

さて昨日夕方に札幌帰還。常時34-5度で多湿な気候の中、体力消耗。都内以外ではレンタカー移動でエアコンに守られるけれど外気に触れ続ける都内はなかなか。
そんななか松浦武四郎シリーズの連載。たまたま金田一京介先生の松浦武四郎の生家訪問の記録写真に誘われ、その「揮毫」の写真記録。昨日は貴人接遇の建築空間文化・床の間について考察しましたが、本日は関連して「日本人の書の文化」。
現代社会ではパソコンがほぼレギュラーの位置になって、人間性表現の「揮毫」文化はまったく廃れている。ちょうど住宅から床の間が消滅してきているのと同時進行的。現代人としてこのことにそろそろ明確な意識を持って対応していく必要性はあると思わせられる。
写真は金田一先生の揮毫と参会者一同が固唾を飲んで集中して参観している様子。たぶん日本社会での「貴人」対面の定番としてこの行為と場面が文化成立していた。
こういう文化がすっかり消え入りつつある。

そんな思いを持っていたら好きな上野の森美術館で、奇遇にも書道の展覧会が開催されていた。不思議な「ご縁」と感じて吸い寄せられてしまった。写真は東京の平山寛川氏の展示作「日本童謡四曲」から「春がきた」。会の名前は「雪心会選書作展」<撮影自由>。こういう書の文化にはずっと無縁に生きてきた人間だったので、これも松浦武四郎の「お導き」かとも思えた(笑)。
入口ではなんと名前を筆で書けというスフィンクスの問いかけ(笑)。う〜む、小学校以来の筆を持って白紙に向かわせられる体験。しかも会場運営の書の愛好家のみなさんの厳しい視線を感じながら(冷汗)。こころを決めて誠心誠意、署名。なにやら金田一先生の心境のほんの一端にも触れる思い。そしてその短時間ですが、みなさんの視線がわたしに集中し、その筆先に注目されるのがわかる。ありがたくも、なんとも恥ずかしい・・・しかし逃げることなく無教養・無作法はゴメンと書いてみた。

書き上げるとみなさんのあたたかい視線を感じさせられる。きっとわたしの内心を「見ている」のだろうと気付かせられた。オモシロい。
そこからみなさんの素晴らしい作品を鑑賞して忘我の心理に至っていました。「数寄」の拡張がこれ以上になると困惑するけれど、楽しさがジワジワわき上がっていた。帰り際、運営の方と親しく会話させていただき「中国では日本のひらかな・カタカナの美感はわかるのですか?」などと心底にあり続けていた疑問を投げかけたりしておりました。奥行きが深すぎる世界の予感。
●お知らせ
拙書「作家と住空間」幻冬舎から電子書籍で発刊
お求めはAmazonで。
https://amzn.asia/d/eUiv9yO

English version⬇
[The Culture of Calligraphy: The World of Japanese Calligraphy / Takashiro Matsuura-8]
Guided by the pioneers of documentary photography, I became fascinated by the world of calligraphy in Ueno. At the end of my life, I encountered a new “suki” (a Japanese aesthetic sensibility). ...
Yesterday evening, I returned to Sapporo. The constant humidity and temperatures of 34-35 degrees Celsius took a toll on my physical strength. Outside of Tokyo, I was protected by the air conditioning in my rental car, but in Tokyo, where I was constantly exposed to the outside air, it was quite difficult.
Amidst all this, I continued my series on Takashiro Matsuura. I happened to come across a photograph of Kyosuke Kindaichi visiting Takashiro Matsuura's birthplace, which led me to a photograph of his calligraphy. Yesterday, I reflected on the architectural space culture of receiving distinguished guests and the tokonoma, and today I will discuss the related topic of “Japanese calligraphy culture.”
In modern society, computers have become almost ubiquitous, and the culture of “calligraphy” as an expression of humanity has completely faded away. This is happening simultaneously with the disappearance of the tokonoma from residential homes. As modern people, I feel it is necessary to develop a clear awareness of this issue and respond appropriately.
The photo shows Professor Kaneda's calligraphy and the participants intently observing it. This act and scene likely established as a cultural norm for “guest of honor” encounters in Japanese society.
Such culture is now fading away.
With that in mind, I happened to find a calligraphy exhibition being held at my favorite Ueno Royal Museum. I felt a strange sense of “fate” and was drawn to it. The photo is from Hiroshi Hirayama's exhibition piece, “Four Japanese Children's Songs,” titled “Spring Has Come.” The name of the event was “Yukishin-kai Selected Works Exhibition” (photography permitted). Having lived my entire life completely disconnected from the culture of calligraphy, I couldn't help but think this might be Matsura Takashiro's “guidance” (laughs).
At the entrance, there was a sphinx-like question asking us to write our names with a brush (lol). Hmm, it was my first time holding a brush since elementary school and facing a blank sheet of paper. Plus, I could feel the strict gaze of the calligraphy enthusiasts running the venue (cold sweat). I made up my mind and signed my name with all my heart. It felt like I was touching on a small part of Mr. Kindaichi's mindset. And in that short time, I could feel everyone's gaze focused on me and their attention on the tip of my brush. It was both humbling and embarrassing... but I refused to back down and wrote it anyway, despite my lack of education and manners.
After finishing, I felt the warm gaze of everyone around me. I realized they must have been “seeing” into my inner thoughts. Interesting.
From there, I immersed myself in admiring everyone's wonderful works. While the expansion of “suki” (aesthetic sensibility) left me a bit overwhelmed, the joy slowly began to well up within me. On my way out, I had a friendly conversation with the staff and asked questions like, “Do people in China understand the aesthetic appeal of Japanese hiragana and katakana?” It felt like a world with too much depth.
●Announcement
My book “Writers and Living Spaces” has been published as an e-book by Gentosha.
Available on Amazon.