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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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.

Posted on 7月 16th, 2025 by 三木 奎吾
Filed under: 日本社会・文化研究 | No Comments »

　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。

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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.

Posted on 7月 14th, 2025 by 三木 奎吾
Filed under: 住宅マーケティング | No Comments »

　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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[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.

Posted on 7月 12th, 2025 by 三木 奎吾
Filed under: 日本社会・文化研究 | No Comments »

　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?

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

Posted on 7月 10th, 2025 by 三木 奎吾
Filed under: 歴史探訪 | No Comments »

　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.

Posted on 7月 8th, 2025 by 三木 奎吾
Filed under: 歴史探訪 | No Comments »