わたしたち年代（現在74歳）にとっての「祖母」年代というのは、その生きた時代相というのがよく実感できない。祖父については父を通しての「相伝」的なことがらを意識するけれど、祖母にはほとんど記憶がないのです。祖母は明治11年生まれで、昭和29年没。76歳まで生きたという当時としては長寿。しかもわたしは昭和27年生まれで、満２歳と１ヶ月の間は非常に世話になっていたハズ。
　そういう祖母の遺品と思われるものが先般の法事の時に発見できた次第。
　祖母は祖父が黄泉に旅立った翌年昭和10年の春に四国遍路の旅に出掛けているとのこと。没年から逆算すると還暦前の57歳時のことになる。そこからも19年元気だったので、健康体質だったのだろう。
　その歩き遍路の旅路で灯明のなかで読んでいたとおぼしき出版物がこれのようだ。
　奥付をみると、大正４年初版で昭和８年に第38刷となっていて、高野山にある「刈萱堂」という出版社の発行。年代としては旅路と発行年代が符合している。この「刈萱と石童丸」という説話は、以下の内容。
　〜刈萱（かるかや）と石童丸（いしどうまる）は、出家した父・苅萱道心と、父を慕って高野山へ訪れた息子・石童丸の悲劇的な再会を描いた中世の伝説・説話。仏教の「愛別離苦（愛する者と別れる苦しみ）」を主題とし、説教節、浄瑠璃、歌舞伎などで長く愛されてきた物語。＜以上Wiki＞〜
　この年代の出版物なので、表紙だけがカラーで，本文はモノクロ印刷。
　出版物として、あるいは絵柄の表現などから、日本的な「物語文学」の祖型を感じさせてくれる。祖母は英語の知識もあったという当時としては高等教育を受けていたひとのようだけれど、心象的な部分では古風な志向性を持った考えだったのだろうか。上述のようなストーリー性に重なる感性を持っていたと思われる。「愛別離苦」というテーマ部分に、愛する夫を失った悲しみが沁みてきたのだろうか？
　そういえば、祖父と結ばれた経緯などを勘案するとどうも「恋愛結婚」だったようにも思える。
　残された手掛かりの少ない血縁として思いが交差する。英語という外の世界の窓を持ちつつも刈萱という日本的情念を抱いての遍路旅。・・・じっとこの出版物と向き合っている。合掌。

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[A companion on the Shikoku 88 Temple Pilgrimage—perhaps my grandmother’s favorite book?]
For the first time, I came across a book that still bore the traces of my grandmother’s touch, even though we parted ways when I was just two years old. “Grandma, you really loved this book, didn’t you?”…

　For people of my generation (I am currently 74), it is difficult to truly grasp what life was like for our “grandmothers’ generation.” While I am aware of certain things passed down about my grandfather through my father, I have almost no memories of my grandmother. She was born in 1878 and passed away in 1954. She lived to be 76, which was considered a long life at the time. Moreover, I was born in 1952, so she must have taken great care of me during the period when I was exactly two years and one month old.
　It was during a recent memorial service that I discovered what appears to be one of my grandmother’s personal effects.
Apparently, my grandmother set out on a pilgrimage along the Shikoku Pilgrimage route in the spring of 1935 (Showa 10), the year after my grandfather passed away. Calculating backward from the year of her death, this would have been when she was 57, just before her 60th birthday. Given that she remained active for another 19 years after that, she must have been in good health.
This seems to be the publication she likely read by lamplight during that walking pilgrimage.
　Looking at the colophon, it was first published in 1915 (Taisho 4) and had reached its 38th printing by 1933 (Showa 8). It was published by a company called “Karukaya-do” located on Mount Koya. The dates of her journey and the publication dates align. The story titled “Karukaya and Ishidomaru” is as follows.
　~ “Karukaya and Ishidomaru” is a medieval legend and folktale depicting the tragic reunion between Karukaya Dōshin, a monk, and his son Ishidomaru, who visited Mount Kōya out of longing for his father. Centered on the Buddhist concept of “the suffering of separation from loved ones,” it is a story that has long been cherished in sermons, Joruri, and Kabuki. ~
Since this is a publication from that era, only the cover is in color, while the text is printed in black and white.
As a publication, and judging by the style of the illustrations, it evokes the archetype of Japanese “narrative literature.” My grandmother apparently had some knowledge of English, suggesting she had received a higher education for her time, but perhaps her inner world retained a more traditional sensibility. It seems she shared the sensibilities that resonate with the story described above. Did the theme of “the suffering of parting from loved ones” evoke the sorrow of losing her beloved husband?
Come to think of it, considering the circumstances of how she and my grandfather came together, it seems they may have had a “love marriage.”
　As a blood relative with few remaining clues, my thoughts are filled with conflicting emotions. A pilgrimage journey undertaken with a window to the outside world through English, yet embracing the Japanese sentiment of “Kari-kaya.” … I sit here, intently studying this publication. I bow my hands in prayer.

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

Posted on 5月 9th, 2026 by 三木 奎吾
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　札幌の「始原風景」が残されているのが北大植物園とともに、この写真の北大構内。
　少年期には、北大植物園に面した現在の札幌市中央区北３条西11丁目に住んでいたので、遠征して遊ぶときにはこの北大構内のクラーク像近くの「サクシュコト二川・湧水箇所」にも出没していた。以下、現地案内板。
　＜サクシュコト二川の由来　元北大農学部事務長、岩沢健蔵氏著「北大歴史散歩」によれば・・・サクシュは、浜の方を通るで、浜はこの場合、豊平川岸の事。コトニはくぼ地。意訳すると「くぼ地を流れる川のうち、豊平川に最も近い川」となる。…・・と解説されている。
　古来、豊平川扇状地の伏流水は再び湧泉（メム）となって市内各所で噴出していたようで、この川の水源も現在の北大植物園北側にある伊藤氏邸敷地内の湧水だったという。流れは大きく蛇行しながら北に向かい、途中札幌市の有形文化財「清華亭」付近の湧水と合流して、クラーク会館の東側から北大構内に入り、更に北上して流末はコトニ川（現琴似川）に注いでいた。＞
　で、下の写真はその「メム」のひとつで最大のもの。ここまで大きくはないけれど植物園にも点在していたとされている。少年期、こうしたメムが遊びの「句読点」だったような記憶がある。
　・・・っていうような記憶が、最近の北大構内散歩習慣化で蘇ってきている。
　どんどん幼年期・少年期にひとまわりして来ているような感覚（笑）・・・。散歩道の休憩ポイントとしてもセイコーマートさんが、ちょうどいい位置に出店されていて、１階の店舗で「カツ丼」を購入して２階の眺望コーナーでランチすることもできる。いや、けっこうなボリュームで宣伝通りに美味（笑）。なかなかセイコーマートさんは緻密に戦略ポイントを押さえているなぁと感心しております。
　ことしも徐々にヒグマの出没情報が出てきているので、安全最優先の中高齢者としては、市の中心部でありながら豊かな自然環境で散歩を楽しめる北大構内、活用したいですね。
　そうそう、新ポプラ並木周辺で声を聞かせてくれている鳥は、カミさんのAI活用検索で「アオゲラ」ではないかと、判明してきておりますが、さていかに？

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English version⬇

[Excited to Resume Our Hokkaido University Walks in Earnest This Year]
Things are a bit quieter than during the commotion last fall, but reports of brown bear sightings are gradually starting to surface again this year. We are truly grateful for the natural environment preserved right in the heart of the city. …

　Along with the Hokkaido University Botanical Garden, the Hokkaido University campus shown in this photo preserves a “pristine landscape” of Sapporo.
As a boy, I lived in what is now Kita 3-jo Nishi 11-chome, Chuo-ku, Sapporo—right across from the Hokkaido University Botanical Garden—so whenever I ventured out to play, I would often end up at the “Sakushukoto River Spring” near the Clark statue on the Hokkaido University campus. Below is the on-site information board.
　
　The photo below shows one of these “mem” features—the largest one. Although not quite this big, they are said to have been scattered throughout the Botanical Garden as well. I have a memory from my boyhood that these “mem” served as “punctuation marks” for our play.
…Memories like these are gradually coming back to me as I’ve made it a habit to take walks on the Hokkaido University campus lately.
　It feels like I’m making a full circle back to my childhood and youth (laughs) … As a rest stop along the walking path, Seicomart is conveniently located. You can buy a “katsudon” at the first-floor store and have lunch at the viewing area on the second floor. Actually, the portion is quite substantial, and it’s as delicious as advertised (laughs). I’m really impressed by how meticulously Seicomart has identified these strategic spots.
　Reports of brown bear sightings are starting to trickle in this year as well, so as a middle-aged person for whom safety is the top priority, I’d like to make the most of the Hokkaido University campus—where I can enjoy a walk amidst rich natural surroundings right in the heart of the city.
Oh, and speaking of which, my wife used AI search to identify the bird singing near the new poplar grove—it seems it might be a “green woodpecker.” We’ll see!

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

Posted on 5月 7th, 2026 by 三木 奎吾
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　とくに温泉施設の場所と名称は記しませんが、北海道で大量のインバウンドがある地域の公衆向け施設にて。
　わたしは健康増進のため１日の歩数確保で10,000歩以上を心がけています。クルマで遠距離移動でも、先日の北東北〜道南ドライブ観桜旅などでも毎日ほぼ12,000歩程度の歩数を早歩き散歩しています。
　で、この日もある程度短時間に歩数を確保する運動量で、肉体的にはそこそこの疲労感。汗ばんだ衣類を脱ぎ捨てて温浴施設に入浴した。
　わたしは温浴を８−１０分程度たっぷりと済ませてカラダを温めてから洗面などをして、サウナや野天風呂を楽しむというのが定番コース。そのように過ごした後サウナに入っていった。久しぶりにこの温浴施設に来たので、サウナ内での敷物は持ち込まずにタオルを持って入った。っていうか、肉体的疲労感から気が回っていなかったことはある。
　でもそのサウナ内には敷き布が内部に敷かれていて定期的に施設側でそれが交換されてもいる様子だった。別に敷物シートを敷いて、というアナウンスはとくに書かれていない。
　中に入ったら７−８人程度の広さの中に先客が５−６人。わたしが入ろうとしたら１人が席を空けるように移動してくれた。それに感謝する目線挨拶をしたが、そのとき、その空けていただいた隣席に「刺青」を入れた人物がいることに気付かされた。とっさにどうしようかと思ったが、流れに沿ってその席に座った。
　その数秒後、刺青男が小声で「どうして敷物シートを持ってこないのだ」というコトバを口走ってきた。
　わたしは20代の頃、１度クルマ運転の際に反社人物に急ハンドル操作されて危険に陥って、なおその後因縁をつけられた経験がある。結局その男の家に付き合わされ、目線で「日本刀」を見せつけられ脅された経験がある。そういう経験から、かれらの「静かな口調」というのには、むしろ危険アラート反応が働いてくる。
　そこで一切会話をせずにその場から立ち去ることにした。まぁ座席下敷き敷物シートについてのクレーム自体はわからないではないけれど、かれらの作戦である危険度は高いと判断したのだ。ことを荒立てずに推移させるには、わたしが外に出ていくことがもっとも「穏便」と思われたのだ。
　その後、体力の回復まで15分程度外の椅子・ベンチなどで日光浴して時間を空けてその人物との無用な接触を避けた。その後は関わることなく、無事にある程度の休息を得て浴場を退出した。
　しかし納得はできなかったので施設の従業員の方に「刺青の人物から絡まれたのだけれどここは刺青いいの？」と申告したが「あ、こちらでは刺青OKですので」と明るい言い方。　「・・・」。
　最近は海外客は面白がってボディペインティングしている方が多いので、インバウンド対応としてこういう施設が増えているのかと思い至った。それが「多文化共生」という掛け声で正当化されてもいるようだ。
　しかし、裸で無防備な浴場で、日本人的には暴力性の象徴である刺青の人間がいれば、これまでの日本人の安全概念が大きく揺らいでいく。多文化共生という名目の元で、日本の生活文化が壊されていくのではないか。わたし自身、はじめて気づかされることになった次第。みなさん、どうお考えだろうか？

＜写真は日本の文化の象徴「さざれ石」。大小の小石が凝集して岩石になっている＞

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[Harassed by a Tattooed Man in a Sauna—Is This What Multicultural Coexistence Looks Like?]
Western tourists often have a tradition of body art-style tattoos. Is that what multicultural coexistence is supposed to be? Can the safety of Japanese society be guaranteed? …

　I won’t mention the specific location or name of the hot spring facility, but it was a public facility in a region of Hokkaido that attracts a large number of international visitors.
I aim to walk at least 10,000 steps a day to improve my health. Even when traveling long distances by car, such as on my recent cherry blossom-viewing road trip through northern Tohoku and southern Hokkaido, I walk briskly for about 12,000 steps every day.
　So, on this day as well, I had walked enough to reach my step goal in a relatively short time, leaving me feeling moderately tired. I shed my sweaty clothes and entered the hot spring facility.
My usual routine is to soak in the hot bath for a good 8–10 minutes to warm up my body, then wash up before enjoying the sauna and open-air bath. After doing that, I headed into the sauna. Since it had been a while since I’d visited this facility, I didn’t bring a mat into the sauna; I just took a towel. Or rather, I suppose I simply hadn’t thought of it due to my physical exhaustion.
However, there were mats laid out inside the sauna, and it seemed the facility staff replaced them regularly. There wasn’t any specific announcement or sign asking people to bring their own mats.
　When I went inside, there were about 5 or 6 people already in the room, which could hold 7 or 8. As I was about to enter, one person moved over to make room for me. I gave him a grateful look, but at that moment, I noticed that the seat he had vacated was occupied by a man with a tattoo. I wondered for a split second what to do, but I went with the flow and sat down in that seat.
　A few seconds later, the tattooed man muttered under his breath, “Why didn’t you bring a seat cover?”
When I was in my twenties, I once had a dangerous experience while driving when an anti-social element made a sudden, sharp turn, and I was later harassed by him. In the end, I was forced to go to his house, where he threatened me by flashing a “Japanese sword” at me with his eyes. Because of that experience, their “calm tone” actually triggered a danger alert in me.
So I decided to leave the area without saying a word. Well, I wasn’t entirely unaware of the complaint regarding the seat mat, but I judged that their tactics posed a high level of danger. To avoid making a scene, I thought the most “peaceful” course of action was for me to simply walk out.
　Afterward, I spent about 15 minutes sunbathing on chairs and benches outside to recover my energy, giving myself some time to avoid unnecessary contact with that person. After that, I managed to get some rest without any further involvement and left the bathhouse safely.
However, I couldn’t accept it, so I reported the incident to a staff member, asking, “I was harassed by a man with a tattoo—are tattoos allowed here?” but they replied cheerfully, “Oh, tattoos are fine here.”　“…”
It occurred to me that since many foreign visitors these days enjoy body painting for fun, perhaps the number of facilities like this is increasing as a way to cater to inbound tourism. It also seems to be justified under the slogan of “multicultural coexistence.”
However, in a bathhouse where people are naked and defenseless, the presence of someone with a tattoo—which is seen as a symbol of violence in Japanese culture—greatly undermines the traditional Japanese concept of safety. I’ve come to realize for the first time that Japanese lifestyle and culture might be being destroyed under the guise of “multicultural coexistence.” What do you all think?

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

Posted on 5月 5th, 2026 by 三木 奎吾
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　一昨日、わが家本家にてふとみつかった古書簡とおぼしき巻物文書。
　それを簡易に写真撮影してPhotoshopなどの画像整理を施して、次兄をはじめとする兄姉LINEにて情報公開したところ、次兄から「これは凄い発見だね。広島県立文書館の西向浩介さんに送って現代文にして貰い、虫食い等の処理をして貰い、検証して貰い原氏の情報も探して貰ったら。九州からの帰りに会ってきたら？」という反応。次兄はわたしに家系史探究の業務引継命令を下してきた本人なので、わたしとしても共同探究人として信頼している。一族に関する古文書「原氏由来の事」を公的研究機関である広島県立文書館の西向浩介さんに送ってその信憑性・歴史的価値に裏付けを与えてきた経験からして、直感的に「これは」と思えたのだと思います。
　ということで、昨日からさっそく行動開始。この家系〝古文書〟を研究素材として送付するのに必要な段取りを整え、資料類も添付しようと「会議」で打合せ。その過程で、前に評価をいただいた「原氏由来の事」古文書との比較対照を素人ながら、行って見ている次第。

　こちらが「原氏由来の事」の筆跡ですが、上の今回新発掘の家系〝古文書〟の筆跡とは、大きく違うことが素人目にも明白だと思われます。
　「原氏由来の事」は1815年に六世の祖・三木寛蔵さんが一族の故地、広島県東広島市河内町入野を訪ね歩いて、その時点から約100年前当時の先祖・「原平七」さんの事跡を中心に探索した記録文。現在から300年以上前の時点の祖先の状況を活写してくれている。その筆跡は１個１個の漢字に対して丁寧に、几帳面に書いたと伝わってくる筆跡。
　それに対していちばん上の今回新発見の古文書は、流麗な崩し方、流れるような筆跡が明確。
　わたしはこういった古文書解析についての知識蓄積はありませんが、一見して書き手の個性の違いは伝わってくる。
　もし、この両文書の筆者が別人であるとすると、今回の文書は「誰が書いたのか？」という家系史研究にとっての巨大な疑問に突き当たる。同族の親族であることが可能性が高いけれど、しかし、書かれている内容は、どうも「原氏由来の事」の内容と被っている。
　いずれにせよ、公的研究機関の協力を得て調査の信憑性も確保しながら、内容を徹底解析したい。

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[New Family Lineage “Historical Documents” Unearthed: A Thorough Investigation to Follow]
This is truly astonishing. The discovery of historical documents that serve as foundational records for the family lineage. We intend to submit them to public research institutions as research materials for investigation, with the aim of establishing their universal significance. …

　The day before yesterday, I stumbled upon what appears to be an old scroll—likely a historical letter—at our family’s ancestral home.
I took some quick photos of it, edited the images in Photoshop, and shared the information with my siblings via LINE, starting with my second-eldest brother. He replied, “This is an amazing discovery. Why don’t you send it to Mr. Kosuke Nishimuki at the Hiroshima Prefectural Archives? He can transcribe it into modern Japanese, restore any damaged parts, verify the contents, and even look into information about the Hara clan. “Why don’t we meet up when you’re coming back from Kyushu?” My second oldest brother is the one who originally handed over the task of researching our family history to me, so I trust him as a fellow researcher. Based on my past experience of sending ancient documents related to our clan—specifically “The Origins of the Hara Clan”—to Mr. Kosuke Nishimuki at the Hiroshima Prefectural Archives, a public research institution, to have their authenticity and historical value verified, I think he intuitively sensed that “this is it.”
　So, I sprang into action yesterday. I held a “meeting” to discuss the necessary arrangements for sending this family “ancient document” as research material and to attach supporting documents. In the process, I’m attempting—as an amateur—to compare and contrast it with the “The Origin of the Hara Clan” document, which had previously received a favorable evaluation.

This is the handwriting from “The Origin of the Hara Clan,” but even to the untrained eye, it is clear that it differs significantly from the handwriting in the newly discovered “ancient document” regarding the family lineage mentioned above.
　“The Origin of the Hara Clan” is a record compiled in 1815 by the sixth-generation ancestor, Kanzo Miki, who traveled through his clan’s ancestral home in Irino, Kawachi-cho, Higashi-Hiroshima City, Hiroshima Prefecture, to investigate the deeds of his ancestor, “Hara Heishichi,” who lived approximately 100 years prior to that time. It vividly depicts the circumstances of our ancestors more than 300 years ago. The handwriting conveys a sense of meticulous care, with each individual kanji character written with precision and attention to detail.
In contrast, the newly discovered ancient document at the top of this collection clearly features a fluid, cursive style with a flowing handwriting.
While I lack specialized knowledge in the analysis of ancient documents, the difference in the writers’ individual styles is apparent at first glance.
　If the authors of these two documents are different people, this new document raises a massive question for genealogical research: “Who wrote it?” While it is highly likely that they are relatives from the same clan, the content appears to overlap with that of “matters concerning the Hara clan’s origins.”
In any case, I wish to thoroughly analyze the content while ensuring the credibility of the investigation with the cooperation of public research institutions.

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

Posted on 5月 3rd, 2026 by 三木 奎吾
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　最近どうも予定がダブルブッキング気味。昨日も息子の嫁さんが孫を連れて昼頃に来るという連絡があったあとで、友人から昼食の誘い。一昨日も似たようなことがあって、どうも・・・。
　なんですが、有数の「ジイジバカ」ッぷりのわが身としては孫には敵わない（笑）。
　まだようやく３ヶ月ですが、ヘルプしているカミさんはさすがに筋肉疲労気味。代わりにわたしが抱っこ専門要員として共同行動・運命共同体的同伴に。
　なんですが、わたしはこの孫といつもたのしく会話しています。もちろんまだかれは（男の子）言葉は理解もしゃべることも出来ませんが、わたしは一方的にしゃべり続けています。わかるわからないは別にして、ジイジが楽しそうにお話ししているということが、かれの基層の重層低音に少しでも「伝わってくれたら」という思いなのであります。なので、「あのな、将来この埴谷雄高の本をしっかり読んでくれよ、とくに〝死者の電話箱〟のくだりは必読だぞ」などと、本気で話している（笑）。
　そうしたら、孫も３ヶ月になってきて、抱っこした瞬間にニコッと笑ってくれていた（笑）。
　「あ。またヘンなジイジだな」という表情なのでしょう。当方としては天上に昇る気分・・・。
　というような対話ぶりですが、写真の〝棟方志功〟作品集をふと手に取っていっしょにパラパラとページをめくって参観。わたし棟方志功フリークでして、青森市にあった記念館には２度ほど行っています。残念ながら同館は閉館。残されたこの作品図録集はそのうち貴重品になるように予想しています。
　北東北の芸術者たちは、宮澤賢治といいこの棟方志功といい、たぶん東京の「権威」的評価ではない、民衆的な愛好度がきわめて高いと思っています。いわば「民芸」的なフェッチのように思っている。で、３ヶ月の孫に「この女性の表情は、かあちゃんみたいにやさしいだろう？どうだぁ？」などと深層解説を試みている（笑）。かれは不思議そうな表情でみつめている。「お、脈ありかなぁ・・・」と誤解の海に完全に浸るジイジ、であります。
　わたしは各地域にある作家・芸術家の記念館を探訪するのが数寄なのですが、そこで買い求める図録の類いは、資料的価値が高いと思えます。孫にもそういう数寄が、と念を込めている次第。・・・

●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⬇

[Indulging in a collection of Shiko Munakata’s works with my 3-month-old grandchild (lol)]
A dialogue that transcends understanding or misunderstanding, reaching the very foundation of consciousness. The speaker’s hope that their “passion” will be conveyed. “Come to think of it, Grandpa said something about that before…”

　Lately, my schedule seems to be getting a bit double-booked. Just yesterday, after I got a message saying my son’s wife was coming over with my grandchild around noon, a friend invited me out for lunch. Something similar happened the day before yesterday, too—it’s just…
But as someone who’s a total “doting grandpa,” I just can’t resist my grandchild (lol).
　He’s only three months old, but my wife, who’s been helping out, is starting to feel the muscle strain. So, I’ve stepped in as the dedicated “cuddle specialist,” joining them in a sort of “shared destiny” partnership.
That said, I always have fun “talking” with this grandson. Of course, he (a boy) can’t understand or speak words yet, but I just keep talking to him one-sidedly. Whether he understands or not is beside the point; my hope is that the fact Grandpa is talking happily will “get through” to him, even just a little, in the depths of his being. So, I’m actually telling him things like, “Listen, when you grow up, make sure you read this book by Yutaka Haniya—especially the part about ‘The Dead Man’s Phone Booth,’ that’s a must-read” (lol).
　Then, my grandson turned three months old, and the moment I picked him up, he gave me a little smile (lol).
I suppose his expression was saying, “Oh, Grandpa’s being weird again.” As for me, I felt like I was floating on air…
That’s the kind of “conversation” we have. I happened to pick up the photo collection of Shiko Munakata’s works and flipped through the pages with him. I’m a huge Shiko Munakata fan, and I’ve visited the memorial museum in Aomori City about twice. Unfortunately, the museum has since closed. I expect this remaining collection of his works will eventually become a valuable treasure.
I believe that artists from northern Tohoku—whether it’s Kenji Miyazawa or Shiko Munakata—enjoy an extremely high level of popular appreciation, rather than the kind of “authoritative” recognition they might get in Tokyo. I see it as a kind of “folk art” fetish, so to speak. So, I’m trying to give my three-month-old grandson a deep analysis, saying things like, “This woman’s expression is as gentle as your mom’s, isn’t it? What do you think?” (laughs). He stares at me with a puzzled look. “Oh, maybe he’s getting it…”—and so I, Grandpa, am completely immersed in a sea of misunderstanding.
　I have a passion for visiting memorial halls dedicated to local artists and creators in various regions, and I find the catalogs and publications I purchase there to have significant historical value. I’m hoping my grandson will develop that same passion as well. …

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

Posted on 5月 1st, 2026 by 三木 奎吾
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