【民俗・慣習としての「家」と伝統工法「住宅」】

　きのうは道総研の鈴木大隆理事が司会進行されていた「気候風土適応住宅シンポジウム」を参観しておりました。伝統工法住宅というひとつの「建築文化」が存在して国、国交省などの住宅施策を推進するとき、そうした価値感を持つ作り手の人びとが、断熱性を最重視する施策をされることに危機感を持って声を上げるという現実がある。
　そういった伝統工法派の人たちと国の対話集会のようなものに参加した経験もあり、そのときにもその「矢面」のような立場として北海道の鈴木大隆氏が正対していた。なにができるわけでもないけれど、一種応援する心理からそこに参加。伝統工法のみなさんの声に耳を傾けていた経験もある。しばらくそういう国の施策についてリアルタイム感を持っていなかったのだけれど、たまたま機会があってそのシンポジウムを拝聴させていただいた次第。
　気候風土適応住宅という名称もはじめて知ったのだけれど、文脈的には伝統工法住宅についての国交省的な区分概念であるようです。国の省エネ基準義務化の動きなど住宅制度的なことがらについては自分自身の立場の変更もあったので、しばらく疎遠になっていた。久しぶりにそういった「現実リアルタイム」の空気感を認識していた。
　というよりも「伝統工法住宅」というカテゴライズについてはわたし的には、民俗的な「家制度」というような部分との連関性で捉えていて、柳田國男的な解析の方向性の方にふかく興味を抱いていて、建築的な概念仕分けとして「伝統工法」について作り手のみなさんも必ずしも明瞭ではないのではないのだろうかと感じた。
　北海道人としては積雪寒冷という絶対的な「気候風土」があって、そこで日本民族があらたな生存領域を模索していく中で住宅性能進化が促されたと思っている。そういうときに、しかし日本人としての家意識、「ご先祖さま」認識に代表されるような「民俗性」がどうなっていくか、その建築空間との相関性というテーマ意識だった。
　写真は兵庫県福崎町の柳田國男氏の「生家」に隣接してあった「家形石棺」。わたし的には「伝統工法とはなにか」という概念特定について、こういった石器・縄文にまで遡るような住文化概念が刷り込まれていたのだけれど、きのうの論議ではそういう展開はまったくなく、言ってみれば「木造架構の美感」「縁側空間でのコミュニケーション」というようなポイントが象徴の位置に挙げられていたように思った。
　振り返って、わたし自身のNEXT領域としては、都市への人口集中と住宅性能進化という現代化要素と柳田國男的な「家・民俗」領域との相関関係を探ってみたいと再認識させられた。
　写真のような家意識を寒冷地・北海道に暮らす日本人はどのように継承するのかというテーマ領域。そういう意味では大きな気付きの機縁を得られたと思っています。


English version⬇

The “house” as a folk custom and the traditional construction method “house”
What is the explicit “link” between Kunio Yanagida's “house” consciousness as a folk custom and traditional method houses? And can Japanese “folk customs” be created from Hokkaido? ...

　Yesterday, I attended the “Climate-Adaptive Housing Symposium” chaired by Mr. Hirotaka Suzuki, Director of the Hokkaido Research Institute. When the national government and the Ministry of Land, Infrastructure, Transport, and Tourism promote housing policies based on the existence of a certain “architectural culture” of traditional construction method houses, there is a reality that those who build houses with such values feel threatened by measures that place the highest priority on thermal insulation, and they raise their voices.
　I had the experience of participating in a national dialogue meeting with such traditional construction method advocates, and at that time, Mr. Hirotaka Suzuki of Hokkaido was in front of me as the “arrowhead” of the discussion. Although I could do nothing about it, I participated in the meeting out of a kind of supportive mentality. I had the experience of listening to the voices of those involved in traditional construction methods. I have not been aware of such national policies in real time for a while, but I happened to have an opportunity to attend the symposium.
　The name “climate-adaptive housing” is new to me, but it seems to be a Ministry of Land, Infrastructure, Transport, and Tourism (MLIT) concept for traditional construction method housing. I have been away from the housing system for a while because of the change in my own position regarding the government's move to mandate energy conservation standards. It has been a while since I recognized such “real-time” atmosphere.
　I am more interested in the direction of Yanagida Kunio's analysis, and I felt that the creators of “traditional construction method” as an architectural concept were not always clear about the “traditional construction method. I felt that the makers of these buildings were not always clear about the “traditional construction method” as an architectural conceptual classification.
　As a Hokkaido native, I believe that the absolute “climate” of snowy and cold weather prompted the evolution of housing performance as the Japanese people searched for new areas of existence. In such a situation, however, I wondered what would happen to the Japanese sense of home, the “folklore” represented by the recognition of “ancestors,” and the correlation between this sense and architectural space.
　The photo shows a “house-shaped sarcophagus” adjacent to Kunio Yanagida's “birth house” in Fukusaki Town, Hyogo Prefecture. I had been imprinted with this kind of concept of housing culture dating back to stone tools and the Jomon period, but there was no such development in yesterday's discussion, and instead, points such as “aesthetics of wooden structures” and “communication in the veranda space” were raised as symbols. I thought that the points of “aesthetics of wooden structure” and “communication in the porch space” were mentioned as symbolic points.
　In retrospect, I was reminded of my own interest in exploring the correlation between the concentration of population in cities, the evolution of housing performance, and Kunio Yanagida's “house and folk customs” as a NEXT area.
　This is the thematic area of how Japanese people living in the cold region of Hokkaido inherit a sense of home like the one in the photo. In this sense, I believe I have gained an opportunity for a great realization.

【「雷神」表現、雪舟と俵屋宗達の相違から】

　きのうの風神雷神図比較、俵屋宗達と雪舟であります。俵屋宗達は、江戸初期の京都の町人で、ビジネスとしては「扇子」を扱う店舗の主人だったとされる。わたしはとにかくこの人の風神雷神図にぞっこんなのですが、かれの死後、その画業に対して琳派を中興させた尾形光琳がこれまた完全に心酔し、ほぼまったくの複製画を制作した。
　江戸期にはながく尾形光琳の作品が風神雷神図の本家のように扱われていたのだという。ほぼ完全にコピーするという所業は、まったく創作人としていかがなものかと思うのが自然だろうけれど、むしろそのリスペクトの末の所業として好意的に伝承されてきた。
　日本社会ではこういう行為に対しての懲罰意識というのはそう重視されないのだろうか。琳派というひとつの芸術流派を発展させた光琳に対して、あえてその画業を否定する風潮は起こらなかったのかもしれない。そしてさらに時代が下ると酒井抱一も同様に、今度は尾形光琳の作品をコピーしたとされている。ただ、前出のふたりが京都を活動拠点にしたのに対して、酒井抱一は江戸を拠点にしたので、複製を手本にして制作したとされる。はるかな後世の人間たちの評価としてこの風神雷神という画材テーマのもっとも「創始者」には俵屋宗達が刷り込まれてきていた。
　いっぽうでこの雪舟（1420-1506年）は室町時代に活躍した水墨画家・禅僧。俵屋宗達よりもさらに100年近い大先達ということになる。備中国に生まれ京都相国寺で修行した後、大内氏の庇護を受け周防国に。その後、遣明船に同乗して中国に渡り李在という画家から中国の画法を学んだという。
　かれが描いた墨絵による風神雷神図を歴史の中から掘り起こした作家・武者小路実篤は「雪舟・雷」というタイトルで雑誌「心」昭和25年８月号で作品を紹介している。

　こうした日本の風神雷神画材テーマ化は、平安期 930年7月24日に起こった清涼殿落雷事件（平安京・内裏の清涼殿で起きた落雷災害）が起源とされる。『北野天神縁起絵巻』にこの事件は詳細に描かれた。藤原氏一族の陰謀で太宰府に左遷されて悲憤の内に世を去ってのち、雷神となった菅原道真が自身に無実の罪を着せた藤原氏に天誅を下そうとする場面。壮絶な場面なのに雷神と化した菅公の雷に打たれた殿上人たちが逃げ惑う姿が思わず笑ってしまうようなユーモラスな姿で描かれる。
　俵屋宗達は高山寺から絵を依頼されて、このような民衆的な説話や絵巻なども鑑賞して、画題を整理整頓していったのだろう。
　わたし的にはやはり台風に毎年痛めつけられる日本人の伝統的な体験感が、こうした風神雷神テーマを純化させていったように思えてならない。美感といい表現の諧謔性といい、いかにも日本人的な感性を表徴していると思える。


English version⬇

The “God of Thunder” Expression, from the Differences between Sesshu and Sotatsu Tawaraya
Since the Seiryouden lightning incident, wind and thunder gods have been depicted in Japanese society, which coexists with natural disasters. The difference between Sesshu, who learned from Chinese ink painting, and Tawaraya Sotatsu, whose works were popularized by mass society. ...

　This is a comparison of yesterday's Wind and Thunder Gods, Sotatsu Tawaraya and Sesshu. Tawaraya Sotatsu was a merchant in Kyoto in the early Edo period (1603-1868), and is said to have been the owner of a store dealing in folding fans. After his death, Ogata Korin, the founder of the Rimpa school, was completely fascinated by his work and made almost exact copies of his paintings.
　During the Edo period, Korin Ogata's works were treated as if they were the originals of the Wind and Thunder Gods. One would naturally think that the act of making a near-perfect copy of an original work of art would not be considered at all creative, but rather, it has been handed down to the next generation as a result of respect for the artist.
　I wonder if Japanese society does not place much importance on punitive measures against this kind of behavior. It is possible that Korin, who founded the Rimpa school of art, did not dare to deny his artistic activities. Further down the road, Sakai Hoitsu is said to have copied Ogata Korin's works as well. However, while the two artists were based in Kyoto, Hoitsu Sakai was based in Edo (present-day Tokyo), so it is believed that he used a copy as a model for his work. In the opinion of later generations, Tawaraya Sotatsu was the “originator” of the wind god and thunder god theme.
　Sesshu (1420-1506), on the other hand, was an ink painter and Zen monk active in the Muromachi period. He was a great predecessor of Tawaraya Sotatsu, who lived nearly 100 years before Sesshu. Born in Bicchu Province, he trained at Shokokuji Temple in Kyoto before moving to Suo Province under the patronage of the Ouchi clan. Later, he traveled to China on a Ming Dynasty ship and learned Chinese painting techniques from a painter named Li Jae.
　Mushanokoji Saneatsu, a writer who has unearthed from the history of Japan the ink painting of the Wind God and Thunder God by Sesshu Sesshu, introduced his work in the August 1950 issue of the magazine “Kokoro” under the title of “Sesshu, Thunder.

　The origin of this Japanese wind god and thunder god thematization has been attributed to the July 24, 930 Seiryouden lightning strike incident (a lightning disaster that occurred at Seiryouden in the Inner Palace of Heian-kyo, Kyoto). The incident was described in detail in the “Kitano Tenjin Engi Emaki” (Kitano Tenjin Engi Picture Scroll). In this scene, Sugawara no Michizane, who became the god of thunder after being moved to Dazaifu due to a conspiracy by the Fujiwara clan and passing away in a fit of rage, attempts to bring down the death penalty on the Fujiwara clan that had falsely accused him of crimes. The scene is so humorous that one can't help but laugh at the sight of the fleeing palace guests who are struck by the lightning of Suga, who has turned into the god of thunder, despite the grandeur of the scene.
　Tawaraya Sotatsu was commissioned by Kozan-ji Temple to paint this scene, and he must have viewed such folk tales and picture scrolls to organize the subject matter for his paintings.
　I think that the traditional experience of the Japanese people, who are annually battered by typhoons, seems to have contributed to the purification of the Wind God and Thunder God theme. The sense of beauty and the humorous nature of the expression seem to me to represent the Japanese sensibility.

【雪舟と俵屋宗達〜「風神」の表現篇】

　加齢してきて住宅雑誌ビジネス的な立場からだんだん離れ自分自身で「表現」するということに関心が高まってきています。というか自分の「したかったことーPart2」に関心領域が向かってきている。住宅についてはこれまでのメディアの立場から、むしろ取材者・表現者の立場に戻ってきていて、そういうスタンスでの掘り下げにこころが向かってきています。その方向性の表現についてはもう少し時間が経過したら発表することができると思います。
　で、毎日書き続けているこのブログでは、それともまた少し違う領域での「掘り下げ」をしたいと思っています。前述の住宅テーマ表現についてきちんと発表可能になったら、また環境に違いが出てくるでしょうが、いまはそうした「過渡期」。
　で、ブログネタとしては「絵画」の領域をしばらくは考えて行きたいと思っています。
　これは数年ぶりに訪れて自分のなかの「数寄」をもう一回覚醒させられた後藤純男美術館での作品との対話復活が大きい要因。日本画というのは日本人の通底的な「花鳥風月」という精神性をきわめるような表現領域だと勝手に考えているのですが、そういう作家群のなかで後藤純男さんは、その創作拠点を上富良野に定めるほどに北海道の四季、自然に惚れ込まれた。
　北海道での暮らしというのは伝統的な日本の「花鳥風月」がより過酷な自然環境に出会った、という意味合いが非常に強いと思っています。温帯の人間社会がはじめて本格的「寒冷地」に遭遇した、みたいな。北海道人は江戸期までの日本人的自然観からは大きくビッグバンした自然環境の中で否応なく暮らすことになったワケで、そういう「拡張された花鳥風月」への表現を、こころの底で大きく期待していたのではないかと思っている。
　住宅というのは明治以降、北海道が国土参入することで「高断熱高気密」という技術的・基本的な領域での本質的価値転換があった。そのことによる日本人の「生活感の進化・変化」領域も非常に価値が大きいけれど、一方で精神性を表現する絵画芸術の領域でも、上述のような価値感進化を熱望する部分があったのではないかと思っている次第。
　前置きがずいぶん長くなって、本題の絵柄のことにたどりつきません（泣）。過酷な「寒冷」ともまた違った自然の猛威として「台風」が周期的にやってくる日本列島で、ひとびとの精神性表現として受け継がれてきた「風神雷神」表現がわたしは大好きで、とくに俵屋宗達に強く惹かれてきた。それに対して最近、同じ日本の画家ながら、はるかに時代を遡る雪舟さんの表現に出会ったのです。
　大好きな俵屋宗達に対して、雪舟はどのように表現だったのか。金屏風絵と墨絵という表現スタイルの違いが大きいのですが、非常に強く興味を掻き立てられたのであります。
　・・・ちょっと長くなりすぎなので明日以降に続きます。


English version⬇

Sesshu and Sotatsu Tawaraya - The Expression of the “Wind God
The settlement of the Japanese people in the cold region of Hokkaido brought an evolution in housing performance and a big bang in the spirit of “Kacho Fugetsu” (flowers, birds, winds, and the moon). On the other hand, there is a tradition of expressing “Typhoon = Wind God and Thunder God”. The wind, bird, and thunder gods.

　As I age, I am gradually moving away from the housing magazine business and becoming more and more interested in “expressing” myself. Or rather, I am becoming more and more interested in what I “wanted to do-Part 2. I am returning to the position of a journalist and an expressive person, rather than a media person, and my mind is shifting to delving into housing from that standpoint. I will be able to announce more about this direction of expression when more time passes.
　In this blog, which I continue to write every day, I would like to “dig deeper” in a slightly different area. When it becomes possible to properly present the aforementioned housing theme expression, the environment will be different again, but right now I am in such a “transitional period.
　As for blog posts, I would like to consider the area of “painting” for a while.
　This is largely due to the revival of dialogue with the works at the Sumio Goto Museum of Art, which I visited for the first time in several years and awakened my “sukyo” in me once more. I consider Japanese-style painting to be a field of expression that culminates in the spirituality of “Kacho Fu Fugetsu” (flowers, birds, winds, and the moon) that is fundamental to the Japanese people. Among such artists, Sumio Goto fell in love with the four seasons and nature of Hokkaido so much that he chose Kamifurano as his creative base.
　I believe that living in Hokkaido has a very strong meaning that the traditional Japanese “Kacho Fu Fugetsu” (flowers, birds, winds, and the moon) encountered a harsher natural environment. It is as if human society in the temperate zone encountered a full-fledged “cold climate” for the first time. The people of Hokkaido were forced to live in a natural environment that was a big bang from the Japanese view of nature until the Edo period, and I believe that deep in their hearts, they were expecting to express this kind of “expanded Kacho-fu-getsu” (flowers, birds, winds, and the moon).
　Since the Meiji era (1868-1912), there has been an essential value shift in the technical and fundamental area of housing, namely, “high thermal insulation and airtightness,” as a result of Hokkaido's entry into Japan. While the “evolution and change in the sense of living” of the Japanese people due to this change is of great value, I believe that there was also a longing for the evolution of the above-mentioned sense of value in the field of painting, which expresses spirituality.
　I have already said a lot of things in the introduction, but I have not gotten to the main topic, which is the design of the paintings (tears). In the Japanese archipelago, where “typhoons” come periodically as a form of natural fury different from the harsh “cold,” I love the expression of the “wind god and thunder god” that has been handed down as an expression of people's spirituality, and I have been particularly attracted to the work of Tawaraya Sotatsu. On the other hand, I recently came across Sesshu's expression, which goes back much further in time, even though they are both Japanese painters.
　How did Sesshû express himself in relation to his favorite artist, Tawaraya Sotatsu? Although there is a big difference in the style of expression between gold folding screen paintings and ink paintings, I was very strongly intrigued by Sesshu's expression.