{"id":37634,"date":"2022-08-14T06:09:49","date_gmt":"2022-08-13T21:09:49","guid":{"rendered":"http:\/\/kochihen.replan.ne.jp\/?p=37634"},"modified":"2022-08-16T19:08:43","modified_gmt":"2022-08-16T10:08:43","slug":"%e3%80%90%e5%8f%a4%e5%a2%b3%e3%83%bb%e5%9f%b4%e8%bc%aa%e3%81%af%e6%96%87%e5%ad%97%e4%bb%a5%e5%89%8d%e3%81%ae%e6%84%9f%e5%8f%97%e6%80%a7%e8%a1%a8%e7%8f%be-%e3%80%8c%e4%b8%8a%e6%af%9b%e9%87%8e%e6%b0%8f","status":"publish","type":"post","link":"https:\/\/kochihen.replan.ne.jp\/?p=37634","title":{"rendered":"\u3010\u53e4\u58b3\u30fb\u57f4\u8f2a\u306f\u6587\u5b57\u4ee5\u524d\u306e\u611f\u53d7\u6027\u8868\u73fe \u300c\u4e0a\u6bdb\u91ce\u6c0f\u300d\u63a2\u8a2a-5\u3011"},"content":{"rendered":"

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\n\u3053\u3046\u3044\u3063\u305f\u9020\u5f62\u610f\u56f3\u306e\u611f\u899a\u306f\u5965\u6df1\u304f\u306b\u6839\u4ed8\u3044\u3066\u3044\u308b\u3002
\n\u8a00\u3063\u3066\u307f\u308c\u3070\u5efa\u7bc9\u7a7a\u9593\u5275\u9020\u306e\u30d1\u30c8\u30b9\u90e8\u5206\u306e\u6587\u5316\u6027\u3068\u3082\u611f\u3058\u308b\u3002<\/p>\n

English version\u2b07<\/p>\n

Kofun and Haniwa are the expression of sensitivity before writing.
\nWhen I look at Haniwa, I am not attracted by its cartoonishness (laugh). It is interesting to know that people in the past also saw things in this way. …<\/p>\n

The culture of kofun tumuli represents a particular period of Japanese culture.
\nIn my opinion, a large part of that culture was replaced by Buddhist temples.
\nThe Kofun culture disappeared around the time of the introduction of Buddhism and its rise.
\nThe Yamato regime used the Kofun culture as an icon during the expansion of its power.
\nThe above photo shows the Oomuro tumulus group.
\nThe photo above is a reconstruction of the Kojiko burial mound in the Omuro burial mound complex.
\nIt is said that the entire tomb was originally covered with white thatched stones.
\nI think it was intended to be architectural in nature.
\nIt was also an icon of massive civil engineering and construction technology.
\nThe Nintoku-ryo and Daisen-kofun tumuli are said to have been built with an awareness of the view from the coastline at that time.
\nTo diplomatic envoys and others who sailed through the Seto Inland Sea
\nIt is said that the intention was to strongly impress the presence of the royalty of this island nation upon diplomatic envoys and others who sailed across the Inland Sea.
\nEventually, the useful thatched stones were gradually stripped away
\nThe thatched stones were gradually stripped away and left in their natural shape of an antero-posterior circle.
\nThe symbolic rituals of kingship in this highly architectural landscape of this shape
\nThe symbolic rituals of kingship were performed here in this highly architectural landscape, thus imprinting a basis of authority and dominance.
\nIn fact, in an age when written records did not exist and circulate
\nI believe that this was an activity to clarify the overall control of politics, economy, and military affairs at a time when written records did not exist and circulate.<\/p>\n

When a person who exercised royal authority died, he or she was
\nWhen a person who exercised royal power died, haniwa (clay figurines) were used as compensation for the act, which was similar to “martyrdom” in later times.
\nThe “Genkan” space, constructed of stone, also houses relics from the past.
\nThe “bas-reliefs” are also placed in the “bas-relief space,” which is made of stone and serves as a time capsule to convey the atmosphere of that period.
\nHaniwa culture is unique to Japan as a creation since the Yayoi period.
\nThe expression of “Uma” (horse) is the root of the Japanese art culture that followed.
\nThe power of abstraction, from Yamato-e to the modern manga culture, is condensed in these expressions.
\nJapanese people have the power of perception and culture to feel this way.
\nWhether it is a burial mound or a haniwa, what kind of value is intended in such a sense of value?
\nIt is interesting to know what kind of reproduction culture was intended for such a sense of value.
\nPerhaps what was intended at the time of production there is the Yamato Royalty culture itself.
\nOf course, the creator and his workshop were located in close proximity to the tomb.
\nIt is possible to imagine the existence of a group of specialists who were retained by the royal authority.
\nIt is clear that a group of experts like the “Kano school” of later generations was involved.
\nThe Taro Okamoto-like emotional wildness left behind by the Jomon period has been replaced by a more scientific and scientific approach in terms of form.
\nThe morphology of the work gives the impression of a science-oriented, science-oriented sense of expression.
\nAs the Yamato kingdom became dominant in the archipelagic society
\nThe Yamato kingdom, which prevailed in the archipelago, recognized and recommended this kind of sensory common sense as a sense of universal design.
\nThe natural progression from the construction of rice paddies and water conduit technology as agricultural engineering technology is the use of scientific simplicity and geometric shapes.
\nDid the emphasis on scientific simplicity and geometric forms take precedence?<\/p>\n

In today’s world of our senses, this kind of sense of formative intent is still a living theme.
\nThis sense of intentionality is deeply rooted in our sensory world today.
\nIn other words, I feel that it is a cultural aspect of the pathos of architectural space creation.<\/p>\n","protected":false},"excerpt":{"rendered":"

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