{"id":45533,"date":"2024-12-28T06:17:42","date_gmt":"2024-12-27T21:17:42","guid":{"rendered":"http:\/\/kochihen.replan.ne.jp\/?p=45533"},"modified":"2024-12-28T06:17:42","modified_gmt":"2024-12-27T21:17:42","slug":"%e3%80%90%e5%a7%ab%e8%b7%af%e3%83%bb%e6%95%b0%e5%af%84%e5%b1%8b%e5%bb%ba%e7%af%89%e3%80%8c%e6%9c%9b%e6%99%af%e4%ba%ad%e3%80%8d%e3%81%a8%e9%9a%9c%e5%a3%81%e7%94%bb%e3%80%91","status":"publish","type":"post","link":"https:\/\/kochihen.replan.ne.jp\/?p=45533","title":{"rendered":"\u3010\u59eb\u8def\u30fb\u6570\u5bc4\u5c4b\u5efa\u7bc9\u300c\u671b\u666f\u4ead\u300d\u3068\u969c\u58c1\u753b\u3011"},"content":{"rendered":"

\"\"<\/a>
\n\"\"<\/a>
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\n\"\"<\/a>
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English version\u2b07<\/p>\n

Himeji, Sukiya-style architecture \u201cBokkei-tei\u201d and wall paintings.
\nThe \u201cKacho-fu-getsu\u201d worldview is expressed in every place and fixture of the sukiya-style architecture. This is the world of the highest Japanese sensitivity and value. There is no blizzard in winter as the theme of the paintings. \u30fb\u30fb\u30fb\u30fb.<\/p>\n

\u3000In Hokkaido, the culture of high-class residential architecture dates back to the early Meiji period (1868-1912), with buildings such as the Seikatei and the Toyohirakan, which were built for the Emperor Meiji as his \u201cthrone room,\u201d but I think that from the beginning, the central axis and backbone of Japanese residential culture was how to respond to the \u201cgiven conditions\u201d as architecture in a cold region. The experience of space there is the backbone of the Japanese residential culture.
\n\u3000From the perspective of someone who is a native of Himeji and experienced the space there, it seems to me that the high-class sukiya architecture of Himeji was ultimately about the visual artistry of the garden landscape and the \u201cborrowed landscape\u201d environment inside and out. I am always reminded of the fundamental difference between the traditional values of Japanese architecture and these traditional values.
\n\u3000The sensibility of the architectural interest is always focused on the visual artistry of the building. In contrast, the architecture of Hokkaido has always given priority to human habitability, protecting the interior from the harsh natural environment of winter, when violent blizzards run rampant through the interior and make it unbearable to live in. In the interior space of this high-class sukiya house in Himeji, the motive of the architecture was to give the highest priority to the view, which is easy to understand: \u201c\u671b\u666f\u201d, which means \u201cto look out over the landscape\u201d.
\n\u3000From this motive for spatial composition, the changing nature of the four seasons became the primary concern in the composition of the paintings. The main area of interest was naturally \u201cflowers, birds, wind, and the moon. Emotional exchanges like \u201cthe mercy of things\u201d must have been sublimated to the greatest concern.
\n\u3000Although I have spent my life in the \u201cother world\u201d of Hokkaido, as a person whose family roots are in the southern part of Honshu, I understand the culture and spirituality of the sukiya as a bloodline, so to speak. I can understand it and accept it, but at the same time, I continue to think that this kind of spiritual world is a \u201cfloating worldview. If I were to depict this kind of flower, bird, wind, and moon in Hokkaido, I would have to find a way to depict the blizzard in winter, which is rarely depicted in architecture in the southern part of Honshu. Inevitably, this expression goes far beyond the \u201cbox garden\u201d spatiality.<\/p>\n

\u3000When I saw the works of Japanese-style painter Sumio Goto at a gallery in Furano, the architecture itself was built facing the majestic Hokkaido-like mountain range in front of it, not the mental image of capturing nature in a box garden. In other words, it is a \u201cpost-Kacho-fu-getsu\u201d style of expression. If anything, the works are more like Western-style paintings framed in a frame. When we appreciate such paintings in our homes, they are displayed on the wall as \u201cframed paintings.
\n\u3000I felt a sense of discomfort with the spatiality of the fittings themselves, as in this \u201cBokkeitei,\u201d but I also felt a sense of \u201cah, I like it\u201d and naturally wanted to \u201csynchronize\u201d with it. A dream that will never be fulfilled.<\/p>\n","protected":false},"excerpt":{"rendered":"

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