【史跡「飛鳥宮跡（板蓋宮）」 飛鳥歴史証言-9】

昭和47年に「史跡・伝飛鳥板蓋宮跡」として史跡指定された地域は
平成28年10月に名称が史跡「飛鳥宮跡」と変更された。
日本書紀などでは推古天皇から持統天皇に至る７世紀の約100年間、
歴代天皇の宮が次々と飛鳥の地に造営されたと記されている。
昭和34年以来、橿原考古学研究所の発掘調査が続けられてきた。
宮の中心部分は東西約158m、南北約197mの長方形区画（内郭）で
区画の内側では大規模な掘立柱建物や石敷き広場などを発見。
この銘板の置かれた位置のすぐ左手に内郭北東側の建物の柱配置・井戸を
復元しているものです。
この内郭を囲むように建物や柱列、石組み溝などが営まれていて、
それらを「外郭」と呼んでいます。
内郭の東南側にはエビノコ大殿とされる大規模な掘立柱建物を中心にする
区画が存在することも確認されています。
これらの遺構は斉明天皇の「後飛鳥岡本宮」および天武持統天皇の
「飛鳥浄御原宮」などに相当するものと考えられている。〜以上、銘文より。

のちの藤原京や平城京などは東アジア世界との交流、相克が
激しさを増していった国際情勢を踏まえて、
いかにも都城にふさわしい「都市建設」が意図されていったけれど、
それ以前の王宮とは、天皇の居館を中心にした必要十分な構成。
これまで紹介してきた池工房や飛鳥寺とも指呼の間で数百メートルの位置。
現在、この宮跡に来て見ると周辺は水田地帯が広がっていて
また、当初は石敷きと区割りの石が史跡指定当時は明確だったのが
やがて草深くなってきていると見受けられる。
印象で言えば、非常に素朴な権力機構の遺構と感じられる。
仁徳帝が民の家から煙が上がっていない様子を見て節約に励んだという故事が
素直に受け止め可能なようにも思える。
石で踏み固めた権力痕跡がやがて田んぼになり草に覆われて
いかにも牧歌的な風景に還元されている平和な様子。

こういう風景に佇んでいると、
日本の原初の王権は本来この程度であったものが、
東アジアの超大国・唐が出現したことでそれへの外交対応、独立維持が
この国の権力機構の進展に非常に大きな要因だったとわかる。
現実に半島の動乱の政治・軍事情勢〜白村江戦争の結果、
百済の遺民が大挙日本に帰化して、唐の強大を身を以て知ったかれらが
亡命したこの日本の王権を強化することに必死だった。
そういった歴史の見方に強く同意したくなる。
中国の強権はつねに半島地域に対して剥き出しの暴力性を示し
列島社会はその脅威に備えた対応をしてきたのだと。
その安全保障的行動原理から律令と仏教を積極的に受け入れたという展開。
日本史の底流にこういう国際関係論があったことがわかる。
海を挟んでいることから幸いにして大陸的男系DNA根絶やし大量殺戮からは
歴史的に逃れられてきたとのが歴史の実相なのでしょう。
日本人の「平和意識」というものの原点なのかも知れませんね。


English version⬇

Asuka Palace Site (Itabukinomiya)" Asuka Historical Testimony-9
A land with vigorous natural resilience. The central area of power is quickly reduced to a landscape of rice paddies and grass. It is a landscape of the origin of Japan's pacifism. ...

The area designated as a historic site in 1972 as "Historic Site, Den Asuka Itabukinomiya-gū Ato" was
The name was changed to "Asuka Palace Site" in October, 2008.
According to the Nihon Shoki (Chronicles of Japan) and other records, the palaces of successive emperors were located one after another for about 100 years in the 7th century from Emperor Suiko to Emperor Jito.
The Chronicles of Japan and other documents state that the palaces of successive emperors were built one after another in Asuka during the 100 years of the 7th century from Emperor Suiko to Emperor Jito.
Since 1959, the Archaeological Institute of Kashihara has continued excavations.
The central part of the palace is a rectangular section (inner wall) measuring approximately 158 m east to west and 197 m north to south.
A large dugout pillar building and a stone-paved plaza were found inside the inner wall.
The pillar layout of the building on the northeast side of the inner wall and the well are restored to the immediate left of the location where this nameplate is placed.
This is a restoration of the well and the pillar layout of the building on the northeast side of the inner wall.
The buildings, rows of pillars, and masonry ditches surrounding the inner wall are called the "outer wall.
These are called the "outer wall.
On the southeast side of the inner wall, there is a large hottate-bashira building, which is believed to be the Ebinoko-daiden.
These remains are the remains of the Saimei Tenmangu Shrine.
These remains are related to the "Go-Asuka Okamoto Palace" of Emperor Saimei and the "Asuka Kiyomihara Palace" of Emperor Temmu Mochito.
These remains are thought to correspond to the "Asuka Jomihara Palace" of Emperor Saimei and the "Asuka Jomihara Palace" of Emperor Temmu Jito. 〜The above is from the inscription.

The Fujiwara-kyo and Heijo-kyo Capital later became the center of international
The Fujiwara-kyo and Heijo-kyo Capital were built as "cities" that were suitable for a capital city in light of the international situation
The later Fujiwara-kyo and Heijo-kyo were intended to be "city-builders" that would be suitable for a capital city, but
The royal palaces of the earlier period were composed of a necessary and sufficient structure with the emperor's residence at the center.
It is located within a few hundred meters from Ikegakobo and Asukadera, which we have introduced so far.
When we come to this palace site today, we see that the surrounding area is covered with rice paddies.
In addition, the stone pavement and ward stones were clear at the time of the initial designation as a historic site.
It can be seen that the grass is eventually becoming deeper and deeper.
In terms of impression, it seems to be the remains of a very simple power structure.
The legend that Emperor Nintoku saw no smoke rising from the houses of his people and encouraged them to save money seems to me to be a story that can be accepted honestly.
The traces of power stamped out with stones are still there.
The traces of power trampled with stones eventually turned into rice paddies and covered with grass.
The peaceful scene is reduced to a pastoral landscape.

Standing in such a landscape
I am reminded that Japan's original kingship was originally only this small, and that the Tang Dynasty, the superpower of East Asia, was a great power.
The emergence of the Tang Dynasty, the superpower of East Asia, and its diplomatic response to the Tang Dynasty, as well as the maintenance of independence, were very important in the development of the country's power structure.
The emergence of the Tang Dynasty, the superpower of East Asia, was an extremely important factor in the development of the country's power structure.
In reality, the political and military situation on the peninsula was in turmoil, and as a result of the Baekchon River War
The Baekje people were naturalized in Japan in great numbers, and they learned firsthand of the might of the Tang Dynasty.
They were desperate to strengthen their royal power in exile in Japan.
I am inclined to strongly agree with this view of history.
Chinese power has always shown itself to be openly violent toward the peninsular region, and island societies were prepared for the threat.
The archipelagic societies have responded to this threat.
The security principle of the Japanese government led to its active acceptance of the Ritsuryo Code and Buddhism.
It is clear that this kind of theory of international relations was at the bottom of Japanese history.
Fortunately, the fact that Japan is located on the other side of the sea has historically allowed it to escape the continental eradication of its male DNA and the genocide of its people.
The reality of history is that Japan has historically escaped genocide by eradicating continental male DNA.
This may be the origin of the Japanese sense of peace.

【関東梅雨明け宣言後、北海道にエゾ梅雨？】

昨日は久しぶりのアース21札幌での例会・現場見学会。
たっぷりと５件の現場を見学することができました。
そのうち完成間近で内装もほぼ終わっている現場は１件だけで
その他は構造と断熱段階のものが多かった。
やはりリアルに現場での寸法感覚を確認しながら見るのは
刺激感が全然違う。
感染症での閉塞状況を体験して、やはり人間感受性の多様性、
感覚がリフレッシュされて反応しているのがわかる。

ということでしたが、札幌はここのところ雨続き。
バスでの移動は「密を避ける」ということで回避して
各自のクルマでの移動でしたが、それでもときどき豪雨状態で
一時は全身が雨まみれに。
どうやら関東地区が梅雨明け宣言したあとの梅雨雲が一気に北上し
写真のような雨雲状態のようです。
北海道は梅雨がない、というのが長い民族的記憶で、
北国のさわやかな初夏というのが「天国に一番近い」季節の印象だった。
それがいまや、全国の梅雨を全部集めたような天候であります。
一方で東京・関東は数日間高温が続いているようですね。
そこに電力の逼迫状況があって連日「節電」令のような状況が続いている。
熱中症による搬送が急増しているとも言われている。
民意を反映しなければならない選挙も同時進行しているので
象徴的な局面が否応なくやってきているように思える。
なにより安定的な電力は高度に発展した社会では不可欠な要素。
ロシアのウクライナ侵略という未曾有の事態が
世界のエネルギー危機を際だたせている。
安全保障とエネルギー問題はまさに現代社会の最重要課題。
日本人の未来選択としてどういう投票行動になるのか。
相当大きな転換期がこういうカタチで表れてきているように思います。


でも雨は自然にとっては天与の恩恵。
色とりどりの花々が目を楽しませてくれている。
本日朝もずっと続いている雨の中ですが、
さて散歩はどうしようか、悩むところであります。
ということで、本日は連載テーマ企画は一時お休みさせていただきました。


English version⬇

After Kanto declared the end of the rainy season, Hokkaido is experiencing the Ezo rainy season?
Sapporo is like the peak of the rainy season. Kanto is in the midst of saving electricity all at once. Aggressive Russia and energy crisis, what will be the will of the people? ...

Yesterday was the first meeting and site tour at Earth21 Sapporo in a long time.
We were able to visit a total of five sites.
Of these, only one site was nearing completion and the interior was almost finished.
The rest were in the structural and insulation stages.
After all, it is a totally different and stimulating experience to see a real site while confirming the dimensions of the building.
The sense of stimulation is totally different.
Experiencing the blockage situation caused by the infection, I could see the diversity of human sensitivities and
I could see that people's senses were refreshed and reacted to the situation.

But it has been raining in Sapporo for a while now.
We avoided traveling by bus to "avoid the density.
We avoided traveling by bus to "avoid density" and took our own cars, but it was still raining heavily at times.
But even so, it was still raining heavily at times, and at one point our bodies were covered with rain.
It seems that after the rainy season was declared over in the Kanto area, the rainy clouds moved northward at once.
The rain clouds are like the ones in the picture.
My long national memory is that there is no rainy season in Hokkaido.
The impression of a refreshing early summer in northern Japan was that it was the season "closest to heaven.
Now the weather is like a collection of all the rainy seasons in Japan.
Meanwhile, Tokyo and Kanto seem to be experiencing high temperatures for several days.
There is a tight power supply situation there, and the situation is like a "power-saving" decree every day.
It is said that the number of people being transported to hospitals due to heat stroke is increasing rapidly.
There is also an election going on at the same time that must reflect the will of the people.
It seems that a symbolic phase is inevitably coming.
Above all, stable electric power is an essential element in a highly developed society.
The unprecedented situation of Russia's invasion of Ukraine
The unprecedented invasion of Ukraine by Russia is accentuating the global energy crisis.
Security and energy issues are the most important issues in modern society.
What kind of voting behavior will the Japanese people take as they choose their future?
I believe that we are at a turning point of considerable magnitude, and it is manifesting itself in this way.

But rain is a godsend to nature.
The colorful flowers are a feast for the eyes.
Well, it's been raining all morning today.
Now I am wondering what to do about my walk.
So, we have temporarily taken a break from our serial theme project today.

【アマルガム中毒を乗り越え大仏鍍金 飛鳥歴史証言-8】

飛鳥の時代のひとつの終焉のカタチは
東大寺大仏の開眼、造立ということだったように思う。
日本という国家、その共同幻想の基軸となった大きな柱は
鎮護国家思想であり、国内諸国に国分寺を建立し
奈良にはその中枢として東大寺を建立することでその思想の完成とした。
さらにその国家大方針の中核が大仏だったのでしょう。
後の世で鎌倉にも大仏が作られたのは、律令国家とは別思想の
武家政権としての中心軸と考え、先例に倣ったのだと思える。
この奈良大仏の造立・鍍金事業は草創期国家にとって想像を絶する大事業。

752年に造立されたもので当時の鋳金工芸の粋を集めたわが国最大の鋳仏であり、
世界でも類例をみない。そして現代の工業技術への多くの啓示が秘められている。
多湿な風土をもつわが国で戦火に２度も見舞われながら腐食現象が起きていない。
これは建立当時の先人の技術“焼付け金メッキ”が行なわれたからといわれる。
大仏を造ったのは百済亡命者・国骨富の孫、国中真麻呂大仏師。
そして大鋳師・高市真国、高市真麻呂の家来の技術者など延べ42万3,000余人、
役夫218万人を使って大仏本体鋳造３年、組立てに２年、仕上げと塗金に６年、
計11年の歳月を費してやっと完成している。
高さ16ｍ余、幅約12ｍ、重さ112.5ｔという巨大さで蓮華座に坐っている。
752年(天平勝宝4)4月9日に大仏開眼会が挙行されて完成を祝ったが
鍍金メッキ作業はその後から5年掛けて行われたとされる。
「塗練金4,187両１分４銖、為滅金25,134両２分銖、右具奉。
金4,187両を水銀に溶かしアマルガムとしたもの25,224両を仏体に塗った。
金と水銀を1:5の比率で混合しアマルガムとした。
アマルガムによる金メッキが始まってから塗金仕事をする人々に病気が流行した。
この不思議な病気の原因はまさに「水銀中毒」。
蒸発する水銀を吸うことでの中毒と真相をつきとめた大仏師・国中公麻呂は、
東大寺の良弁僧上とともに毒ガスマスクを工夫して病気発生を予防した。
科学技術の進歩は公害が付きもので、これを克服しなければ進歩はない。
＜東京都鍍金工業組合「奈良の大仏と表面処理」より要旨＞

唐という強権国家の登場の危機的な東アジア世界情勢を受けて
必死に近代国家建設に取り組んだこの時期の歴史が生々しく立ち上ってくる。
奈良期は疫病や地震などの災害が多発したと言われる。
この大仏鍍金での公害発生などは極めつけの災禍と思われる。
悩んだ聖武帝は自ら発願した大仏造立でありながら転々と遷都を繰り返している。
しかしこういう「工業発展」の取り組みがその後の日本社会の高度化に
どれほどの貢献をしたか、計り知れないものがあると思う。


English version⬇

[Overcoming Amalgam Poisoning and Plating the Great Buddha Asuka Historical Testimony-8
The mixture of gold and mercury struck the workers as pollution. The "Jingo-no-Kokoku" of hardship. Emperor Shomu must have been deeply distressed. ...

One way to end the Asuka period was the opening and construction of the Great Buddha at Todaiji Temple.
The great statue of Buddha at Todaiji Temple was the end of the Asuka period.
The major pillar that served as the basis of the common illusion of the nation of Japan was the idea of a "shin-governed state.
The main pillar of the Japanese nation, the basis of its common illusion, was the idea of a nation that would protect and defend the nation.
The idea was completed with the construction of the Todaiji Temple in Nara, which served as the center of the nation.
Furthermore, the core of this national policy was probably the Great Buddha.
The reason why the Daibutsu was also built in Kamakura in the later period was because of the idea of the central axis as a warrior government, which was a different idea from the Ritsuryo State.
The reason why the Daibutsu was also built in Kamakura in the later period seems to be that it was considered as the central axis of the samurai government and followed the precedent.
The construction and gilding of the Great Buddha in Nara was an unimaginably large undertaking for the pioneer state.

Built in 752, it is the largest cast Buddha in Japan, the culmination of the best of the metal casting craftsmanship of the time, and is unparalleled in the world.
It is also unparalleled in the world. It is also a revelation to modern industrial technology.
In Japan, which has a humid climate, the Buddha was twice exposed to war and fire, yet has not experienced any corrosion.
It is said that this is due to the excellent "baking gold plating" technique used by the predecessors when the statue was built.
The Great Buddha was built by the great Buddhist priest Kuninaka Manamaro, grandson of the Baekje exile Kokkotomi.
The Great Buddha Master Kuninaka Manamaro, grandson of the Baekje exile Kunikotsufu, built the Great Buddha, and a total of more than 423,000 people, including the great castor Koichi Makoku, Koichi Manamaro's retainers and technicians.
It took a total of 11 years, including 3 years for casting, 2 years for assembly, 6 years for finishing and lacquering, and 2.18 million workers.
It took a total of 11 years to complete the construction.
It is 16 meters high, 12 meters wide, and weighs 112.5 tons, and sits on a lotus throne.
The completion of the statue was celebrated with an opening ceremony on April 9, 752 (Tempyo-shoho 4).
The gilding and plating work is said to have been carried out over the next five years.
The gold was plated with 4,187 gold pieces and 25,134 gold pieces.
The 25,224 kyos of gold (4,187 kyos) dissolved in mercury to form an amalgam was applied to the body of the Buddha.
Gold and mercury were mixed in a ratio of 1:5 to make an amalgam.
After the amalgam gold plating process began, there was an epidemic of illness among those who worked in the gold plating industry.
The cause of this mysterious disease was precisely "mercury poisoning.
Kuninaka Koumaro, a great Buddhist priest, discovered that the poisoning was caused by inhaling evaporating mercury.
Together with the monk Ryoben of Todaiji Temple, he devised today's poison gas masks to prevent the outbreak of the disease.
Scientific and technological progress is accompanied by pollution, which must be overcome before progress can be made.
<Summary from "The Great Buddha of Nara and Surface Treatment" by the Tokyo Plating Industry Association

In response to the critical world situation in East Asia with the emergence of the powerful Tang Dynasty
The history of this period, in which people desperately worked to build a modern state, comes vividly to the fore.
The Nara period is said to have been rife with plagues, earthquakes, and other disasters.
The pollution caused by the plating of the Great Buddha is considered to be the most serious disaster.
Emperor Shomu, who was troubled by the disaster, repeatedly relocated the capital from one place to another, even though he himself had initiated the construction of the Great Buddha.
However, it is difficult to say how much this kind of "industrial development" contributed to the subsequent advancement of Japanese society.
I think it is immeasurable how much these "industrial development" efforts contributed to the subsequent advancement of Japanese society.

【歌垣と芸能・男女恋愛文化 飛鳥歴史証言-7】

歌垣というのは人間の本然・種の保全本能に基づく男女の出会いの場。
そこには当然ながら普遍的な人間模様が表現される。
人類はながい歴史を刻む中で出会いの機会を文化として創造してきた。
万葉集はそういう「歌」文化を基盤として成立したとされる。
歌はもともと声に出して節を付けてうたうものとされる。
相聞という形式には始原的な告白要素がある。
「はないちもんめ」ではズバリ「◎◎ちゃんが欲しい」という告白が
お互い集団で囃しあうリズムと声出しの声援の中で
モジモジせずに自分の気持ちを正直に出してうたう、という形式文化。
ふだんは正直に自分の気持ちを表せない人間でも、
ああいった形式の中ではごく自然に表出させられる。
「どうせ、はないちもんめなんだから、思い切って・・・」
人間社会が考えた子孫繁栄維持のたぐいまれな知恵なのだろうと思う。
口に出して言って見ると相手の表情がそのときクローズアップされて
「あ、まんざらでも無いのか、やった！」という展開（笑）。
さまざまな楽器の演奏というのも、その雰囲気作りだともいえる。
万葉集という「歌」の基本はこうした相聞文化。
それが日本語コミュニケーション形式では五・七・五という
リズム感が自然と規範化されていったのだろうけれど、
文字化される前からも、こういう韻や「リズム感」は重要だったのだろう。
日本人の心理の奥底に強く訴えかけるものがあるのに違いない。
ながく社会として隣国関係である、
中国雲南省石宝山にも結婚相手を求める現系的な歌垣が残っている。
男女が数時間にわたって情熱的な即興の歌を交わし合う。
中国貴州省トン族には、最初はなぞなぞ問答のような歌の掛け合いで
相手の人格や知識などを判断し、やがて意中の人が決まると
「誓い」の歌となるという習俗文化がある。

一方、こうした歌垣の場で「芸能」が始原していったとされる。
歌垣は「都市」の原型とも言える人間交流の場となっていったが、
その発達とともに芸能も多様化し、洗練されて高度な技芸をもった
専門「芸能人」を生んでいくことになった。
万葉集巻十六に残された歌には、神事芸能としての「鹿踊り」に関する歌や
カニや鹿の様態を模した所作を伴って祝言を述べた芸能の歌がみられる。
日本列島社会古来の芸能に加えて半島や大陸での芸能も伝承した。
３番目の写真は奈良の大仏開眼供養でも行われたとされる
中国の呉の国の「伎楽」の様子を表している万葉文化館での展示。
エンターテイメントとしての人間社会文化の飛鳥・万葉の時代の実相。
やがて日本では飛鳥から奈良にむかって
本格的な「都市形成」が進展していくことになる。
いかにも日本人のまほろばを感じさせられる。・・・


English version⬇

[Utagaki and Performing Arts, Male-Female Love Culture Asuka Historical Testimony-7
◎◎-chan wanting "Hanaichimonme" collective hearing and confession. This is a human culture that is all about the survival of offspring. The origin of the entertainment that accompanies it. ...

Utagaki is a place where men and women meet based on human nature and the instinct to preserve the species.
Naturally, it is a place where universal human patterns are expressed.
Throughout our long history, human beings have created opportunities for encounters as part of their culture.
The Manyoshu is said to have been founded on the basis of such "song" culture.
Songs were originally meant to be sung aloud and accompanied by a verse.
The form of "aibun" has the element of primitive confession.
In "Hanaichimonme," the confession, "I want ◎◎chan," is sung to the rhythm of the group's musical accompaniment.
In the rhythm of the group's musical accompaniment and the cheering of their voices
The formal culture of the song is to express one's feelings honestly and without hesitation.
Even people who normally cannot express their feelings honestly
In such a formality, people who normally cannot express their feelings honestly are able to do so naturally.
In this way, the song is a formality that allows people who normally cannot express their feelings honestly to do so.
I think this is a unique wisdom of human society to maintain the prosperity of offspring.
When you say it out loud, the expression on the other person's face comes into focus, and you can see that he or she is not surprised.
"Oh, so they're not satisfied, huh? (laughs).
The playing of various musical instruments can also be said to create such an atmosphere.
The basis of the poetry of the Manyoshu is the culture of "sōmon," or "hearing and hearing again.
In the Japanese communicative form, the rhythm of the five-seven-five syllable form was naturally normative.
The rhythm of the five-seven-five syllables is a natural norm in the Japanese communication system, but even before it was written down, it was still used to create a certain atmosphere.
Even before the Japanese language was written, this sense of rhyme and rhythm must have been important.
It must have had a strong appeal deep in the psyche of the Japanese people.
The Japanese have long been neighboring societies.
In Shihbaoshan, Yunnan Province, China, there are still songagaki, a traditional form of seeking a marriage partner.
Men and women exchange passionate impromptu songs for several hours.
The Tong people of Guizhou Province, China, use a riddle-like singing contest to determine the personality and knowledge of the other person.
The Tong people of Guizhou Province, China, have a tradition of singing songs that at first resemble riddles to determine the personality and knowledge of the other person.
When the person they are interested in is decided, they sing a song of oath.

It is said that the "performing arts" originated at these "utagaki" gatherings.
Utagaki became the prototype of the "city" as a place for human interaction.
As the performing arts developed, they diversified and became more sophisticated, giving rise to specialized "entertainers" with advanced skills and techniques.
The development of the performing arts also gave birth to specialized "entertainers" with sophisticated and advanced skills.
In the poetry preserved in the Manyoshu (Anthology of Myriad Leaves), scroll 16, there is a song about the "Deer Dance" as a Shinto ritual art, as well as a song that describes the appearance of crabs and deer.
In addition to the ancient performing arts of the Japanese archipelago, there are also songs about the celebration of festivals accompanied by gestures that imitate crabs and deer.
In addition to the ancient performing arts of the societies of the Japanese archipelago, the performing arts of the peninsula and the continent were also handed down.
The third photo shows a performance of the "Gigaku" from the Wu Dynasty in China, which is said to have been performed at the opening ceremony of the Great Buddha in Nara.
This exhibit at the Manyo Culture Museum shows "Gigaku" from the Chinese province of Wu.
The reality of the Asuka and Manyo periods of human social culture as entertainment.
In Japan, the "city formation" progressed in earnest from Asuka to Nara.
The "city formation" progressed in earnest from Asuka to Nara.
This is a very Japanese Mahoroba. ...

【万葉の頃の食文化・素材 飛鳥歴史証言-6】

博物館展示での楽しみは「時代考証」が見えるかたちで再現されること。
表面的な政治動乱などの様子は詳細に研究されるけれど、
一般民衆の「生き様」の部分というのはなかなか再現されない。
そんなことに着目するのはややフェッチなのでしょうか。
写真は奈良県立万葉文化館地下のジオラマ展示。
こういうのにゾッコンにさせられます（笑）。

このジオラマの設定は「歌垣〜うたがき・かがい」の場で
野菜や果物、青果を販売する老人と買い求める女性の様子。
驚かされるのは取引商品のうち、わかりやすい「リンゴ」「大根」の
大きさが現代とはまったく違って小型であること。
リンゴはほとんど栗くらいの木の実として表現されている。
これでは一口でまるごと口に収まってしまいそうで、
ちょっと歯ごたえに乏しいかも知れないけれど、
これはこれで面白い食感を楽しめそうだなと感じさせられる。
品種を特定できないけれど、柑橘類のようなものも販売されている。
大根も商売人の老人が手に取って紹介しているけれど、
これはニンジンか、と思えるほどのサイズ感。
１回大根おろしを作ったら、ほぼ１人前で消えて無くなるほどに
かわいらしい大きさ。あ、おろし金などは普及していないか。
小ぶりなので5-6本を束ねてセット販売されている。
家族単位での食用ではふつうこれくらいの取引だったとも思える。
となりに展示されている「長ネギ」も大根と大差ないので
ほとんど「薬味」としての食用利用だったことが偲ばれる。
この老人の店は青果専門の業容だけれど、魚類はもっぱら行商スタイルか。
内陸部の大和盆地には河川交通で運ばれたろうけれど、
こういう路面販売では鮮度維持の課題がながく問題だっただろう。
老人の脇には丈夫そうな麻袋が置かれていて、
このなかに販売用の青果が詰め込まれ、
店舗面を構成するムシロとセットで路面店舗が作られた。
ひとが集まる場に容易に出張ることができるので、
非常に「スーパー」なマーケットというように思える。
老人はこぼれるばかりの笑みを浮かべているけれど、
「営業」というイメージが強く立ち上ってくる。
初源的な商業行為をみるような気がしてくる。

一方で買う側の女性は背中に大きな編みカゴを背負い、
片手にもザルを持っている。
貨幣というものがまだまだ根付いてはいない時代、
購買にあたっても「物々交換」が基本だったことが推定され、
このように買い物もなかなか大変な肉体労働だったと思える。
一度こんな老人のお店で買い物をして見たい（笑）。


English version⬇

Food Culture and Ingredients at the Time of Manyo Asuka Historical Testimony-6
Trading fruits and vegetables in an exchange-type commerce. The V-sign is telling the price or inviting laughter? ...

One of the pleasures of museum exhibits is that the "historical research" is reproduced in a visible form.
Although superficial political upheavals are studied in detail, the "way of life" of the general populace is not so easily reproduced.
but it is difficult to reproduce the "way of life" of ordinary people.
Is it a bit of a fetish to focus on such things?
The photo shows the diorama exhibit in the basement of the Nara Prefecture Complex of Manyo Culture Museum.
This is the kind of thing that makes me fall in love with it (laughs).

The setting of this diorama is a place of "Utagaki - song and music.
An old man sells vegetables, fruits, and produce, and a woman buys them.
What is surprising is that among the products traded, the sizes of "apples" and "radishes," which are easy to understand, are very different from those of today.
The size of the apples and daikon radishes, which are easily recognizable, are quite different from those of today.
The apple is represented as a nut almost the size of a chestnut.
It seems as if it would fit in one's mouth in one bite.
It may lack a little bit of crunchiness, but this is an interesting texture to enjoy.
However, it is an interesting texture to enjoy.
There are also some citrus-like fruits on sale, although I cannot identify the variety.
An old merchant holds up a daikon radish and introduces it to us, but we can't help but wonder if it is a carrot.
They are so big that one might think, "Is this a carrot?
After one serving of grated daikon, it would be gone in about one serving.
It is a cute size. I wonder if grating machines are widely used in Japan.
Since they are small, they are sold in sets of 5-6 daikon grated in bundles.
I think this is how much they were usually sold for family use.
The "long green onions" displayed next to them are not much different from daikon radish.
It is remembered that they were mostly used as "condiments" for food.
The old man's store specializes in fruits and vegetables, but fish is sold exclusively by hawkers.
Fish would have been transported to the inland Yamato Basin by river transportation, but this kind of street sales would not be able to maintain freshness.
However, the issue of maintaining freshness must have been a problem for this type of street vendor.
Beside the old man was a sturdy-looking jute bag.
The old man was flanked by sturdy burlap sacks, into which produce for sale was packed.
The street-level store was built in combination with the mushiro that made up the store's facade.
The storefront was built in combination with the mushiros that made up the store's surface.
It seems to be a very "super" market, as it can easily go to places where people gather.
The old man is all smiles, but the image of "sales" stands out strongly.
The image of "sales" rises strongly.
It is as if we are witnessing a primordial commercial act.

On the other hand, the woman on the buying side carries a large woven basket on her back and a colander in one hand.
On the other hand, the woman on the buying side carries a large woven basket on her back and a colander in one hand.
This was a time when money had not yet taken root.
It is presumed that "barter" was the basic method of purchasing goods.
Shopping was also a very hard physical labor.
I would like to shop at such an old man's store once (laugh).