Koshiya-wa*: Seizan Matsuura’s Visit to Hirado Castle]
My exploration of my family history was greatly encouraged by a passage written by a prominent literary figure of the late Edo period—a man of humble origins himself. This visit was a gesture of deep gratitude for his kindness. …

　Now, on my journey around Kyushu, as I walked through Saga Prefecture—a “land I had never set foot in” for me—there was one place that had always been on my mind.
That place was Hirado.
In the late Edo period, my family ran a merchant house called “Aga-ya” in Imazu, located west of Fukuyama City in Hiroshima Prefecture and adjacent to Onomichi. At that time, this area served as a post town where daimyo on their sankin-kōtai journeys would stay, and it has a history of being used by powerful domains, including the Satsuma Domain. According to family tradition, because our family had strong kinship ties with the Kawamoto clan—who held the position of honjin (main inn) administrator—we were entrusted with managing the operations of the honjin and waki-honjin in a “tedai” (clerk) capacity, handling the day-to-day affairs. Naturally, we had many opportunities to speak directly with the daimyo staying there.
One such daimyo was the Matsuura clan, lords of the Hirado Domain.
Toward the end of the Edo period, Matsuura Seizan—the head of the clan and a renowned literary figure and essayist of his time—recorded the circumstances of my family’s head, Kanzo (whom Seizan refers to as “Kanzō”), and his household around the year 1800 in his vast collection of essays, *Kasshi Yawa*. The following is an excerpt from that passage.

~On the 29th: It rained during the night, but the rain was heavy and stopped by dawn.
Leaving our lodgings, we walked along the embankment beside the river; the morning felt warm, and as dawn broke,
we left the province of Aki behind, and the castle of Mihara in the province of Bingo was now far behind us.
We paid our respects at the Hachiman Shrine in Itosaki, and as we traveled along the coast, we observed that, though the sea
was calm, but the islands and mountains were shrouded in mist, and with clouds crowning them, the sun did not shine brightly.
The winter scene of the salt-baking beach along the O-no-michi road—the smoke rising intermittently soothed my heart—
After crossing a hill and traveling a little over one ri, I arrived at Imazu Village, where I spent the night.
The house stood in a secluded spot and belonged to Kawamoto Hohei, the village headman.
I heard that men and women lived together in one room of this house, and that there were many women who seemed to be his wives,
so when I asked how many people lived there, he replied: The master, Yasuhira, is over forty; his wife is
also over forty; his concubine, a woman from Kyoto, is about thirty; his adopted son, Zaitaro, is twenty-three; Zaitaro’s
wife is Yasuhira’s daughter, aged twenty-two; her younger sister is eleven; his younger brother is Yachikichi, and his younger sister is the concubine’s child, aged two;
“The steward, Kanzo, is over thirty; his wife’s age is unknown; their son, Shojiro, is ten.”
Three maidservants and six male servants—a total of twenty people lived there. Should this be called a household of harmony and brotherly love?
Or is it a household where men and women live without distinction? In any case, the relationship between father and son, husband and wife, brothers, and master and concubine is a glorious and auspicious sight. ~

The section enclosed in these “” marks the ancestors of our Miki family. It describes Miki Kanzo and his 10-year-old son, Shojiro (later Miki Bunzo).
The fact that even their ages are recorded in such detail is, I believe, the best evidence of the warm, intimate conversations that took place between the lord and our ancestors. Especially the line, “The age of his wife is unknown,” makes me feel as if I can almost hear the echoes of a smiling conversation from a night at an inn, with her saying something like, “Oh, well, I’d rather not reveal my age…” (laughs).

　

Posted on 7月 7th, 2026 by 三木 奎吾
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【軟弱地盤対応型「木組み」と維新期・佐賀の英傑たち】




　きのうに続き、佐賀城の「構造」についての現地説明の補足。
　いわゆる「在来工法」といえば、室内空気と構造材からの「除湿」を最優先するその通風重視の思想に対して、北海道においては積雪寒冷条件に適合させるため「高断熱高気密化」の方向へと大きく技術進化させてきた歴史。いわばこれが北方圏の常識だけれど、ここ佐賀で出会ったのは明治までの木造技術の一断面として、日本の風土の基本的な難題である「軟弱地盤」対応に特化した、性能技術的な進化内容だった。
　１枚目の写真のように礎石を保護して建設された床下の上で、垂直方向の柱と水平方向の足固（あしがため）をガッチリと固定する独特の木組み技術。
　２枚目のイラストと３枚目の模型が見せてくれる精緻な仕口（しぐち）は、建物のゆがみを極限まで抑え込み、泥深い佐賀平野の土壌を克服するための「佐賀独特」の工夫なのだということ。
　伝統工法の職人さんたちもまた、この佐賀藩という開明的で進歩的な風土の中で、果敢なチャレンジを行っていた。地元の建築関係者による地域特有の条件への飽くなき対応努力の痕跡に、専門外ながら非常に知的好奇心を揺さぶられてしまった。実に興味深い。

　そして、こうした「課題解決型」の開明的な風土が、維新期に驚くほど多くの社会変革人材を輩出したという事実に、不勉強ながらガツンと頭を叩き込まれたような衝撃を受けた。館内では藩主・鍋島直正、島義勇のほかに、佐賀が誇る「五人の英傑」たちが鮮やかに紹介されていた。
　●佐野常民：藩精煉方の主任として先端科学を極め、のちに海軍創建や日本赤十字社の創設を成し遂げた男。
　●副島種臣：外務卿として高い国際外交評価を得、のちに民撰議院設立建白書を提出した硬骨漢。
　●大木喬任：東京府知事や初代文部卿を歴任し、近代日本の法体制と近代教育（学制）の基礎を確立した立役者。
　●江藤新平：初代司法卿として司法権の独立と人権擁護の法制化に情熱を注ぎ、最期は島義勇と共に佐賀の乱で散った先駆者。
　●大隈重信：早稲田大学の創立者であり、日本初の政党内閣を組織して内閣総理大臣に上り詰めた巨人。
　科学技術による軍事や建築のイノベーション（自己改革）を徹底的にやり抜いた佐賀藩だからこそ、その延長線上で、明治ニッポンの「法・教育・外交・医療」の骨格をデザインする天才たちが同時に育ったということか。
　明治維新という大転換が武家社会による壮大な「自己革命」の結果として達成された事実が、この佐賀城で非常にわかりやすいカタチで脳裏に焼き付けられた。この年齢にして、実に「基礎」学習をさせてもらった気分。
　

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English version⬇

[“Timber-Frame” Construction for Soft Soil and the Heroes of Saga During the Restoration Era]
Efforts to advance traditional construction techniques in the progressive Saga Domain. And it was this region’s innovative spirit that nurtured the key figures of Meiji-era Japan’s reforms. …

　Following up on yesterday’s post, here are some additional notes on the on-site explanation regarding the “structure” of Saga Castle.
While the so-called “traditional construction methods” prioritize ventilation—with the primary goal of “dehumidifying” indoor air and structural materials—Hokkaido has a history of significantly advancing its technology toward “high insulation and airtightness” to adapt to snowy and cold conditions. While this is, so to speak, standard practice in northern regions, what I encountered here in Saga was a specific aspect of wooden construction techniques dating back to the Meiji era—a performance-oriented technological evolution specifically tailored to address “soft ground,” a fundamental challenge of Japan’s climate and terrain.
　As shown in the first photo, this unique timber-framing technique firmly secures vertical posts and horizontal bracing to a raised floor constructed to protect the foundation stones.
　The intricate joints shown in the second illustration and the third model represent a “Saga-specific” innovation designed to minimize building distortion to the utmost extent and overcome the muddy soil of the Saga Plain.
　Craftsmen practicing traditional construction methods also took on bold challenges within the enlightened and progressive culture of the Saga Domain. Although I am not an expert in the field, I found my intellectual curiosity deeply piqued by the traces of the relentless efforts made by local architects to adapt to the region’s unique conditions. It is truly fascinating.

　Furthermore, I was struck—as if I’d been hit over the head—by the fact that this “problem-solving” and enlightened culture produced an astonishing number of leaders of social reform during the Meiji Restoration era, despite my own lack of knowledge on the subject. Inside the museum, alongside the feudal lord Naomasa Nabeshima and Yoshiyuki Shima, the “Five Heroes” of whom Saga is so proud were vividly introduced.
　● Tsunehito Sano: A man who mastered cutting-edge science as the head of the domain’s refining department and later achieved the establishment of the Imperial Japanese Navy and the founding of the Japanese Red Cross Society.
　● Taneomi Soejima: A man of unyielding character who earned high international acclaim as Minister for Foreign Affairs and later submitted a petition calling for the establishment of a popularly elected parliament.
　● Takatoshi Ōki: A key figure who served as Governor of Tokyo Prefecture and the first Minister of Education, laying the foundations for modern Japan’s legal system and modern education (the School System).
　● Shinpei Eto: A pioneer who, as the first Minister of Justice, devoted himself passionately to the independence of the judiciary and the legal protection of human rights, and who ultimately fell alongside Yoshitake Shima in the Saga Rebellion.
　● Shigenobu Ōkuma: A giant of a figure who founded Waseda University and rose to become Prime Minister after organizing Japan’s first party-based cabinet.
　Perhaps it was precisely because the Saga Domain thoroughly pursued innovation (self-reform) in military affairs and architecture through science and technology that, as a natural extension of that spirit, geniuses capable of designing the framework of “law, education, diplomacy, and medicine” for Meiji Japan emerged simultaneously.
　The fact that the Meiji Restoration—a massive transformation—was achieved as the result of a grand “self-revolution” by samurai society was etched into my mind in a very clear and tangible way right here at Saga Castle. At my age, I feel as though I’ve truly been given a lesson in the “fundamentals.”
　

● Announcement
My book, *Writers and Living Spaces*, has been published as an e-book by Gentosha.
Available on Amazon.

Posted on 7月 6th, 2026 by 三木 奎吾
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