【床面モザイク装飾「芸術」 ポンペイ・ファウヌスの家-3】

総面積900坪の大豪邸だけれど2200年前の住宅建築。
しかしハンパないレベルの格差社会・最上流層の邸宅ではある。
そういう社会の人々の「生き様・価値感」というのは
残された建築によってはるかに想像される。
現代とはまったく異質な価値尺度がそこから浮かび上がってくる。

現代日本人からすると、床面に過剰な装飾性を持たせるという心理は
なかなか共有しにくいものがある。
日本人は高温多湿な気候環境のなかで床面は地面から「上げて」
床下空間に「通気」させて湿気を除去する志向性が強い。
だから履物を脱いで「家に上がる」習慣が根付き、
その床面は足の裏という素肌で感受する対象であって
その最上級床面として畳という独自の住文化を育んできた。
現代ではそこから板敷きとの混淆という床面文化が主流になっている。
板敷きは階級格差なく日本人の床面のベースになっている。
いずれにせよ、土間からの結界性が住まいの床面への感覚。
この点でほかの東洋文化圏とも違いがあるし、
家の中でも靴を脱ぐ習慣のない西洋的文化圏とは隔絶している。
ポンペイ遺跡でのこの高級住宅では内部空間とおぼしき室内でも
床面は石の平面が基本になっているように思われる。
当然靴は履いたままで日常生活を送っていたのだろう。
そういう違いを感じる上に、さらにその床面をキャンパスと見立て
芸術的なモザイク画面としてフェッチしていた様子がわかるのだ。
上の写真は「アレクサンドロス大王のモザイク」。
この家の最上位空間と見なせる区画に典雅な床モザイク画としてあった。
・・・絵画と見まごう細かなモザイク表現は「オプス・ウェルミクラトゥム」という
緻密で繊細な技法で作られている。モルタルに下書きしそれに従って
一片数ミリの微細な自然素材の切石（テッセラ）をひとつひとつ埋め込んでいる。
この作品では1センチ四方で15-30のテッセラ使用で画面全体では数百万個。
自然素材の石材の色調を選別して絵画の「絵の具」として活用している。
ここまで微細な表現物なので専用の工房で製作されて現場に嵌め込まれた。
現代人としてはこういう美術作品に対してそれを床面に残置することに耐えられず
ナポリ国立考古学博物館に収蔵されたという。
当然、今回の東京国立博物館「ポンペイ展」でも
「壁面」に展示されていた。・・・
この「絵画」の画材テーマについてもさまざまに研究が進んでいるけれど、
2200年前の古代の英雄叙事詩がテーマとされている。
で、そういうものを「床面の装飾物」としていたのだ。



まぁ、その他の動物などのテーマ装飾であればまだしも
「あ、踏んじゃった、ごめんね」とでも笑えるような雰囲気だけれど
こうしたモザイク画面構成には芸術と職人仕事の歴史的重視が感じられる。
イタリアのタイル文化というものの歴史的奥行きを深く実感させられる。
こういう生活文化性はカーペット文化とも相通じるものだろうか。
また、このような作品を発注し多数の先端的職人技を動員させるだけの
社会階級格差の巨大さも深く刻印されている。
どうも吉野ヶ里の城内での竪穴住居に住んでいたとされる日本古代支配層とは
社会構造基盤として、かなり巨大な異質さを感じさせられる。
日本社会の方がはるかに「平等」だと感じるのはわたしだけだろうか。


English version⬇

Floor mosaic decoration "Art" House of Pompei Faunus-3
The sense to the floor surface which is different from the culture of wooden board and tatami matting. The cultural consciousness of life that composes the floor surface with the highest quality art works. The astonishing huge disparity society. ...

It is a large mansion with a total area of 900 tsubo, but it was built 2,200 years ago.
However, it is a mansion of the highest class in a society with a huge level of inequality.
The "way of life and sense of value" of people in such a society
The remaining architecture gives us a much clearer picture of the way of life and sense of value of the people of such a society.
A scale of value completely different from that of today emerges from these residences.

From a modern Japanese point of view, it is difficult to share the psychology of having excessive decorativeness on the floor surface.
It is difficult for modern Japanese to share this sentiment.
In the hot and humid climate of Japan, floor surfaces are "raised" from the ground and
They have a strong tendency to "raise" the floor surface from the ground and allow it to "ventilate" into the space under the floor to remove humidity.
This is why the custom of taking off one's footwear and "coming up" to the house has taken root.
The floor surface is an object that is perceived by the soles of the feet, the bare skin.
Tatami mats, as the highest quality floor surface, have nurtured a unique living culture.
Today, tatami is mixed with wooden flooring and has become the mainstream flooring culture.
Tatami is the base of Japanese flooring, regardless of class.
In any case, the sense of boundedness from the earthen floor to the floor of the house is the sense of the floor surface of the house.
In this respect, there is a difference from other Eastern cultures.
This is what differentiates it from other Eastern cultures and separates it from Western cultures, where it is not customary to take off one's shoes even inside the house.
In this luxury house at the Pompeii site, even in what appears to be an interior space, the floor is basically a flat stone surface.
The floor surface seems to be based on a flat stone surface.
Naturally, people must have lived their daily lives with their shoes on.
In addition to such a difference, the floor surface is also considered as a campus.
The above photo is a mosaic of "Alexandros the Great" and "Alexandros the Great".
The photo above is the "Alexander the Great Mosaic.
It was an elegant floor mosaic in what could be considered the highest space of the house.
The detailed mosaic expression, which could be mistaken for a painting, was made by a technique called "opus wellmikratum.
The mosaic was made by a precise and delicate technique called opus wellmikratum. A rough sketch is made on the mortar, and then the mosaic is painted according to the sketch.
The mosaic is made by drawing a rough sketch in mortar and then embedding fine cut stones (tesserae) of natural materials, each a few millimeters in size, one by one.
In this work, 15 to 30 tesserae are used per square centimeter, and the total number of tesserae in the entire picture is several million.
The color tones of the natural stone material are selected and used as "paint" for the painting.
Because of the fineness of the expression, they were manufactured in a special workshop and fitted into the site.
The modern man cannot bear to leave such a work of art on the floor, so it was placed in the National Archaeological Museum of Naples.
It is said that it was housed in the National Archaeological Museum in Naples.
Naturally, it was displayed on the "wall" at the Tokyo National Museum's "Pompeii Exhibition" this time.
It was displayed on the wall of the Tokyo National Museum's Pompeii Exhibition. The theme of this "painting" is also the theme of the material used for the painting.
Although various studies have been conducted on the theme of the material of this "painting", it is not clear whether it is an ancient heroic epic from 2,200 years ago.
The theme of these "paintings" has been studied in various ways, but the theme is said to be an ancient heroic epic of 2,200 years ago.
And they were used as "floor decorations".

Well, if it's a themed decoration of other animals, etc., it's still a good idea.
It is a funny atmosphere, though, as if to say, "Oh, I stepped on it, sorry.
But the mosaic compositions in this way show the historical importance of art and craftsmanship.
It makes us realize the historical depth of the Italian tile culture.
I wonder if this kind of lifestyle culture is also compatible with carpet culture.
The huge disparity in social class that would allow for the mobilization of a large number of cutting-edge craftsmen to order such works is also deeply engraved in this exhibition.
The huge social class disparity that would make it possible to order such works and mobilize a large number of advanced craftsmen is also deeply engraved in this work.
The ancient ruling class of Japan, who are believed to have lived in pit dwellings in the castle in Yoshinogari, is a rather huge social structure.
The social structure of the Japanese society is much more "equal" than that of the Japanese people.
Am I the only one who feels that Japanese society is much more "equal"?

【古代地中海世界の石造住宅「ファウヌスの家」-2】

2200年前の日本の建築と考えると古墳もまだなかったとされる。
たぶん吉野ヶ里のような木造建築構造で、住宅としては
竪穴住居が一般的な住居形式だったとされる。
それに対してヨーロッパ地中海世界では基本的には石造の文化。
ここはギリシャの古代国家からローマへの移行期でしょうが、
ギリシャの材料でローマができたと言われるように、
石造建築は長期的耐久性を持っているので火山噴火で埋没したポンペイは
その噴火堆積物を除去すれば現代にタイムカプセルとして復元する。
日本の吉野ヶ里や三内丸山縄文遺跡以上に古代「観光スポット」化している。

今回東京上野の国立博物館で重層的にその古代都市・社会を展示された。
その展示資料などから手掛かりを得て、古代の住宅を考えていきたい。
きのうも「平面図・間取り図」を掲載しましたが、
どうもあまり住宅について重視していなかったのか、国立博物館展示資料では
間取り図上での空間用途区分が明示的ではない。
そこでその空隙を埋めるために調査しておおむね使用途と認識可能な区分で
わたしが現代語変換してみたのが、以下の図です。

いちばん下側が玄関入り口に相当する。
上の写真はその入り口部分の写真で煉瓦素材を積層させて架構している。
総面積900坪の大豪邸の入口としてまことに重厚な門構え。
すぐ下の写真はその右側内部壁面の様子。
レンガに対して「スタッコ」といわれるモルタル素材で塗り固める手法。
復元の現状では木造とおぼしき屋根が掛けられているけれど、
これについては想像の範囲なのかも知れません。
観光の用として建物を保守する必要上、このように保護被覆した可能性。
で、間取り図を確認すると玄関を入ってすぐに「アトリウム」空間があり、
その真ん中に水盤状の平面区画があって家の名前の「ファウヌス」の像がある。
「牧神」という意味で象徴的な位置にあることから家の名前に付けられた。
間取り図で用途が記されていない室は個室で、玄関の左右を別にすると
全部で20近い個室数になっている。
家族だけではなく、戦争の結果捕虜となり奴隷とされた人々なども
下人として使役されていたようにも想像できる。
アトリウム「中庭空間」が、最奥の菜園とおぼしき箇所も含め４箇所。
こういう間取り構成は中国の「四合院」的なイメージにも通ずる。
想像では台所と居間B、浴室などのスペースが主人の住宅空間と思える。

地中海世界は現代のヨーロッパ文明の初源の姿なのでしょう。
基本は石造文化であり建築的には「壁の建築」。
個室空間をいかに造作するか、それをどのように連携させるかで、
回廊的なアトリウムが連携機能を果たしていたと思える。
日本の「竪穴住居」はこの個室に近い感覚であって、
その造作の基本が「掘っ立て柱」と梁の木材となる。
この間取り図に従って、明日以降もこの家を探訪してみたい。


English version⬇

The House of the Faunus, a stone house in the ancient Mediterranean world.
Japan of the same period had large wooden prestige buildings and pit dwellings with dugout pillars and beam timbers in the vicinity. In contrast, Europe was based on a stone dwelling culture. ・・・・・.

Considering the architecture of Japan 2,200 years ago, it is believed that there were no burial mounds yet.
It was probably a wooden building structure like Yoshinogari, and as a residence
In contrast, in the European Mediterranean world, the basic culture was stone.
In contrast, the European Mediterranean world is basically a stone culture.
This would be the transition period from the ancient Greek state to Rome, but
As they say, Greek materials were used to build Rome.
Pompeii, which was buried by a volcanic eruption, is a modern-day structure that could have been built with stone if the eruption deposits were removed.
Pompeii, which was buried by a volcanic eruption, can be restored as a time capsule in modern times by removing the eruption sediments.
Pompeii has become more of a tourist attraction than the Yoshinogari and Sannai-Maruyama Jomon sites in Japan.

This time, the National Museum in Ueno, Tokyo, exhibited the ancient city and its society in a multilayered manner.
I would like to consider the ancient housing by obtaining clues from the exhibits and other materials.
Yesterday, I posted "Floor Plans and Floor Plans.
I guess I didn't focus too much on housing, but the National Museum's exhibition materials show the following.
The spatial use classification on the floor plan is not explicit.
So, in order to fill in the gaps, I have tried to use a classification that is generally recognizable as a use.
I have converted them into modern language as shown　below.

The bottom side corresponds to the entrance.
The photo above shows the entrance, which is constructed of stacked bricks.
It is a truly massive entrance to a mansion with a total area of 900 tsubo.
The photo immediately below shows the interior wall on the right side.
The brick is coated with a mortar material called "stucco.
The roof, which appears to be made of wood in the restored state, is covered with a stucco.
This may be a matter of imagination.
It is possible that the building was covered with this protective covering in order to maintain the building for tourism purposes.
The floor plan shows an "atrium" space immediately after entering the entrance.
In the middle of the atrium, there is a water basin-like flat area with a statue of "faun," which is the name of the house.
The name of the house is derived from its symbolic position, meaning "pastor god.
The rooms whose use is not indicated on the floor plan are private rooms, and if we separate the rooms on either side of the entrance, the total number of private rooms is nearly 20.
In all, there are nearly 20 private rooms.
Not only family members, but also those who were captured and enslaved as a result of the war.
It can be imagined that not only family members but also those who were captured and enslaved as a result of the war were used as servants.
There are four atrium "courtyard spaces," including a vegetable garden at the far end.
This kind of floor plan is similar to the Chinese "Shiaoyuan" style.
In my imagination, the kitchen, living room B, bathroom, and other spaces seem to be the master's residence.

The Mediterranean world is probably the original form of modern European civilization.
It is basically a masonry culture and architecturally a "wall architecture.
It is how the private spaces are built and how they are linked together.
It seems that the cloister-like atrium served the function of coordination.
The Japanese "pit dwellings" are similar to these private rooms.
The basis of the construction is the "hottate-bashira" (dugout post) and wood beams.
Following this floor plan, I would like to continue exploring this house tomorrow and thereafter.

【2200年前のポンペイ古民家「ファウヌス邸」-1】

わたしのブログは住宅探訪を中心にした暮らし文化の探究がテーマ。
仕事では現代の高断熱高気密住宅にスポットを当てた探訪が中心。
個人の興味を中心にしたブログでは過去の人々の住み方を
掘り起こすことを中心にしています。
言ってみれば人類史と住宅空間、というようなくくり方。
血の脈絡を考えると日本民族の基底的な暮らし方と
現代型の日本の北方圏住宅との対比で考証するという立場。
その流れから古代の遺跡・住居もいろいろ探訪します。
で、ときどきスピンアウトで今回は地中海世界のポンペイの住宅探訪。

ことしの春３月に東京国立博物館展示での「ポンペイ展」。
ポンペイというのはご存知の通り、地中海世界で西暦79年10月24日に近隣の
ヴェスヴィオ火山の噴火で埋没したヘレニズム世界の古代都市。
現代のナポリから直線距離で20数キロ南東に位置している。
最近、地中海の地質的な変移の様子を伝えるNHK番組があったけれど、
数百万年の単位ではジブラルタル海峡は活発な火山活動でときどき閉鎖され
地中海全体から海水が蒸発して海底岩塩層を形成しているという内容。
日本は火山列島として地球上でも特異な地域だと思うけれど
地中海世界というのはそれ以上に活発な地球的火山活動エリア。
このポンペイ周辺の火山爆発も約2000年ほどとほんのちょっと前だけれど、
そういう歴史的経緯なので街全体がスッポリとタイムカプセル保存された。
それを発掘することで時間旅行するかのような体験が得られる。
で、古代世界の「住宅」が蘇ってきたのですね。

わたしのツボ領域ではあるけれど短時間の見学接触だけでは足りず、
展示会図録や写真などから住宅探訪として再構成してみたい。
この「ファウヌス邸」はポンペイ住宅展示の最初の紹介事例。
当時のポンペイの人口は約10,000人程度でこの家は代表的高級住宅。
本日は間取り図と現地の様子を伝える展示画像からの抜粋で構成しました。
1,2,3と間取り図面に番号を振った箇所が写真の位置になります。
この邸宅は公共的に区切られた街区3,000㎡（約900坪）の１区画。
１は玄関空間から入って正面の「公的空間」のアトリウム越しに
主人の居室空間である「タブリヌム」を望む様子。
２は玄関廊下（ファウケス）であり壁面には壁画装飾が残っている。
３は古代の英雄アレクサンドロス大王のモザイク画がある最高空間「エクセドラ」。
・・・というような具合でなんとか解読していますが、
展示図録、展示物、間取り図でも細部詳細説明が得られないもどかしさ。
しかしそれがかえって強く想像力を刺激してくれることになります。
この全体が900坪ということで、間取り図上の正方形ひとつが個室。
方形区画の「アトリウム」が数カ所造作されて
それに対して回廊的な住空間が配置されているのですね。
明日以降も古代人の住宅解読を続けたいと思います。う〜む、オモシロい（笑）。


English version⬇

Villa Faunus, an ancient house in Pompeii dating back 2,200 years.
Buried by a volcanic eruption, the 2,200-year-old house and its "way of living" are preserved in a time capsule. What is the Mediterranean world and the sense of value of our ancestors? ...

The theme of my blog is an exploration of lifestyle culture with a focus on residential exploration.
In my work, I focus on exploration of modern, highly insulated and airtight homes.
My blog, which focuses on my personal interests, is centered on digging up the ways people lived in the past.
I focus on digging up how people lived in the past.
In other words, human history and housing space.
In the context of blood, we can see a connection between the basal way of living of the Japanese people and the modern Japanese northern housing.
The contrast between the basic way of living of the Japanese people and the modern Japanese northern housing is the focus of my research.
In this vein, I also explore various ancient ruins and dwellings.
And, as a spin-out from time to time, this time I am going to visit the houses of Pompeii in the Mediterranean world.

The "Pompeii Exhibition" was held at the Tokyo National Museum in March of this year.
Pompeii, as you know, is a city in the Mediterranean world that was destroyed by the eruption of the nearby Vesuvius on October 24, 79 AD.
Pompeii, as you know, is an ancient city in the Hellenistic world that was buried by the eruption of the nearby volcano Vesuvius on October 24, 79 AD.
It is located more than 20 kilometers southeast of modern-day Naples in a straight line.
Although there was a recent NHK program showing the geological transformation of the Mediterranean Sea
In millions of years, the Strait of Gibraltar was sometimes closed due to active volcanic activity, and the sea water evaporated from the entire Mediterranean Sea.
The program showed that over millions of years, the Strait of Gibraltar has sometimes been closed due to active volcanism, and that seawater has evaporated from the entire Mediterranean Sea to form submarine salt deposits.
Japan is a unique region on earth as a volcanic archipelago, but the Mediterranean world is even more active than that.
The Mediterranean world is an area of global volcanic activity that is even more active than Japan.
The volcanic explosion around Pompeii is only about 2,000 years old.
Because of this historical background, the entire city was completely preserved as a time capsule.
Excavating it is like traveling back in time.
So, the "houses" of the ancient world have come back to life.

I was not satisfied with the short time I had to visit the museum, so I decided to go back to my home.
I would like to reconstruct it as an exploration of housing based on the exhibition catalog and photographs.
This "Villa Faunus" is the first example of the Pompeian housing exhibition.
The population of Pompeii at that time was about 10,000, and this house is a typical luxury residence.
Today's exhibition consists of floor plans and excerpts from the exhibition images showing the local conditions.
The numbered sections on the floor plan (1, 2, and 3) are the locations shown in the photos.
The residence is one of the 3,000 square meters (approximately 900 tsubo) of publicly zoned city blocks.
1 is over the atrium of the "public space" in front of the entrance space.
1 is a view of the master's living space, "Tabrynum," through the atrium of the "public space" in front of the entrance space.
2 is the entrance corridor (faukes), the walls of which still have mural decoration.
3 is the highest space "Exedra" with a mosaic of the ancient hero Alexander the Great.
I've managed to decipher the rest of it.
It is frustrating that even the exhibition catalog, exhibits, and floor plans do not provide detailed explanations.
However, this in turn strongly stimulates the imagination.
The entire building is 900 square meters, and each square on the floor plan is a private room.
The "atrium" of the square section is built in several places, and the living space is divided into corridor-like spaces.
The living spaces are arranged in a corridor-like manner.
I would like to continue deciphering the housing of the ancients from tomorrow onward. Hmmm, interesting (laugh).

【コミュニケーション画像ツールなどの現代的進化】

写真はなにげに「どんな絵や筆文字が書いてあるのか」と
ふと疑問に感じていた至近の神社の拝殿天井の格天井画の様子。
わたしはブログを書き続けてきていますが、
日々のことがらを表現するのに、文章と並んで
画像についていろいろにテックを追究するようになる。
まぁ仕事柄もあり住宅・建築についてのことが多いので
文字だけでは当然伝えきれない領域があって、
直感的な画像の「編集」ということに注目するようになるのは自然。

そういう習慣化があるとブログのような軽いデータでも十分な場合には
iPhoneで「いつでもどこでも」気軽に写真撮影して
あとで時間ができたときに画像を確認しながら思索テーマを絞り込み
そのテーマに沿って「画像編集」していくことになります。
で、当然、DTPが仕事領域なのでいくつか専門的なソフトを利用し、
それらを連携して利用することでテックを向上させることが可能になる。
・・・とは言ってもまことにお恥ずかしい未熟さですが（泣）
ただ、ブログのようなテーマ領域ではこういった利便性はありがたい。
前記の天井画については「そのうちに画像編集すれば理解が進む」と
あまり考えることもなく「撮りっぱなし」にしていたのですね。
下の写真が実際に撮影した状況なのですが、
今回時間があったので上の写真のように編集した次第。
「おお、花鳥風月の大和絵と立派な書での構成か！」と確認。
画像の「正確性」という点では詰めなければならない部分があるけれど、
およその「大意」としては十分な把握が可能。
ブログ表現のような「日記的書き留め機能」としてはこの程度でいい。
このような「画像編集」を起点にした思索というのは、
いかにも現代的テクノロジーによって得られた表現領域ではないか。

わたしはブログって兼行法師の「徒然草」なのではないかと思っています。
日本人の多くが文字をツールとして完全利用できるようになったのは、
歴史的にそう古い時代とは言えない。
そして画像と文章がコラボして一体の表現世界を構成できるようになったのも
日本で言えば絵巻物みたいな表現形式が初源なのでしょう。
そういう表現ツールが始められてからまだ数百年程度。
そこから超絶の進化を遂げてわたしたちはSNSというような小衆同士での
自立的なコミュニケーション手段まで得られるようになってきた。
そして兼行法師さんは画像を持たなかったのに、
わたしたちはより自由度の高い画像表現まで取得できている。
まことに面白い時代を生きていると思っています。


English version⬇

[Modern evolution of communication imaging tools, etc.
Expressions that were difficult to spread in the age of Kenkou-hoji can now be edited by the general public. The super expansion of communication. ...

The photo shows the ceiling painting of a nearby Shinto shrine, which I had been casually wondering what kind of pictures and brush strokes were written on it.
I have been writing a blog for some time now, and I have been wondering what kind of pictures and brush strokes are written on the ceiling of a nearby shrine.
I have been writing a blog for a long time.
I have been writing a blog for a long time, and I have been pursuing various techniques for images as well as writing to express my daily life.
I have been writing a blog for a long time, and I have been exploring various techniques for images as well as writing to express my daily life.
Well, because of the nature of my work, I often write about housing and architecture.
I naturally cannot convey the message through text alone, so I started
It is natural for me to pay attention to intuitive image editing.

When such a habitual practice is established, it is easy to take photos "anywhere, anytime" with an iPhone when light data such as a blog is sufficient.
I can easily take pictures with my iPhone "anytime, anywhere" and
When you have time later, you can check the images and narrow down the theme for contemplation.
and then "edit" the images according to that theme.
Naturally, since DTP is my area of work, I use a number of specialized software packages.
By using them in conjunction with each other, it is possible to improve the tech.
I'm still a bit embarrassed by my inexperience, though.
However, I appreciate this kind of convenience in such a faintly thematic area as blogging.
As for the aforementioned ceiling painting, I thought, "I will understand it better if I edit the image in due time.
You left the picture "as is" without thinking much about it.
The photo below shows the actual situation.
I finally had a little time to edit the picture, so I edited it to look like the picture above.
I was able to confirm that "Oh, it's composed of Yamato-e paintings of flowers, birds, winds, and the moon, and splendid calligraphy! I confirmed it.
Although there are some parts that need to be corrected in terms of the "accuracy" of the image, it is enough for the approximate "general idea.
but I could grasp the general meaning of the image.
This is enough for a "diary-like writing function" like a blog expression.
This kind of "image editing" is a kind of contemplation that is a result of modern technology.
This kind of "image-editing" is an area of expression that has been made possible by modern technology.
I think that blogging is like "Tsurezuregusa" by Kanegyo Hoshi.

It is not so long ago in history that most Japanese people were able to fully utilize the written word as a tool.
It is not so old historically.
And it is not so long ago that images and texts came to be able to collaborate to form a single world of expression.
In Japan, the first source of this type of expression is probably the emakimono.
It has only been a few hundred years since these tools of expression began.
From there, we have evolved to the point where we now have independent means of communication among small groups of people, such as SNS.
We have even come to have independent means of communication among small groups of people, such as social networking.
And while Mr. Kanegyo had no images, we have more freedom to express ourselves through the use of images.
We have even been able to acquire a higher degree of freedom in image expression.
I think we are living in a very interesting era.

【ライラック＆ハシドイ 百花繚乱５月の札幌】

サクラの季節が終わったあと、ちょっとするとライラックが咲き誇る札幌。
ちょうど今週末からは「ライラック祭り」の季節。
ことしはついに３年ぶりのリアル開催という喜ばしい知らせ。
フランス名で「リラ」というこの花は独特の芳香で知られ、
初夏の北海道が「天国に一番近い」と思われる重要な「香り」要素。
さわやかな青空、ここちよい空気感にさらに彩りを与えてくれる。
日本に初めてライラックが持ち込まれたのは1879年とされる。
函館市のイギリス領事であったリチャード・ユースデンが
「病気の人が病院を必要なように健康人には休憩の場が必要だ」と訴え、
函館公園が完成。その時ユースデン夫人はイギリスから西洋クルミとライラックの苗を
取り寄せ植栽したのが始まりとされる。
一方札幌市ではスミス女学校（現・北星学園女子中学高等学校）の創設者である、
サラ・Ｃ・スミスが1890年にアメリカに一時帰国した際に、
自分の庭のライラックの苗を札幌に持ち込んだのが始まりとのこと。
日本の文化の中で北海道、札幌が独特のロマンチズムを感じさせるのは、
このような坂の上の雲の欧米文化を日本が受け入れて
しかもそのことに大きな民族レベルでの好感を寄せていたことが大きい。
札幌の街がこのような文化性の象徴として赤煉瓦庁舎や時計台建築とともに、
ライラックを街のシンボルとしてきたことは象徴的だと思える。
この開花時期はほかの花々もほぼ一斉に開花時期を迎えて
さまざまな芳香で街中が魅惑的な空間と化す。まさに天国・・・。

一方でこれも札幌の街路樹としてライラックに似た白い花を咲かせる
「ハシドイ」は日本の高地性の在来樹木。
初夏になるとライラックのように小さな花が集まった花房をつけ、とてもいい香り。
ライラックに似た品のいい芳香で夕方になると強くなる。樹高は10メートルほど。
英名の通称は"Japanese Lilac Tree" だそうで日本や朝鮮半島に自生している。
モクセイ科のライラックの仲間で、アメリカには北大で教鞭を執ったクラーク博士が
ハシドイの種子を日本から持ち帰っているという。
こういった経緯からはやはり日本社会と欧米社会の文化のブレンドを
つよく意識させてくれる。
本ブログとしてはほかの花々を代表させてツツジを添えました（笑）。
ピンクと白の木の花への対照としてはやはり低灌木のツツジがいいかと。

わたしは明治以降、欧米との文化ブレンドに取り組んだ北海道の
短い歴史だけれど、日本にとって重要な文化風土に強く愛着を持っています。
そして欧米的価値感とはやはりその基本は民主主義なのだろうと思います。
３年ぶりライラック祭り開催は現代世界へのメッセージになるのかも。


English version⬇

Lilacs & Hashidoi Like a gathering of many beautiful women in Sapporo
Sapporo, Hokkaido, a city that practiced cultural fusion with Europe and America. The colors of the season that is "closest to heaven". The cultural power to exterminate foolish dictatorial tyranny. ...

After the cherry blossom season is over, lilacs will be in full bloom in Sapporo in a short while.
This weekend is the season of the "Lilac Festival.
This year, the festival will finally be held for the first time in three years.
This flower, called "lilac" in France, is known for its unique fragrance.
It is an important "fragrance" element that makes Hokkaido in early summer the "closest to heaven.
It adds even more color to the crisp blue sky and pleasant air.
Lilacs were first brought to Japan in 1879.
Richard Eusden, the British consul in Hakodate, was the first to introduce lilacs to Japan.
Richard Eusden, the British consul in Hakodate, argued that "healthy people need a place to rest, just as sick people need hospitals," and Hakodate Park was completed.
Hakodate Park was completed. At that time, Mrs. Yousden brought walnut and lilac seedlings from England and planted them.
The park is said to have begun when Mrs. Eusden imported walnut and lilac seedlings from England and planted them in the park.
Meanwhile, in Sapporo, Sarah C. Smith, founder of the Smith School for Girls (now Hokusei Gakuen Girls' Junior and Senior High School), was born in 1890.
Sarah C. Smith, the founder of Smith School for Girls (now Hokusei Gakuen Girls' Junior and Senior High School)
She brought lilac seedlings from her garden to Sapporo.
In Japanese culture, Hokkaido and Sapporo have a distinct romanticism.
Japan's acceptance of this kind of cloud-on-the-slope Western culture.
The city of Sapporo is a place where this culture is still alive and well.
The city of Sapporo has been a symbol of this culture, with the red-brick government office building and clock tower, and the lilac as the city symbol.
The fact that the city of Sapporo has made the lilac the symbol of the city, along with the red-brick government office building and the clock tower, is symbolic of this cultural identity.
During this blooming season, other flowers are also in bloom at the same time, and the city is filled with various fragrances.
The city is transformed into an enchanting space with a variety of fragrances. It is truly heaven.

On the other hand, the "hashidoi," which blooms white flowers similar to lilacs, is also a street tree in Sapporo.
Hashidoi is a native tree of Japan's highlands.
In early summer, it produces clusters of small flowers like lilacs and has a very nice fragrance.
The fragrance is elegant, similar to that of lilacs, and becomes stronger in the evening. The tree is about 10 meters tall.
Its common name in English is "Japanese Lilac Tree," and it grows wild in Japan and the Korean Peninsula.
It is a member of the lilac family of the Moraceae, and Dr. Clark, who taught at Hokkaido University in the U.S., has been a professor of Japanese Lilac at the University of California, Berkeley.
Dr. Clark, who taught at Hokkaido University, is said to have brought seeds of the hashidoi back from Japan.
This is a good example of the blending of Japanese and Western cultures.
This is a good example of the blending of the cultures of Japanese and Western societies.
For this blog, I have included azaleas to represent other flowers (smile).
I think azaleas, which are low shrubs, are a good contrast to the pink and white flowers of trees.

I am interested in the history of Hokkaido's efforts since the Meiji era to blend its culture with that of Europe and America.
I have a strong attachment to the cultural climate of Hokkaido, which has a short history but is important to Japan.
And I believe that the basis of the Western sense of values is democracy.
The holding of the Lilac Festival for the first time in three years may be a message to the modern world.