【モザイク画表現の動機は？ ポンペイ・悲劇詩人の家-3】

上の写真２点はこの「悲劇詩人の家」を飾っていたモザイク。
「猛犬注意」のユーモラスなモザイクは象徴性もあったのか床面だけれど、
これらの室内モザイクは壁面を飾っていたのだという。
このほかに３点のモザイク画が展示されていたとのこと。
この家は保存状態が良かったということにせよ、
これだけ多数の壁画、多くがかれらにとっての「神話」譚テーマ。
それも多くが「トロイア戦争」にまつわるものとされる。
トロイア戦争は、以下のような概要。
場所：小アジア（イリオス）
時代：青銅器時代
年月日：紀元前1700年-紀元前1200年頃のどこか。
・・・ということなので、この家の創建年代2200年前頃と比較して
さらに1500年前から800年前ころの叙事詩ということになる。
現代人に置き換えてみればイマドキの家で奈良・平安京のころの
王朝国家の叙事詩を壁面でピンナップしている状況になる。
自分の家でそういう特定テーマを深掘りするような人物が
この家の住み手には似つかわしいと考えられるけれど、
ふつうに考えれば、描かれた人物たちに血族意識濃厚だと考えている証拠か。
自らのアイデンティティを証す、という意味で残した。
ちょうどわれわれが祖先を祀るのに、仏壇を大切にしたり
肖像画や写真などを仏間に飾るような心理というのが推論１。
そうではなくこれは「歴史」数寄、一種のフェッチというのが推論２．

素材が石材ということでこうした古代人の精神世界のよすがが残る。
ひるがえって極東アジアの島国人はどうであったかと考えて見る。
人間の精神性には現代人とそう大きな違いはないとわたしは思う。
たぶんこの2000-3000年程度の時間・時代相違では
主役としての人間の精神性、思考パターンには違いがないのではないか。
ただその人の置かれた環境条件が違うことで対応が違う程度。
そのような見方からすれば、家系の個人資産としてモザイクを製作発注し
大切に残していくというような心理の分析からは
やはり推論１の可能性が高いのではないか。
日本人社会では古墳を造営したり神社を残したり、
仏教が社会に導入された以降には、家系の「仏壇」を残す心理と
いちばん同質性を感じられることがらのように思われる。
日本の場合は稲作という単一的な生産志向社会なので
このような「家系象徴」という心性は古墳に多く向かったのではないか。
ヨーロッパ地中海世界ポンペイではまた違う生産手段であって
そういう環境要因の違いということと思える。あるい極論としては
狩猟社会の人間性の基幹として「戦争」そのものが
そういう征服者的アイデンティティとして基底にあるのかも知れない。
アレクサンドル大王の征戦の様子をモザイクで残した大豪邸など、
そういう想像を強く刺激される。

われわれ日本人は木と土という建築表現が基本だと思うけれど
西洋や中国大陸などは基本はやはり石造。その文化の相違が色濃い。


English version⬇

What was the motive for the mosaic expression? Pompeii, House of the Tragic Poet-3]
An expression of the identity of their society. Or a means of expression of ancestor worship. In contrast, it is similar to the culture of Buddhist altars and ancient tombs.

The two photos above are mosaics that decorated the "House of the Tragic Poet".
The humorous mosaic "Beware of Raging Dogs" is on the floor, perhaps because of its symbolism.
The humorous mosaic of "Beware of Raging Dogs" is on the floor, but these mosaics decorated the walls.
Three other mosaics were also on display.
Even though the house was in a good state of preservation, the mosaics were not on display.
The house was in a good state of preservation, but there were so many murals, many of them with a "mythological" theme for them.
Many of them are related to the Trojan War.
The Trojan War is outlined as follows
Location: Asia Minor (Ilios)
Period: Bronze Age
Date: somewhere between 1700 B.C. - 1200 B.C.
...so compare this with the founding date of the house, around 2200 years ago.
This means that the epic poem was written around 1500 to 800 years ago, compared to the foundation of the house around 2200 years ago.
If we replace it with a modern person, it would be like a wall painting of an epic poem of the Nara/Heian-kyo period in a house of the Imadaki dynasty.
The epic poems of the dynasties in Nara and Heian-kyo period are pinned up on the wall in a modern house.
The inhabitants of this house are not the kind of people who would delve deeply into such a specific theme in their own home.
who would delve into such a specific theme in his own home.
However, it is also evidence of a strong sense of kinship among the people depicted in the painting.
The paintings were left as a proof of their own identity.
It is just like how we cherish a Buddhist altar to worship our ancestors, or how we keep portraits and photographs of our ancestors in our homes.
This is the same kind of mentality as when we cherish a Buddhist altar or display portraits and photographs in a Buddhist room to honor our ancestors.
The second inference is that this is a kind of fetch, a "historical" sukiyori.

The use of stone as a material is a trace of the spiritual world of the ancients.
In contrast, what about the islanders of Far East Asia?
I do not think that there is much difference in human spirituality from that of modern humans.
I think that the difference in time and period of the last 2000-3000 years is probably not so great.
I think there is no difference in the mentality and thought patterns of people as the main actors.
It is just that people respond differently due to the different environmental conditions in which they are placed.
From such a perspective, it would be a psychological analysis to order the production of a mosaic as a family's personal asset and to leave it behind with care.
The analysis of the mentality of ordering a mosaic as a family's personal asset and leaving it as a treasured possession suggests the following.
I think the possibility of inference 1 is still high.
In Japanese society, people have built ancient tombs and left behind shrines.
After Buddhism was introduced into society, the psychology of leaving behind family "butsudan" (Buddhist altars) and the most homogeneous psychology of leaving behind family "butsudan" may be felt.
In the case of Japan, the Japanese people are not interested in a single type of rice cultivation, but rather in the concept of "rice cultivation" as a means to preserve a single culture.
In the case of Japan, a mono-production-oriented society based on rice cultivation
This kind of "family symbolism" may have been more likely to be found in kofun tombs.
In the European Mediterranean world of Pompeii, the means of production is different.
I think the difference is due to such environmental factors. In the extreme
I think that "war" itself, as the backbone of human nature in a hunting society
as the basis of the conqueror identity of a hunting society.
The great mosaic of Alexander the Great's conquests, for example, strongly stimulates such an imagination.
This kind of imagination is strongly stimulated by the mosaic of Alexander the Great's conquests.

We Japanese think that the basic architectural expression is wood and earth.
while in the West and mainland China, the basic structure is stone. The difference between the two cultures is very strong.

【ヨーロッパ都市集住の初源 ポンペイ・悲劇詩人の家-2】

ポンペイ遺跡でももっとも保存状態が良かったとされる家。
2200年前に建てられた家だけれど、1960年前のAD62年には地震被害があって
その時点でリフォームされ通りに面した側が店舗になったという。
裏手側は「洗濯屋」になってその時点で２階建てに改造されたという。
そういった事実痕跡までが発掘可能だったということにも
驚かされるけれど、こういった復元の様子などを見ると
古代に於いてこの地中海地域はヨーロッパ文明のコアであり、
そこでかれらの「暮らし方」はその基底のカタチができていたと考えられる。
人口１万人という集住都市での普遍的な暮らし方・ライフスタイル。
「洗濯屋」という具体的な職業名からはいろいろな社会状況が類推される。
近郊農村地域から出稼ぎ的な次男三男層がポンペイに来て職に就いていて
かれらの日常生活上欠かせないサービス業として成立したか。
また、店舗になったというのは「不動産市場」というものの登場を暗示する。
集住と人間交通という商業活動の基盤が明瞭に存在したのだろう。
農業という基本的生産手段が確立していくと同時に
人類社会では余剰人口が生み出され、より生存しやすい都市集住が始まった。

このモザイクは玄関の床面に刻印されたもので「猛犬注意」と書かれている。
よくみると鎖で繋がれている様子も描かれている。
イヌを泥棒などからの防衛手段として使役する習慣がわかる。
集住都市生活では「治安維持」という必要性は了解可能。
この家からはたくさんのモザイクが発見されているけれど
それらの多くは古代神話に取材したテーマが描かれているとされる。
ファウヌスの家でも「アレクサンドル大王の征戦」モザイクがあったけれど、
自分たち社会の「正統性」についてのアイデンティティ・証明と受け取れる。
あるいは「歴史」という概念がかなり具体的に追究されたのかも知れない。
そういう意味では社会のなかでの「有力者」というのは、
なぜ自らがその立場、位置にあるかについて他者に証すものを求めた。
モザイクという表現手段はもっとも初源的インパクトを与える「画像」で
そういう視覚的伝達として機能させたのではないか。
そのように考えると一種のテレビのような「メディア」と捉えられる。

そういうメディアが壁は言うに及ばず、床面にも描かれたのは、
やはりモザイクという独特の表現手法にその根拠があったように思える。
たくさんの色合いの自然石ピースをモルタル素材で「固めて」
展着させて行くには壁面では相当に困難が伴い、
より安定的な展示形式として床面展示が選択された可能性が高い。
また描かれるテーマがより複雑になっていって
専用の「製作工房」で仕上げられ、大型のものになると
壁面では展着が難しくなっていった経緯があるように思える。
ヨーロッパ文明と暮らし方の初源が垣間見えて興味深い。


English version⬇

The first source of European urban agglomeration Pompeii, House of the Tragic Poet-2
Traces of commercial conversion renovation in urban agglomeration and "real estate value". Mosaic painting as a communication image media. ...

The house is said to be the best preserved of the Pompeii ruins.
Although the house was built 2,200 years ago, it was damaged by an earthquake in AD 62, 1960.
At that time, the side facing the street was remodeled and turned into a store.
The back side of the house was converted to a laundry and then to a two-story building.
It is amazing that such traces of fact could even be excavated.
I am surprised that such traces were excavated, but when I look at the restoration of the building, I am amazed at how it was restored.
The Mediterranean region was the core of European civilization in ancient times, and their "way of life" there was the same as that of the rest of Europe.
The way of life in the Mediterranean region is considered to be the core of European civilization in ancient times, and their "way of life" is thought to have taken its basic form there.
A universal way of life and lifestyle in a city with a population of 10,000.
The specific occupational name "laundress" suggests a variety of social conditions.
The second and third sons of the population who migrated from nearby rural areas came to Pohnpei to work, and they were employed as laundresses.
Was it established as a service industry indispensable to their daily lives?
The fact that it became a store also implies the emergence of a "real estate market.
The basis for commercial activities, such as housing and human transportation, must have clearly existed.
At the same time that the basic means of production, agriculture, was being established
At the same time that the basic means of production, agriculture, was established, a surplus population was created in human society, and urban settlements began to be established to make it easier to survive.

This mosaic is engraved on the floor of an entrance hallway and reads "Beware of Raging Dogs.
If you look closely, you can see a dog on a leash.
This shows the custom of using dogs as a means of defense against thieves and other threats.
The need to "maintain security" is understandable in the urban lifestyle.
Many mosaics have been found in this house.
Many of them are said to depict themes based on ancient mythology.
In the House of the Fauns, there is a mosaic of the "Conquest of Alexander the Great.
It can be taken as an identity proof about the "legitimacy" of their society.
Or perhaps the concept of "history" was pursued in a very concrete way.
In this sense, the "influential people" in a society are not necessarily the same as those who are in power.
In this sense, "influential people" in society sought proof from others as to why they were in the position they were in.
The mosaic is a means of expression, an "image" that has the most primordial impact.
It may have functioned as such visual communication.
In this way, it can be seen as a kind of "media" like television.

The fact that such media were drawn not only on the walls but also on the floor
The reason why such media were painted not only on the walls but also on the floor seems to have its basis in the unique expression technique of mosaic.
The use of mortar material to "harden" and adhere the natural stone pieces of various shades of color to the surface of the wall is a unique method of expression.
The wall surface was quite difficult to "harden" and adhere to, and the floor was chosen as a more stable exhibition format.
It is highly possible that the floor was chosen as a more stable exhibition format.
The themes of the paintings became more and more complex.
and the more complex the subject matter, the more difficult it would have been to mount on the wall.
The larger the paintings became, the more difficult it became to display them on the wall.
It is an interesting glimpse into the origins of European civilization and way of life.

【2200年前の家復元模型 ポンペイ・悲劇詩人の家-1】

さてふたたび2200年前のポンペイ遺跡・古民家探訪。
こちらの家は先日書いた「ファウヌスの家」のような大豪邸ではなく
ポンペイの普通「中の上」程度でしかも保存状態が良い住宅として知られる。
この復元模型はこの「悲劇詩人の家」をモデルにした後世の創作であって
実際の悲劇詩人の家とは間取りなど若干違うとされている。

わたし的には単純に「屋根はどうしていたのか」という疑問を持っていた。
ポンペイ遺跡住居は火山噴火堆積物に覆われたという事情もあって
掘り出された住宅からは石造の柱構造と床面だけが表れ
屋根面が発掘された形跡が見られないのです。
いくら日本の気候とは違って小雨気候とはいえ屋根の省略は考えられない。
ただ、日本の多雨気候は必然的に「木の住宅文化」を生んでくれたけれど、
小雨気候の他の多くの地域では石造住文化が主流。
ポンペイの家を見ても、柱や壁には煉瓦素材が積層されて
それを漆喰で固めての石造の構造材としている。
確かに石造で作った方が長期的耐久性はあっただろうけれど、
屋根だけは荷重を考えても、また造作技術を考えても
やはり木造の方がどう考えても合理的だと思われる。
そういう風に考えていて、この模型表現を確認した次第。
細部を確認するとやはり屋根構造は木造で造作しているように見える。
木造で骨組みを作って表面には瓦が葺かれている。
模型で見ると、屋根の一部には開口部があって天窓として機能している。
天窓に対応する室内は「アトリウム」のようで雨水を水盤が受けている。
小雨気候とは言え、豪雨など雨水処理のためには
排水の工夫もされていたに違いない。
２階も造作されているけれど１階に比較すると天井高は低く抑えられている。
当然２階床面も屋根構造同様、木組み構造が想定されている。
１階２階とも諸室出入りには木製ドアが組み込まれている。

こちらの写真は復元されている「悲劇詩人の家」の内観。
１階の様子になるのだけれど、天井高は非常に高くしつらえられている。
人口規模１万人ほどという街の「中の上」クラスの家とされるけれど、
どうも４ｍ以上はあったように見える。
そういう生活文化を自らの伝統と考える習慣を持っていたのでしょう。

小雨気候の場合、自然の造林活動は限定される。
そのうえバイオマス原料として煮炊き・暖房と木の需要は大きかっただろう。
住宅建築の主要資材が石造に向かうのはやはり自然なのだろう。
屋根やドアなど、必要欠くべからざる部位の材料として木は使われた。
東アジア世界も含めて世界は石造住文化が主流というなかで、
あらためて日本の木の住文化の特殊性に気付かされる。
木で柱梁を構成するというのは贅沢な住文化といえるのだろう。
そしてそういう木を扱う技能が森林地域・飛騨などで大発展したのでしょう。
金髪に憧れる日本人、黒髪に惹かれる西洋人ではないが、
西洋の住文化と日本の住文化、比較対照の面白さを感じます。


English version⬇

2200 year old house reconstruction model, House of the Tragic Poet, Pompeii -1
Although stone houses were used in the culture, wood was used only for roofs, doors, and other parts. Is Japan, one of the most forested countries in the world, at the forefront of wooden culture? .......

Once again, we are going to visit an old house in the ruins of Pompeii, 2,200 years ago.
This house is not a big mansion like the "House of the Faunus" that I wrote about the other day.
This house is not a big mansion like the "House of the Fauns" that I wrote about the other day, but it is close to an ordinary house in Pompeii, and it is well preserved.
This restored model is a creation modeled after the well-known "House of the Tragic Poet," and is not the same as the actual House of the Tragic Poet.
It is said to be different from the actual House of the Tragic Poet.

I simply wondered what was done with the roof.
The roofs of the archaeological dwellings were covered by sediments from volcanic eruptions, so the roofs of the houses were not covered by volcanic eruptions.
The excavated houses revealed only the pillar structures and floor surfaces, and the roof surfaces were not excavated.
There seems to be no evidence that the roof surface has been excavated.
No matter how different from Japan's climate, with its light rainfall climate, it is unthinkable that the roof would be omitted.
However, although Japan's high-rainfall climate inevitably gave birth to the "wood housing culture,"
in many other regions with light rainfall climates, stone housing culture prevails.
The houses in Pompeii, for example, are made of brick, with pillars and walls made of laminated brick and plastered with stone.
The brickwork is then plastered to form the structural material of the stone structure.
Although the stone construction would have been more durable over the long term, the wooden roofs were more durable.
However, the wooden roof is more rational in terms of both load capacity and construction technique.
However, the wooden roofs would be more rational in terms of load capacity and construction technique.
I was thinking in this way when I checked this model.
It seems that the roof structure is made of wood.
The wooden framework is made of wood, and the surface is covered with roof tiles.
The model shows that part of the roof has an opening that functions as a skylight.
The room corresponding to that skylight looks like an "atrium," with a water table receiving rainwater.
Even though the climate is one of light rainfall, heavy rainfall and other rainwater treatment
The drainage system must have been designed to deal with heavy rains.
The second floor is also constructed, but the ceiling height is lower than that of the first floor.
Naturally, the second floor also has a wooden structure similar to that of the roof.
Wooden doors are incorporated in the rooms on both the first and second floors.

This photo is an interior view of the restored "House of the Tragic Poet".
This is a view of the first floor, and the ceiling height is very high.
It is said to be an "upper middle class" house in a town with a population of about 10,000.
It appears to have had a ceiling height of more than 4 meters.
They must have had a custom of considering such a lifestyle and culture as their own tradition.

In a climate with light rainfall, natural afforestation is limited.
In addition, there would have been a great demand for wood as a biomass material for cooking and heating.
It would still be natural for the main materials for residential construction to be masonry.
Wood was used as a material for roofs, doors, and other indispensable parts.
While the world, including East Asia, is dominated by a stone-built housing culture
I am reminded once again of the uniqueness of Japan's wooden housing culture.
The use of wood to construct pillars and beams can be considered a luxurious housing culture.
And the skill to handle such wood must have been greatly developed in forested areas such as Hida.
Japanese are attracted to blond hair, while Westerners are not attracted to black hair.
I find it interesting to compare and contrast Western and Japanese housing cultures.

【日本社会の深刻な後遺症「マスク外せない」症候群】

もう３年もの間、社会全体の異常な活動収縮が続いています。
移動抑制、行動抑制というこれまで人類が経験したことのない状況。
感染症なので「根絶」ということはあり得ないと思うのですが、
これまでのペストなどの感染症の世界的まん延と大きく相違しているのが
社会の側の受け止め方なのだと思います。
情報が一瞬にして世界で共有されるようになってから
そのことの「弱点」が露わになる初めての契機になっている。
人類全体としては世界的な情報共有が進んでいくことは
すばらしい発展だと信じて疑わなかったものが、
このような感染症の攻撃で実は「ウラ」の側面があることが見えてきた。

現在、公的なアナウンスとして
「マスクを外してもいいですよ」みたいな発信が行われてきている。
そのように情報発信していないけれど、実際には欧米と歩調を合わせて
コロナとの共存に転換することが目指されているのでしょう。
実際に行動抑制をこれ以上続けたら経済は破綻する。
中国共産党独裁国家ではいまだに「ゼロコロナ」政策が実行され
2632万人口都市・上海の都市封鎖という地獄のような光景が展開している。
知人で中国・上海で会社経営していま現在も現地にいる方がいますが、
断片的な情報から、都市封鎖の恐怖の実態が伝わってくる。
結果として税収落ち込みが半減レベルまで達したという中国経済情報。
そしてマクロな経済指標でもたとえば中国傾斜が顕著だった
Appleの四半期損失が１兆円レベルだという発表もあった。
非人間的な「都市封鎖」というゼロコロナ政策の怖ろしさ。
中国共産党としては最初期の武漢封鎖が過剰に成功体験化したのでしょう。
さてこういった状況の中で世界経済はどうなっていくか、
まことに胸突き八丁という局面だと思われるのです。
欧米を中心とする世界経済の中枢は明確に「ウィズコロナ」に転換した。
そういうなかで日本では「マスク」に焦点が当たっているともいえる。

一番上の写真はゴールデンウィーク中の道南・松前サクラ旅の様子ですが、
何年か後になったらお笑いポーズということになるのかどうか、
まだわからない。
高度情報化社会の日本にあっては極端に「同調」圧力が強い。
一時期の「自粛警察」ではないけれど
「あの人、マスクしていない・・・」という他者非難が社会の底流にある。
とくにマスメディアにどっぷりと情報管理されている
情報弱者層にそういう傾向が顕著なのではないかと思える。
「あんまりテレビ、見ない方がいいよ」と
同年配以上のみなさんにオススメすることが増えている。
真実を冷静に伝える本質的役割を遠く離れ、反権力という特定の方向に
民を引きずり回そうとする日本マスメディア接触による副反応。
日本社会はマスク強制同調圧力社会から離脱できるのだろうか？
おっと、そろそろ朝の散歩時間。
人目もあるしマスクして行かなくちゃ（泣・笑）・・・。


English version⬇

[A serious aftereffect of Japanese society's "can't take off the mask" syndrome.
Shanghai's urban blockade hell. The obsession with zero corona is abnormal. The side reaction of the society by the mass media, whose criticisms are the business of the government. ...

For three years now, there has been an extraordinary contraction of activity throughout society.
This is a situation that mankind has never experienced before: suppression of movement and suppression of behavior.
I don't think there is any such thing as "eradication" because it is an infectious disease.
However, what is very different from the global spread of infectious diseases such as the plague is the way society perceives the disease.
I believe that society's perception of the situation differs greatly from that of the global outbreak of infectious diseases such as the plague.
Since information has become instantly shared around the world, the "weak point" of this situation has been exposure.
This is the first time that the "weakness" of this has been exposed.
I believe that humanity as a whole is making progress in the global sharing of information.
what we never doubted to be a wonderful development.
However, the "ura" side of the situation is now coming to light with these attacks.

Currently, the official announcement is.
"You can take off your mask.
Although information is not being sent out that way, in reality, we are in step with Europe and the United States.
The goal is probably to switch to coexistence with coronas.
If they actually continue to suppress behavior any longer, their economy will collapse.
The "zero corona" policy is still being implemented in the Chinese Communist dictatorship and
The hellish scene of an urban blockade of Shanghai, a city of 26.32 million people, is still unfolding.
I have an acquaintance who runs a company in Shanghai, China, and is still there.
From the fragmentary information I have been able to obtain, the reality of the horror of the city blockade is conveyed.
The Chinese economic information shows that the resulting drop in tax revenues has reached the level of a half-century decline.
And even in macroeconomic indicators, for example, the China tilt was remarkable
For example, Apple's quarterly loss was announced to be at the level of 1 trillion yen.
The horror of the zero-corona policy of inhuman "urban blockades.
For the CCP, the initial blockade of Wuhan must have been an overly successful experience.
What will happen to the world economy under these circumstances?
I believe that the world economy is in a situation where it is really at the edge of its seat.
The core of the world economy, centering on Europe and the United States, has clearly shifted to "with Corona.
In Japan, the focus is on "masks.

The photo is from a cherry blossom trip to Matsumae in southern Hokkaido during the Golden Week holidays.
Whether or not it will be called a comedy pose years from now
I don't know yet.
In the highly information-oriented society of Japan, the pressure to be "in sync" is extremely strong.
It is not the "self-restraint police" of a time.
In Japan, the society is not the "self-restraint police" of the past, but rather, there is an underlying tendency to criticize others, saying, "That person is not wearing a mask....
This tendency is especially noticeable among those who are under the control of the mass media.
This tendency seems to be especially noticeable among the information-weak.
I recommend that people of the same age and older not watch TV too much.
I have been increasingly recommending to people of the same age and older that they should not watch TV too much.
The tendency to drag the public in a particular direction of anti-authority, far away from the essential role of calmly conveying the truth, is becoming more and more common among the older generation.
The Japanese mass media, far from its essential role of conveying the truth calmly, tends to drag the people in a particular direction of anti-authority, a side reaction.
Will Japanese society ever be able to break free from the mask of forced peer pressure?
Oops, it's almost time for my morning walk.
I have to wear a mask to be seen by others (cries)....

【デザインの相違と目的の同一性 ポンペイ・ファウヌスの家-4】

きのうも触れたポンペイの最高級住宅の床面モザイク画という執着。
やはり日本では基壇などの「石の床」という生活文化が根付かず、
床上げして木での架構によって床面を造作することが特徴であることで
より軽快感のある床面への志向が発展したのではないか。
イマドキではそういった風習習慣は廃れつつあるとはいえ、
日本人には「畳返し」という生活習慣がある。
季節毎に畳の湿気を除去する生活の知恵であるのかも知れないし、
なにより足裏の素肌の感受性が発達して繊細な質感が好まれたのかも知れない。
シンプルなデザインで豊かな触感をもたらす畳床は
日本人のデザイン感覚に相当深く刻印されたものと思える。

一方でこちら西洋人マインドのルーツともいえる地中海世界ポンペイでは
「見る床」「鑑賞する床」という志向性が発達したように思える。
上の写真は「執務室」と名付けられたこの家のいわば「公的」空間の床。
ダイヤモンド形の色石をならべたオプス・セクティレの彩色モザイクで装飾され、
アポロ神殿やユピテル神殿の神室と同様、
斜めからみた立方体を並べた模様が描かれていたという。
２番目の写真はそのクローズアップ画面。
モザイクデザインに斜めの軸線を設定して、それを意図的にずらすことで
視覚的に「立体感」を生み出すように工夫されている。
床面デザインから来訪者に対して「この世のものとも思えない」空間性を
意識させるように意図していたと考えられる。
あるいは意識的に錯覚させることで面会機会それ自体が
一種異様な興奮を伴ったものとして演出していたとも受け取れる。
そして来訪者は３番目写真の「アレクサンドル大王」の床面画にさらに驚かされる。
たぶん民族の英雄譚として語られていた戦役について
それを活写する「まるでリアルな写真のような」画面に畏敬させられる。
やはり想像ではこういった床面画が施された空間は
ある種、神聖な体験を感受させることが目的であって
日本人の「床の間」にも相当するものだったように想像される。
神仏への宗教心に篤い日本人の場合、そういう宗教心の結果としての
精神世界の優位性を表現するのに書画を床の間に飾って
来訪者に対するコミュニケーション機会として活用したように
ポンペイの人々はこのような床面画空間を究極的接遇の場と考えたのではないか。
視覚的錯視まで活用し見させることがそのまま接遇の目的達成につながった。

人類というのは2200年程度の時間差では「考え方」そのものはほぼ同じだろう。
日本人も西洋人も、このような空間認識の進化過程を歩んできたと
イメージすることができるのではないだろうか。
そんなことを考えていたら来週、フィンランドの建築行政担当者のみなさんと
WEBでの交流機会がもたらされた（笑）。彼我の空間認識について
相互理解の一助になったらうれしい。


English version⬇

Differences in Design and Identity of Purpose: The House of the Fauns of Pompeii-4
If there is a commonality of human beings in spatial purpose, the "floor painting" in Pompeii might have been equivalent to the "tokonoma" in Japan. ...

I mentioned yesterday my obsession with the floor mosaics of the finest houses in Pompeii.
In Japan, the "stone floor" of the basement is not rooted in the lifestyle culture, and the floor is raised to create a wooden structure to create a floor surface.
The floor is raised and the wooden structure is used to create the floor surface.
This may have led to the development of a preference for a floor surface with a lighter feel.
Although such customary practices are dying out in the modern age, Japanese people still have the habit of "turning back the tatami mats.
Japanese people have a custom called "Tatami-gaeri" (turning back the tatami mats).
This may be the wisdom of daily life to remove moisture from tatami mats every season, or it may be a way of life to keep the soles of tatami mats from becoming sensitive to the skin.
It may also be that the sensitivity of the skin under the soles of the feet has developed, and the delicate texture of tatami is favored by the Japanese.
Tatami mats, with their simple design and rich tactile sensation
Tatami flooring, with its simple design and rich tactile sensation, seems to have been deeply engraved in the Japanese sense of design.

On the other hand, in the Mediterranean world of Pompeii, which can be said to be the root of the Western mind
On the other hand, in the Mediterranean world of Pompeii, where the Western mind has its roots, the orientation of "floors to be seen" and "floors to be appreciated" seems to have developed.
The photo above shows the floor of the "public" space of the house, named the "office.
It is decorated with colored mosaics of opus sectile, which are diamond-shaped colored stones.
The floor is decorated with diamond-shaped colored stones in opus sectile mosaic, similar to the sacred chambers of the temples of Apollo and Jupiter.
The second photo is a close-up of the mosaic.
The second photo is a close-up view of the mosaic.
By setting oblique axes in the mosaic design and intentionally shifting them
The mosaic design is designed to create a "three-dimensional" impression visually by intentionally shifting them.
The floor design is thought to have been intended to make visitors aware of the "out-of-this-world" spatiality.
the floor design is thought to have been intended to make visitors aware of the "out-of-this-world" spatiality of the building.
Or, by consciously creating the illusion, the opportunity to meet with the visitor itself
or that the opportunity to meet with the visitor itself was staged with a kind of bizarre excitement by consciously creating the illusion of a visit.
The visitor is further surprised by the floor painting of "Alexander the Great" in the third photograph.
The battle, which was probably told as a heroic tale of the people, was vividly depicted as "as if it were real.
The "realistic photographic" depiction of the battle is awe-inspiring.
I imagine that a space with this kind of floor painting is a kind of sacred experience.
to evoke a kind of sacred experience.
It seems to be the equivalent of the Japanese "tokonoma" (alcove).
In the case of the Japanese, who are deeply religious toward the gods and Buddha
Japanese people, who were deeply religious toward the gods and Buddha, would display calligraphy and paintings in the tokonoma to express the supremacy of their spiritual world.
as an opportunity to communicate with visitors.
The people of Pohnpei may have considered such a space with floor paintings as the ultimate place of hospitality.
The use of even visual illusions to make people look at the paintings led directly to the achievement of the goal of hospitality.

The way of thinking of human beings is almost the same in a time difference of about 2,200 years.
I think it is possible to imagine that both Japanese and Westerners have gone through this kind of evolutionary process of spatial awareness.
I was thinking about this when I visited Finland next week.
While I was thinking about this, next week I will have an opportunity to communicate with Finnish architectural administrators via the web (smile).
I was thinking about this, and next week I will have a chance to communicate with Finnish architectural administrators on the web (laugh). I would be happy if it would help us to understand each other's spatial perception.
I would be happy if it would help mutual understanding.