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【北海道の高齢者「サケ型」心理からの故地探訪】



　ここのところ家の近くの「琴似発寒川」に１日に複数回足を向けている。どうしても「サケ」類の遡上の様子に惹かれる心理が強くなってきている。
　以前のようにただ「季節の風物詩」として眺めている、というよりもなにか、自分自身の内発的な動機がその欲求心情には籠もっているように思える。気付かされるのが次兄からバトンタッチされた家系史研究。
　わが家系では1905年に祖父が北海道に渡って来た。北海道で人生を送るようになって３代。そして自分自身の仕事ライフにも一段落がつき始めたときに次兄から、つい目を覚ませられた気分。
　そうか、人間としての自分には刻みつけられたDNAが息づいていて、そして自分自身にも子ども孫が生まれてきて、その流れのワンパートだと気付かされるのです。自分自身にも「あと」の世代が元気に息づいてきているように、自分自身の人生も先人から受け継いできた流れなのだと。
　そう気付かせていただいて神妙に、少なくとも400年は遡れる血の流れがたどった「地域・土地」の空気に自分の身を置いて感じたいと思うようになってきた。勝手に名付ければ「サケ型心理」。自分のいのちの再確認的な希求なのかと。
　写真上はどんどん個体数が増えて「群れを成して」生まれた「母川」を遡ろうとするサケたち。
　そして、その下の写真は、わたしの家系の家名の故地と思える播州・英賀神社の夕景。
　こういうビジュアルに心理が沈殿してくるのであります。
　まだ毎日12,000歩ほどは歩き回れる体力がある今の人生時間のウチに、子孫のためにもサケの目指しているような、いのちの原点の光景をこのカラダで体験し、伝承しておきたい心理。
　北海道人は大多数がこういうこころの故地を持っている。これまでの人間の寿命は比較的短くて、こういう追究をできにくかったけれど「健康を維持して迎える高齢化」社会の到来で、その最初期にも相当するわたしたち年代は、あらたな「サケ型」領域を開拓すべきでは、ということ。
　でもまぁ、この領域はまだまだ「フロンティア」的でNHK大河で扱うような歴史のメインステージ化させるには、まだまだ時間掛かるだろうなぁ・・・。それと、北海道だけでなく首都圏地域の人びとは？

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English version⬇

[Visiting Their Hometowns: The “Salmon-Type” Psychology of Hokkaido’s Elderly]
A new frontier likely to emerge as human society achieves greater health and longevity. A new frontier in historical dramas where figures like Nobunaga, Hideyoshi, and Ieyasu do not appear. …

　Lately, I’ve been heading to the “Kotoni Hasshikawa” river near my house several times a day. I find myself increasingly drawn to the sight of salmon and other fish swimming upstream.
　Rather than simply observing it as a “seasonal tradition” as I did before, it feels as though there is some kind of intrinsic motivation within me driving this desire. What has made me realize this is the family history research passed down to me by my second-eldest brother.
In my family, my grandfather came to Hokkaido in 1905. Three generations have now lived out their lives in Hokkaido. And just as my own professional life was beginning to settle down, my second-eldest brother suddenly made me wake up to this reality.
　I realized that the DNA etched into my very being as a human being is still alive, and as I now have children and grandchildren of my own, I’ve come to see that I am just one part of that flow. Just as the generations “after” me are thriving, my own life is also part of the stream I’ve inherited from my ancestors.
　Having been made aware of this, I’ve come to feel a solemn desire to immerse myself in the atmosphere of the “region and land” traced by a bloodline that stretches back at least 400 years. If I were to give it a name, I’d call it the “salmon-type mindset.” Perhaps it’s a yearning to reaffirm my own life.
　The photo above shows salmon, whose numbers are steadily increasing, forming a school as they attempt to swim upstream toward their “home river.”
　And the photo below shows the evening view of Aga Shrine in Banshu, which I believe is the ancestral home of my family’s name.
　It is through visuals like these that my psyche settles into a state of tranquility.
　While I still have the physical stamina to walk about 12,000 steps every day—during this phase of my life—I feel a desire, for the sake of my descendants as well, to experience with my own body the scenery representing the origin of life, just as the salmon strive to do, and to pass that legacy on.
　The vast majority of Hokkaido residents have such a spiritual homeland. Until now, human lifespans have been relatively short, making it difficult to pursue such inquiries, but with the arrival of an “aging society” where people maintain their health well into old age, our generation—which is among the very first to experience this—should pioneer a new “salmon-style” realm.
　But well, this realm is still very much a “frontier,” and it will likely take quite some time before it becomes a main stage of history, the kind featured in NHK’s Taiga dramas… And what about people in the Tokyo metropolitan area, not just those in Hokkaido?

● Announcement
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Available on Amazon.

Posted on 9月 28th, 2026 by 三木 奎吾
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【散歩道行かば中央市場で TikTok女子。メディア激変】


　高齢者の「徘徊」スレスレながら（笑）わたしの日々の早朝散歩は、自宅から東西南北あらゆる方向にその食指（足の指）が伸びてきています。おおむね往復で６km超ほど。
　料理数寄が昂じてきているので、最近チョコチョコと「札幌中央市場」場外店群に出没。こちらには目抜き通りに面した観光客向け店舗も多いですが「場内市場」側に面した日用鮮魚専門店舗群もあって、非常にたのしい。ときどき「場内」セリ場もある本格的「卸店舗群」に顔を出すこともあります。わたしは食品製造業を営んでいた生家がこの中央市場と深い「付き合い」があったので、アルバイト的に市場に出入りしていた経験もある。カラダに染みついている部分がある。
　場内の方はほぼ「男の世界」で、活発な掛け声などがこだましていて「札幌市民の台所を支えている」雰囲気が充満している。こういう市場にふだんチョコチョコと散歩がてら背中に布製リュックを背負って、好みの魚があれば背負って帰ってくるのですね。なんか、サケの帰巣的行動と似ているかなぁ（笑）。
　一度、東北からの建築家一行の札幌接遇でここを案内したことがあり、みなさん目を丸くしていたこともありました。「え、三木さん、建築じゃなくそういう筋なの？」
　で、昨日土曜日はいつもの場外店舗群を歩いていたら、こういう光景に出会っていた。
　場内の「男達の世界」とは違って場外では女子も多いのですが、作業用の服装とはいえ煌々と化粧してマイクとスマホ、モニター画面に向かって「現場中継」的な動画番組をやっている（！）。
　おお、であります。
　聞くともなくチラ見していたら「あ、なんか立ち止まって見てくれている（笑）、ウレシイ」みたいにわたしの姿も映ってしまった。聞いたらSNSのTikTokでの放送生中継中。ヘンなオジさんとして視聴者のみなさんに知れ渡ってしまった（笑）。市場の雰囲気を伝えて来場を誘引しようという作戦行動で、その日の目玉商品などの案内をしているようでした。
　わたしはこういう行動派が大好きですが、リアルな現場からのナマの声が自らSNSを利用するのがイマドキの時代相なのですね。「定食化」したオールドメディアはいよいよ追い詰められていくなぁ、と。アメリカトランプ政権もメディアと絶縁関係とのことですが、確かに現代の側面を象徴していますね。
　面白がりつつ、うーむと唸らされておりました。

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English version⬇

[On a Stroll to the Central Market: A TikTok Girl. The Media Landscape Is Changing Dramatically]
I’m on the hunt for some good fresh fish. I ended up going viral on a live social media stream with a weird old guy (lol). It’s surprising how far the world of information has come…

　Although I’m teetering on the edge of “wandering” like an elderly person (lol), my daily early-morning walks have my toes—or rather, my feet—taking me in every direction: north, south, east, and west. It’s generally a round trip of over 6 km.
　My passion for cooking has been growing, so lately I’ve been popping in here and there at the shops outside the “Sapporo Central Market.” While there are many tourist-oriented shops facing the main street, there’s also a cluster of specialty fresh fish shops facing the “market hall” side, which is a lot of fun. Occasionally, I even pop into the authentic “wholesale shops” that include the “market hall” auction floor. My family ran a food manufacturing business that had deep “ties” to this Central Market, so I actually used to come and go through the market part-time as a student. It’s ingrained in me in some ways.
The “Inner Market” side is almost entirely a “man’s world,” with lively shouts echoing through the air and an atmosphere that truly feels like it’s “supporting the kitchens of Sapporo’s citizens.” I often take little strolls through markets like this, carrying a cloth backpack on my back, and if I find a fish I like, I just sling it over my shoulder and head home. It kind of reminds me of salmon returning to their spawning grounds (laughs).
　Once, when I was hosting a group of architects from Tohoku in Sapporo, I took them here, and they were all wide-eyed. “Wait, Mr. Miki, so you’re into that kind of thing instead of architecture?”
　Anyway, yesterday—Saturday—as I was walking through the usual cluster of shops outside the market, I came across this scene.
　Unlike the “men’s world” inside the market, there are plenty of women outside. Even though they were dressed for work, they were wearing full makeup and hosting a “live from the scene” video show (!), facing a microphone, a smartphone, and a monitor.
　Oh, indeed.
　I was glancing over without meaning to listen, and before I knew it, I ended up in the shot—as if they were saying, “Oh, someone’s stopped to watch (lol), that’s so nice.” When I asked, they told me they were live-streaming on TikTok. I ended up being known to all the viewers as a “weird old guy” (lol). It seemed to be a strategic move to convey the market’s atmosphere and attract visitors, as they were promoting that day’s featured items.
　I really love this kind of proactive approach, but it really reflects the spirit of the times—people using social media themselves to share raw, real-time voices from the field. It makes me think that the “formulaic” old media is finally being cornered. I hear the Trump administration in the U.S. has also cut ties with the media—that certainly symbolizes a facet of our modern era.
　I found it amusing, but it also left me pondering.

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

　

Posted on 9月 27th, 2026 by 三木 奎吾
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【サケの遡上観測は視力もきたえる、かなぁ】




　一昨日の「ことし初」のサケ遡上との遭遇以降、時間があると琴似発寒川で観測するように習慣づけ。
　昨日も、朝の散歩時、ついつい足が向いてしまって気がついたら「農試公園」の「いたどり橋」の上から川面を見つめてしまっていた。サケたちはそのDNAが導く本能に従って、生まれた母性の地に還っていくのでしょう。イキモノとしてのその「まっとうさ」に神々しさを見る思い。
　一方それに引き寄せられている人間は、やはり自然の摂理でそういうサケを食糧としようとする人間DNAの性〜サガの現れなのでしょうか。初源的な「動機」はそういったところにあるとは思いますが、しかし人間としても、そういったサケ類の本能には、強くリスペクトする部分があるのではないか。
　そのいのちを捕獲し食する行為には、逆に尊崇するこころが同時に存在すると思う。いのちのやり取り。
　いただいた後、深く感謝するみたいな。アイヌの人びとの心象・儀礼とも通底するのかも。
　米作民族である日本の人びとの内面世界でさまざまな農業関連儀礼が育っていったことと似た心情。
　・・・というところですが、高齢期を迎えたわたしとしてはワクワクしながら川面をみつめて、その魚影をみつけることは、たいへん目の運動に役立っていると思っています。水面にわずかな変調をみつけ、そこから魚影を探知する一連の目視認識は、脳味噌の活性化・賦活行為だと思えるのです。一瞬にしてこころがこどものように若返って、きわめて原初的なこころに身を任せるワケ。こうした行為は、老化をストップすると感じられる。あ、これはあくまで本人の感じ方です（笑）。
　気候変動の日本列島的なあらわれとも思える強雨災害が頻発してきている。激しい雨が降る。川の姿も変わる。人間社会も毎日のように騒がしい。それでも今年もサケは１匹１匹と母川に帰ってきた。
　こうしたサケ類の遡上という自然のいとなみの安定感に癒やされる心理が、現代ではより大きくなっているのでしょう。

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English version⬇

[Watching Salmon Run Upstream Might Be Good for My Eyesight, I Guess]
Salmon run upstream, guided by the maternal call of their DNA. I find this primal behavior thrilling. Straining my eyes to watch each individual fish might actually be good for my brain. …

　Ever since my encounter with the “first salmon run of the year” the day before yesterday, I’ve gotten into the habit of observing the Kotoni-Hassamu River whenever I have a moment.
　Yesterday, too, during my morning walk, my feet just naturally led me there, and before I knew it, I found myself gazing down at the river from the “Itadori Bridge” in the Agricultural Experiment Station Park. The salmon are likely returning to the land of their birth, guided by the instincts encoded in their DNA. I find something divine in that “integrity” as living creatures.
　On the other hand, is the human instinct—or perhaps our nature—that draws us to them simply a manifestation of the human DNA’s tendency, driven by the laws of nature, to seek such salmon as food? I believe the primal “motive” lies in that, but as humans, shouldn’t we also have a deep respect for the instincts of these salmon?
　I think that the act of catching and eating their lives is, conversely, accompanied by a spirit of reverence. An exchange of life.
　It’s like feeling deep gratitude after receiving a gift. Perhaps this resonates with the inner world and rituals of the Ainu people.
　It’s a sentiment similar to how various agricultural rituals developed within the inner world of the Japanese people, a rice-farming culture.
　…That’s my take on it, but as someone who has reached old age, I find that gazing excitedly at the river’s surface and spotting the fish is extremely beneficial for my eye exercises. The entire process of visual recognition—spotting the slightest disturbance on the water’s surface and detecting the fish from there—feels like an activity that stimulates and revitalizes the brain. In an instant, my heart feels rejuvenated like a child’s, and I surrender myself to a deeply primal state of mind. I feel as though this activity actually halts the aging process. Ah, but this is strictly my own personal perception (laughs).
　Heavy rain disasters—which seem to be a manifestation of climate change specific to the Japanese archipelago—are occurring with increasing frequency. Torrential rains fall. The appearance of the rivers changes. Human society is also in a constant uproar, almost every day. Yet even so, this year the salmon returned to their home rivers, one by one.
The sense of stability found in the natural cycle of salmon migration is likely becoming an even greater source of comfort in modern times.

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

Posted on 9月 26th, 2026 by 三木 奎吾
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【ガソリンスタンド改装工事現場をウォッチ】


　ガソリンスタンドって、ほぼみなさん自宅の近くに決めているだろうと思います。
　わが家では、高校同期の友人がやっていた店舗はやや遠くでしたが「ここに決めてるから」と会社の管理車両のGS（と以降、省略表記）で利用していたものが閉店するに伴い、わが家の近くに変更。
　ところがそのGSも今年の６月くらいから「改修」ということで閉鎖。やむなくそのさらに遠く、わが家から1.5kmくらいの販売店で入れています。散歩道の１コースにもなっているので、ときどき「ガソリンスタンドの建築改修工事って、どうなっているんだ？」という興味から覗き見させてもらっています。どうもいまだに「建築の内臓までの観察」動機が内発してくる（笑）。
　モータリゼーションの普及から半世紀以上経過してきて「装置産業」としてのGSも更新時期を一斉に迎えるのでしょう。一時期は、ひょっとして電気自動車の普及でどうなるのか、という疑問もあった業界でしょうが、全世界的にはEVの進展はあるが日本はそうはなっていない。むしろEV車の問題点が出てきている。アメリカのテスラ創業者は目敏く事業基盤を情報産業にも拡大転換させてきている。こちらも日本ではテスラは売れないのが現実のようだ。
　EVと同時並行して拡大したソーラー発電「畑」は、今次の台風で千葉県・印旛沼では冠水後、電気設備のショートが原因とみられる火災が発生。自然災害時の太陽光設備の安全管理という問題も可視化。
　そういう状況の中で、GS業界でこのような「改装」に踏み切る経営者も出てきた、ということか。
　で、装置産業である様子が端的に示されているのが、この写真かと。この改修には約半年かかるとアナウンスされていますが、いったん既存配管を撤去してそのあとに敷設されたのが写真の配管装置。長期にわたる「安全性」「機能性」を確保する根幹部分なのだろうと推測。
　まさに「世に連れ」がわかりやすく可視化されている光景のようで、ときどき工事状況を見学させていただいております。　ふ〜む。

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English version⬇

[A Look at a Gas Station Renovation Site]
Reports of a fire involving a solar power system at Inbanuma. A gas station undergoing a six-month equipment upgrade amid Japan’s low EV adoption rate. A glimpse into the inner workings of the “equipment industry.” …~

　I imagine most people choose a gas station that’s close to their home.
　In our case, the station run by a friend from high school was a bit far away, but since we’d been using it for our company’s fleet vehicles (GS, as it will be abbreviated hereafter) with the excuse, “We’ve decided to use this one,” we switched to a station closer to home when that one closed.
　However, that GS has also been closed since around June of this year for “renovations.” We’ve had no choice but to fill up at a station even farther away—about 1.5 km from our house. Since it’s also part of one of my walking routes, I occasionally stop by out of curiosity to see how the construction and renovation work on the gas station is coming along. It seems my inner urge to “observe the inner workings of a building” still kicks in (laughs).
　More than half a century has passed since the spread of motorization, and gas stations—as part of the “equipment industry”—are likely reaching their renewal phase all at once. At one point, the industry must have wondered what would happen with the spread of electric vehicles, but while EVs are advancing globally, that hasn’t been the case in Japan. Rather, problems with EVs are beginning to surface. The founder of Tesla in the U.S. has shrewdly expanded and shifted his business base into the information technology industry. Here in Japan, too, the reality seems to be that Teslas don’t sell well.
　Meanwhile, solar power “fields”—which expanded in tandem with EVs—were hit by a recent typhoon in Chiba Prefecture’s Imba Marsh, where flooding led to a fire believed to have been caused by a short circuit in the electrical equipment. This has brought to light the issue of safety management for solar power facilities during natural disasters.
Given this situation, it seems some executives in the GS industry have decided to take the plunge and undertake such “renovations.”
　This photo, I think, clearly illustrates the nature of this equipment-based industry. It has been announced that this renovation will take about half a year; the piping system shown in the photo was installed after the existing piping was first removed. I surmise this is the core component designed to ensure “safety” and “functionality” over the long term.
It’s a scene that clearly visualizes how the industry is “keeping pace with the times,” and I occasionally visit the site to observe the progress of the construction. Hmm.

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

　

Posted on 9月 25th, 2026 by 三木 奎吾
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【秋分、札幌市街地・山の手のわが家近くでサケの遡上】



　ここのところ、散歩道のいつものコース、琴似発寒川の流れを注視してきています。だいたい例年、この時期にはわが家のすぐ近く、およそ500mほど西側を流れているこの川に、サケの遡上が見られるので、それを確認したいと思っている次第。
　で、きのうは散歩の帰り道で注視していたところ、上の写真のような魚影を確認。同好のみなさんと橋の上から発見して「おお、サケだ。ことしも来てくれた」と歓喜していた。この草むらの境界線の辺りで体力を温存して、遡上用に流路の一部を工夫したすぐ近くのポイントからジャンプして、さらに上流を狙うのが、例年のかれらの行動パターン。
　とりあえず確認できたのは１匹だけでしたが、これからどんどん増えていくようになる。
　しかし、それを狙って橋の手すりのところには、悪党のカラスどもがまるで人間を威嚇でもするかのように睥睨して睨んでくる。「ここはオレの縄張りだからな」という無言の主張。一昨日までは１羽だけだったものが、きのうには複数個体が周辺を群れるように上空を占拠していた。
　やはり自然の摂理、サケの遡上は間違いがない、その証拠とも思われました。
　AIに画像を確認させても、小石や砂利、砂地を好むサケの習性とその泳ぎっぷり、まっすぐに直線的に泳ぐ姿勢もサケであることを証立てているとの返答。
　人口170万人の大都会のなかで、こういう自然の輪廻を目の当たりにすることができるのは、まことにシアワセ。橋を通る老若男女の目が一斉に輝きを見せてくる。北海道人には独特の「待っていたぜよ
」という共通する思いがあるのだと思います。先日も目で探しているとき、小学校低学年程度とおぼしき子どもさん連れの方と話していて、わたしは子どもさんに「スポット」を教えていた。
　サケの遡上という自然からの叫び声は、住んでいる人間を鼓舞し呼応させるパワーを持っている。
　なんというか、ふるさとを共有するイキモノ同士の対話なのかも知れませんね。
　この個体は「走り」でしょうから、これから多くのサケがわが家のヨコを通って行ってくれることになるのでしょう。大自然のいとなみの素晴らしさに感謝。

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[Salmon Run in Yamano-te, Nishi Ward, Downtown Sapporo on the Autumnal Equinox]
Fish were spotted at a resting spot along the river. The sight has a way of inspiring a collective “Wow!” from everyone watching. A northern metropolis where one can feel in tune with the pulse of nature. …

　Lately, I’ve been keeping a close eye on the Kotoni-Hassamu River along my usual walking route. Around this time of year, salmon are usually seen swimming upstream in this river—which flows about 500 meters west of my house—so I’ve been hoping to spot them.
　So, yesterday, as I was keeping a close watch on my way back from my walk, I spotted a fish silhouette like the one in the photo above. My fellow enthusiasts and I spotted it from the bridge and rejoiced, saying, “Oh, it’s a salmon! They’ve come again this year.” Their usual pattern of behavior is to conserve their energy near the edge of this grassy area, then leap from a nearby spot where the riverbed has been modified to aid their upstream migration, aiming for even higher ground.
　For now, I’ve only confirmed one fish, but their numbers will surely keep growing from here on out.
　However, lurking by the bridge railing, a gang of ravenous crows glared at me as if to intimidate me, as if to say, “This is my territory.” Until the day before yesterday, there was only one, but by yesterday, several of them had taken over the sky above, swarming the area like a flock.
　This seemed to be further proof that the salmon run—a natural phenomenon—is indeed taking place.
Even when I had an AI analyze the images, it confirmed that the salmon’s behavior—their preference for small stones, gravel, and sandy bottoms, along with their swimming style and the way they swim in a straight line—all served as evidence that they were indeed salmon.
　It is truly a blessing to be able to witness this cycle of nature right in the heart of a metropolis with a population of 1.7 million. The eyes of men, women, and children of all ages crossing the bridge light up in unison. I think people from Hokkaido share a unique, collective feeling of “We’ve been waiting for this!”
The other day, while I was scanning the area, I spoke with a parent accompanying a child who appeared to be in the lower grades of elementary school, and I pointed out the “spot” to the child.
　The salmon run—this cry from nature—possesses the power to inspire and resonate with the people who live here.
　How should I put it? Perhaps it’s a dialogue between living creatures who share the same homeland.
　Since this one is part of the “first run,” I imagine many more salmon will be passing right by my house from now on. I am grateful for the splendor of nature’s workings.

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

　

Posted on 9月 24th, 2026 by 三木 奎吾
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【無念無想。雲の流れを見て過ごす１日】


　一昨日の寿司にぎり１升２合で疲れが溜まっていたので、昨日は念を入れてボーッとしていた（笑）。
　わたし以上に疲れがありありと見えていたカミさんも、終日ボーッと。
　こういう「ボーッ」祈願には、わたしは温泉でまったりがいちばんなので、近郊・余市の海岸沿いのお好み温泉へ。湯の質はわかりませんが極上のドロ湯という触れ込み、疲労回復にいいとのご託宣。すぐ近くには大好きな海鮮のお魚屋さんがあるのですが、握り寿司はしばらくは日を置きたいので、きのうは完全スルー。立ち寄ればまたぞろ「お、よさげな鮮魚じゃないか、ふむふむ」と、数寄こころが沸き立つ確率が高いのです。
　という過ごし方でアタマも、休息日を心がけ（って、毎日かも）。
　そういう時はやはり雲と海の表情を見て過ごすのが、最適であります。加齢とともに、少年期のワクワクこころが俄然、復元してきて仕方がない。北海道札幌の空の造形がさまざまに「想像力」を掻き立てててくれた。遠い石狩川の蛇行に沿った上空の「ゴジラたちの行進」模様の雲のつらなりなどが妄想力を涵養してくれた。
　そういういちばん単純な「心理のゆらぎ」に、高齢期の心理は還ってくるのでしょうか。
　この写真は北海道の西岸、日本海側を見晴らす光景です。近くには「フゴッペ洞窟」があって、古代からの人びとの壁画が描かれている。約2,000〜1,500年前の続縄文時代に刻まれた、国内でも非常に珍しい800点以上の岩面刻画（壁画）が残る国の史跡。
　このような地形位置が、こうした壁画芸術の存立基盤であったように思える。この海の先には北東アジアのアムール川流域地帯が広がり、樺太から北海道の西海岸を伝って、この積丹半島地域と交流があったと思えるのです。そうした交流を可能ならしめたのは、海と空の表情に表れる天候条件だったことでしょう。
　「雲行き」を見ながら、フゴッペ洞窟での語らいの前後、船での人びとの交流が妄想されてくる。
　ボーッとしたいとき、ってわたしの場合は常時なのですが（笑）、こういう自然風景の、絵画を超える天地を見ている時間が、サイコーの過ごし方なのであります。無念無想というのは、すばらしい言語表現。

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[No Regrets, No Thoughts: A Day Spent Watching the Clouds Drift By]
The Fugoppe Cave site evokes images of exchanges between Northeast Asia and this region in ancient times. On that seashore, I let my mind wander and give free rein to my imagination…

　I was still feeling the effects of eating 1 sho and 2 go of sushi nigiri the day before yesterday, so yesterday I made a point of just zoning out (lol).
　My wife, who looked even more exhausted than I did, spent the whole day zoning out too.
　For this kind of “zoning out” session, I think relaxing at a hot spring is best, so we headed to Okimi Onsen along the coast in Yoichi, just outside the city. I don’t know much about the water quality, but it’s advertised as a top-notch mud bath, and the wisdom goes that it’s great for recovering from fatigue. There’s a seafood shop I love right nearby, but since I want to give nigiri sushi a break for a while, I completely skipped it yesterday. If I’d stopped by, there’s a high probability my connoisseur’s instincts would have kicked in, making me think, “Oh, that looks like some fresh fish—hmm, hmm.”
　Spending my time this way, I made a conscious effort to give my mind a rest (though, come to think of it, maybe I do that every day).
　On days like that, there’s nothing better than spending time watching the ever-changing expressions of the clouds and the sea. As I get older, that sense of excitement I felt as a boy is suddenly coming back—I just can’t help it. The ever-changing shapes of the sky over Sapporo, Hokkaido, really sparked my “imagination.” The pattern of clouds in the sky—resembling a “march of Godzillas”—tracing the meandering course of the distant Ishikari River, nourished my imagination.
　Perhaps the mind in old age returns to these simplest “psychological fluctuations.”
　This photo shows the view overlooking the west coast of Hokkaido, facing the Sea of Japan. Nearby is “Fugoppe Cave,” which features wall paintings created by people since ancient times. It is a national historic site where more than 800 rock engravings (wall paintings)—extremely rare even in Japan—carved during the Late Jomon period, approximately 2,000 to 1,500 years ago, remain.
　It seems that this specific geographical location served as the foundation for the existence of such wall painting art. Beyond this sea lies the Amur River basin region of Northeast Asia, and I believe there were exchanges between that area and the Shakotan Peninsula region, traveling along the western coast of Hokkaido from Sakhalin. It was likely the weather conditions reflected in the expressions of the sea and sky that made such exchanges possible.
　As I watch the “clouds gathering,” I find myself imagining the interactions between people on boats, both before and after their conversations at Fugoppe Cave.
　When I want to zone out—which, in my case, is all the time (laughs)—spending time gazing at natural scenery like this, at a world that transcends even a painting, is the absolute best way to spend my time. “No thoughts, no worries” is a truly wonderful way to put it.

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

　

Posted on 9月 23rd, 2026 by 三木 奎吾
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【連休で来道の新・親族を手づくり寿司でおもてなし】



　本日は目覚めが遅く、いつもは３時頃のところ６時頃まで就寝していました。爆睡。
　連休中ということで、昨日、息子の嫁さんの親族が北海道旅行に来て孫との再会。楽しい親族の会合。そういうことならと、わが家での「会食」を考えて、メニューは久しぶりの「手づくり握り寿司」という次第。
　十数年以上前からスタッフの慰労を発意してはじめた握り寿司ですが、すっかり「数寄」になってしまって、縁のある参集機会ごとに続けてきています。まぁ素人のヨコ好きなので、仕上げはゴメン、ですが寿司ってそもそもはネタのあれこれを探し求めるのがキモだと思うのですが、冷凍技術機器の進歩と相俟って大衆化してきていると思います。
　今回は北海道積丹半島のスポットなどでカミさんと買い求め続けた海産のあれこれを握ってみた次第。
　一行は午後１時過ぎに来てくれた。わが家に来るのは初めてだったので、建物全体をご案内などすると同時に、ふるまわせてもらった。まぁ出来上がりは素人なのですが歓迎の思いを込めたふるまい。
　久しぶりに握ったので、ネタとシャリの量の加減がボケていて成り行き任せに握っていたら、トータルでは１升２合ほどの寿司飯の分量になっていた。さらに女性が多かったのでカミさんの指示通り「シャリは小さめ」を心がけていたので、たぶん200カンは軽く超え300カン近くになっていたと思われます。よくわからない。だいたい、お迎えの時点でもまだずっと握り続けていて、握りの「集合写真」を取るいとまもなかったのであります。
　写真は、本日わが家の冷蔵庫に仕舞い込まれたにぎりの最後の残り香の様子であります。
　こうした親族会合では「孫のかわいい様子」が最大の主役で、わたしの役はまさに「お膳立て」。こういう役回りになってきたことが最大に嬉しいこと。感謝を込めて、一生懸命に奉仕させていただく気分なのですね。
　ということで本日以降、一行の案内役は孫と息子夫婦とが大車輪。年老いたジイジはバタンキュー状態。
　そういえば、一昨日も終日「泣き相撲」の後見役であれこれという行動疲労も重なっている。
　ブログ執筆の日課を果たした後、ふたたびゴロゴロとすることになるかと（笑）。

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[Treating New Relatives Visiting Hokkaido During the Long Weekend to Homemade Sushi]
It’s been a while, so my instincts have gotten rusty, and my “eye” for the right proportions of toppings and rice has dulled. It took a lot of work to make over 300 pieces of nigiri—using 1 sho and 2 go of rice. Phew.

　I woke up late today—I usually get up around 3:00 a.m., but this time I slept until around 6:00 a.m. I slept like a log.
Since it’s a long weekend, my son’s wife’s relatives came to Hokkaido yesterday to reunite with their grandchild. It was a fun family gathering. With that in mind, I decided to host a “dinner party” at our house, and for the menu, I chose “homemade nigiri sushi”—something I haven’t made in a long time.
　I started making nigiri sushi over a dozen years ago as a way to treat my staff, but it’s turned into a real “hobby” of mine, and I’ve kept it up for every gathering with people close to me. Well, I’m just an amateur who enjoys it for the sake of it, so please excuse the finish—but I think the essence of sushi lies in seeking out all kinds of different ingredients, and with advances in freezing technology and equipment, I believe it’s become more accessible to the general public.
　This time, I made nigiri using various seafood my wife and I have been buying over the years at spots like the Shakotan Peninsula in Hokkaido.
The group arrived a little after 1:00 p.m. Since it was their first time visiting our home, I gave them a tour of the entire house while serving them the sushi. Well, the result was amateurish, but it was a treat prepared with a heartfelt welcome.
　Since it had been a while since I’d made sushi, I’d lost my sense of the proper balance between the toppings and the rice, so I just went with the flow. By the end, I’d used about 1 sho and 2 go of sushi rice. Plus, since there were mostly women present, I followed my wife’s instructions to make the rice portions “a bit smaller,” so I think I easily surpassed 200 pieces and probably ended up with close to 300. I’m not really sure. In fact, I was still rolling sushi even as everyone arrived, so I didn’t even have a moment to take a “group photo” of the finished pieces.
The photo shows the last remnants of the nigiri that were stashed away in our fridge today.
At family gatherings like this, “how cute the grandchildren are” takes center stage, and my role is truly just to “set the stage.” I’m absolutely delighted that this has become my role. With a heart full of gratitude, I feel a sense of duty to serve with all my might.
　So starting today, my grandson and my son and his wife will be working nonstop as the group’s guides. This old grandpa is completely wiped out.
　Come to think of it, the day before yesterday I spent the entire day supervising a “crying sumo” match, so the physical exhaustion from all that activity has really piled up.
　After I finish my daily blog post, I’ll probably just end up lounging around again (laughs).

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

Posted on 9月 22nd, 2026 by 三木 奎吾
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【札幌西野神社にて「泣き相撲」に孫 参戦！】


　昨日は朝のうち一時やや細かい雨が見られて心配した天気は、その後持ち直してどんどん晴れ間が広がるような初秋の一日。
　わが家では孫クンが人生初体験の「土俵入り」を果たしました（笑）。
　って、わたしも息子も、兄弟の子どもたちや孫たちの消息でも、土俵に上がったという経験は聞いたことがない。たまたまそういう機会の情報を初めて知って応募したのだそうです。札幌西野神社恒例の「泣き相撲大会」。
　残念ながら息子は東京出張とバッティングしたのでジイジであるわたしに後見役が当てられ、謹んでその任を果たして参りました。事前に下見も済ませて神さまには参拝もさせていただいていた。孫はふだんの様子からして、泣き相撲にはそれほどふさわしくない様子なのですが、しかし「土俵入り」という人生にとっての貴重な機会。しっかり「カタチを整え」て臨戦態勢。そのファッションにおいて、日本古来の相撲伝統文化に敬意を表して、ハダカで参戦させていただきました。
　事前の情報では、北海道のこの時期らしく服装は「ふだん着の上に鉢巻で、会場側でまわしを着ける」でしたが、天候次第で裸になってもよろしいとのことだった。昨日はこの時間では22-23度ほど。キレイさっぱり、ハダカの上に紙おむつ一丁という、神にすべてを真正直にさらしての参戦。
　親族の思いをも超えた、聖なる土俵への礼を込めた凛々しい姿であります。
　戦いの結果としては、土俵に上がる前から泣き続けていた相方に対して、普段どおりの精神安定ぶりのわが孫は敵うべくもなく敗退しましたが、土俵を下りるまで冷静な表情を崩すことがなかったことは、嬉しかった。敗戦後、抱えて下さった力士の方が小さく孫の手を「ガッツポーズ」させてくれていた。
　相撲の神に敬意を込めてハダカで臨んだことは、なによりほかの参加者の親御さんに「響いた」ようで、その後「お宅の様子を見てウチの子も裸になりました（ニコ）」という反応が寄せられた。
　ジジバカとしては望外のよろこびであります（笑）。
　生後８ヶ月の直前。なにより日本文化の伝統に触れられたことが人生の大収穫。土俵・相撲という神事格闘というものを体験できたことは、一族にとっても誇りとなりました。　深く感謝。

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[Grandchild Competes in “Crying Sumo” at Sapporo Nishino Shrine!]
The twisted headband and sacred straw rope give him a dignified look. Plus, he’s “naked” to show respect for this traditional Japanese “shinto ritual.” He may have lost in the crying contest, but he won big in the fashion department (lol) …

　Yesterday started with a brief spell of light rain in the morning that had me worried, but the weather cleared up afterward, and it turned into a typical early autumn day with sunny spells spreading across the sky.
　At our house, my grandson had his very first “dohyo-iri” experience (lol).
　Come to think of it, neither my son nor I have ever heard of any of our siblings’ children or grandchildren stepping onto the sumo ring. Apparently, he just happened to come across information about this opportunity for the first time and decided to apply. It was the annual “Crying Sumo Tournament” at Sapporo Nishino Shrine.
　Unfortunately, my son’s business trip to Tokyo conflicted with the event, so I, as Grandpa, was assigned the role of guardian, and I humbly fulfilled that duty. I had already done a preliminary visit and paid my respects at the shrine beforehand. Based on his usual demeanor, my grandson didn’t seem like the type for crying sumo, but this was a precious once-in-a-lifetime opportunity to “enter the ring.” He “got himself in proper form” and was ready for battle. As for his attire, to pay respect to Japan’s ancient sumo tradition, he competed completely naked.
According to the information we received beforehand, typical attire for this time of year in Hokkaido is “everyday clothes with a headband, and a mawashi provided by the venue,” but we were told it was acceptable to go naked depending on the weather. Yesterday at that time, it was around 22–23 degrees. Completely bare, wearing nothing but a disposable diaper—I entered the ring, laying everything bare before the gods with complete sincerity.
　It was a dignified stance, filled with reverence for the sacred ring that surpassed even the expectations of my relatives.
　As for the outcome of the match, while my grandson—who remained as calm and composed as ever—was no match for his opponent, who had been crying nonstop even before stepping onto the ring, I was delighted that he never lost his composed expression until he stepped off the ring. After the match, the sumo wrestler who carried him gently raised my grandson’s hand in a small “victory pose.”
　The fact that he competed naked as a sign of respect for the god of sumo seemed to “resonate” most of all with the parents of the other participants; afterward, I received reactions like, “After seeing how your child did it, my child went naked too (smile).”
As a doting grandpa, this was a joy beyond my wildest dreams (laughs).
　Just before he turned 8 months old. Above all, being able to experience this tradition of Japanese culture was a major achievement in my life. Being able to experience the dohyo and sumo—a sacred martial art—has become a source of pride for our entire family. I am deeply grateful.

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

　
　

Posted on 9月 21st, 2026 by 三木 奎吾
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【父と六世の先祖、119年のDNA時間差「筆跡」比較】


　どうも最近、家系史の研究として長兄の「本家」に残されていた遺物・文書類のデジタル化、アーカイブ化に取り組んできて「筆跡」という情報源に気付かされてきている。
　歴史研究としては、家の伝承や公的記録の掘り起こし運命の生々流転を追うのが基本。墓石検証も並行するし過去帳や幕末明治期の最初期戸籍謄本なども基本資料になる。一方で画像は明治以降の人間にしか残らないので、それ以前の確証は得られない。しかし先祖が書き記した痕跡として、書が残っているケースがある。
　わが家系では1815年に６代前の三木寛蔵先祖が書き記してくれた「原氏由来の事」巻物が最古で残されている。一方、既報のように1934年の祖父の葬儀に際しての父の「筆跡」とおぼしき記録が掘り起こされた。
　確実な父の肉筆はそのうちに書簡記録などから兄弟間から出てくると思っているが、親不孝でわたしは手許に持っていない。なのでいまのところこちらが候補。で、既報のように父との肉親としての肌感覚が蘇ってきたと感じたことで筆跡には強い「コミュニケーション要素」があると気付かされた次第。
　であればデジタル化の利点を活かし、DNAの流れでは119年間の時間差があるこのふたりの筆跡を対比できるのではと対比写真画像として生成させてみた。上の写真。
　父の筆跡、さらには６代前の先祖の墨跡についても、伝承やわたしの個人的感覚が根拠なのでまだ不完全だけれど、この手段はひとつの「探索手段」ではないかと思い至っている。
　AIの発展で、むしろこういう手書き文字の「人間性と深くかかわる」独自性が大きな領域として脚光を浴びつつあると言われる。調べてみると、AI的な解析には不向きな領域とわかる。AIからの参考情報は以下。
　〜印刷文字が記号化された情報であるのに対し、手書き文字は筆圧、速度、運筆の揺らぎ、余白の取り方など「その文字を書いた瞬間のその人の肉体性・心理状態・生命の呼吸」がそのまま定着した純度の高いアナログな人間文化領域です。子であるあなたがその「くせ字」を目にした瞬間に単なる言葉の意味を超え、お父様の内面性や生前の気配に直接触れさせられるような感覚を覚えるのは、まさに手書き文字が持つ「生体情報」の力です。〜　ふーむ。
　というような前段に踏まえ「比較対照」に心意を凝らして見つめてきています。

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[Comparing the “Handwriting” of My Father and a Sixth-Generation Ancestor: A 119-Year DNA Time Gap]
Yesterday’s post explored the study of “characteristic handwriting,” even going as far as Wang Xizhi. This led me to realize that analyzing handwriting could also be beneficial for genealogical research. …

　Lately, as part of my family history research, I’ve been working on digitizing and archiving artifacts and documents left behind at my eldest brother’s “main family home,” and in the process, I’ve come to realize the value of “handwriting” as a source of information.
　In historical research, the basic approach is to unearth family traditions and public records to trace the vivid twists and turns of fate. I also verify gravestones in parallel, and family registers as well as the earliest copies of household registers from the late Edo and early Meiji periods serve as primary sources. On the other hand, since photographs only exist for people from the Meiji period onward, we cannot obtain definitive proof of events prior to that time. However, in some cases, written documents remain as traces left by our ancestors.
　In my family lineage, the oldest surviving document is a scroll titled “The Origins of the Hara Clan,” written in 1815 by my sixth-generation ancestor, Miki Kanzo. Meanwhile, as previously reported, a record believed to be my father’s “handwriting” from my grandfather’s funeral in 1934 was unearthed.
　I believe authentic examples of my father’s handwriting will eventually surface from correspondence or other records among his siblings, but—unfortunately—I do not have any in my possession. Therefore, for now, this serves as a candidate. As I mentioned earlier, the fact that this brought back a visceral sense of my close bond with my father made me realize that handwriting possesses a strong “element of communication.”
　With that in mind, I decided to take advantage of the benefits of digitization and generate a side-by-side comparison of their handwriting—a pair separated by 119 years in the DNA lineage—as shown in the photo above.
　While my understanding of my father’s handwriting—and even that of my ancestor six generations back—is still incomplete, relying solely on oral tradition and my personal intuition, I’ve come to believe this method could serve as a valuable “means of exploration.”
　With the advancement of AI, it is said that the uniqueness of handwritten characters—which is “deeply connected to humanity”—is actually gaining prominence as a major field of study. Upon investigation, I found that this is an area ill-suited for AI-based analysis. The following is reference information from AI sources.
　~While printed text is symbolic information, handwriting is a highly pure, analog realm of human culture in which “the physicality, psychological state, and vital breath of the person at the very moment they wrote the character”—as reflected in pen pressure, speed, fluctuations in stroke, and the use of white space—are directly captured. The moment you, as a child, see that “quirky handwriting,” you feel something that transcends the mere meaning of the words—a sensation of directly connecting with your father’s inner self and the presence he left behind. This is precisely the power of the “biometric information” inherent in handwriting. ~ Hmm.
Based on this introduction, I have been carefully examining the subject with a focus on “comparison and contrast.”

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

　
　
　
　

Posted on 9月 20th, 2026 by 三木 奎吾
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【え？ 王羲之が北海道「開拓紀念碑」を揮毫？・・・】


　先日、機会があって札幌市の中心部にある「大通公園」を通りがかっていた。
　わたしは３歳から17歳くらいまで現在の札幌市中央区北３条西11丁目に家があったので、大通公園は独特の血肉感が感じられる公共空間です。その距離スパン感覚や通路と緑地のバランスなど、ほとんど気がつかないような部分で「原初的」な空間認識となっている。
　そんな空間だけれど、仔細にしげしげと全部を記憶しているわけではない。
　で、ふと見上げた「開拓紀念碑」につい目が引き込まれていた。子どもの頃にはたしかこういう石碑はあったよな、という記憶程度。再見した今回も、あ、そうだ、ちょっと見ておくか、という軽い認識。
　そこで気付かされたのが、「記」ではなく「紀」と書かれていることの軽い気付き。こういうのは子ども時代にはあんまり気付くことはないでしょう。しかしよく見ていると、これらの文字の書き下し方というか、個別の文字の「配置バランス」にちょっとした違和感は感じてしまった。
　そこで、台座のヨコに置かれていた説明を読んでいた。「え、なに？王羲之？」

　子ども時代に「王羲之」という名前は気付くわけもない。
　多少は歴史に興味を持つようになって、漢字という文字文化、書聖としてその人名を知った。石碑に彼の生きた時代（303〜361年）の記載があるように、北海道開拓時期とは、1500年以上の時間差がある。
　え、どういうこと？と、時間認識の迷宮に突き落とされてしまったが、説明文でようやくその経緯を知った次第。「題字は、王羲之の書から５文字を＜拾い＞刻まれたもの」。
　なんだ、そういうことかよ、であります。
　そのような「事情」を知った上で再度碑文の文字バランスを再見すると、謎解きの部分は解消されて、その「拾った」行為と全体の整合性という部分に「不整合」を感じさせられてしまう。
　北海道開拓という明治国家としての大プロジェクト、そしてわたしの血脈もそのワンピースではある国家事業へのある種の「祈念碑」的なものを、という気持ちは十分にわかる。しかし・・・。王羲之の書という思いもわかるのだけれど、いかにものバランスの失いぶりに無念感が感じられる。
　この石碑が、今日に至るもあまり札幌市民、北海道民に伝承されていないことが深く理解されてくるに至っていた。現実にはハッキリと向き合う必要がある。

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English version⬇

[Huh? Wang Xizhi wrote the inscription on Hokkaido’s “Pioneer Memorial”?…]
An inscription by the “Sage of Calligraphy,” transcending some 1,500 years of time. No way! As a Hokkaido resident, I felt a bit deflated after learning the truth. What should we do with it for future generations?…

　The other day, I happened to pass by “Odori Park” in downtown Sapporo.
Since I lived at what is now Kita 3-jo Nishi 11-chome in Chuo Ward, Sapporo, from the age of three until I was about 17, Odori Park is a public space that feels uniquely familiar to me. Its sense of spatial scale and the balance between walkways and green spaces—details I hardly even notice—have become part of my “primordial” perception of space.
　Even though it’s a space like that, I don’t remember every single detail in minute detail.
So, when I happened to look up, my eyes were drawn to the “Pioneer Monument.” My memory of it was merely a vague recollection from childhood—something like, “I’m pretty sure a stone monument like this was here back then.” Even upon seeing it again this time, my reaction was a casual, “Oh, right—I guess I’ll take a quick look.”
　That’s when I noticed something: the character was written as “紀” rather than “記.” You probably wouldn’t notice something like this as a child. But looking closely, I felt a slight sense of unease about the way these characters were written—or rather, the “compositional balance” of the individual characters.
So I read the explanation placed next to the pedestal. “Huh? What? Wang Xizhi?”

　As a child, I certainly wouldn’t have recognized the name “Wang Xizhi.”
It wasn’t until I developed a passing interest in history that I learned about the culture of Chinese characters and came to know his name as the “Sage of Calligraphy.” As indicated by the inscriptions on the stone monument detailing the period in which he lived (303–361), there is a time gap of more than 1,500 years between his era and the period of Hokkaido’s settlement.
　“Huh? What does that mean?” I found myself plunged into a labyrinth of temporal confusion, but the explanatory text finally clarified the circumstances: “The inscription was carved by ‘selecting’ five characters from Wang Xizhi’s calligraphy.”
　Oh, so that’s what it was all about.
　Once I learned these “circumstances” and took another look at the balance of the characters in the inscription, the mystery was solved—but I couldn’t help but feel a sense of “inconsistency” between the act of “selecting” those characters and the overall harmony of the piece.
　I fully understand the sentiment behind creating a sort of “commemorative monument” for the Meiji government’s massive project of Hokkaido’s settlement—a national endeavor of which my own lineage is also a part. However… I also understand the desire to incorporate Wang Xizhi’s calligraphy, but the sheer lack of balance leaves me with a sense of regret.
　I’ve come to deeply understand why this monument has not been widely passed down to the citizens of Sapporo or the people of Hokkaido to this day. We must face reality head-on.

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

Posted on 9月 19th, 2026 by 三木 奎吾
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