きのうの風神雷神図比較、俵屋宗達と雪舟であります。俵屋宗達は、江戸初期の京都の町人で、ビジネスとしては「扇子」を扱う店舗の主人だったとされる。わたしはとにかくこの人の風神雷神図にぞっこんなのですが、かれの死後、その画業に対して琳派を中興させた尾形光琳がこれまた完全に心酔し、ほぼまったくの複製画を制作した。
　江戸期にはながく尾形光琳の作品が風神雷神図の本家のように扱われていたのだという。ほぼ完全にコピーするという所業は、まったく創作人としていかがなものかと思うのが自然だろうけれど、むしろそのリスペクトの末の所業として好意的に伝承されてきた。
　日本社会ではこういう行為に対しての懲罰意識というのはそう重視されないのだろうか。琳派というひとつの芸術流派を発展させた光琳に対して、あえてその画業を否定する風潮は起こらなかったのかもしれない。そしてさらに時代が下ると酒井抱一も同様に、今度は尾形光琳の作品をコピーしたとされている。ただ、前出のふたりが京都を活動拠点にしたのに対して、酒井抱一は江戸を拠点にしたので、複製を手本にして制作したとされる。はるかな後世の人間たちの評価としてこの風神雷神という画材テーマのもっとも「創始者」には俵屋宗達が刷り込まれてきていた。
　いっぽうでこの雪舟（1420-1506年）は室町時代に活躍した水墨画家・禅僧。俵屋宗達よりもさらに100年近い大先達ということになる。備中国に生まれ京都相国寺で修行した後、大内氏の庇護を受け周防国に。その後、遣明船に同乗して中国に渡り李在という画家から中国の画法を学んだという。
　かれが描いた墨絵による風神雷神図を歴史の中から掘り起こした作家・武者小路実篤は「雪舟・雷」というタイトルで雑誌「心」昭和25年８月号で作品を紹介している。

　こうした日本の風神雷神画材テーマ化は、平安期 930年7月24日に起こった清涼殿落雷事件（平安京・内裏の清涼殿で起きた落雷災害）が起源とされる。『北野天神縁起絵巻』にこの事件は詳細に描かれた。藤原氏一族の陰謀で太宰府に左遷されて悲憤の内に世を去ってのち、雷神となった菅原道真が自身に無実の罪を着せた藤原氏に天誅を下そうとする場面。壮絶な場面なのに雷神と化した菅公の雷に打たれた殿上人たちが逃げ惑う姿が思わず笑ってしまうようなユーモラスな姿で描かれる。
　俵屋宗達は高山寺から絵を依頼されて、このような民衆的な説話や絵巻なども鑑賞して、画題を整理整頓していったのだろう。
　わたし的にはやはり台風に毎年痛めつけられる日本人の伝統的な体験感が、こうした風神雷神テーマを純化させていったように思えてならない。美感といい表現の諧謔性といい、いかにも日本人的な感性を表徴していると思える。

English version⬇

The “God of Thunder” Expression, from the Differences between Sesshu and Sotatsu Tawaraya
Since the Seiryouden lightning incident, wind and thunder gods have been depicted in Japanese society, which coexists with natural disasters. The difference between Sesshu, who learned from Chinese ink painting, and Tawaraya Sotatsu, whose works were popularized by mass society. …

　This is a comparison of yesterday’s Wind and Thunder Gods, Sotatsu Tawaraya and Sesshu. Tawaraya Sotatsu was a merchant in Kyoto in the early Edo period (1603-1868), and is said to have been the owner of a store dealing in folding fans. After his death, Ogata Korin, the founder of the Rimpa school, was completely fascinated by his work and made almost exact copies of his paintings.
　During the Edo period, Korin Ogata’s works were treated as if they were the originals of the Wind and Thunder Gods. One would naturally think that the act of making a near-perfect copy of an original work of art would not be considered at all creative, but rather, it has been handed down to the next generation as a result of respect for the artist.
　I wonder if Japanese society does not place much importance on punitive measures against this kind of behavior. It is possible that Korin, who founded the Rimpa school of art, did not dare to deny his artistic activities. Further down the road, Sakai Hoitsu is said to have copied Ogata Korin’s works as well. However, while the two artists were based in Kyoto, Hoitsu Sakai was based in Edo (present-day Tokyo), so it is believed that he used a copy as a model for his work. In the opinion of later generations, Tawaraya Sotatsu was the “originator” of the wind god and thunder god theme.
　Sesshu (1420-1506), on the other hand, was an ink painter and Zen monk active in the Muromachi period. He was a great predecessor of Tawaraya Sotatsu, who lived nearly 100 years before Sesshu. Born in Bicchu Province, he trained at Shokokuji Temple in Kyoto before moving to Suo Province under the patronage of the Ouchi clan. Later, he traveled to China on a Ming Dynasty ship and learned Chinese painting techniques from a painter named Li Jae.
　Mushanokoji Saneatsu, a writer who has unearthed from the history of Japan the ink painting of the Wind God and Thunder God by Sesshu Sesshu, introduced his work in the August 1950 issue of the magazine “Kokoro” under the title of “Sesshu, Thunder.

　The origin of this Japanese wind god and thunder god thematization has been attributed to the July 24, 930 Seiryouden lightning strike incident (a lightning disaster that occurred at Seiryouden in the Inner Palace of Heian-kyo, Kyoto). The incident was described in detail in the “Kitano Tenjin Engi Emaki” (Kitano Tenjin Engi Picture Scroll). In this scene, Sugawara no Michizane, who became the god of thunder after being moved to Dazaifu due to a conspiracy by the Fujiwara clan and passing away in a fit of rage, attempts to bring down the death penalty on the Fujiwara clan that had falsely accused him of crimes. The scene is so humorous that one can’t help but laugh at the sight of the fleeing palace guests who are struck by the lightning of Suga, who has turned into the god of thunder, despite the grandeur of the scene.
　Tawaraya Sotatsu was commissioned by Kozan-ji Temple to paint this scene, and he must have viewed such folk tales and picture scrolls to organize the subject matter for his paintings.
　I think that the traditional experience of the Japanese people, who are annually battered by typhoons, seems to have contributed to the purification of the Wind God and Thunder God theme. The sense of beauty and the humorous nature of the expression seem to me to represent the Japanese sensibility.

Posted on 9月 2nd, 2024 by 三木 奎吾
Filed under: 日本社会・文化研究 | No Comments »

　たぶん誰でも１枚くらいは自分で描いた絵を持っているのではないでしょうか？　高齢になってからそういう絵と再会すると、猛烈に恥ずかしいという心理がだんだんと薄らいできて、ようやく「対話」が成り立ってくるように思える。この絵は今の今まで手許にあったということは、自分史のなかのひとつの「句読点」という認識対象であったことが明らか。
　わたしは学生運動に明け暮れた高校をなんとか卒業して東京の大学に入り、その後東京の会社勤めをする期間、都合８−９年ほどは札幌を離れていた。この絵のことはうっすらと記憶があってその時期、東京に行って暮らし始めることが決まった頃の心象のままに描いたという記憶がある。
　絵というものは、描く動機のようなものが必ずあるだろう。風景画というようなものでもその描き方にその時点での作者の心理が反映して、しかし徐々にその絵のテーマ本来の場所に集中し回帰していって最後は無心になって描き上げていくものなのでしょう。
　しかしシロウトはけっこうナマな心理がそのまま表れてしまうので、恥じらいの感情が高まってしまうのではないだろうか。「あらま、こんなこころがそのまま出てしまっている」というような、怖れの心理。
　この絵でも、なぜか自分の暮らしていた札幌の土地地形が、石狩湾の海までが切り取られて、空中にまるで「ひょっこりひょうたん島」のように浮かんでしまっている。変わった「人工太陽」の近くの山は、いかにも札幌を郷愁させる藻岩山が描かれている。
　どうして自分の暮らしていた土地をこのように切り取ったのか、それはきっとなにかの心理表現だろうと思う。ひょっこりひょうたん島に擬しているので決して否定的に捉えてはいないと思う。むしろ、そこで完結可能な生態系世界認識が強くあったように思う。描いた人間からすると、この「人工太陽」は「どうしようかなぁ」と思案していた記憶がある。結果として照明器具のように可動式アームの先に太陽を位置づけた。そして描き手としては空に星があったり、雲があったり、夜空まで多様な季節の輪廻を表したかったように思う。
　そういう「故郷」に対してアクションマンガ風のポージングで全体重を掛けたパンチを繰り出そうとしている。・・・ように見えるけれど、そのパンチの向かう先は、やや方向が違うように意識したと思う。
　まさかこの絵をわたし自身が後生大事に東京暮らしでの「相棒」にしたとは到底考えられない。
　たしかこの絵は、母がわたしの部屋を整理整頓してくれて、そのさまざまな人間痕跡を丹念に保存してくれていたときに保存対象となったのだった。
　まぁ、絵というのはヘタなりに味わい深く、面白いなぁと思う次第であります。

English version⬇

[Embarrassingly [laughs], a mental landscape painting I did when I was around 18 years old.
Thank you, my mother carefully preserved this heta drawing from my youth. It is basically a manga expression. I think the present form of Japanese painting is still manga. I think manga is the current form of Japanese painting.

　Probably everyone has at least one painting that he or she has done themselves.　When we are reunited with such a painting at an older age, the psychology of intense embarrassment seems to gradually fade away, and a “dialogue” finally takes place. The fact that this picture has been in my possession until now clearly indicates that it was an object of recognition, a “punctuation mark” in my personal history.
　After graduating from high school, where I spent most of my time in the student movement, I entered a university in Tokyo and then worked for a company in Tokyo. I have a vague recollection of this painting, and I remember that I painted it as it appeared in my mind when I decided to go to Tokyo to start living there.
　A painting must have some kind of motive for being painted. Even in the case of a landscape painting, the way it is painted reflects the artist’s psychology at that point in time, but gradually the artist concentrates on the original theme of the painting, returns to it, and finally completes the painting with an absent mind.
　However, for a novice, the artist’s psychology is expressed as it is, and the feelings of shame may be heightened. The artist’s mind is filled with a sense of fear, as if to say, “Oh my God, my mind has come out as it is.
　In this picture, the topography of Sapporo, where I used to live, has somehow been cut away to the sea of Ishikari Bay, floating in the air like Hyokkori Hyotan-jima. The mountains near the unusual “artificial sun” depict Mt. Moiwa, which evokes a sense of nostalgia for Sapporo.
　I wonder why the artist chose to depict the land where he used to live in this way, which must be some kind of psychological expression. I don’t think he is taking it negatively because it is a simulation of Hyokkori Hyotanjima. Rather, I think there was a strong perception of an ecological world that could be completed there. From the perspective of the artist, I remember thinking, “What should I do with this ‘artificial sun’? As a result, I positioned the sun at the end of a movable arm like a lighting fixture. And as a painter, I think I wanted to show the stars in the sky, clouds, and even the night sky, as well as the diverse cycle of the seasons.
　The artist is trying to punch such a “hometown” with all his weight in an action manga style posing. It looks like a punch, but I think I was conscious that the direction of the punch is slightly different from the direction of the original.
　It is hard to imagine that I myself would have made this picture my “partner” in Tokyo for the rest of my life.
　I remember that this painting became the object of my mother’s preservation when she rearranged my room and meticulously preserved the various traces of human life in it.
　Well, I think that painting is interesting and tasteful in its own way, even if it is not very good at it.

Posted on 8月 31st, 2024 by 三木 奎吾
Filed under: 日本社会・文化研究 | No Comments »

Screenshot

Screenshot

English version ⬇

The evolution and routinization of nature’s fury
I am getting older and my life time is getting longer, but the recent climate change is almost beyond my empirical knowledge. I pray for the safety of everyone in the wider area. ・・・・・.

　I rarely watch TV in real time. My wife records only the programs she likes (or will like), so most of my real-time information comes from the Internet. When it comes to newspapers, I only occasionally buy an evening paper when I go out to Tokyo. Rather than checking the contents of the paper carefully, I only check a few articles with flashy headlines. I am in the minority among the elderly who mainly rely on media information.
　Even I, however, sometimes find myself glued to NHK’s “weather forecast” for Typhoon No. 10. I am moved by the situation of the people in the areas that are currently in danger. I pray that everyone in the Kyushu area and the areas where the typhoon is expected to pass, above all, avoid danger and act accordingly.
　The unpredictability of this typhoon is still surprising. The westerly winds from the continent have changed so much that it is difficult to measure the percentage of typhoons involved in their paths. From the day before yesterday to the day after yesterday, the typhoon traveled at about the speed of a human walking. As of 5:00 a.m. when I am writing this blog, the real-time report says that the speed was 15 km/h, so it may have started to “move” a little today. In any case, I would like to pray for the safety of everyone in the wide area.

　In such a situation, Hokkaido has been little affected so far. The maximum temperature has cooled down from the 30s for a while and is now hovering around 28 degrees Celsius. Well, it is not like before where the autumn wind blows all at once after the Bon Festival, but we can feel that we are definitely heading toward autumn.
　According to the common sense of Hokkaido people, typhoons rarely come to Hokkaido, but the current forecast is that typhoon No. 10 may traverse the archipelago and hit Hokkaido in the end. The day before yesterday, there was a downpour of rain in Hokkaido, which is unthinkable according to conventional wisdom, so it is important to be cautious about such climate change. I guess we need to make safety decisions first and foremost.
　

Posted on 8月 29th, 2024 by 三木 奎吾
Filed under: 状況・政治への発言 | No Comments »

　ここ１-２ヶ月ずっと掛かりきりの案件があります。ある行政側への「申請」業務なのですが、いろいろに便利な反面、緻密な行政手続き作業とIT対応レベルの社会的不均衡が強く感じられます。行政側とは電話での話合いなのでいちいちの内容確認もしながら、超複雑な手順をくぐり抜けていかなければならない。なんとか「対面で」と希望してもそうはしてくれない。
　そういう作業の中で、ブラウザが保存してくれている「履歴」を消去してからでないと新規ユーザーとして行政側サイトにログインできない、という事象のやむなきに至りました。それを承知の上で進まなければパソコン上での申請作業が進展させられない。「やってください」とのこと。
　で、それでそのこと自体は昨夕遅く役所の時間17:00直前に進展したのだけれど、そこまでの作業過程に疲労困憊してアタマを冷やさねばならなかった。
　で、今朝になってブラウザを立ち上げたら、危惧した通り、いろいろな他のビジネス上の「環境」がすべて「消去」されていた。もう一回、延々と「ID＋パスワード」入力を迫られるサイトが続出してくる。すでにPC利用して30年近い時間が経過しているので自分自身の登録情報も千差万別。
　まぁ行政の対応、IT化と公的情報管理の両面から妥当性はあることだと冷静に判断はできるのだけれど、各人でIT対応力レベルには差異もあるなかで、これははたしてどうかと疑問が湧き上がる。
　IT化というのは日本語文化の１領域としてまだ導入過程だと思います。たぶん古事記・日本書紀の時代の「書き言葉・日本語」の創出期や、西欧社会の文明受容の必要に迫られた日本語の拡張期〜明治の「文豪」の時代と並ぶ大変革。そして現代のITはまだ共通言語化のプロセスなのではないかと思う。
　【隔靴掻痒・かっか-そうよう】という言葉があるけれど、詳細で緻密な部分について具体的なポイントをあきらかにして、その書き方、表現を共通化させるというのは、なかなかの難事。そういうことをパソコンのブラウザ操作の共通理解もあやしいなかで、対応して行くのはさらに困難だということ。
　こういう経験から、行政対応のためのブラウザと、一般使用のブラウザは分けて使った方がよさそうだ、ということはひとつの仮説として浮かび上がってくる。行政対応だけのブラウザであれば通常使用のサイトなどの情報は不要なので遠慮なく「履歴消去」を決断できる。
　しかしこういう情報は多くの経験知に裏付けられているものか、まだわからない。わたしの環境では生起したことだけれど、多くの検証が必要かも知れない。
　しかしつくづくと、日本語（より正しくは日本語コミュニケーション文化総体）というのは常に変化し続けていることが実感させられた。

English version⬇
　
Firefox Browser “Erase History” – IT-ization and Socio-Cultural Friction
Public IT is an inevitable trend. However, will the difficulties multiply in the area of “rigor”? Efforts to create a common language are required. …….

　For the past month or two, I have been working on a case that has been consuming me. It is an “application” to a certain government agency, and while it is convenient in many ways, I feel a strong social imbalance between the detailed administrative procedures and the level of IT support. I have to go through a very complicated procedure while confirming the contents of each and every conversation with the government side over the phone. Even if we somehow hope for a “face-to-face” meeting, they won’t let us do so.
　In the process, we had to clear the “history” stored by the browser before we could log in to the administration site as a new user. I had to know this before I could proceed with the application process on the computer. Please do it.
　So, the application itself made progress late last evening, just before 17:00 government time, but I was so exhausted by the process that I had to cool my head down.
　When I launched my browser this morning, I found that all my other business “environments” had been “erased” as I had feared. Once more, a series of sites that force me to enter my “ID + password” endlessly. I have already been using PCs for almost 30 years, so my own registered information is also very different.
　I can calmly judge the government’s response as reasonable from the perspective of both IT and public information management, but I wonder if this is really the case, given that each individual has different levels of IT skills.
　I think that IT is still in the process of being introduced as an area of Japanese culture. It is probably a major transformation, comparable to the creation of “written Japanese” during the period of the Kojiki and Nihonshoki, the expansion of the Japanese language due to the necessity of accepting Western civilization, and the period of the “great writers” of the Meiji era. And I believe that IT today is still in the process of becoming a common language.
　There is a word “kakka-souyou,” which means “to scratch a itch on one’s own shoe,” but it is quite a difficult task to clarify specific points about detailed and precise parts and to standardize the way of writing and expressing them. It is even more difficult to deal with such a situation when there is little common understanding of how to operate a computer browser.
　Based on this experience, one hypothesis that emerges is that it is better to use separate browsers for administrative use and for general use. If you use the browser only for administrative purposes, you can make the decision to “clear history” without hesitation, since you do not need information about the sites you normally use.
　However, I am not sure if this information is backed up by much empirical knowledge. This happened to me in my environment, but it may require a lot of verification.
　However, it made me realize that the Japanese language (or more correctly, the Japanese communication culture as a whole) is constantly changing.

Posted on 8月 27th, 2024 by 三木 奎吾
Filed under: 状況・政治への発言 | No Comments »

　昨日の「ヒグマ」情報について、いつもわたしの情報発信に対してさまざまにご意見や貴重な知見情報提供をいただく読者のShigeru Narabeさんから、以下のような情報がブログへの「コメント」欄投稿として寄せられたので、とくにご紹介いたします。
　〜・・・札幌市では大学や研究機関と協働してヘアトラップなどで採取した体毛から個々のヒグマのDNAを分析して個体識別を計っている。この三頭のヒグマは春先に山頂付近で冬ごもりのところを見つかった母子と思われる。「さっぽろヒグマ基本計画2023」によると三角山は「ヒグマ対策重点エリア」とされ、ヒグマの定着を抑制すべきエリアとなっているのだが、市の行動は「抑制」に向かっているようには見えない。〜
　おお、であります。三角山山頂付近で「冬ごもり」していた個体群だとすると、ほぼこのエリアを営巣地としていることが推定でき、この母親個体が「定住」しているとすると、そこに「コロニー」がやがて形成される可能性がある。また、この三角山は当然、その後背として札幌南側の山地地域とは同一エリアと見なせるので、単に局地的な動物動態とは言えない広範囲に影響のある状況。とくに周辺住民としては自治体の適切な対応を求めたいところだと思います。
　ただ、ハンターのみなさんに出動をお願いするにしても、人家のある地域なので、とっさのタイミングで求められる発砲判断は非常に困難であることは確かでしょうね。う〜む。
　という追加情報でしたが、わたし的には昨日は早朝散歩もやや迷いが生じて休止しておりました。今後、エリアをより注意深くチェックしていきたいと思っています。
　・・・というところですが、お馴染みの食品買い物スーパー店頭では、新鮮な生ものの「真ほっけ」や「道産のホッケの開き」が目を楽しませてくれていた。読者のみなさんからは生ものから自分で「開き」を作られる方情報が寄せられたりしていますが、いまのところは「また頑張ります」ということでやや腰が引けています。蕎麦打ち・ホッケ背開きと修行の叱咤激励雨あられというところ（笑）。だんだん逃げ場がなくなってきている（泣）。

　道産のホッケの開きと、アメリカ産のホッケは同じ値段で売られていましたが、モノの違いや冷凍して輸送するタイムラグなどいろいろな条件の違いはもちろんありますが、見た目的にはやはり「開き方」に大きな違いがある。道産モノでは「背開き」だけれど、アメリカやロシア産では写真のような「腹開き」が普通。
　たぶん包丁捌き文化の違いがあるのでしょう。あらためて気付かされる。

English version⬇

Additional brown bear information & 3 views of hokke in Sapporo’s market
We received valuable information on brown bears in the neighborhood from a reader. Is a resident brown bear colony in danger? On the other hand, three photos of hokke as a blessing of nature. …

　Regarding yesterday’s “brown bear” information, I received the following information from Shigeru Narabe, a reader who always provides various opinions and valuable knowledge to my information transmission, as a post to the “Comments” section of my blog.
　〜The city of Sapporo is working with universities and research institutes to identify individual brown bears by analyzing DNA from body hairs collected from hair traps and other methods. These three brown bears are believed to be a mother and her cubs that were found at the top of a mountain in early spring while hibernating for the winter. According to the “Sapporo Brown Bear Basic Plan 2023,” Mt. Triangle is designated as a “priority area for brown bear control,” an area where brown bears should be controlled, but the city does not seem to be moving toward “control. ~.
　Oh, yes. If the population was “wintering” near the top of Mt. Triangle, we can assume that this area is almost exclusively used as a nesting area, and if these mother individuals are “settled” there, it is possible that a “colony” will eventually be formed there. In addition, this triangular mountain is naturally considered to be the same area as the mountainous region to the south of Sapporo as its hinterland, so this is not simply a local animal dynamic, but a situation that affects a wide range of areas. I think the local government should take appropriate measures, especially as a resident of the surrounding area.
　However, even if we were to ask hunters to go out to the area, it would certainly be very difficult for them to make the right decision to fire at a moment’s notice in an area where there are houses and people. Hmmm.
　I had to stop my early morning walk yesterday because I felt a little lost. I would like to check the area more carefully in the future.
　However, at a well-known food shopping supermarket, fresh fresh raw “mahi hokke” and “Hokkaido hokke” were a feast for the eyes. I have received some information from readers who are making their own “hokke” from fresh fish, but so far I have been somewhat reluctant to “try again”. I am getting a lot of encouragement for my training in buckwheat noodle making and hokke-birakiraki (back breaking hockey). I am running out of places to escape to.

　The Hokkaido hokke and the American hokke were sold at the same price, but while there are of course differences in the products and the time lag between freezing and transportation, there is still a big difference in the way they are “opened” for visual purposes. The hockey produced in Hokkaido is usually cut open on the back, whereas the hockey produced in the U.S. and Russia is usually cut open on the belly, as shown in the photo.
　Perhaps there is a difference in knife handling culture. I am reminded of this once again.
　
　

Posted on 8月 25th, 2024 by 三木 奎吾
Filed under: おとこの料理＆食 | No Comments »