【省エネ新基準・最上位等級７ さて寒冷地では？】

感染症による社会閉塞、通常のコミュニケーションが不通となるなかで
国交省からこれまでの省エネ等級基準に対してあらたに
等級６と７が発表され、国会でも通過した。
こうした状況を受けて建築業界の「世論」がどう反応していくのか、
依然として感染症による他者非難の暴風圧があるなかでは
自由闊達な意見交換機会が再開されるまでに至っていない。
本来、国の基準更新はもっと自由な対話環境が必要ではないかとは思う。
まぁしかし、現実はこのように進行しているので対応して行く必要がある。

寒冷地では自由往来も限定され住宅関係の団体ミーティングも
ようやく６月くらいから萌芽的に再開してきている。
北海道でも来週にアース21の例会がリアルとZoomのハイブリッド開催。
新住協札幌支部の会合も「現場見学会」のみ先週開催というところ。
当然、省エネ等級更新、最上位等級７についての
自由な意見交換もまだ聞くことが出来ない。
そんななか、新住協関西支部の６月の勉強会が開催されて
久しぶりに鎌田紀彦代表理事の講演を聴講することができた。
今回の等級７基準について、それに対応する断熱手法を検討するもの。
関西支部での勉強会なので基本的には温暖地域での対応法が検討されていた。
ただ、わたし的には寒冷地１〜２地域での断熱手法に当然興味を持っていた。
徹頭徹尾、図表と数式による講演でしたが、
そのなかで寒冷地に示されていたのは図のような外壁構成。
案の上ではありますが、北海道では壁厚300mm超というのが対応法になる。
断熱材の厚みで210＋100mmで、その外側に外装が施される想定。
壁厚は普通に考えれば350mm超になっていく。
単純に４間四方の16坪平面の住宅を想定すると、おおむね３坪面積相当の
断熱壁ということになる。比例で言えば100：18.75の比率。
パッシブハウスというドイツ主唱の基準は北海道ではほぼ無理筋と
一顧だにされなくなった。それが寒冷地住宅市場の常識的反応。
少なくとも都市環境・狭小敷地化が進行する最大消費地域・札幌で
外壁占有率が２割近いというのは現実的ではないという市場反応です。
人間は外壁をつくるために家を建てるのではない。
たのしく暮らすために家を建てるのであって、基準のためではない。
また鎌田先生の講演ではこの基準対応のコストアップが
かなり大幅にならざるを得ず、ユーザーの支持が得られるかどうか、
といった提起もされていた。課題の最先端地域そのもの。

温暖地の住宅性能を向上させる基準誘導には意味がある。
いま北海道で普通に建てられている断熱仕様の住宅を温暖地で建てれば
最高等級７は容易に実現する。寒冷地市場が先導して実現のコスト合理性もある。
しかし一方で、寒冷地域のユーザーはこの新基準にどう反応していくか、
かなり視界不透明ではないかという印象を持った次第。・・・


English version⬇

New Energy Conservation Standard, Highest Grade 7, Now in Cold Regions?
The cold region housing market has pioneered energy-saving insulation methods and achieved cost reductions through mass construction. Now, with the Grade 7 standard, we are once again at the "cutting edge of the issue. ...

Amidst the social blockage caused by infectious diseases and the lack of normal communication
The Ministry of Land, Infrastructure, Transport and Tourism (MLIT) has announced new energy conservation grade standards
The Ministry of Land, Infrastructure, Transport and Tourism (MLIT) has announced new energy efficiency rating levels 6 and 7, which were also passed by the Diet.
How will "public opinion" in the building industry react to this situation?
With the storm pressure of blaming others due to infectious diseases still in place, it is difficult to know how the public will react.
The opportunity for a free and vigorous exchange of opinions has not yet resumed.
In essence, I think that the renewal of national standards requires a more liberal environment for dialogue.
Well, however, the reality is that this is the way things are progressing, and we need to deal with it.

In cold climates, free traffic is limited and housing-related group meetings are not being held.
Finally, meetings of housing-related organizations have begun to sprout from around June.
In Hokkaido, the Earth 21 meeting will be held next week as a hybrid of real and Zoom.
The Shinjyukyo Sapporo Chapter also held a "site tour" only last week.
Naturally, the free exchange of opinions on the renewal of the energy efficiency rating, the highest rating of 7, has yet to take place.
The New Jyukyo Kansai Branch is also holding a hybrid meeting of real life and Zoom.
In the meantime, the June study meeting of the Shinjyukyo Kansai Branch was held.
I was able to listen to a lecture by Representative Director Norihiko Kamata for the first time in a while.
The lecture was about the new Grade 7 standard and the corresponding heat insulation methods.
Since it was a study session of the Kansai Branch, basically the methods to be used in warm regions were discussed.
However, I was naturally interested in the insulation methods for the first two cold regions.
The lecture was based entirely on charts and mathematical formulas.
In the lecture, he showed the exterior wall configuration for cold regions as shown in the figure.
Although it is just a suggestion, in Hokkaido, the corresponding method is to have a wall thickness of over 300 mm.
It is assumed that the thickness of the insulation is 210 + 100 mm, and the exterior is applied on the outside of the insulation.
The wall thickness would normally be over 350mm.
Assuming a simple 4-ken square 16 tsubo flat house, this means that the insulation wall is equivalent to an area of approximately 3 tsubo.
It means that the insulation wall is equivalent to about 3 tsubo area. The ratio is 100:18.75.
The German standard of "passive house" is now considered to be almost impossible in Hokkaido.
The German standard of "Passive House" is no longer considered a viable option in Hokkaido. This is the common-sense reaction of the cold-region housing market.
At least in Sapporo, the largest consumption area in Japan, where the urban environment and small lot sizes are progressing, the percentage of exterior walls occupied by houses is close to 20%.
The market reaction is that an exterior wall occupancy rate of nearly 20% is unrealistic, at least in Sapporo, the largest consumption area in Japan, where urban environments and small lot sizes are progressively being developed.
People do not build houses to build exterior walls.
They build houses to live happily, not for the sake of standards.
In addition, Dr. Kamada's speech showed that the cost increase to comply with this standard would have to be quite large, and that the support of users would be very important.
The cost increase to comply with this standard would have to be quite large, and he wondered whether he would be able to gain the support of users.
The area itself is at the forefront of the issue. The region itself is at the forefront of the issue.

It is meaningful to induce standards that improve housing performance in warmer regions.
If houses with insulation specifications that are commonly built in Hokkaido are built in warmer regions, it is easy to achieve the highest grade 7.
the highest grade 7 can be easily achieved. The cold-region market is leading the way, and there is cost rationality in achieving this.
On the other hand, however, I have the impression that users in cold regions may not be so sure about how they will react to the new standard.
I have the impression that the market in cold regions is not very clear. ...

【国家始原の技術力「鍛冶工房」 飛鳥歴史証言-5】

きのうは飛鳥大仏という具体的な金属加工芸術品とその生産を考えた。
文明が進歩発展していくということは
めずらしきもの、キラキラしたるものが起爆力として先導していく。
日本国家の始原期・飛鳥の時代において「近代化思想」は仏教が先導役。
八百万の自然崇拝型の民のこころに「刺さる」ものとして
極限的には仏像であるとか、金属加工物が果たした役割は計り知れない。
列島各地域に八百万として存在した地域権力に対して
中央権力機構としてかれらを支配し服従させるのに、金属加工の技術力は
即物的なパワーとして機能したに違いない。
各地域の権力者にしても、自らの正統性を誇示するには
中央王権との強固な結びつきを目にもあきらかにすることは
必需的な動機形成だったことだろう。

写真は池工房遺跡の上に建つ奈良県立万葉万葉文化館展示から。
飛鳥池工房遺跡からは金の粒と金箔、銀片などと
金や銀を溶かしたとみられる坩堝が見つかり金銀の加工が確認された。
玉とされた「ガラス」類も出土している。

出土状況から多量の金銀の扱いが推定される。
「銀も黄金も玉もなにせむに、勝れる宝、子に及〜しかめやも」
有名な山上憶良の歌は飛鳥で身近に生産される工程を見ていた証拠か。
当時金は国内からは産出されず、朝鮮を経てもたらされていた。
銀については国産の可能性もある。
日本で鉄器は弥生時代から使われ始めた。大陸・半島からの伝来。
古墳時代には全国的に普及していた。
水田耕作は最初期は「芦原の中津」を探して造作していったのだろうけれど、
徐々にそうした自然状態の最適地は探し尽くされ、
その後は鉄器による開墾と土木が不可欠な土地に用地を拡大したのだろう。
そうするとより強力なスキ・クワの類が必需品化していった。
飛鳥池工房での鉄製品のなかでいちばん多く出土するのはクギ。
ほかにはカスガイ、ノミ、タガネ、刀子など建築の基本材料。
それまでの木繊維での編み上げ結束工法の限界を超える接合部の
補強金物の出現で建築の大型化、多層化が実現していった。
列島内で鉄が生産されなかったことから、朝鮮半島での利権維持が
列島王権の不可欠な「生命線」になって、やがて白村江出兵のような
直接的関与の伏線動機になっていく。
その後、山陰地方で鉄鉱山が開発されるようになって
全国各地で鉱脈が発見され、同時に海に囲まれた大量の森林資源が
鉄生産に不可欠なバイオマス資源として活用されていく。以降、
江戸末期までにはほぼ全国の山は「ハゲ山」と化すほどに開発された。
江戸幕府は頻繁に「留め山」のような森林保護令を発している。
結局はこうした資源エネルギーの推移が日本史の主役とも言える。

このことは人類史全般でもまったく同様。
列島社会では建築は石ではなく木造で発展していくことになるが、
奈良期の建築の大型化、大量化は資源の枯渇を招き
鎌倉初期の奈良大仏殿再建工事では山口県地方まで良材を求めたりしている。
飛鳥池工房はこうした日本の金属加工・工業そして建築の起点として
始原期の状況を生々しく伝えてくれている。


English version⬇

Asuka Historical Testimony - 5] "Blacksmithing Workshop," a Technological Force at the Beginning of the Nation
Metalworking "industrialization" was essential for a nation to grow into an archipelagic society. Resources and energy are the universal historical factors of mankind. ...

Yesterday, I considered the Asuka Great Buddha, a concrete metalworking artifact and its production.
The progress and development of a civilization is
The progress and development of a civilization is driven by something unusual and sparkling as a catalyst.
In the Asuka period, the original period of the Japanese nation, Buddhism played a leading role in the "modernization idea.
Buddhism was the one that "stuck" in the hearts of the 8 million nature-worshipping peoples.
In the extreme, the role played by Buddhist statues and metalwork is immeasurable.
In contrast to the local power that existed in each region of the archipelago as eight million people, the central power structure
The technical power of metalworking functioned as an immediate power to control and subjugate them as a central power structure.
The metalworking technology must have functioned as an immediate power to control and subjugate them as a central power structure.
In order to show off their legitimacy, the local authorities had to
It was a necessary incentive for each regional power to make its strong ties to the central
This must have been a necessary motive.

The photo is from the exhibition at the Nara Prefecture Complex of Manyo Man'yo Culture Museum, which stands on top of the Ikegakobo site.
From the Asuka Pond Studio site, gold grains, gold leaf, silver fragments, and other items that appear to have been melted down into gold and silver were found.
The crucible in which the gold and silver were melted was found at the Asuka Pond Studio site, confirming the processing of gold and silver.
Glass, which was thought to be jade, was also excavated.

The excavation of the crucibles suggests that a large amount of gold and silver was handled.
What is silver, gold, and jade, but a treasure so great, that it may be passed on to a child?
This famous poem by Yamakami Imura may be evidence that he was familiar with the production process in Asuka.
At that time, gold was not produced domestically, but was brought to Japan via Korea.
Silver may have been domestically produced.
Ironware began to be used in Japan from the Yayoi period. They were introduced from the continent and peninsula.
They were widespread throughout the country during the Kofun period.
Paddy field cultivation probably started in the beginning by looking for "Ashiwara no Nakatsu" (the middle of Ashiwara).
Gradually, the best sites in such natural conditions were exhausted.
After that, the land was expanded to areas where cultivation and civil engineering with iron tools were indispensable.
As they did so, more powerful skis and spears became a necessity.
Among the iron artifacts excavated at the Asukaike workshop, the most frequently found item was a spike.
Other basic building materials include kasugai, chisels, taganes, and sword hammers.
The emergence of reinforcing hardware for joints, which exceeded the limits of the previous method of weaving and binding wood fibers, led to the development of the construction method.
The emergence of reinforcing hardware for joints that exceeded the limits of the wood-fiber weave-and-bind method led to the realization of larger, multi-layered buildings.
Since iron was not produced in the archipelago, the maintenance of interests on the Korean peninsula was an essential "life force" for the kingship of the archipelago.
This became an indispensable "lifeline" for the royalty in the archipelago, and eventually became a foreshadowing motive for direct involvement, such as the invasion of the Hakuchon River.
This became a foreshadowing motive for direct involvement.
Later, iron mines began to be developed in the San'in region, and
The discovery of mineral deposits in various parts of the country, and at the same time, the large amount of forest resources surrounded by the sea
biomass resources essential for iron production. Since then
By the end of the Edo period, almost all the mountains in the country were developed to the extent that they were turned into "bald mountains.
The Edo Shogunate frequently issued decrees to protect forests, such as the "Maeyama (mountain retaining)" ordinance.
In the end, these resource-energy transitions can be said to have played a leading role in Japanese history.

The same is true of human history in general.
In archipelagic societies, architecture developed not from stone but from wood.
However, the increasing size and mass production of architecture during the Nara period led to the depletion of natural resources, and the development of wooden architecture in the early Kamakura period led to the development of the Great Buddha in Nara.
The large size and mass production of buildings during the Nara period (710-794) led to the depletion of resources, and the reconstruction of the Great Buddha Hall in Nara in the early Kamakura period (1185-1333) required the use of timber from Yamaguchi Prefecture.
Asuka Ike Kobo is the starting point of metalworking, industry, and architecture in Japan.
The Asuka Pond Studio vividly conveys the conditions of the early days of metalworking, industry, and architecture in Japan.

【飛鳥寺と「池工房」＆聖徳太子 飛鳥歴史証言-4】

ことしは聖徳太子没後1400年ということだそうで、
なかなかかわいらしいイラストによる告知がされている。
飛鳥寺からは摂政であった太子と大臣・蘇我氏の関係性もうかがえる。
上の写真は現地を歩くと飛鳥寺とは指呼の間である飛鳥の池工房。
本当に歩いて数分、距離にしたら200-300mなので
今日の感覚で言えば、寺の隣に仏像制作工場が隣接している感じ。
なので飛鳥大仏制作責任者・鞍作止利は頻繁に工房と寺を往復していたに違いない。
権力中枢が深く関与する崇高な秘事・仏像制作風景というよりも
なにか牧歌的なものづくりプロセスを感じさせてくれる。
この時代の仏像工房がこの「池工房」だっただろうという
推測に基づいた考え方だけれど、この時代の最先端技術の集中的施設が
ここ以外に別に存在したと考えるよりも、より蓋然性が高いと思う。
そういえば飛鳥大仏を、完成した寺のなかに入れる段になって、
建築寸法と仏像本体に齟齬が発見されて止利仏師の機転で無事入れられた、
というような家内制手工業のような逸話も残されている。
仏教導入という日本の権力機構にとっての飛躍的事業の実質とは、
生々しい昔人の奮闘ぶりだったとまざまざと想起させてくれる。

仏像制作者たちと寺との距離がその程度であり、
また朝鮮半島から大工職人たちが最先端木造工法技術者として招かれ
この飛鳥寺建設にフルに従事していたというのだから、
この時代の生き生きとした仕事ぶりが立ち上ってくる。
棟梁クラスの半島大工職人の手下スタッフとして
日本人の大工さんたちも忙しく立ち働いていた光景が想像できる。
たぶん半島と日本ではコトバも通じていた可能性が高い。
聖徳太子の生年は574年2月7日とされ、
一方の飛鳥寺の創建は日本書紀では587年とされる。
そうすると、13-4才の多感な時期にこのような飛鳥寺建設に遭遇していた。
この時代の最先端、総力を挙げたプロジェクトがかれに植え付けたものはと
強く想像力を刺激されてならない。絵柄の年代もちょうど感。
飛鳥板蓋宮もここから歩いても十数分の距離感。
なにやら池工房での活発な金属加工そのものが日本国家を創成したような
そんな実感が強く胸に迫ってくるのですね。
わたしたちには現代国家という機構組織にどうしても
アナロジーして過去の国家の姿を類推する習慣が強いのだけれど、
本当に「家内制手工業」的に国家は作られた、みたいな感慨を抱く。

そんなことを妄想していたら、昨日は建築家の丸谷博男さんが来札されて、
夕方６時からたっぷり４時間ほど少人数で意見交換させていただいた。
氏は東京芸大建築の本流のような立場の方なので、
自然とこういう国宝的仏像制作の調査研究ということに話がつながった。
東京芸大では国の始原期の芸術作品についても現場的に立ち入るのだという。
「どうやって作ったのか」についても独特の話題が飛び出して痛快（笑）。
リアリティで盛り上がっておりました。また明日以降。


English version⬇

Asukadera Temple, "Ike Kobo" & Prince Shotoku Asuka Historical Testimony-4
Asuka Daibutsu and the vivid process of its creation, which the boy Prince Shotoku gazed at with a sparkle. The introduction of Buddhism and the atmosphere of nation building. ...

This year is the 1,400th anniversary of the birth of Prince Shotoku.
The announcement with a rather cute illustration is on the website.
The Asukadera Temple also shows the relationship between the prince, who was a regent, and his minister, the Soga clan.
The photo above shows Asuka-no-ike Kobo, which is only a few minutes' walk from Asukadera Temple.
It is really only a few minutes' walk, or 200-300 meters in distance, so
In today's sense, it is like a Buddhist statue production factory is adjacent to the temple.
Therefore, Kurusaku Tomotoshi, who was responsible for the production of the Asuka Great Buddha, must have frequently traveled back and forth between the workshop and the temple.
Rather than a scene of the production of Buddhist statues, a sublime and secretive matter in which the center of power is deeply involved, this is a scene of an idyllic manufacturing process.
The workshop of this period was called "Buddhist statue workshop".
I am assuming that the "Pond Studio" was the Buddhist statue studio of this period.
It is my assumption that the "Pond Studio" was the Buddhist statue workshop of this period.
It is more probable than thinking that there were other facilities other than this one where the most advanced technology of this period was concentrated.
Come to think of it, when it came time to put the Asuka Daibutsu inside the completed temple, there was a problem with the dimensions of the building and the Buddha statue itself.
When it came time to put the Asuka Giant Buddha into the completed temple, a discrepancy was found between the dimensions of the building and the main body of the Buddha statue.
The story goes on to say that the Asuka Daibutsu was installed in the temple after it was completed.
The reality of the great leap forward for the Japanese power structure in the introduction of Buddhism is
The distance between the Buddhist statue makers and the temples is a long distance between the Buddhist temple and the people who made them.

The distance between the Buddhist statue makers and the temples was about the same.
Carpenters from the Korean Peninsula were invited to Asukadera Temple as the most advanced woodworkers and were fully engaged in the construction of Asukadera Temple.
and were fully engaged in the construction of Asukadera Temple.
The vividness of the workmanship of this period comes to the fore.
The Japanese carpenters were also busy working as the subordinate staff of the master carpenters of the peninsula.
Japanese carpenters were also busy working for the master carpenters of the peninsula.
It is highly likely that the Japanese and the Peninsula spoke the same language.
Prince Shotoku was born on February 7, 574.
The Chronicle of Japan states that Asukadera Temple was built in 587.
This means that he encountered the construction of Asuka-dera Temple at the impressionable age of 13-4.
What was the most advanced and all-out project of the time that stimulated his imagination?
The age of the paintings is also just the same. The age of the picture is also just the same.
Asuka Itabatagu Palace is only a ten-minute walk from here.
It seems as if the active metalworking at the Pond Studio itself created the nation of Japan.
Such a feeling comes to my mind strongly.
We cannot help but draw an analogy between the organization of the modern state and
We have a strong habit of making analogies with the past state by looking at the structure of the modern state.
I feel as if the nation was really created in a "cottage industry" style.

While I was thinking about this, architect Hiroo Marutani visited my bid yesterday and spent a full four hours with me from 6 pm.
We had a small group discussion from 6:00 pm for about four hours.
Mr. Marutani is a member of the mainstream of Tokyo National University of Fine Arts and Music's architecture department.
The discussion naturally led to this kind of research and study on the production of Buddhist statues that are national treasures.
He told me that the Tokyo National University of Fine Arts and Music also conducts on-site research on artworks from the country's earliest days.
The unique topic of "how they were made" was also discussed and painfully discussed (laughter).
We were excited by the reality. See you tomorrow and later.

【聖徳太子絵伝〜日本メディアの創始 飛鳥歴史証言-3】

聖徳太子絵伝とは聖徳太子一代の伝記を絵画化したもの。
古くは奈良後期に四天王寺絵堂に太子絵伝の壁画があったことが文献からわかる。
現存中最古の遺品は1069年旧法隆寺絵殿の障子絵（国宝。東京国立博物館）で、
秦致真(はたのちしん)の作と知られる。後世の補修が何度か加えられているが、
画面構成や図様は当初の模様を伝え、平安時代の作者・制作年の明らかな遺品。
鎌倉時代以降、太子信仰隆盛とともに絵巻や掛幅などに数多くの絵伝がつくられた。
で、わたしが見たのはこの飛鳥寺での寺宝の陳列。
タイトルとして「推古天皇の勅命を奉じ仏像制作に励む鞍作止利」とある。
画像から見るとこの飛鳥寺の本尊、飛鳥大仏とは別だと思われる。
法隆寺にも伝鞍作止利作という国宝作品があり、
一連のかれの作品の内のどれかをモデルとしたものでしょう。
この制作過程では木彫工程が描かれていて、金属製の大仏制作工程の
前段階の様子をわかりやすく見せたものなのでしょうか。

日本社会で「メディア」というものはこのような宗教関連事跡を
多くの民人に「広報普及させる」目的で創始されていった。
聖徳太子信仰という草の根的な「民衆文化」の成立には
このような絵伝、あるいは寺の「縁起もの」が大きな役割を果たしたのだろう。
その延長線上で大好きな「鳥獣戯画」のようなファンタジーを
日本文化は生み出した。すばらしい。
日本で統一国家を生成させるには仏教の普及が大きな役割を果たしたが
民衆に対しての普及啓発手段としてこういうメディアは
きわめて独自の発展を遂げてきたのではないだろうか。
国家の始原の様子をいまに伝えてくれる飛鳥の地からすでに
こういう文化がスタートしていった様子がわかるのだと思う。
仏教普及という大きなテーマに基づいた広報の営為だけれど、
その表現手法に於いて、鳥獣戯画のような突き抜けた独創性の発露も出現する。
他国の文化に比較して日本文化の独自性のルーツがこういった形式だろう。
各寺院がまるで競争するように、こういう広報メディア戦略を推進し、
時代を超えて進化発展を繰り返してきた。

メディアという存在に長く携わり、自分で創始もした経験からすると
常に「もっとわかりやすく、先人を越えていきたい」という
目的意識に導かれていると感じさせられる。
そういうはるかな道程のいまを自分は生きていて、
やがてのちの人々にバトンを渡していくのだとも強く感じる。
この絵伝に描かれた木の職人さんたちの姿と、
それを描いた絵師さんたちの営為を思い浮かべて湧き上がるものがある。


English version⬇

Asuka Historical Testimony-3: The Biography of Prince Shotoku - The Beginning of Japanese Media
Japanese media was born and developed from the spread of Buddhism, which formed the foundation of a unified nation. The following is a brief look at the future of this far-reaching culture. ...

Shotoku Taishi E biography is a pictorial biography of the life of Shotoku Taishi.
Literature shows that there was a wall painting of the Taishi picture biography in the picture hall of Shitennoji Temple in the late Nara period (710-794).
The oldest surviving copy is a 1069 shoji-e (sliding door picture) from the former Horyu-ji Temple Picture Hall (National Treasure, kept at the Tokyo National Museum). (National Treasure, kept at the Tokyo National Museum).
It is known to be the work of Hata Chishin. Although repairs have been made several times in later periods
Although several repairs have been made in later periods, the composition of the screen and the design convey the original pattern, and it is valuable as an artifact of the Heian period with a clear author and date of production.
Since the Kamakura period (1185-1333), with the rise of the Taishi faith, many picture scrolls and hanging scrolls have been produced.
I saw this display of temple treasures at Asuka-ji Temple.
The title of the display is "Kurusaku Tadatoshi, who devoted himself to the creation of Buddhist statues at the behest of Emperor Suiko.
From the image, it seems that this is a different statue from the Asuka Daibutsu, the main statue of Asukadera Temple.
Horyuji Temple also has a National Treasure called "Den Kuramasaku Toritoshi" (by Kuramasaku Toritoshi), which is a model of a series of his works.
It is likely modeled after one of his works in the series.
This work depicts the process of wood carving, and clearly shows the preliminary stage of the production process of the metal statue of the Daibutsu.
This work may be an easy-to-understand representation of the preliminary stages in the process of making the metal statue of the Great Buddha.

In Japanese society, the "media" are used to "publicize and disseminate" religious sites such as this to a large number of people.
The "media" in Japanese society was created for the purpose of "publicizing and disseminating" such religious events to a large number of people.
The establishment of a grass-roots "popular culture" of belief in Prince Shotoku was
Such pictorial traditions and temple "lucky charms" must have played a major role in the establishment of the grassroots "popular culture" of Prince Shotoku's faith.
As an extension of this, Japanese culture produced fantasies such as the "Birds and Beasts Caricatures," which are a favorite of mine.
Japanese culture has produced fantasies like my favorite "Birds and Beasts Caricatures". It is wonderful.
The spread of Buddhism played a major role in the creation of a unified nation in Japan.
As a means of spreading awareness among the people, this type of media has developed quite uniquely, hasn't it?
This kind of media as a means of spreading awareness among the people has developed in its own unique way.
We can already see how this kind of culture started in Asuka, which tells us about the origin of the nation.
The Asuka period, which tells us the origin of the nation, was already the start of this kind of culture.
Although it is a public relations activity based on the major theme of spreading Buddhism
In the method of expression, however, there are also some outlandishly original works such as Birds, Beasts, and Caricatures.
This form of expression is the root of the uniqueness of Japanese culture compared to other cultures.
Temples have been promoting this kind of publicity media strategy as if they were competing with each other, and have continued to evolve and develop over time.
The media has evolved and developed over the ages.

Having been involved in the media for a long time and having created it myself
I have always felt that I am guided by a sense of purpose to "make it easier to understand and surpass our predecessors.
I feel that I am always guided by a sense of purpose, "I want to make things easier to understand and surpass my predecessors.
I am living in the present moment of such a long journey, and I hope to pass the baton to those who will come after me.
I strongly feel that I am living in the present moment of such a long journey, and that I will eventually pass the baton to those who come after me.
The wooden craftsmen depicted in this pictorial biography and the artists who drew them.
I feel something welling up when I think of the wooden craftsmen depicted in this pictorial biography and the activities of the artists who painted them.

【飛鳥寺大仏の金属加工技術 飛鳥歴史証言-2】

さて昨日からふたたび飛鳥の探究をしたい、それも金属工房などをテーマに、
と考えていたのですが、実は以前から調子悪かったわたしのMac環境が
大きな悲鳴を上げて緊急のトラブル対応に追われておりました（泣）。
データを収めている2TB-HDDが頻繁に不安定になり、
このままではデータとの連係が不可能になる、
最悪の場合、貴重な過去データ資産が参照できなくなる可能性。
もちろんすべてのデータなので業務上も緊急を要するデータ管理作業。
ということで、昨日は午後からデータ移転のSSD環境を購入し、
そこからひたすら2TB-HDDのご機嫌を伺いながら慎重にバックアップ作業。
結局は夜通しの作業になって、各種データの移転をしつつ仮睡。
ようやく明け方になってとりあえずの安定的新環境（SSD）で稼動できた次第。
現在はハラハラヒヤヒヤからようやく解放された気分。

という状況なので、きのうから始めたシリーズはいきなりのブレーキ（泣）。
やはりMac環境はすべての基礎なので特定テーマの掘り下げ型思考にしても
それが大前提なのだと気付かされます。
なので本日は時間の無さを神仏に頼って、おなじ飛鳥の飛鳥寺テーマ（笑）。
なんどか訪問させていただいている日本最初期の仏教寺院。
鞍作止利作のご本尊のお姿は、わたし的にはなんとも癒されるのです。
なんででしょうか、よくわからないけれど仏教思想への素朴な心情が
日本の民の心として反映された最初期の芸術品と思えるのです。
作り手の名前もわたしが受けた歴史教育で憶えた最初期の人物名。
その名付けの素朴さがこころに心地よく響いてくる。
その後の時代の、だんだんと格式表現化のような名とは違う印象で
本尊の表情のたおやかさにはそういった印象が刻み込まれている。
「なんとかMac環境引っ越しできてよかったね」
みたいにやさしくねぎらってくれているように感じられる。
素直に「ありがとうございます」と感謝の祈りを捧げたくなる。

『書紀』605年、天皇は皇太子・聖徳太子、大臣・蘇我馬子、諸王諸臣に詔し
銅と繡の「丈六仏像各一躯」の造立を誓願し鞍作鳥（止利）を造仏工とした。
そして高麗国の大興王から黄金三百両が貢上されたという。
『書紀』によれば、銅と繡の「丈六仏像」は翌606年完成。
という事跡が解明されているのですね。
なので、大きなテーマから考えると横道に逸れているともいえない（笑）。
っていうか、大仏造立というのはこの時代の最先端金属加工技術そのもの。
「けっして横道では無いぞ」と飛鳥大仏さんが声かけしてくれているのかなぁ・・・。


English version⬇

Metalworking Technology of the Great Buddha of Asukadera Temple Asuka Historical Testimony-2
Trouble with my thinking environment Mac data equipment. I managed to recover a stable environment. I am grateful for the blessings of God and Buddha and the Asuka Daibutsu theme. Asuka Daibutsu theme.

Since yesterday, I've been thinking about doing another Asuka exploration, this time with a metal workshop as the theme.
But actually, my Mac environment, which has been in bad shape for a long time, has been screaming and I have been busy dealing with an urgent problem (crying).
I had to deal with an urgent problem with my Mac environment, which had been in bad shape for a long time.
The 2TB-HDD that contains the data became unstable frequently.
If this situation continues, it will become impossible to connect to the data.
In the worst case, we may not be able to refer to our valuable past data assets.
Of course, this is all data, so it is an urgent data management task for our business.
Therefore, yesterday afternoon, I purchased an SSD environment for data transfer.
From there, we carefully backed up the data while listening to the mood of the 2TB-HDD.
I ended up working through the night and slept while transferring various data.
Finally, at dawn, we were able to start operations in the new stable environment (SSD).
Now I feel like I'm finally free from all the worries.

So, the series that I started yesterday has suddenly hit the brakes (tears).
After all, the Mac environment is the foundation of everything, so even if I want to delve into a specific theme, it is important for me to realize that it is a prerequisite.
I realize that it is a prerequisite for any in-depth thinking on a specific theme.
So, today, I relied on God and Buddha to help me with my lack of time, and I visited the Asukadera temple in Asuka, the same place I visited several times in Japan.
This is the first Buddhist temple in Japan that I have visited many times.
The main image of the temple, by Kurazaki-Tsurisaku, is very soothing to me.
I don't know why, but the simple sentiment of Buddhist thought is reflected in the hearts of the Japanese people.
I am not sure why, but I think it is one of the first works of art that reflects the simple sentiments of Buddhist thought as the heart of the Japanese people.
The name of the creator is also the name of a person from the early days of my history education.
The simplicity of the names resonates comfortably with me.
It gives me a different impression from the names of later periods, which gradually became more formal and expressive.
The graceful expression on the face of the main image of the statue is etched with such an impression.
He is gently congratulating me, as if to say, "I'm glad you managed to move to a Mac environment.
I feel as if he is gently thanking me.
It makes me want to offer a prayer of gratitude.

In the year 605 of the "Shoki (Chronicles of Japan)," the Emperor ordered the Crown Prince Shotoku Taishi, the Minister Soga Umako, and various kings and vassals to build a bronze and embroidery "Joroku (a temple)" and to build it in the year 605.
The emperor ordered the construction of one bronze and one embroidery statue each of Joroku Buddha, and appointed Kurusakudori (Juri) as the builder of the statues.
King Daeheung of Goryeo paid a tribute of 300 ryo of gold.
According to the "Shoki (Chronicles of the Book of Records), the bronze and embroidery "Joroku Buddha image" was completed in 606.
So, the "Jorokbutsu" statue was completed in 606.
So, it cannot be said that we are going sideways in terms of the main theme (laugh).
The construction of the Daibutsu is the most advanced metalworking technology of the period.
I wonder if Asuka Daibutsu is saying to us, "This is not a side road by any means.