【古代出雲「国譲り」 稲佐の浜・沖御前神社は工事中】

　さて本日、山陰への旅の「体験まとめ」シリーズに回帰。
　結局、古事記に書かれている出雲古代王権のことがさまざまに想起されて来ざるを得ない。わたしたちは日本史を学ぶとき、おおむね正史として学習するのはヤマト王権による全国支配、それも大化の改新を起点として政治史が始まるような正史の流れのように思う。いわゆる乙巳の変によって蘇我氏の専横が排撃されて天皇家による権力集中が開始されて古代国家が成立していった、という理解。
　しかしそれは歴史学者さんたちの共通認識がそれ以降が「事実認定」しやすい、というような事情が反映したものだということが一般的に広く受け止められている。
　大化の改新以前にも当然ながら、多くの政治闘争は繰り広げられていたことは自明。
　そういった歴史プロセスの中で「国譲り」という結節点は、神話という表現で残されてきているのは、明白なのではないかと思われる。そんなことから、カミさんがわたしの「数寄」に配慮して訪問先の旅程に組み込んでくれていたのが、出雲大社社殿からほぼ1kmほどと近接するこの稲佐の浜・沖御前神社。
　伝承では、出雲の主宰者であったオオクニヌシに対して鹿島神宮に祀られている「タケミカズチ」と香取神宮に祀られる「フツヌシ」がこの浜辺で「国譲り」を迫ったとされている。オオクニヌシはその脅迫に対して息子たちの同意が得られれば、と承諾の返答をしたとされている。
　神話世界的にはアマテラス系の神々が、スサノオ系の出自譚を持つオオクニヌシに禅譲を迫ったということのクライマックスのように表現されている。
　高校〜大学時代には新左翼運動に近しく唯物史観的志向性の人間ですが、人生のながい月日を過ごしてきて、どうもこうした神話に民族の「ある種の」整合性があるように思えてきている。日本歴史についての古事記の表現に対し、それをしっかり探査することが重要なのではないかと思う。現地で見たのは現代建築技術での再生工事の様子でしたが、神話に対してリスペクトしつつ、その実相を解明する姿勢のように感じられて、なにか共感できると思っておりました。

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The ancient Izumo “Yuzuru” shrine at Inasa-no-hama and Okigozen Shrine is under construction.
We would like to see the Kojiki re-examined as an intellectual asset of the Japanese people against the postwar “predetermined” view of ancient Japanese history that places the highest priority on materialistic historical perspectives. I would like to see the Kojiki re-examined as an intellectual asset of the Japanese people.

　Today, we return to the “Summary of Experiences” series of our trip to the San'in region.
　In the end, we cannot help but be reminded of the ancient Izumo royalty described in the Kojiki in various ways. When we study Japanese history, we generally learn about the rule of the Yamato kingdom over the whole country, and the political history of Japan begins with the Taika Reform of the Taika Era. It is understood that the so-called “Otomi Incident” eliminated the tyranny of the Soga clan and initiated the concentration of power by the emperor, thereby establishing the ancient state.
　However, it is generally accepted that the common understanding among historians reflects the fact that it is easier to “recognize the facts” after the Taika Reformation.
　It is obvious that many political struggles had been waged before the Taika Reformation.
　It seems obvious that in such a historical process, the nodal point of “handing over the country” has been left behind in the form of a myth. For this reason, my wife included Inasa-no-hama and Okigozen Shrine in our itinerary of places to visit, taking into consideration my “several requests” to visit.
　According to legend, Takemikazuchi, enshrined at the Kashima Shrine, and Futsunushi, enshrined at the Katori Shrine, threatened to “hand over the land” to Okuninushi, the leader of Izumo, on this beach. Okuninushi is said to have responded to the threat by agreeing to do so if his sons agreed.
　In the mythological world, the story is described as the climax of the Amaterasu line of gods pressing Okuninushi, who has a tale of Susanoo origins, to give up his Zen.
　I am a person with a materialistic historical orientation who was close to the New Leftist movement during my high school and college years, but after spending many months of my life, I have come to believe that there is “some” kind of consistency in these myths about the people. I think it is important to explore the ancient representations of Japanese history. What I saw at the site was a revitalization work using modern construction techniques, and I thought I could sympathize with their attitude of respecting the myths while trying to clarify the reality of them.

●Notice
My book “The Writer and the Residential Space” is published by Gentosha in e-book format
Available at Amazon.

【緑とせせらぎの音に包まれる北の夏】

　写真は先週日曜日に遠出して「朝散歩」していた赤井川村の「赤井川」。この河川名はアイヌ語で「フレ・ペツ」（赤い川）を意味するということ。たしかに川底が赤いかなぁ。赤井川村は四方を山に囲まれたカルデラ盆地に位置しているので、盆地特有の気候から北海道でも有数の豪雪地帯とされています。
　わたしたち夫婦はニセコ・羊蹄山地域によく行楽に出掛けるのですが、その最短ルートとして小樽市朝里のICから「毛無峠」を縦断して赤井川に抜け、そこから最短距離で倶知安方面に向かうコースが多い。なので、こちらの村の「道の駅」で山菜類やキノコなどを買い求めることが多い。きのう紹介した漬物メロンもこちらで購入したモノ。
　この赤井川にはパークゴルフのコースがこの河川に沿って造営されている。そのコースの河川側に分け入っていくとこういう景観地域が展開していて、散歩道としては森林浴的に楽しめる。・・・なんですが、時折ヒグマの出没が報告される場所でもあるので、恐る恐る歩くことになる・・・。
　なんですが、さすがに日が高くなってくると河川では釣り人の歓声も沸き上がっていて、まぁ安全に自然とふれあうことができていました。仕事関係の整理も済んできて、個人的には一段落といったところですが、あれこれとまた新しいチャレンジもはじめようと考えている時期。どうしてもそういう新規開拓型の行動が好きなようで、まぁ世間にご迷惑にならず、またカミさんにも心配させない範囲で（笑）、たのしくチャレンジしたいと思って、いろいろな「参考文献」とにらめっこ。
　そういう、こころと眼精の疲労感には、こういう自然の癒しがいちばんのようです。

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[Summer in the north surrounded by greenery and the sound of streams]
The serenity of nature that soothes the fatigue from the challenge that rises up. The reassuring sound of mountain stream fishermen's voices will make you forget your fear of brown bears. Summer in the north is in full swing. ...

　The photo shows the Akaigawa River in Akaigawa Village, where I went for a long-distance “morning walk” last Sunday. The name of this river means “Hure Petsu” (red river) in Ainu language. It is true that the bottom of the river is red. Akaigawa Village is located in a caldera basin surrounded by mountains on all sides, and is considered one of the snowiest areas in Hokkaido due to the basin's unique climate.
　My wife and I often go on excursions to the Niseko and Mt. Yotei areas, and often take the shortest route from the Asari IC in Otaru City, traversing the “Kenashi Pass” to Akaigawa, and then heading toward Kutchan in the shortest distance. Therefore, I often buy wild vegetables and mushrooms at “Michi-no-Eki” (roadside station) in this village. The pickled melons I mentioned yesterday were also purchased here.
　There is a park golf course along the Akaigawa River. When you enter the river side of the course, you will find a scenic area like this, where you can enjoy forest bathing as a walking path. However, as brown bears are sometimes reported to appear in the area, we had to walk with trepidation.
　But as expected, when the sun was high in the sky, anglers were cheering in the river, and I was able to commune with nature in safety. I have finished sorting out my work-related matters and am personally at peace, but I am also thinking about taking on new challenges. I am staring at various “reference books” because I like such new exploratory activities, and I want to enjoy taking on new challenges without bothering the world or worrying my wife (laugh).
　I have been staring at various “reference books,” and this kind of natural healing seems to be the best for such fatigue of the mind and eyes.

Notice
My book “Writers and Living Space” is published by Gentosha as an e-book.
Please visit Amazon for more information.

【北海道らしい夏の味覚「漬物メロン」にメロメロ】

　北海道もこのところ、まるで盛夏の気候が続いております。連日ほぼ30度ほどの気温でさすがに日中は屋外での散歩を避け、早朝時間に済ませるようになってきているので、さらに早起きに。
　で、食品では写真のような「漬物用メロン」が店頭に並ぶようになって来た。これは「ウリ」という方が正しいのではないかと思うのですが、最近ではメロンが一般名化しているので、こういった呼び名になっている。本当はウリの一種でしょう。これが甘くなる品種だと「カンロ」とされたりする。わたしは、この「漬物メロン」を適当に１口大に切ってジッパー袋に入れて、軽く塩振りした上で浅漬けのモトで漬け込む。
　この出来上がりの浅漬けが無上の好物。
　どんな主食とも合うのですが、なかなかなのが蕎麦や冷や麦との食べ合わせ。
　暑い日の夕方、麺類のつけ麺を食べながら、この浅漬けを食べる快感は、まことに「夏」を感じさせてくれる。単純な性格をしているので、昨晩など、このまま涅槃に到達しているかと思えてくる（笑）。
　値段もタテの長さで12-3cmのヤツが４個入っていて240円でした。200円くらいの場合もある。写真のできあがり漬物だと１個の1/8程度なので、この盛り付けで原材料費は7-8円程度ということになる。最近はなんでも値上がり傾向が続いていますが、こういうウレシイ夏野菜も出回り始めてきていて、まことに救世主。
　たのしく夏を乗り切っていく頼もしい助っ人が大登場であります。

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English version⬇

[Pickled melon, a typical Hokkaido summer delicacy]
A reliable savior for the common people appeared with the arrival of summer. The raw material cost is 7-8 yen for this picture. It's truly a no-brainer! ......

　Hokkaido has recently been experiencing the weather as if it were midsummer. The temperature has been almost 30 degrees Celsius every day, and as expected, people are avoiding outdoor walks during the daytime and getting up even earlier to finish them in the early morning hours.
　In the food industry, “pickle melons” like the one in the photo have started to appear on store shelves. I think it would be more correct to call them “cucumbers,” but since melon has become a common name these days, this is what they are called. In truth, it is probably a type of cucumber. If this is a variety that is sweeter, it is sometimes called "kanro. I cut the melons into bite-sized pieces, put them in a zipper bag, sprinkle them lightly with salt, and pickle them using the “asazuke” method.
　The resulting pickled melon is my favorite.
　It goes well with any staple food, but what is not so easy is to eat it with soba noodles or cold barley.
　On a hot evening, the pleasure of eating this asazuke while eating tsukemen (noodles) really makes me feel “summer”. Being of a simple nature, last night I felt as if I had reached nirvana (laugh).
　The price was 240 yen for 4 pieces of 12-3 cm in length, sometimes 200 yen. The finished pickles in the photo are about 1/8 of one piece, so the cost of raw materials for this serving would be about 7-8 yen. Recently, the price of everything has been on the rise, but these summer vegetables are starting to appear on the market, and they are a real lifesaver.
　We have a reliable helper who will help us get through the summer happily.

I have published my book “Writers and Living Space” in e-book format from Gentosha at
.
Please visit Amazon to purchase the e-book.

【神魂（かもす）神社参観で出雲古代史に惑溺・・・】

　神話の里、という印象がどんどん加速されてくる山陰の旅のブログシリーズですが、自分で体感したままに撮影した写真群を整理整頓して行くことが、そのまま探究の開始になってしまいます。そういうなかで出会った水木しげるの「古代出雲」を読み進めることで、古事記・日本書紀についての山陰の側・出雲の系統からの独自の解釈が見えてきて、深い整合性を感じさせられています。
　同書の奥書に「古代出雲歴史博物館専門学芸員」の岡宏三氏の文章があって、いかにも水木しげるのこの地に寄せていた「思い」が深く伝わってくる。以下要旨。〜（水木の生家は境水道に面して建てられているけれど）幼少年期を過ごした境港は文字通り鳥取と島根の境界に位置する港で、境水道を挟んで向かいの東西に山（島根半島）の裏側に当たる諸喰という「のんのんばあ」の故郷の小さな集落に連れて行かれたとき、水木少年ははじめて訪れたにも関わらず、前世にも訪れていたとしか考えられない思いを抱いたという。とすれば、島根とははるか生まれる以前からの故郷なのだろう。〜
　「前世にも訪れていたとしか考えられない」という思いはわかりやすく伝わってくる。兵庫県福崎出身の日本民俗学の祖・柳田國男の茨城県での神秘体験の事例でもわかるように、感受性の鋭いタイプの人にとっては、こうした神秘体験と従来語られてきた事柄が、実は最先端的な「量子科学」的な領域であると解明されてきているのだと思う。
　そしてそこから、不整合な古事記・日本書紀を再度、読み込んでみれば別の解釈体系も生まれてくるように思える。「国譲り」という古代最大の政争について、それを「神話」として扱いたいヤマト王権側の思惑。そしてさらにそれを「国史」として中国の中華思想国家に対して「なるべく深遠なるもの」として表現して提出したという経緯もまた察せられてくる。
　そんなテーマ性が浮かび上がってきて、古代の列島で繰り広げられたであろうドラマに、さまざまな思いが去来してなりません。他でもない北海道神宮にも、祭神としてこのような古代由来の神々が鎮座されているのですから、絵空事でも済まされない。

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English version⬇

Kamosu Shrine visit to Izumo's ancient history is a dazzling experience...]
The appearance and atmosphere of this truly ancient shrine is still in the veins of the young territory of Hokkaido. ...

　The impression of the San'in as a mythical village is becoming more and more accelerated in this blog series on my travels in the San'in region, and organizing the group of photos I took as I experienced it myself became the beginning of my exploration. In reading “Ancient Izumo” by Shigeru Mizuki, I found a unique interpretation of the Kojiki and Nihonshoki from the San'in side and the Izumo lineage, and I am deeply impressed by the consistency of the book.
　In the back of the same book, there is a text by Mr. Kozo Oka, “Specialized Curator of the Museum of Ancient Izumo History,” which conveys how deeply Mizuki Shigeru's “feelings” toward this place were. The following is a summary. 〜When Mizuki was taken to Morokure, a small village on the back side of the mountain (Shimane Peninsula) across the Sakai Waterway, he was told that it was the first time he had ever visited there. Although this was his first visit to the village, he felt as if he had visited there in a previous life. If so, Shimane must have been his hometown long before he was born. ~
The thought “I can only think that I had visited there in a previous life” is easily understood. As the case of mystical experiences in Ibaraki Prefecture by Kunio Yanagida, the founder of Japanese folklore who was born in Fukuzaki, Hyogo Prefecture, shows, I believe that for those with keen sensitivities, what has traditionally been described as mystical experiences are in fact being clarified as cutting edge "quantum science.
　And from there, if we re-read the inconsistent Kojiki and Nihonshoki, a different system of interpretation seems to emerge. The Yamato kingdom wants to treat the greatest ancient political conflict, the “handing over of the kingdom,” as a "myth. Furthermore, the history of the Yamato kingdom's submission of the “national history” to the Chinese nation of Chinese thought, expressed as “something as profound as possible,” can also be inferred.
　Such themes emerge, and one cannot help but be filled with various thoughts about the drama that must have unfolded in the ancient archipelago. It cannot be a mere pictorial story, since the Hokkaido Jingu Shrine, of all places, also has gods of ancient origin as its deities of worship.

●Notice
My book “The Writer and the Living Space” is published by Gentosha as an e-book.
Please visit Amazon for more information.

【古代出雲はアジア大陸との移動交流最前線か？】

　昨日は神魂（かもす）神社での人的な情報交流について書きましたが、やはり古格な大社造り建築の本殿を見ていても、この出雲を中心とする山陰日本海側地域の歴史層の深さを叩き付けられる思い。写真は拝殿正面からのショットですが、注連縄を見ていると、やはり「出雲大社系」のように思える。って言ってもわたしには注連縄文化の解析は不分明なのですが、下の出雲大社・神楽殿の「大注連縄」と基本的なデザインは共通していると見定められる。なので神魂神社は出雲大社系ではないかと思っていたのですが、拝礼の仕方などは基本的に伊勢神宮系。このあたりは神々の世界のことなので不明。
　そういう出雲周辺、山陰地域の文化現象について、現代世界でいちばんの「語り部」として水木しげるの活動があったように思います。だんだんわたしのなかで、今回の山陰の旅経験が熟成してきている。こういう「楽しみ」は奥深くてどんどんのめり込んできますね（笑）。ということで水木しげるの作品を当たっていたら「古代出雲」という2012年刊行の角川書店からのマンガ作品と出会った。
　さすがにこの地域の文化伝統を体現したかれらしく、素晴らしい探究成果がわかりやすく展開されていた。そのなかに非常に強い印象を受けさせられたのが以下の記述。（要旨抜粋）
　〜紀元前５世紀頃にはすでに満州・北朝鮮東岸から南下して隠岐の島➡出雲という海上ルートがあった。一方、対馬を経て北九州に至る海上ルートは、当時はまだその速い流れに対馬海流を乗りきれるだけの舟がなく、従って出雲は日本列島の「正面玄関」であり、もっとも早く大陸文化とつながっていた。〜
　というのですね。どうも古代史にとってかなり重要なポイントについて、地元人らしい探究姿勢の発露のように感銘を受けた。邪馬台国論争のように北九州地域と畿内地域が古代史の中心と思い込んでいたわたしのような人間には強く響いてきた。
　どうしても距離的な遠近差で、北九州地域を「日本の玄関口」と刷り込まれてきたけれど、そこに「海流」という要素を提示されて、日本海を舞台とした船での移動交流の歴史解明、という視点には深く納得感をもたらされた次第。深く直撃された気分でありました。

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English version⬇

Is Ancient Izumo the Frontline of Migratory Exchange with the Asian Continent?
Searching through the ancient history of the San'in region and considering the influence of ocean currents, there is some validity to the theory that Izumo was a gateway for the acceptance of continental cultures. A shock to stereotypes. .......

　Yesterday, I wrote about human information exchange at Kamosu Shrine, but looking at the main shrine, which is still an old-style Taisha-zukuri architecture, I was struck by the depth of the historical layers of this San'in Sea of Japan side region centering on Izumo. The photo is a shot from the front of the worship hall, and the shimenawa (sacred straw ropes) seem to be of the Izumo-taisha type. Although I am not well versed in the analysis of shimenawa culture, I can conclude that the basic design of the shimenawa is the same as that of the “Dai-shimenawa” in the Kaguraden (Kaguraden) of Izumo-taisha Shrine, below. Therefore, I had thought that the Kamikami Shrine was of the Izumo-taisha type, but the way of worship is basically of the Ise Shrine type. This area is unknown because it is the world of the gods.
　I think that Shigeru Mizuki was the best “storyteller” in the modern world about the cultural phenomena of the Izumo and San'in regions. My experience of this trip to the San'in region is gradually maturing in my mind. This kind of “fun” is profound and I am getting more and more absorbed in it (laughs). While browsing through Shigeru Mizuki's works, I came across a manga work titled “Ancient Izumo,” published in 2012 by Kadokawa Shoten.
　As one would expect from someone who embodies the cultural traditions of this region, the manga is a wonderful exploration of the region, and the results are easy to understand. Among them, the following description made a very strong impression on me. (Abstract excerpt)
~There was already a maritime route from Manchuria and the east coast of North Korea to Oki Island and Izumo in the 5th century BC. On the other hand, the maritime route via Tsushima to Kitakyushu did not yet have enough boats to ride the Tsushima Current with its fast current at that time, and thus Izumo was the “front door” of the Japanese archipelago and the earliest connection to continental culture. ~ I was impressed by the local people's attitude of inquiry on this point, which is quite important for ancient history. It strongly resonated with people like me, who had assumed that the Kitakyushu and Kinai regions were the center of ancient history, as in the “Yamataikoku” controversy.
　I have always been under the impression that the Kitakyushu area was the “gateway to Japan” due to the distance between the two areas, but the presentation of the “ocean current” as a factor in this was deeply satisfying from the perspective of clarifying the history of exchange by boat movement on the Sea of Japan. I felt like I was deeply struck by this.

Notice
My book “Writers and Residential Space” is published by Gentosha as an e-book.
Please visit Amazon for more information.

【最古の国宝大社造 「神魂（かもす）神社」と結縁譚】

奈良県橿原在住の知人の日本画家から、山陰への旅に当たってかれの出身地の古社として紹介されていたのがこの神社。出雲大社の殿舎はなんども火災にあっているけれど、この神魂神社の殿舎は古格の出雲大社建築の工法を最古のカタチで伝承してきている。心御柱古材に「正平元年丙戌十一月日」の墨書銘があり柱古材は1346年当時の柱と考えられる。現存建築としては築679年経過ということになりたしかに最古級。そうしたことから建築として日本最古の大社造りであり国宝に指定。また、石段には自然石が使われていて「男坂」として結構な急勾配。なんとか登り切った。
　出雲国造府が立地していたことが推定されその鎮守として存在してきた。祭神は伊弉諾・伊弉冉。神社の「案内」には以下記述（要約）。〜当社は出雲国造の太祖「天穂日命（アメノホヒノミコト）」がこの地で創建。以来その子孫が出雲国造として奉仕された。本殿は３間四方で高さ４丈。床が高く柱が太く宇豆柱が壁から著しく張り出しているなど大社造の古式に則っていて昭和27年３月に国宝指定された。本殿内には狩野派の画家・土佐光起（江戸期1617-1691年）の壁画９面と天井画に五色の瑞雲が彩られている。〜
　さらに、天穂日命が高天原から天下る際に乗って来られたと伝わる古い「鉄窯」も祀られていることも興味深い。山陰地域はその山並みに豊かな鉱物資源が存在し、古代において鉄の生産が国産ではできなかったためにさかんに朝鮮半島国家との政戦があったけれど、そうした戦いが停止したことの裏側にはこの地で本格的に国内生産がはじまったことが大きい。神話と鉄器のクロスは刺激的。

　ここでは神前結婚式のあと「神楽」まで奉納される。という古格ぶりに敬虔に参拝していたらこの神社で50年前に結婚式を挙げたご夫婦と出会って談笑。この古格な神社での結婚費用を50年前、若気の至りで極少金額（あえて金額は公表しません）の奉納で済ませていたという白状。おお、そんだけかよ、と釣られて大爆笑。しかしそういうご縁に感謝し続け、現在お住まいの滋賀県からクルマで足繁く通われているのだそう。神縁・ご加護か。

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Kamosu Shrine, the oldest national treasure and a tale of marriage.
An ancient shrine where kagura (traditional Shinto music and dance) is dedicated. A couple got married with a very small amount of money and have been worshipping at the shrine for more than 50 years out of gratitude. A true divine favor. The shrine is a Shinto shrine.

A Japanese-style painter acquaintance of mine who lives in Kashihara, Nara Prefecture, introduced this shrine to me as an ancient shrine in his hometown on a trip to the San-in region. Although the Izumo-taisha Shrine building has been damaged by fire many times, this Kamikami Shrine has inherited the oldest construction method of the ancient Izumo-taisha building. The old wood of the central pillar has an inscription in ink, “Shohei-gen-nen hei inu juichigatsu” (11th day of the 11th month of the 1st year of the Shohei-gen era), and it is thought that the old pillar was built in 1346. This means that the oldest surviving building in Japan is indeed 679 years old. The oldest existing building in Japan, the Taisha-zukuri is designated as a National Treasure. The stone steps are made of natural stone and are quite steep as a "men's slope. I managed to climb it.
　It is estimated that the Izumo Provincial Government was once located here, and the shrine has existed as a Shinto shrine. The deities are Izanagi and Izanami. The shrine's “Guide” describes the shrine as follows (in summary) 〜The shrine was founded here by Amenohohinomikoto, the founder of the Izumo-no-kunizo clan. Since then, his descendants have served as Izumo kokuzo. The main hall is 3 ken (3 ken) square and 4 meters high. It was designated as a National Treasure in March 1952 because of its high floor, thick pillars, and Uzumabashira, which protrudes significantly from the wall, in accordance with the ancient Taisha-zukuri style. The main hall is decorated with nine mural paintings by Tosa Mitsuki (Edo period, 1617-1691), a painter of the Kano school, and the ceiling paintings are decorated with five-colored auspicious clouds. ~
It is also interesting to note that an old “iron kiln” is also enshrined here, which is said to have been ridden by Amahoninomikoto on his descent from the high heaven. The San'in region has abundant mineral resources in its mountain ranges, and in ancient times, because iron could not be produced domestically, there were many political battles with the Korean peninsula, but the cessation of such battles was largely due to the start of full-scale domestic production here. The cross between mythology and ironware is exciting.

　The shrine even dedicates a kagura (traditional Japanese music and dance) performance after the wedding ceremony. While I was respectfully worshipping at this ancient shrine, I met a couple who had married 50 years ago at this shrine and had a chat with them. They confessed that they had paid for their wedding at this ancient shrine with a very small amount of money (we dare not disclose the amount) in a youthful indiscretion 50 years ago. Oh, that's all there is to it? But he continues to be grateful for that kind of connection, and he commutes to the shrine frequently by car from Shiga Prefecture, where he currently lives. A divine fate or blessing?

Notice
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Please visit Amazon for more information.

【あとの祭りの「ベタ踏み坂」〜鳥取県・江島大橋】

　わたしの年代、1940-50年代生まれの人間は、いわゆる「戦後世代」でクルマ革命・テレビ革命のただ中で生きてきた最初期年代に属します。とくにわたしの場合、自転車乗り練習を始めた時期には札幌有数の大動脈幹線道路に面した家だったので、練習のときに猛速のクルマに危うく轢かれ死ぬ寸前の体験をした。その様子を目撃した父親が、わたしに「自転車乗り練習の厳禁」を厳命することになった。
　親の言いつけをよく守る素直な幼少年は厳しい言いつけをよく順守した。命令撤回は結局、父の死までなかった。
　で、移動手段としての自転車利用が叶わなかったので、逆に18歳の免許取得可能年齢到達の途端に免許を取得した。そうすると今度は仕返しで「移動の自由」を最高レベルで享受する人生に向かった。
　社会人になる直前、入社決定していた広告会社の入社研修を兼ねて当時の創業家社長からのご指名で、四国一周ドライバーとして活躍したりした（笑）。まぁ誰でも運転は出来る時代なのですが自分でも運転には自信もあった。社長が乗り込むと同時に、ぴしゃりと「安全運転最優先で行きます（キッパリ）」とやや逆に命令調で宣言していた。
　社長は「おお、その考えに完全同意だ（笑）」と言ってくれていた。
　まぁそんなクルマ運転人生を送ってきて、いまでも東京〜兵庫県姫路往復などのロングドライブも平気でこなしているような人生行脚。そんなわたしなので、今回の関西〜山陰の旅も当然レンタカーでの自由ドライブ。で、カミさんと話していて興味深かったスポットがこの「ベタ踏み坂」〜鳥取県・江島大橋。
　まぁアクセルをずっと踏み続ける過酷な坂道橋、という意味と理解。ぜひ「映え」の写真でも撮影できたら、と考えて出発。しかしいかんせん勝手のわからないカーナビ頼みのドライブ。「あ、ここがそうか」と気付いたときは、順調に後続車が連なる１本道の橋の直前。助手席のカミさんに「急いでiPhoneで写真撮って」と言ったが、間に合わず。
　やむなく橋を下りて駐車場所に止めてから「あとの祭り」写真を撮影していた（泣）。写真は２枚目が鳥取県HPの観光用写真と３枚目がわたしが撮った「あとの祭り」写真。
　っていう失敗写真ではありますが、それもまた楽しい「移動人生」のひとこま。人生での未踏の県、鳥取県最初の貴重な体験でありました。

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The “Sticky Slope” of the Aftermath - Eshima Bridge, Tottori Prefecture, Japan]
This is the image of a harsh slope bridge where you have to keep stepping on the accelerator pedal. However, the latest cars cleared the slope with ease (laugh). The photo was not taken. Well, it had to be done. The photo was not taken.

　Those of my generation, born in the 1940s and 1950s, belong to the so-called “postwar generation,” the first generation to live in the midst of the car and television revolutions. Especially in my case, when I started practicing bicycle riding, my house faced one of the major arterial highways in Sapporo, and I was almost run over by a fast-moving car while practicing and nearly died. My father, who witnessed the incident, strictly ordered me not to practice riding my bicycle.
　As an obedient youngster, I obeyed my parents' strict orders very well. The order was not rescinded until my father's death.
　And since I could not use a bicycle as a means of transportation, I obtained a driver's license as soon as I reached the age of 18, which was the age at which I could obtain a driver's license. In doing so, I was now headed for a life in which I would enjoy the highest level of “freedom of movement” as a form of payback.
　Just before I entered the workforce, I was assigned by the president of the founding family at the time to drive around Shikoku as part of the induction training for an advertising company I had decided to join (laugh). Well, this was an era when anyone could drive, but I was also confident in my driving skills. As soon as the president got in the car, he declared in a somewhat contrary commanding tone, "I will go with the highest priority on safe driving (crisp).
　The president said, "Oh, I completely agree with that idea (laugh).
　Well, I have lived such a life of driving, and even now I can make a long drive from Tokyo to Himeji in Hyogo Prefecture and back without a hitch. Since I am such a person, this trip from Kansai to San'in was naturally a free drive in a rented car. I was talking with my wife about this interesting spot, the “Sticky Slope” - Eshima Ohashi Bridge in Tottori Prefecture.
　We understood that it means a severe slope bridge where you have to keep stepping on the gas pedal all the time. We set off, hoping to take some “eiyoe” photos of the bridge. However, we had to rely on the car navigation system, which we didn't know how to use. When I realized, “Oh, this is it,” I was right before the bridge on a straight road with a steady stream of following cars. I told my wife in the passenger seat to hurry up and take a picture with her iPhone, but she couldn't get there in time.
　I had no choice but to exit the bridge and park in a parking lot before taking the “after the fact” photos (tears). The second photo is a tourist photo from the Tottori Prefecture website, and the third is the “After Festival” photo I took.
　I know it is a failure, but it is also a fun part of my “life on the move”. It was my first precious experience in Tottori, a prefecture I had not yet explored in my life.

I would like to inform you that my book “The Writer and the Living Space” is now available as an e-book from Gentosha .

【鳥取の「巨大な砂場」アチチ体験／鳥取砂丘】

　鳥取砂丘に行ってみたいというカミさんの希望で、今回の旅では足を伸ばしてみた。まぁそれが大きな目的地というワケではなく、わたしの旅人生でようやくの全県制覇という目的達成の「動機」という位置付け。
　特定の作家の住宅とかの探求目的などもなかったので、事前の調査などもまったくしないでの観光。ただ、やはり鳥取といえば砂丘という刷り込みがながく脳裏にあった。どんなものさ？
　砂丘というので日本にはない「砂漠」みたいなイメージがあって、なんとなくラクダ観光みたいな広大さイメージがあったのですが、現地に着いたら完全に「観光地」のひとつという印象。きのう紹介した隈研吾ランドマーク建築もある、自然観光スポット的な光景が広がっている。
　広さはおおむね東西南北２kmほどのスパンで、まさに広大な「砂場」。写真のようにまことに「広大な砂漠」というイメージ。さすがにビジターセンターの出発点から海岸線に沿った段丘スポットまでを一望して、高年齢者としては、これはそこそこの往復運動量とは思われた。でもいまのところ毎日10,000歩程度はウォーキングしているので、軽々と出発。途中で素足で歩きたくなって靴を脱いでおりました。さて「熱さ」はどうかと体感したくなったのですね。現地では７月以降の真夏には裸足はオススメできません、という案内。体感では往復おおむね２kmで足裏にはそこそこの熱さが溜まって、最後は「アチチ」状態となりました。ただ、砂の表面を少し2-3cm足で掘ってみるとそれなりの低温感も得られていた。しかし真夏時期には確かにアチチの猛威は燃えさかりそうだと実感できた。最後はそのほてりを抑えるべく、ベンチで足についた砂を払いながらしばし冷却させていました。
　ビジターセンターを中心にして広がった地域自然ミニツアーゾーンという感じでしょうか。ラクダ観光もあって１回1600円という料金で記念撮影などもあるという「観光」ぶり。子ども時代からの空想イメージに対しての現実解が得られたことでそこそこの充足感。けっして「ガッカリ」感はありませんでしたよ。

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[Tottori's “Giant Sandbox” Achichi Experience / Tottori Sand Dunes]
A sightseeing spot that offers a completely different experience from the Sapporo Clock Tower and Kochi Harimaya Bridge. I was so excited that I was able to cheerfully traverse the 2 km round trip. Tottori Sand Dunes

　My wife wanted to visit the Tottori Sand Dunes, so we extended our trip this time. Well, it was not a major destination, but rather a “motive” for achieving my goal of conquering all the prefectures in my life as a traveler.
　Since there was no specific artist's residence to explore, I did no prior research at all. However, I still had an imprint in my mind that Tottori is famous for its sand dunes. What kind of dunes?
　I had an image of the dunes as a “desert” that does not exist in Japan, and I had an image of vastness like camel sightseeing, but when I arrived there, I had the impression that it was completely a "sightseeing spot. I had the impression that it was a natural tourist spot, with the Kengo Kuma landmark architecture I introduced yesterday.
　The area spans approximately 2 km from east to west, north to south, and south to north, and is truly a vast "sandbox. As you can see in the photo, it is truly a "vast desert. As an older person, I thought it would be a good amount of exercise to make a round trip from the starting point of the visitor center to the terraced spot along the coastline. But since I am currently walking about 10,000 steps every day, I set off lightly. On the way there, I took off my shoes because I wanted to walk barefoot. So you wanted to experience the "heat. The local guide said that barefoot is not recommended in midsummer after July. The heat was so intense that I felt a “hot” sensation on my soles after walking about 2 km round-trip. However, when I dug my feet 2-3 cm into the sand surface, I also felt a reasonable low-temperature sensation. However, I could feel that the fury of the achichi was certainly going to flare up in the midsummer period. At the end of the day, I had to cool down by brushing the sand off my feet on a bench in order to keep that hot flare-up at bay.
　I guess you could call it a regional nature mini-tour zone spread out around the visitor center. There is also a camel tour for a fee of 1,600 yen per visit, which includes a commemorative photo. I felt a sense of satisfaction in having found a real-life solution to my childhood fantasy image. I was not disappointed at all.

Notice
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Please visit Amazon to purchase it.

【鳥取砂丘周辺・隈研吾「タカハマカフェ」】

　さて鳥取県に来たので敬意を込めて「鳥取砂丘」を訪問。あ、一応こちらが地元の総理のお菓子も先般紹介もさせていただいた。支持はあんまり・・・ですが（笑）。
　砂丘では靴を脱いで裸足になって往復2km以上、子ども時代以来の「砂場遊び」。砂場があるので石破もいるのかなぁ（笑）。やや足はホットになって清潔になったような気分。で、なにげにビジターセンター向かいの変わった建築に惹かれてしまった。まったく予備知識なく「なにこれ」と目が驚いていた。
　ちょっとググったら案の定、設計は隈研吾氏の「タカハマカフェ」とのこと。足のほてりもあったので、しばしアイスコーヒーでもということで中でひと休み。
　以下はWEBでの紹介要旨引用。〜構造はRCですが、壁材や天井材に木質CLTが使われて中は完全に木質空間。このCLT、仕上げに鳥取県産の杉のラミナ材が貼ってある。また家具類は同じく鳥取県産材がたくさん使われオリジナル照明に貼られた和紙も鳥取県の和紙が使われている。〜
　というようないかにも観光客向けの「これでどうだ」的な建物。訪問時はとにかく足のほてりを癒すために休息したかった一択。店内に入って１階に喫茶飲み物注文カウンターがあってそこで注文して飲み物を受け取って、自由に店内の好きな場所に移動するシステム。最初は３階のオープンテラスに向かったけれど、こちらには残念ながら、飲み物を置くテーブルがなかったので２階に移動。
　こちらでは砂丘側に向かって眺望が広がっている椅子席が１ボックスだけ。その「特等席」はすでに先客がいてその他の席は、眺望のない場所でだれもいない。視線を外部に向けるとするとどうしてもその特等席を「見つめ」なければならないので、他の場所の客は眺望を遠慮せざるを得ない。このあたり、大胆な外観形状のオシャレさ最優先で、室内からの外部眺望の極端な有利不利を感じさせられた。
　
　これは真横から外観形状を狙った写真でしたが、後退距離が取れず広角ではどうしても画角変形。しかたなく画像修正して外観「見え」復元をこころみた画像。う〜む、オシャレだけど活用利便はどうも・・・という印象。まぁ滅多に来ない観光地のランドマークということでしょうか？

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[Around Tottori Sand Dunes, Kengo Kuma's “Takahama Cafe”]
A big discrepancy between the eye surprise of the architectural exterior and the usability of the interior. Well, I wonder if it aims to be a landmark of a rarely visited tourist spot? ...

　Now that we are in Tottori Prefecture, we pay our respects and visit the “Tottori Sand Dunes”. Oh, and in case you are wondering, we also recently introduced the local prime minister's snacks here. I don't really support him... (laughs).
　At the dunes, I took off my shoes and went barefoot for a round trip of more than 2 km, playing in the sandbox for the first time since my childhood. I wonder if there are stone breakers because of the sandbox (laugh). My feet felt somewhat hot and clean. Then, I was attracted by the unusual architecture across the street from the Visitor Center. Without any prior knowledge of the place, my eyes were surprised to see it.
　I googled a bit and sure enough, it was the “Takahama Cafe” designed by Kengo Kuma. My feet were burning, so I decided to take a break inside for a cup of iced coffee.
　The following is a quote from the introduction on the web. 〜The structure is RC, but the walls and ceiling are made of wood CLT, making it a completely woody space inside. This CLT is finished with lamina wood of Japanese cedar produced in Tottori Prefecture. The furniture is also made of Tottori Prefecture's lumber, and the Japanese paper used for the original lighting is also made of Tottori Prefecture's paper. 〜 The building is a tourist-oriented building, with a "how's this for you? When I visited, I just wanted to take a rest to heal my burning feet. After entering the restaurant, there is a coffee and beverage ordering counter on the first floor, where you place your order, receive your beverage, and then move freely to your favorite spot in the restaurant. We first headed for the open terrace on the third floor, but unfortunately, there were no tables for drinks there, so we moved to the second floor.
　Here, there is only one box of chair seats with a view toward the dune side. The “special seat” had already been occupied by a guest, and the other seats were empty without a view. If one's gaze is directed to the outside, one must “gaze” at the “special seat,” so the guests in other places must refrain from looking at the view. In this area, the fashionable bold exterior shape is given top priority, and we were made to feel the extreme advantageous disadvantage of the exterior view from the interior.

　This photo was taken to capture the shape of the exterior from the side, but the angle of view was inevitably deformed at wide angle because of the lack of backward distance. I had no choice but to modify the image to try to restore the “look” of the exterior. Well, it is fashionable, but I have the impression that it is not very useful. I guess it is a landmark of a sightseeing spot rarely visited by tourists.

Notice
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Please visit Amazon for more information.

【日本庭園の美感追究 足立美術館の印象】

　近年、欧米の「庭園専門誌」の年度ごとの表彰制度で、島根県の足立美術館の庭園が連年、最優秀賞として顕彰され続けている、というNHK番組での紹介が続いている。
　日本庭園というのはたしかにオモシロい文化現象であり、和の文化の精緻であることも理解できる。わかりやすいところでは京都の伝統文化施設では、その背景あるいは主役として日本的な庭園美が追究されている。住宅と庭という関係性では長い歴史積層からこの列島の気候風土の中でのオリジナルな植生を生かした庭園美が追究されてきた。その積層はすごいことだと思っている。
　しかし一方で、北海道人としてはそういう日本的な植生とはやや違う樹種の自然条件と、なんといっても冬期の積雪のすさまじさ〜札幌で年間積雪６m超という自然環境の中では、そのままの庭園文化は成立しない地域にわたしたちは住み続けている。勢い、その「エッセンス」を受け取って「北国らしい」庭園美を探求するという立場に立たざるを得ない。そういう現実の中では、より気候条件に共通性がある欧米的なスタイルに惹かれるようになるのも、自然だと思っている。
　現実的に冬期間約４ヶ月以上の積雪環境では、いかにも和風庭園的な構成は望めない。
　そうではあるけれど、わたしたち北海道人も日本文化圏のなかの一員であることは事実。できるだけ、こうした和の庭園美の世界に親しみたいという潜在的な願望はある。
　そんな気分で、この足立美術館の庭園美に浸って見た次第です。
　・・・心理的な受け止め方としては、すばらしい。けれど、やはり距離感がある、といったところ。
　この庭園美を維持し続ける庭師さんたちの努力は本当に頭が下がる思い。そして、借景となっている後背の自然環境にも配慮して、日本的庭園美を維持し続けている努力にはほんとうに脱帽であります。こういった和の伝統的な環境・素材とは違った道具立てで、北海道らしい「拡張された花鳥風月」への探究が実際的なんだろうと再確認させられた次第。

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English version⬇

Japanese Garden Aesthetic Pursuit: Impressions of the Adachi Museum of Art]
Japanese garden beauty that interacts with Japanese-style vegetation. The snow-covered environment of the north that nullifies such efforts and covers everything. How can we create “Kacho Fu Fugetsu” (flowers, birds, winds, and the moon) that is uniquely Hokkaido? ...

　In recent years, NHK has been reporting that the Adachi Museum of Art in Shimane Prefecture has been awarded the top prize in the annual awards program of a Western “garden magazine” for many years in a row.
　Japanese gardens are indeed an interesting cultural phenomenon, and it is understandable that they are an exquisite example of Japanese culture. In Kyoto, for example, traditional cultural facilities are pursuing the beauty of Japanese-style gardens, either as a backdrop or as a mainstay. In the relationship between houses and gardens, the beauty of gardens that take advantage of the original vegetation in the archipelago's climate has been pursued for a long time. I think this layering is a wonderful thing.
　On the other hand, as Hokkaido residents, we continue to live in an area where the natural conditions of tree species are somewhat different from those of Japanese vegetation, and where the snowfall in winter is so great that the annual snowfall in Sapporo exceeds 6 meters, that garden culture as it is cannot be established. We have no choice but to take the “essence” of the snowfall and seek the beauty of “northern-style” gardens. In such a reality, I think it is natural to be attracted to the Western style, which has more in common with the climatic conditions.
　In reality, we cannot hope to create a Japanese-style garden in an environment where snow accumulates for more than four months during the winter.
　Nevertheless, it is a fact that we Hokkaido people are a part of the Japanese cultural sphere. We have a latent desire to become familiar with this world of Japanese garden beauty as much as possible.
　It was with this in mind that I immersed myself in the garden beauty of the Adachi Museum of Art.
　The psychological reception was wonderful, but there was still a sense of distance. However, there is still a sense of distance.
　I really admire the efforts of the gardeners to maintain the beauty of the garden. I also take my hat off to the gardeners for their efforts to maintain the Japanese-style beauty of the garden while also taking into consideration the natural environment of the hinterland from which the garden borrows its scenery. I was reminded that it is practical to explore the “extended beauty of flowers, birds, winds, and the moon” that is typical of Hokkaido, using tools different from those used in traditional Japanese environments and materials.

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