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【民俗+「開放感」施主デザイナーの意思 石見銀山-6】




 写真撮影したこの群言堂の2階を訪れたのは、松場登美さんとそのワンちゃんから勧められたことが機縁でした。まぁ通りに面してひなたぼっこの場所を与えられて心地よさそうにしていたワンちゃんと会話したくなったわたしの様子を見て、あ、これはひょっとして保護しているワンちゃんに不都合なことをしでかす可能性がある、とわたしのことを危惧されたのでしょう。そのように懸念されたことはまことに申し訳なかったと思っております。その勧めには強い説得力のある「空間体験」を提示して納得をもたらしたいと考えられたのではないかと思います。
 で、わたしとしてはこの2階の光景を一刻も早く見たいと思った。
 昨日も開示しましたが、別のアングルからの写真を2点。この空間がどのように利用されているのかも、まったく知りません。そのような「案内」はなかったので推測するしかありませんが、たぶん印象的な「ファッションの展示」スペースとして利用されているのかと思われた。
 使われている空間構成の素材は古民家を構成する柱梁なのですが、古民家の屋根を支える構造材の重厚さがまるで空間に浮遊するかのように印象されている。グルッと回されている開口部、それも単板ガラスの嵌め込まれた木製窓建具から外光が取り入れられていて、室内には柱が非常に少なくて広大な空間が造作されている。
 こういう空間がどのように成立しているのか、古民家の改修だろうということで、そういうポイントもよくわかりません。が、デザイナーとしての施主さんの強い「思い」が込められているように感じられた。旅のひとこま、通りすがりの一期一会なので、その思いをその通り受け止めていた。
 古民家の素材からは、その地で暮らしてきた民俗の深遠な匂い、時間の積層が感じられる。それを現代のファッション感覚の背景として生かすのだ、という意思の表出。たしかに「松場登美」さんのメッセージは伝わってきていました。
 
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English version⬇

Folk customs + “openness” intention of the client designer Iwami Ginzan-6]
Design large space where the roof structure of a stately old house seems to float in the air. A light fixture pattern of single-pane glass adorns the openings. The designers’ intention was to create a “sense of

 The reason I visited the second floor of Gunkendo, where the photo was taken, was because Tomi Matsuba and her dog recommended it to me. I guess they were concerned that I might do something that might be detrimental to the dog they were protecting. I am very sorry for your concern. I believe that you wanted to convince me of your recommendation by presenting a strong and convincing “spatial experience.
 And as for me, I wanted to see this second floor scene as soon as possible.
 As I disclosed yesterday, here are two photos from different angles. I have no idea how this space is used. There was no “guide” as such, so I can only guess, but it seemed to me that it was probably being used as an impressive “fashion exhibition” space.
 The material used for the spatial composition is the pillar and beam that make up an old private house, but the massiveness of the structural material that supports the roof of the old house is impressed upon the space as if it were floating in the air. The openings are turned in a circle, and outside light is let in through wooden window fittings fitted with single-pane glass, creating a vast space with very few pillars in the interior.
 I am not sure how this kind of space is established, and I am not sure of the point of this project, as it is probably a renovation of an old private house. However, I felt that the strong “desire” of the client as a designer was put into this project. Since it was a moment of travel, a passing moment, I had to take that thought as it came.
 From the materials of old houses, one can sense the profound smell of folk customs that have lived in the area, and the layering of time. This is an expression of the artist’s will to use this as a background for a modern sense of fashion. Indeed, Ms. Tomi Matsuba’s message was conveyed.
 
●Notice
My book “Writer and Residential Space” is published by Gentosha as an e-book.
Please visit Amazon for more information.

【石見銀山「群言堂」デザインマインド 石見銀山-5】


 石見銀山という世界遺産登録された地域での古民家的町屋の暮らし。その文化性に着眼して地域に「根のある」生活文化を掘り起こしてひとつのデザインブランドに昇華させているのが、この群言堂。
 きのう紹介した「福」ちゃんの飼い主であるデザイナー・松場登美さんの創出させたデザインマインド。わたしのような北海道寒冷地での住宅の高断熱高気密革命の同伴者からすると、まことにうらやましいような温暖蒸暑の気候の中で、積層してきた生活文化の上質な要素をすくい取っている、というように受け取れる。
 古民家はわたしも大好きでそこで展開された昔人のくらしのいとなみに、ふかく同心する心象を持つのですが、やはりそのままの住宅内気候条件を受け入れることは出来ない。そのような古民家の暮らし方のエッセンスを生かしながら、現代的な「快適性能」を基本に据えていくべきと考えて、あらたな民族的な生活の美感を創出する、そのための文化創造過程のいま現在を、ルポルタージュして共同で作り上げていくことを考える。
 そういう人間からすると、このような群言堂さんの「抽象化」には賛成したくなる。古民家の美感の本然をを生かしながら現代的な感受性で再構築していると思うのですね。ただ、群言堂さんにはそういった住宅性能的な与条件意識は基本的にはないのでしょうね。上の写真は2階のオープンスペースとその大開口。単板ガラスの引き違い木製窓が、広大に展開している。古民家的なデザインマインドと現代的な空間デザイン意識が融合した空間美。断熱としてはこの屋根や壁の外側で重厚に行えるけれど、木製窓自体はこのままではムリ。なので、この空間美を構成していくディテールでは同意はできにくい。気持ちはわかるけれど、手法としては丹念に取り組むべきということ。

 北海道でのこういう古民家の高断熱改修について、いろいろな意見のなかで「初源の姿への忠実な復元姿勢が不可欠ではないか」というトンデモ意見が出ることがある。北海道でも函館の五稜郭復元工事で高断熱化に対して「抵抗」する動きというものもあったと側聞する。
 こういったデザインマインドと、北海道的な作り手作法との「融合」が求められていると思う。

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English version⬇

Iwami Ginzan “Gunkendo” Design Mind Iwami Ginzan-5]
This kind of design mind is good. So, how to structure the house while ensuring the performance of the house? The best solution is a fusion of performance and design. The best solution is the fusion of performance and design.

 The Iwami Ginzan Silver Mine is registered as a World Heritage site. Gunkendo is a company that focuses on the cultural aspects of this area, and has unearthed a lifestyle culture that has “roots” in the region and sublimated it into a single design brand.
 This is the design mindset created by designer Tomi Matsuba, the owner of “Fuku,” whom I introduced to you yesterday. For someone like me, who has been following the revolution of high heat insulation and high airtightness of houses in the cold region of Hokkaido, it seems to me that the designers have captured the fine elements of life and culture that have been accumulated in the warm and humid climate, which is truly enviable.
 I also love old private houses, and I have a deep sympathy for the way of life of the ancients, but I cannot accept the climate conditions in the houses as they are. We believe that the essence of the old minka way of life should be utilized and that modern “comfort performance” should be the basis for creating a new sense of beauty in the life of a people.
 As such a person, I am inclined to agree with Mr. Gunkendo’s “abstraction. I think you are reconstructing the beauty of old houses with a modern sensibility, while making the most of their intrinsic beauty. However, I guess Mr. Gunkendo basically does not have such an awareness of the given conditions of housing performance. The photo above shows the open space on the second floor and its large opening. The single-pane sliding wooden windows are vastly expanded. The beauty of the space is a fusion of an old-fashioned design mindset and a modern spatial design consciousness. Although insulation can be provided outside of the roof and walls, the wooden windows themselves cannot be used as they are. Therefore, it is difficult to agree on the details that compose the beauty of this space. I understand your feelings, but the method should be carefully worked on.

 Among the various opinions on the renovation of such old houses in Hokkaido, there is a sometimes controversial opinion that “faithful restoration to the original state is essential. I have heard that even in Hokkaido, there was a movement to “resist” the use of high insulation in the restoration of Goryokaku in Hakodate.
 I believe that a “fusion” of this kind of design mindset and the Hokkaido way of making things is needed.

Notice
My book “The Writer and the Living Space” is published in e-book format by Gentosha.
Available at Amazon.com.

【ワンコの福ちゃんが誘う古民家美意識 石見銀山-4】



 さて石見銀山シリーズに復帰であります。
 銀山の間歩(まぶ)と呼ばれる坑道地域探訪から下りてきての「街並み」探索箇所。写真は、石見銀山・大森町の「古民家街並み」保存地域で最初にめぐり会っていた家の様子。先日(6/13)も触れたと思うのですが、なぜか強い「吸引力」で引き寄せられていたワンコが、家のド真ん前でひなたぼっこしていた家です。
 このワンコ、ホントにこころが平安でいるのか、余念なく日の光の繊細なぬくもりに達観していた。泰然自若としている様子がまったく素晴らしくて、見惚れていたのだろうか。自分でもよくわからない。最近は小動物たちのふるまいにこころが同期していることが自分で自覚してはいるけれど、それぞれの個性によって受け取り方は当然違いがあり、その「個性」を強く感じさせられる。このワンコにはそういう気配が強かった。横に居て充足感が得られる、みたいな。
 で、この大森町のことはまったく事前知識なく探訪していたのだけれどあとで、この家が全国に展開するファッションショップ「群言堂」の創業者・松場登美さんの家で、このワンコは「福」と名付けられたフレンチブルドッグだということなのだった。・・・こういう情報をカミさんとの共同作業でようやく知るようになって来た。このショップは札幌でもあって、そのお店にもカミさんは行ってお土産に「登美さん」という書籍も購入してきた。
 そういうことでいろいろな情報を受け取れるようになって、旅の味わいがどんどんと深まって行っている。ワンコの力の凄まじさにゾッコンであります。

 こちらがワンコの家の対面にある「群言堂」の本店ショップ。わたしも全国の古民家探訪を大きな人生探訪テーマとしてきている人間ですが、この大森町の、そのまた中核的な存在である松場登美さんのプロデュース、というか、その美意識が大きく展開している空間に魅入ってしまっていたのであります。しばし、この古民家群の探訪記を続けたいと思います。

●お知らせ
拙書「作家と住空間」幻冬舎から電子書籍で発刊
お求めはAmazonで。
https://amzn.asia/d/eUiv9yO

English version⬇

The dog, Fuku-chan, invites you to the beautiful old private houses Iwami Ginzan-4]
The navi dog communicates the charm of the old private house townscape with its calm and contented feeling more than human words. I’m so impressed, I’m crazy about her. I’m so impressed.

 Now, we are back to the Iwami Ginzan Silver Mine series.
 This is the part of the “townscape” exploration after coming down from the visit to the silver mine’s mabu (tunnels) area. The photo shows the first house we encountered in the “old private house townscape” preservation area in Omorimachi, Iwami Ginzan Silver Mine. As I mentioned the other day (6/13), there was a dog, which for some reason was strongly attracted to the house, sitting in the sun right in front of the house.
 This dog seemed to be at peace, and was absorbed in the delicate warmth of the sunlight. I wonder if he was just admiring the wonderful way he looked so calm and composed. I don’t know myself. I am aware that my heart has recently been synchronizing with the behavior of small animals, but each animal’s individuality naturally has its own way of being perceived, and I am strongly impressed by their “individuality. This dog had such a strong sense of individuality. It was like he was beside me and I could feel a sense of fulfillment.
 I had no prior knowledge of Omorimachi, but I later learned that this house belonged to Tomi Matsuba, the founder of the nationwide fashion store “Gunkendo,” and that the dog was a French bulldog named ‘Fuku’ (meaning “good luck” in Japanese). This information finally came to be known through joint work with my wife. Kami also went to this store in Sapporo and bought a book titled “Tomi-san” as a souvenir.
 She also bought a book called “Tomi-san” as a souvenir. I am fascinated by the power of the dog.

 This is the main store of “Gunkendo” located opposite Wanko no Ie. I, too, have been exploring old private houses throughout Japan as a major theme in my life, and I was fascinated by the space produced by Ms. Tomi Matsuba, who is also a key figure in Omorimachi, or rather, the space where her aesthetic sense has been greatly developed. I would like to continue my exploration of these old houses for a while.

Notice
My book “Writers and Residential Space” is published by Gentosha as an e-book.
Please visit Amazon for more information.

【人間の「美感」は自然に導かれている】


 本日はきのうのブログの整理整頓。 
 昨日、高校同期の友人の画業を紹介させていただいた。かれは高校以来、ずっと「抽象画」を描き続けてきているとのことだった。それはかれの信ずるところであり、まったく尊重するべき態度だと思われた。
 しかし一方で、わたし一個の自分自身のことで考えるとわたしは世界を「見る」とき、やはりそこに表示されている「節理」とか、自然のことわり、のようなものへの深い愛着を持っている。というか、すべてはその大きな世界のなかで「生かされて自分がある」と受け止めているのだとあらためて強く感じられた。
 むしろ抽象画を描き続けている友人との対話の中から、自分自身と対話していたと思える。
 写真は毎年、散策路の途中でそのいのちの叫び声を聞かせてもらっている「オオウバユリ」のことしの表情。ここには独特の「美感」があり、さまざまな環境条件、種としての「さだめ」に即して必死に生きようとする植物・イキモノとしての本然のままの一心不乱さがある。いのちを輝かせて美を生きているといつも感じる。
 自然はそのあるがままの中で、その「存在としてのありよう」を表現していると思えるのだ。
 抽象画もまた、世界を色と独自の形象の世界と捉え、個人というフィルターを濾過させてそのままに表出させた営為と思える。大きくは存在の美感に従って、その内奥のリズムを表出させている営為。
 この宇宙の森羅万象にある「存在の美」というものと、根源は同じだと思っている。
 あとは、その表現の形の違いではないだろうか。友人とまったく噛み合わない話をしながら、一方でなにか深く共感できる感覚が同時並行していたように思っていた。
 なにか意味不明な感覚表出のようで申し訳ありませんが、なんとなく「気付かされた」のでメモとして書きました。
 
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English version⬇

Human “sense of beauty” is guided by nature.
After a “dialogue” with a friend of mine who has been painting abstract paintings, I realized that I like the beauty of all things in the forest, just the way they are. I am a fan of the beauty of all things in the forest and of things as they are.

 Today, I’m reorganizing yesterday’s blog. 
 Yesterday, I introduced a friend of mine from high school who has been painting “abstract paintings” ever since high school. He told me that he has been painting “abstract paintings” ever since high school. This is what he believes in, and I thought it was an attitude that I should totally respect.
 On the other hand, when I think about myself as an individual, when I “see” the world, I still have a deep attachment to the ‘reasonableness’ or the “natural order” of things displayed in the world. In other words, I strongly felt once again that I accept everything as if “I am alive and I exist” in this big world.
 In fact, I think I was talking to myself through the dialogue with my friend who continues to paint abstract paintings.
 The photo shows the expression on the face of the “day lilies,” whose screams of life are heard every year along the walking path. There is a unique sense of beauty here, and I always feel that we are living in the beauty of plants and animals that are desperately trying to live in accordance with various environmental conditions and their “destiny” as a species, and that they are single-mindedly shining their life as it is their true nature.
 I believe that nature is expressing its “way of being” in its own way.
 Abstract painting also seems to me to be an art form that sees the world as a continuous world of colors and unique forms, and expresses them as they are, filtered through the filter of the individual. It seems to me that the artist is expressing the inner rhythms of the world according to the aesthetic sense of existence.
 I believe that the “beauty of existence” that continues to exist throughout the universe has the same root.
 What remains to be seen is the difference in the form of expression. While I was having a completely irreconcilable conversation with my friend, I was simultaneously feeling a sense of deep empathy.
 I am sorry if this seems to be an expression of some unintelligible feeling, but I wrote it as a memo because I was somehow “made aware” of it.
 
I am sorry to say that I wrote this as a memo, but I was somehow “made aware” of it.

【高校同期の「絵画」作品鑑賞・人生回想対話】


 わたしの出身の高校は、美術活動とその人材輩出で知られています。わたし自身は小学校1年生の時に札幌市とアメリカ・ポートランド市との姉妹都市提携に際しての児童絵画相互交換のときにコンクールで応募した作品が、特選で選ばれていまも彼の地のどこかに保管されている「ハズ」。死ぬまでには1回、そのときの自分と再会したいという「怖れ」(笑)にも似た心理を持ち続けている。やっぱり絵画は大好きで、いま現在は日本画に惹かれていて東京に行く度に上野の美術館や博物館は欠かせない巡回コースになっている。そういう成長期の心情傾向がいまに至るも支配的である人間です。
 で、自分では描くことはしませんが、高校同期生の美術作品展ということで参観してきました。
 「オレ、日本画が好きなんだよね、鳥獣戯画とか、東山魁夷とか・・・」
 「あ、オレ、東山魁夷、あんまり好きじゃないんだわ」という超絶噛み合わない会話をしておりましたが(笑)、ことは美に関することなので、そういうホンネトークから一気に深く楽しい会話が成立していく。って言っても高校の時にはほとんど会話もしていなかった。じっくり話し込むのは初めてに近い。でも、絵画とか美とかは、そういうものではないでしょうか?一期一会、いきなり内面のリアルな中身が表現されていく世界。
 前述の会話はわたしが言い出して、かれ松川君がそれに応じたもの。絵画の話はそこで噛み合わないままでいったん休憩。で、高校同期の仲間の話題になって人物関係図を整理してまた美学論議。
 「抽象画ってどうなのさ?描く動機ってなんなん?」「う〜ん、色遊び(笑)」
みたいな不成立会話で、ふたたび迷宮に突入。
 ということで大変たのしい会話。時間を忘れて話し込んでおりました。幸い、調整役でカミさんも同行してくれたので、なんとか会話が終了して帰途につくことが出来ておりました。放っていたらエンドレスのすれ違い対話はどこまでも続いていたことでしょう。たのしい絵画展でした。
 7/14までこちらの会場で開かれています。友人の渾身の作品群、ぜひよろしく。

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English version⬇

[Dialogue on appreciation of “painting” works and life reminiscences of high school classmates]
He has been painting only abstract paintings ever since high school. Amazing. Communication area drawing not on the surface. Super interesting art dialogue. …

 My high school is known for its art activities and the talent it has produced. When I was in the first grade of elementary school, I entered a painting in a contest for the mutual exchange of children’s paintings on the occasion of the sister city affiliation between Sapporo and Portland, U.S.A. The painting was selected as a special prize and is still kept somewhere in his hometown. I have a psychological “fear” (laugh) that I would like to see my work again before I die. He is also a lover of paintings, and is currently attracted to Japanese paintings, making the Ueno Museum and Art Gallery an indispensable part of his itinerary whenever he goes to Tokyo. I am a person whose emotional tendencies from growing up are still dominant even today.
 So, although I do not paint myself, I went to see an exhibition of artwork by my high school classmates.
 We were having a very awkward conversation, “I like Japanese paintings, like the Birds and Beasts Caricatures and Kaii Higashiyama…”
“Oh, I don’t really like Kaii Higashiyama,” he said (laugh), but since it was about beauty, the conversation started from such honest talk and quickly turned into a deep and fun conversation. But since the conversation was about beauty, we started to have a deep and enjoyable conversation. It was almost the first time for me to talk to him at length. But isn’t that what painting and beauty are all about? A world where the real content of the inner world is suddenly expressed, once in a lifetime.
 The aforementioned conversation was initiated by me, to which Mr. Matsukawa responded. We took a break from talking about paintings without getting into it. Then, we got back to the topic of our high school classmates, and we started discussing aesthetics again, organizing the relationship between people and figures.
 What about abstract paintings? What’s the motivation for painting?” We plunged back into the labyrinth with unsuccessful conversations such as, “Well, playing with colors (laughs).
 The conversation was very enjoyable. We talked and talked, losing track of time. Fortunately, my wife was there to help coordinate the conversation, so we were able to finish it and head home. If I had left it alone, the endless conversation would have gone on forever. It was a fun exhibition.
 The exhibition will be held at this venue until 7/14. Please come and see my friend’s works.

Notice
My book “The Artist and the Living Space” is published by Gentosha as an e-book.
You can buy it at Amazon.

【天上からの音の涅槃 札幌近郊・長沼町道の駅にて】


IMG_2873 ⇐ こちらをクリックして別画面で音楽再生してください。

 本日は連載テーマ「石見銀山」発掘シリーズは、ひと休み。どうも意識のバランスを取るのには、探究型の志向性と同時に世間感覚の両面を往復するような必要があると思います。いまは住まいと人間、的な興味分野であれこれと深掘り「取材」を継続してきているのですが、ときどきは意識的な休息を。
 世間的な仕事関係ではややフリーな立場になってきつつある人間としては、時間的には自由時間が増えてくるので一昨日カミさんと連れだって、新鮮野菜の買い出しに札幌近郊の長沼町・道の駅へ。
 ここのところの好天、すっかり真夏の気候に誘われている次第ですが、道の駅に着いたらなにやら天上からのここちよい音楽が脳天に響いて来ていた。カミさんは速攻で野菜のショップに向かっていましたがわたしは、すっかりその音色に脳天が直撃されていた(笑)。こういうストリート音楽家のことが好きなんですね。見たら国籍不明の色黒男性がさまざまな楽器と音楽装置を使って楽しい音楽を聴かせてくれていた。
 わたしは音楽の楽器にはまった知識がないのですが、首からはたくさんの吹奏楽器をぶら下げて、太平洋諸島のどっかと思えるような民族衣装をまとってリズムを取っていた。楽曲は最初は耳慣れないものでしたが、だんだんビートルズ・オブ・ラ・ディ、オブ・ラ・ダなどのわかりやすい楽曲もやってくれていた。わたし的には首からぶら下がっている多管な楽器の演奏を心待ちしていたけれど、まぁ一生懸命に盛り上がっているのにリクエストも申し訳ない、ということでありがたく拝聴していた。謹んでチャリンと心付け。すごく気のよさそうな人物で、過剰なまでに笑顔のサンキューポージング(笑)。
 その楽しい天上の音色を上の ⇐ 箇所クリックしてで動画再生でお楽しみください。

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Nirvana of Sound from Above At Naganuma Roadside Station, near Sapporo.
Street performers play in the shade of trees in the midst of a beautiful midsummer day. I felt like I was approaching the heavenly world. Nirvana will soon come to everyone. The nirvana will come to everyone in time.

⇐ Please click here to play the music in another screen.

 Today we take a break from the series of the serial theme “Iwami Ginzan” excavation series. I think it is necessary to balance the consciousness of the world by going back and forth between an inquisitive orientation and a worldly sense at the same time. I have been continuing in-depth “coverage” in the area of housing and people, but I need to take a conscious break from time to time.
 As a person who is becoming a little freer in terms of work, I have more free time, so the day before yesterday I took my wife to a roadside station in Naganuma Town, near Sapporo, to buy fresh vegetables.
 The recent fine weather has been inviting us to enjoy the midsummer weather, and when we arrived at the Michi-no-Eki, we were greeted by the sound of soothing music from the sky above. My wife was heading for the vegetable store as fast as she could, but I was completely struck by the sound of the music (laugh). You like these street musicians, don’t you? I saw a dark-skinned man of unknown nationality playing fun music using various instruments and musical devices.
 I have no extensive knowledge of musical instruments, but he had a lot of wind instruments hanging from his neck, and he was playing rhythm with a folk costume that seemed to be from somewhere in the Pacific Islands. The music was unfamiliar to me at first, but gradually they played some easy-to-understand tunes such as “Beatles of La Di,” “Of La Da,” and so on. I was looking forward to hearing the multi-tubular instrument hanging from his neck, but I was grateful to hear it because I felt sorry to make a request when he was working so hard to get the audience excited. I was very grateful for their kindness. He seemed like a very pleasant person, smiling excessively, thank you posing (laughter).
 Please click on the ⇐ above for a video replay of that delightful heavenly tone.

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My book “The Writer and the Living Space” is published by Gentosha in e-book format
Available at Amazon.

【全国統一もできた? 戦国期「大内氏」 世界遺産・石見銀山-3】


 石見銀山の歴史探訪をしていて、その発見譚からその当時の地域政治経済動向について知らねばならなくなる。日本史の学習ではほとんど触れられることがない領域。日本の歴史の「主流」としてはその後の天下統一過程の進展が主で、対明交易で栄えた長門国の「大内文化」などにはほぼ無関心。
 なんとなく大内氏・大内義隆(1507〜1551年)とその軍事指導者であった陶氏、出雲を本拠とする尼子氏、そして最終的な勝利を得た安芸の毛利氏などの戦国争乱の様子がひとつの「地方権力争闘」と知られているに過ぎない。本格的に踏み込んでいくためには大陸半島との交易拠点としての北部九州経済の支配について、その争闘史を視野に入れていく必要がある。見ているとどうも太宰府の支配権という方向が大きな志向性になっている。東に向かうより西からさらに半島−大陸への意図を感じる。大内氏は渡来人の多々良氏を祖先とする家系伝承を持っていることが関係しているのか?
 大内文化という形でいまに伝えられている戦国期の繁栄ぶりが、その基盤として石見銀山が大きな動因であったことがポイント。実際に石見銀山の開発が大内氏の主導の元で進められ、それが大いに進展すると同時に、この中国地域の権力争闘、領国争いが激化したことがすべてを表していると言える。大内氏の「最大版図」を上に図示したが、これほどに繁栄した戦国大名家が、その後崩壊していく。まことに栄枯盛衰、盛者必衰の理。信長(1534〜1582年)の勃興と反比例して大内義隆の没落が好対照と言える。関東の北条氏と同様の武家としての運命。


 こちらは「石見銀山センター」の展示説明資料から。石見銀山からの鉱物資源は馬路に近い日本海に面する「鞆ケ浦」まで陸路を通って運び出され船で交易ルートに送られた。見たような版図を持っていた大内氏なので、後の信長−秀吉−家康のような中央権力樹立も可能性はあったと妄想もできる。それだけの経済基盤は構築できていた。幕末期にはこうした地域としての「喪失・残念感」をバネに高杉晋作らのような野望がやがて成就していったのだとも思えてくる。日本史の地域間抗争のひとつの断面か。

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The Ouchi Clan in the Warring States Period: Could They Have Unified the Nation? Iwami Ginzan, a World Heritage Site -3]
If history has an IF, the possibility of nationwide domination by the Ouchi clan, a regional power that gained wealth from the Iwami Ginzan Silver Mine, comes to mind. Could it be a springboard for the spirit of the Choshu clan at the end of the Edo period? …

 During the historical exploration of Iwami Ginzan Silver Mine, the tale of its discovery makes it necessary to know about the local political and economic trends of the time. This is an area that is rarely touched upon in the study of Japanese history. The “mainstream” of Japanese history is mainly concerned with the subsequent development of the process of unification of Japan, and is almost indifferent to such things as the “Ouchi Culture” of Nagato Province, which flourished through trade with Ming Dynasty China.
 The warring clans of Ouchi Yoshitaka (1507-1551), his military leader the Tō clan, the Izumo-based Amago clan, and the ultimately victorious Mori clan of Aki are known only as “local power struggles. In order to go deeper, it is necessary to look at the history of the struggle for control of the economy of northern Kyushu as a trading center with the continental peninsula. Looking at it, it seems that the major orientation is in the direction of control of Dazaifu. Rather than heading eastward, one senses an intention to move further westward to the peninsula and continent. Is this related to the fact that the Ouchi clan has a family tradition that traces its ancestry back to the Tadara clan, who came to Japan from another country?
 The prosperity of the Warring States period, which has been handed down to the present in the form of the Ouchi Culture, is based on the Iwami Ginzan Silver Mine, which was a major driving force behind the prosperity of the Warring States period. In fact, the development of Iwami Ginzan Silver Mine was promoted under the leadership of the Ouchi Clan, and as it made great progress, the struggle for power and territorial disputes in the Chugoku region intensified, which shows the whole picture. The above figure shows the “largest version” of the Ouchi clan, but this prosperous family of warring feudal lords later collapsed. It is a true fact that rise and fall, prosperity and decline are inevitable. The rise of Nobunaga (1534-1582) and the fall of Ouchi Yoshitaka are in sharp contrast. The fate of the Ouchi Yoshitaka clan was similar to that of the Hojo clan in Kanto.

 This is from the Iwami Ginzan Silver Mine Center’s exhibition explanatory material. Mineral resources from Iwami Ginzan were transported overland to “Tomogaura” facing the Sea of Japan near Umaji and sent by ship to the trade route. Since the Ouchi clan had such a large area under their control, it is possible to imagine that they could have established a central power like Nobunaga, Hideyoshi, and Ieyasu did later. The Ouchi clan had established a strong economic foundation. It seems to me that the sense of “loss and disappointment” of the region at the end of the Tokugawa shogunate was the springboard from which the ambitions of Takasugi Shinsaku and others were eventually fulfilled. Is this a cross-section of the interregional strife in Japanese history?

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My book “Writers and Residential Space” is published by Gentosha as an e-book.
Please visit Amazon to purchase the e-book.

【16世紀に発見・開発の背景 世界遺産・石見銀山-2】



 いちばん上の写真は「御取納丁銀」レプリカ。御取納丁銀とは、戦国武将・毛利元就(1497-1571年)が正親町天皇の即位料として献上した丁銀。元就は約180kgを献上したとされ、約160gのものが1100枚。田中貴金属の現在価格では100gあたり18,821円ということなので、元就の寄進額は33,877,800円ということになる。その「価値観」についてはその時代の貨幣経済の進捗ぶりに比例するだろうから、単純化はできないけれど、とくに海外、当時の日明貿易の決済手段として明側からは、強く「銀」が求められたのだという。
 2枚目の写真は「石見銀山世界遺産センター」の正面外観。その名の通り、石見銀山についての幅広い情報が開示されている。このレプリカは、わたしのような人間にわかりやすく伝わってきた(笑)、宝の山。

 こちらのマップ説明は石見銀山の「発見譚」の図示。16世紀に石見銀山の開発が始まった背景には東アジア世界での銀の需要の高まり、それをめぐっての博多の貿易商人の活動があった。当時の中国・明の時代にはそれまでの「銅」貨に代わって「銀貨幣」が導入され慢性的に銀が不足する事態になっていた。
 当時の日本は戦国の割拠時代。この日明貿易は戦国大名・大内氏が博多の商人と結んで独占していた。そのなかに神屋寿禎という商人がいて出雲大社の近傍「鷺銅山」で銀を購入するため日本海を航行するなか、石見銀山方面はるかに南の山が輝くのを見た。そこは「銀峯山(仙の山)という名でかつて銀が多く採れた」と聞いた。そこで寿禎は鉱山技術者を引き連れて1527年に仙の山で銀鉱石の採掘を行った。
 石見銀山の始原期はこのような事情。わたしとしては、古来からの「鉄生産」拠点・山陰地域に加えて日本史の基本的な動因の鉱工業がこの地域にあったことがポイント。鉄という農作業にきわめて有用な利器がこの地域を起点として勃興し広く日本が農業開発され、そしてその後、奥州平泉から産金して、黄金の国ジパング幻想が世界を駆け巡ったこと。こうした日「出ずる国」の大きな動因として石見銀山があったことがわかる。経済大国。日本列島というのはまことに世界でも稀有な国土条件。
 
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Background of the discovery and development in the 16th century Iwami Ginzan, a World Heritage Site-2]
San’in, the cradle of domestic iron production, gold production in Oshu, and the discovery and operation of a silver mine in Iwami. The Japanese archipelago, an important part of the world economy. ・・・・・.

 The top photo is a replica of the “Gotorinouchogin”. Gotorin Chogin is a silver coin offered by warlord Mori Motonaga (1497-1571) as an accession fee to the Emperor Shojincho. Motonari is said to have offered approximately 180 kg of the silver, with 1,100 pieces weighing approximately 160 g. The current price at Tanaka Kikinzoku is 18,821 yen per 100 grams, which means that Motonari’s donation amounted to 33,877,800 yen. The “value” of the silver donated by Motonari was proportional to the progress of the monetary economy of the time, so it cannot be simplified, but it is said that silver was strongly demanded by the Ming Dynasty, especially as a means of settlement for overseas trade between Japan and Ming China.
 The second photo is the front exterior of the Iwami Ginzan World Heritage Center. As the name suggests, a wide range of information on Iwami Ginzan Silver Mine is available. This replica is a treasure trove of information, which was conveyed to people like me in an easy-to-understand manner (laugh).

 This map illustrates the “tale of discovery” of Iwami Ginzan Silver Mine, which was developed in the 16th century because of the growing demand for silver in the East Asian world and the activities of Hakata traders in the region. During the Ming Dynasty in China, silver coinage was introduced to replace the previous “copper” coinage, resulting in a chronic shortage of silver.
 At that time, Japan was under the rule of the Warring States period. The trade between Japan and Ming China was monopolized by the Ouchi clan, a feudal lord of the Warring States period, in partnership with merchants in Hakata. One of these merchants was Kamiya Jutei, who was sailing the Sea of Japan to purchase silver from the “Sagi Copper Mine” near Izumo-taisha Shrine, when he saw a shining mountain far south in the direction of Iwami Ginzan. He was told that the mountain was called “Ginpusan (Mt. Sacred Mountain)” where a lot of silver had been extracted in the past. So, Jutei brought mining engineers to mine silver ore in Sen no Yama in 1527.
 The Iwami Ginzan Silver Mine was founded in this situation. For me, the key point is that in addition to the ancient “iron production” base in the San-in region, the mining industry, which is the basic driving force of Japanese history, was located in this region. Iron, an extremely useful tool for agricultural work, emerged in this region, leading to the widespread development of agriculture in Japan, and later, gold was produced in Oshu-Heisen and the illusion of Zipangu, the land of gold, circulated around the world. The Iwami Ginzan Silver Mine was a major driving force behind this “Land of the Rising Sun. An economic superpower. The Japanese archipelago is truly a rare land condition in the world.
 
Notice
My book “Writers and Residential Space” is published by Gentosha as an e-book.
Please visit Amazon for more information.

【やってきたぜ世界遺産・石見銀山探訪記 2025/6月-1】



 さて今回の夫婦旅のひとつのクライマックス、石見銀山探訪篇であります。
 実は事前にカミさんの綿密な調査があって「ぜひ行きたい」という希望だったのですが、宿泊は松江を拠点に3泊が山陰の旅程。で、どうしても足立美術館への彼女の願望が強烈だし鳥取砂丘も体験したい、とあれこれと訪問候補地が多くなっていって、さらには水木しげる祈念館でのわたしの青春期復元などの横道大拡散も出来(笑)。また出雲大社からもクルマで2時間近い遠隔地ということで、カミさんも諦め気味だったのですが、わたしのレンタカー運転は快調なので、ホテルから出雲大社と日御碕神社のあと6/12長躯、参観してきた次第。
 関空からずっとレンタカー移動約1500km超ほどでしたが、それほど運転に疲れは感じないタイプ。運転疲労には視力の問題がいちばん関わっていると思いますが、いまのところ問題はありません。それとカーナビがどんどん進化しているので「事前に調査する」ような手間ひまが省けてきているので圧倒的に気ラク。
 石見銀山は世界遺産登録されて観光の需要が高まっているけれど、山陰地域は高速道路網自体の整備がほかの日本各地域と比較して進んでいない。出雲大社から石見銀山ビジターセンターまで途中、高速道路/一般道がゴチャゴチャとしていて、まぁカーナビに運を天に任せるのが最適解のようです。それでも途中「あれ、これはどっちに行くのかなぁ」という「迷妄」ポイントはいくつかあった。世界遺産登録され観光用道路網整備が急ピッチで、まだ未整合なように感じました。
 写真はGoogleマップと、チャレンジの銀山坑道「大久保間歩〜まぶ」。JR利用の場合は山陰本線の最寄り駅名が「馬路〜まじ」というマジかよ、という駅名(笑)。国道9号から高速とカーナビの言われるままに移動したので、このマジな駅名の駅は訪問出来なかった。あとの祭り。
 というような珍道中でしたが、あすからいろいろまとめてみたい。なんですが撮影した写真点数だけでも650点超なので、整理整頓がまったくドロ沼状況。ボチボチ楽しみながらまとめたいので、気長によろしく。

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Iwami Ginzan Silver Mine, a World Heritage Site, June 2025-1]
Mineral resources that have determined the history of Japan. Along with gold in Oshu, the Iwami Ginzan Silver Mine is a World Heritage Site in the San’in region. The tunnels called “maibu” and the town houses that were formed. The silver mines

 This is the climax of our trip to Iwami Ginzan Silver Mine.
 Actually, my wife had made a detailed research beforehand, and she had hoped to visit there, but the itinerary was based in Matsue for three nights in the San-in region. She had a strong desire to visit the Adachi Museum of Art, and she also wanted to experience the Tottori Sand Dunes, so the number of candidate places to visit increased, and then there was a side trip to the Shigeru Mizuki Memorial Museum to restore my youth. My wife was ready to give up on the idea of visiting Izumo-taisha because of its remoteness and the two-hour drive from Izumo-taisha, but my rental car driving was fine, so we went to Izumo-taisha and Himinozaki-jinja Shrine, and then to Nagasada Shrine on June 12, and visited the shrine.
 It was a 1500km drive from Kansai International Airport to Izumo, but I did not feel so tired. I think the problem of eyesight is the most important factor in driving fatigue, but I don’t have a problem at the moment. Also, car navigation systems are evolving rapidly, so I don’t have to spend time and effort “researching in advance,” which is by far the easiest thing to do.
 Although Iwami Ginzan Silver Mine has been registered as a World Heritage site and the demand for tourism is increasing, the San’in region is not as well developed as other regions in Japan in terms of the expressway network itself. On the way from Izumo-taisha Shrine to Iwami Ginzan Visitor Center, there is a jumble of highways and ordinary roads, and the best solution seems to be to leave the luck to the car navigation system. Even so, there were a few “lost” points along the way, where we wondered which way to go. It seemed to me that the road network for tourism was still unorganized at a rapid pace after being registered as a World Heritage site.
 The photo is a Google map and the silver mine tunnel “Okubo Mabu – Mabu” of the challenge. if you use JR, the name of the nearest station on the San-in Line is “Umaji – Maji”, which means “seriously? Since we moved from National Route 9 to the highway and followed the directions of the car navigation system, we could not visit the station with this serious name. I couldn’t visit the station with this serious name.
 It was such a rare road trip, but I would like to summarize various things from tomorrow. But since the number of photos I took is over 650, I’m in a quagmire of organizing them all. I will try to compile them as I enjoy them, so please be patient.

I am going to start compiling the photos I have taken from tomorrow.
My book “Writers and Living Space” is published by Gentosha as an e-book.
You can buy it on Amazon.

【まだ7月初旬北海道で連日の30度超え】


 写真は北海道小樽の朝里ICから赤井川村に抜ける「毛無峠」の展望台から小樽市内〜石狩湾地域を一望した景色であります。本日は現在のブログでの追求テーマからひと休止。
 ここのところ、北海道でも気温がぐんぐん上昇していて昨日も札幌では最高気温が31度。なんですが、早朝でも27度にまで上昇していたので、ほぼ熱帯のような気候が続いております。そういうなかでも健康維持のために散歩習慣はあきらめずに頑張っていて、1万歩は無事に越えておりました。しかし、日中は極力体力消費を避けて、早朝6時台に済ませていましたが、その時間帯でも日射がキツく感じられ、ひたすら日陰を探して伝い歩きしておりました。
 しかし聞くところでは本州各地では体温越えの酷暑だということで、かろうじて北海道はまだ、過ごしやすいのかも知れません。この程度で悲鳴を上げていては本州以南のみなさんには申し訳がないのだろうと思います。酷暑お見舞い申し上げます。
 こういう酷暑時期には過重な外での行動は避けて、先般の山陰〜山陽〜近畿路の旅にて大きなテーマとして浮かび上がってきてしまった水木しげる著作から、民俗の探究としてかねて探訪していた「南方熊楠」の深掘りを行っておりました。やはり鳥取県境港市での水木しげる記念館でのかれとの「再会」は強烈な痕跡を残してくれていると思います。
 個人的に出版した書籍で柳田國男のことを探究してきていたのですが、水木しげるとの少年期以来のはるかな再会が、いろいろな気付きの動機要因になってきているようです。そしてこういった知的興奮は酷暑の夏の過ごし方として、なかなかに奥行きが深く迷宮に誘ってくれているようです。それなりに気温の低い早朝散歩で健康増進を図りつつ、しずかに、しかしアタマは妄想で焼け付くほどに火照らせながら、この酷暑、前向きに過ごしていきたいところであります。

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Still above 30 degrees Celsius every day in Hokkaido in early July]
The heat has arrived earlier than I can remember in a short while. Even in such a situation, I am taking care to improve my health, and my intellectual curiosity is ignited by the exploration of Japanese “folk customs” every day. …

 The photo is a panoramic view of Otaru City and Ishikari Bay area from the observatory at the “Kenashi Pass” between the Asazato IC and Akaigawa Village in Otaru, Hokkaido. Today we take a break from the current theme of our blog.
 The temperature in Hokkaido has been rising rapidly recently, with a high of 31 degrees Celsius yesterday in Sapporo. Yesterday, the high temperature in Sapporo was 31°C (81°F), but even in the early morning it was as high as 27°C (81°F), so the weather is almost tropical. Even in such a situation, I have not given up my habit of walking to maintain my health, and I had successfully exceeded 10,000 steps. However, during the daytime, I tried my best to avoid physical exertion, and I walked early in the morning around 6:00 a.m. Even at that time of the day, I felt the sun’s rays were too strong, and I just walked along the street looking for shade.
 However, I heard that it was extremely hot, exceeding body temperature in many places in Honshu, and Hokkaido may be still comfortable. I think I am sorry to those in the south of Honshu if I am screaming at this level of heat. I would like to express my deepest sympathies for the people in the south of Honshu.
 During this extremely hot season, I have been avoiding too much outdoor activities and have been digging deeper into “Kumagusu Minakata,” whose writings by Shigeru Mizuki had emerged as a major theme in my recent trip from San’in to Sanyo and Kinki, and whose folklore I had been exploring for a long time. After all, the “reunion” with Kare at the Shigeru Mizuki Memorial Museum in Sakaiminato City, Tottori Prefecture, has left a strong mark on me.
 I have been exploring Kunio Yanagida in my personally published books, and the reunion with Shigeru Mizuki, which I have not seen since my boyhood, seems to have become a motivating factor for my various realizations. And this kind of intellectual excitement seems to be inviting me into a labyrinth of depth as a way to spend the hot summer. I would like to spend this summer heat in a positive manner, while improving my health by taking an early morning walk at a reasonably low temperature and keeping my mind burning with delusions.

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