【木造技術の継承努力 小樽の「能舞台」-4】

さて北海道に残る総合芸術建築・岡崎家能舞台を見て来ました。
1925年（大正14年）創建という建築なのでほぼ100年。
創建から60年後の1985年には「小樽市歴史的建造物」に指定される。
という経緯があって、1999年には駒木先生の力で
北海道職業能力開発大学校建築科による実測調査が２年かけて行われた。
２枚目の写真はそのときに小屋裏部分に入ったところの様子。
当時すでに大工職人であった藤井徹真くんの活躍ぶりです。
駒木先生のお話では何度も行われた実測調査活動で最後まですべて参加したのは
実はかれひとりだったという情報開示も行われていました。
大工仕事を実際にしながら木造技術を極めたいと学んでいたということ。
こういう伝統的建築は当然、長期保存優先志向で材の乾燥のために
隙間だらけの作り方になる。
現代の高断熱高気密技術では密閉と乾燥のための開放は
同時に解決するように技術進化しているけれど、
伝統的技術ではこういう作り方になる。したがって小屋裏内部は
野生の鳥、ハトなどが内部に入り込んで雨天などのときに恰好の巣になる。
いきおい大量のフンが集積することになる（！）。
構造を解明するためにはそのフンを除去する必要がある。
まことに奮闘努力の賜物であります。

屋根の木造構造があらわになって右側写真のようにタテの柱材に対して
放射状に梏木〜はねき〜という材が渡されている様子も実測された。
このような地道な実測作業によって先人の営為を確認することは
技術の伝承の基盤を確立することにつながる。
そういう成果を模型として造作したのが１番目の展示写真。
また、３枚目の写真は解体組立式の能舞台の説明模型。
今回の駒木先生の講演に続けてこちらの説明もされていました。
現代の木造技術者のみなさんによる技術の解析、伝承努力の一端が知れた。
とくに床面は一般住宅とは目的が違うので床の音響効率を考え
板面を太鼓の表面皮革のように造作している。
より本格的な能舞台ではこの音響効率をさらに高めるために
床下に半分埋め込んで大きな壷が複数配置されている。
能や狂言では役者の足による太鼓効果や、笛や太鼓の伴奏具の音響などが
囲んでいる客席に対して響き渡るように空間デザインされる。
そういう建築の仕立ての技術が解明されていくのですね。

このようにして建築の側では伝承努力がされているけれど、
それを活用し能狂言のような日本文化の粋を北海道に根付かせるには
北のくらし文化の進化発展が同時に求められる。
今日社会の究極的な個人主義傾向のなかで日本社会と文化の揺りかご、
伝統的なムラ共同体の共存共栄意識は極小化傾向というしかない。
全世界的な傾向と言われる人口減少の問題とも通底する。
日本社会がムラ共同体の柔軟性に再び目覚めることが必要なのではないかと
深く思い知らされるのでありますが、さて・・・。


English version⬇

Efforts to Inherit Wooden Construction Techniques: The "Noh Stage" in Otaru - 4
In order to revitalize the Noh stage, we are analyzing its structure and making it inheritable. The technology has been accepted, but society has undergone a major structural change. What about cultural inheritance? Well, what about cultural inheritance?

I visited the Okazaki Family Noh Stage, a comprehensive art architecture remaining in Hokkaido.
It was built in 1925, so it is almost 100 years old.
In 1985, 60 years after its construction, it was designated as an "Otaru City Historical Building.
In 1999, the building was designated as a "Historical Building of Otaru City" by the
In 1999, a survey was conducted by the architectural department of the Hokkaido Vocational Ability Development College over a period of two years.
The second photo is a view of the back part of the shed at that time.
Tetsuma Fujii, who was already a carpenter craftsman at the time, was very active.
Mr. Komaki told us that he was the only one who participated in all of the surveying activities that took place until the end.
He also disclosed that he was the only one who participated in all of the surveying activities that took place.
He had learned to master wooden construction techniques while actually working as a carpenter.
Naturally, this kind of traditional architecture is built with a priority on long-term preservation.
The building is full of gaps and crevices.
With today's highly insulated and airtight technology, sealing and opening for drying have evolved to be solved at the same time.
and open for drying at the same time.
traditional techniques are based on this method of construction. Therefore, the interior of the back of the house is
wild birds, pigeons, etc., enter the interior and make a good nest when it rains.
This leads to the accumulation of a large amount of feces (!). The structure of the hut is not yet understood.
In order to clarify the structure, it is necessary to remove the feces.
This is the result of a great deal of hard work and effort.

The wooden structure of the roof is revealed, and as shown in the photo on the right, the vertical columns are surrounded by handcuffs and splintered wood.
As shown in the photo on the right, the wooden structure of the roof was revealed, and the way the handcuffs were radially attached to the vertical columns was also measured.
Confirming the activities of our predecessors through this kind of diligent measurement work is a great way to establish a foundation for the transmission of technology.
This kind of work is the foundation for the transmission of technology.
The first photo shows a model of the results of this work.
The third photo is an explanatory model of a disassembled and reassembled Noh stage.
This explanation was given following Dr. Komaki's lecture this time.
I was able to learn about some of the efforts made by modern wood construction engineers to analyze and hand down their techniques.
In particular, the purpose of the floor surface is different from that of an ordinary house, so the acoustic efficiency of the floor was considered.
The wooden planks are made to look like the surface leather of a drum.
In order to further improve the acoustic efficiency of a full-fledged Noh stage, a large urn is half embedded under the floor.
the floor to further enhance the acoustic efficiency of the Noh stage.
In Noh and Kyogen plays, the drumming effect of the actors' feet and the sound of the accompanying instruments such as flutes and drums
The space is designed so that the drumming effect of the actor's feet and the sound of the flutes and drums echoes out to the surrounding audience.
This kind of architectural tailoring technique is being elucidated.

In this way, efforts are being made on the architectural side to pass on the traditions of Noh theater.
However, in order to utilize these techniques and to establish the best of Japanese culture, such as Noh and Kyogen, in Hokkaido, it is essential that the evolution and development of the northern lifestyle culture be promoted.
The evolution and development of northern lifestyle culture is required at the same time.
In the midst of today's society's ultimate trend toward individualism, the cradle of Japanese society and culture, the traditional mura community, must coexist.
The coexistence and co-prosperity of the traditional mura community, the cradle of Japanese society and culture, has become a trend toward minimization.
This is also the same as the problem of declining population, which is said to be a global trend.
It is necessary for Japanese society to reawaken to the flexibility of the mura community.
I am deeply reminded of this...

【能文化と現代社会の継承 小樽の「能舞台」-3】

佐渡出身の小樽の実業家一族・岡崎家の２代当主、謙氏造営の能舞台。
２枚目の写真はかれが10才まで過ごしていた郷里・佐渡の能舞台。
1843年創建と伝わる「大膳神社能舞台」です。
江戸時代末期ということになるけれど、
田舎の神社境内にこういう装置がしつらえられて地域の祭礼などで
能が興行され続けてきただろうことが偲ばれる。
たぶん北前船交易のネットワークに属する佐渡地域で
北海道小樽の開拓期のビジネスの活況に身を投じて
物流を司る仕事で「一旗あげた」父親。地元祭礼の時期には
北前船で帰省して、その膝に乗せられながら華やかで荘重な能や
楽しい狂言の舞台を感受性豊かな少年期に謙氏は体験したに違いない。
日本文化の粋が佐渡という里でも体験されたことで
強烈なその文化の存在感がかれの内面に育ったに違いない。
自然豊かな環境の中で、年に数度あるかないかの「非日常性」劇的空間性は
少年にある「生き甲斐」をもたらしたのだろう。
今日のわたしたちが接するテレビや映画とは比較を越えるものを感じる。
「今度の祭りで・・・」という人々の会話から少年たちは
その日本文化の特別感に触れ続け、そしてそれが能舞台での上演で
体験的クライマックスを迎えることになる。
刷り込まれる伝承的文化へのリスペクトは想像を超える。

青年期にはその体験が内面的に昇華されて能を習うことになる。
やがて父の逝去にともなって小樽での事業活動に没頭し、
そして社会的な役割を果たすなかから自分の内側から盛り上がるものがあって
能舞台の創造を念願するようになる。この生き様は理解できる。
用材にこだわり、信頼する佐渡の大工職人と協力して
小樽の地に能舞台を創建する活動をいわば「ライフワーク」とした。
総合芸術の仕上げとして狩野派の日本絵画まで一流にこだわった。
現代個人主義の時代を生きるわれわれの生き様とも通底するものがある。
岡崎謙氏が創造して残した能舞台から残照してくるものは大きい。
しかし後世のわたしたち社会ではこうした価値感が変容してしまった。
まずは年に数回の「ハレ」の時空間を存続させる地域ムラ社会が消滅した。
地域の祭りはその求心力が低下し続けている。
テレビや映画、そしてYoutube動画など、表現領域は無限大に拡大し
その受容体験はほぼまったく「日常化」する時代になった。
田舎の能舞台、という素朴な伝統文化性は大きく毀損している。

今日の社会の中で、こういう建築に残された日本文化を
どのように受け継いでいくのか、という課題テーマは大きくなっている。
駒木先生は小樽という地域のコアな文化としてこの能舞台建築を
存続させる活動に取り組まれているものと思う。
建築技術としてすら存続が困難になっていることも事実。
今日の文化社会は非常にきわどい局面を迎えていると強く思われます。


English version⬇

Inheritance of Noh Culture and Modern Society: Otaru's "Noh Stage" - 3
Noh, the cultural norm up to the prewar period, was certainly transplanted to Hokkaido, but it is difficult to carry it on in the modern age. Can Youtube carry on Noh? Noh, however, is difficult to inherit in the modern age.

The Noh stage built by Ken Okazaki, the second head of the Okazaki family, an Otaru business family from Sado Island.
The second photo shows the Noh stage in his hometown of Sado, where he lived until the age of 10.
It is the "Ozen Shrine Noh Stage," which is said to have been built in 1843.
It was built at the end of the Edo period.
This kind of stage was set up in the precincts of a shrine in the countryside, and Noh plays have been performed
It is reminiscent of how Noh plays were performed at local festivals and other occasions.
The Sado region probably belonged to the Kitamae Ship trading network.
In the Sado region, which probably belongs to the Kitamaebune trading network, he threw himself into the booming business of the pioneering period in Otaru, Hokkaido.
father who "made it big" in the logistics business. During the local festival season
on the Kitamae-bune, and he would take his father on his lap to see the gorgeous and solemn Noh plays and the
He must have experienced the glamorous and solemn Noh plays and joyful Kyogen performances as a sensitive young boy.
The fact that the best of Japanese culture was experienced in the village of Sado
The strong presence of this culture must have grown inside him.
In an environment rich in nature, the "unusualness" and dramatic space, which may or may not occur more than a few times a year, brought a "purpose in life" to the boy.
The dramatic space of the "extraordinary" in a rich natural environment, which occurs only a few times a year, must have given the boy a certain "joie de vivre".
I feel that there is something beyond comparison with the TV programs and movies that we are exposed to today.
The boys continued to experience the specialness of Japanese culture through the conversation of people who said, "At the next festival...
The boys continued to experience the specialness of Japanese culture through conversations about the upcoming festival, which culminated in the experience of the Noh stage performance.
The experiential climax of the performance on the Noh stage.
The respect for the traditional culture that is imprinted on them is beyond imagination.

In his youth, this experience was sublimated internally and he began to learn Noh.
After his father's death, he immersed himself in business activities in Otaru, and as he took on a social role, he began to learn Noh.
And as he fulfilled his role in society, he felt something rising up from within himself.
He began to desire the creation of a Noh stage. This way of life is understandable.
He was particular about the materials he used and cooperated with carpenters in Sado Island, whom he trusted.
He made it his "life's work," so to speak, to build a Noh stage in Otaru.
As the finishing touch to his comprehensive art, he was particular about first-rate Japanese paintings of the Kano school.
His life's work has something in common with the way we live in today's age of individualism.
The Noh stage created and left behind by Mr. Ken Okazaki is a great source of inspiration.
However, in our society of later generations, this sense of value has been transformed.
First of all, the local mura (village) society that sustained the "hare" (a time and space for festivals) that took place only a few times a year has disappeared.
Local festivals continue to lose their centripetal force.
The realm of expression has expanded to infinity through TV, movies, and Youtube videos.
The experience of receiving these expressions has become almost completely "everyday.
The simple traditional culture of the Noh stage in the countryside has been severely damaged.

In today's society, how can we pass on the Japanese culture
How do we pass on the Japanese culture left behind in these architectural structures?
Dr. Komaki is involved in activities to keep the Noh stage architecture alive as the core culture of the Otaru area.
I believe that Dr. Komaki is involved in activities to keep the Noh stage architecture alive as the core culture of the Otaru region.
It is a fact that it is becoming difficult to sustain even as an architectural technology.
I strongly believe that today's cultural society is at a critical juncture.

【日本文化史が凝縮する北海道 小樽の「能舞台」-2】

能舞台の背景を印象強く彩る「鏡板」。
日本の建築文化の「粋」とも思えるこの建築装置に対して、
小樽の経済的成功者一族は、故郷の佐渡「神代杉」をはるばる「勧請」した。
用材に対して「勧請」というのは変な用語だと思うけれど、
その労役の巨大さを思えば、あえてそう呼びたい。
２枚目の写真は能舞台が建築として完成したときに
当主の岡崎氏が能を舞った様子だとされていた。
よく見ると、１枚目の鏡板の松の絵柄が表装されていない。

この松の絵柄はなんと当時の「狩野派」当主が小樽に招かれて
２ヶ月掛けて描き上げたものなのだというのです。
〜1925年7月には建築工事に着手、1926年1月26日に舞台開きを迎え、

1927年11月には狩野派第17代の狩野秉信（かのうもちのぶ）が

延べ2か月滞在して描いた鏡板の絵が完成した。〜
２枚目の写真は1926年初頭の「舞台開き」のときの記念写真。
そして３−４枚目は1927年11月当時の絵画制作過程。
おお、であります。
揮毫というコトバは「文字を書く」行為にのみ使われると思っていたら、
こういう絵を描くことも揮毫だということを初めて知った。
ちょうど「鎌倉殿の13人」で奈良大仏殿復興に際して後白河帝が揮毫した様子が
ドラマとして放映されていましたが、権威を持った存在の書画行為という意味。
日本史の中で折に触れて「狩野派」という存在は日本絵画の宗家として
ときどき彩ってくるけれど、リアリティを持って周辺状況を知ることはあまりない。
まことに中世社会での堺の町のように、小樽ではごく最近100年程度の
直近の歴史事実としてこういう状況があったのですね。
「狩野派宗家」に揮毫を依頼することの意味合いが伝わってくる。

狩野派は織田信長が築城した安土城の装飾絵画を受注した。
「天下」意識の異常に昂進した信長の時代、
日本絵画文化の正嫡を自認した狩野派はそのように歴史を彩った。
そういう日本史の空気感が20世紀の北海道でも発露していた。
日本社会の伝統、底流を形成する文化性は
北海道という新開地だからこそ、目に見えるかたちで表出したのでしょう。
日本文化がこの北海道という大地に刻印される生々しい現場と思える。
開拓初期において「北海道開拓使」という存在は中央省庁だった。
そして開拓が一段落した機会に最新文明の象徴である鉄道が関西地区よりも前に
小樽〜札幌間に敷設され、明治帝がはじめて乗車されて札幌に光臨される。
あらたに開拓された領土に対して「日本化」させる民族の努力が
文化領域で痕跡として残された、そういった証拠のような気がしますね。


English version⬇

Noh Stage in Otaru, Hokkaido, where Japanese cultural history is concentrated.
The Kano school's head priest wrote calligraphy on the mirror plate of the Noh stage. It can be seen as an imprint of Japanese culture on the newly developed land of the north. The Noh stage is a comprehensive Japanese art form. Noh Stage

Kagami-ita," or mirror plate, is an impressive backdrop for the Noh stage.
The family of a financially successful Otaru family, who had purchased the "kagami-ita" cedar from their hometown in Sado, Japan, for this architectural device, which can be considered the "essence" of Japanese architectural culture.
The family of a financially successful man from Otaru had to "requisition" their hometown of "Jindai cedars" from Sado Island.
Although "kanboku" may seem an odd term for a material, it is a very important one.
However, considering the enormity of the labor involved, I dare to call it so.
The second photo shows the Noh stage when it was completed as a building.
The second photo is said to show Mr. Okazaki, the head of the family, performing Noh when the Noh stage was completed as an architectural structure.
If you look closely, you can see that the pine tree on the first picture is not covered.

The pine tree was painted by the head of the "Kano school" of the time, who was invited to Otaru and spent two months painting it.
It took two months to complete the painting.
〜Construction work began in July 1925, and the stage was opened on January 26, 1926.

In November 1927, Mochinobu Kano, the 17th head of the Kano school, stayed for two months to paint the mirror.

In November 1927, the painting of the mirror panel was completed, which Kano Mochinobu, the 17th generation of the Kano school, painted during his two-month stay in Japan. ~ The second photo was taken in early 1926.
The second photo is a commemorative photo taken at the "stage opening" in early 1926.
The third and fourth pictures show the painting process in November 1927.
Oh, yes.
I had thought that the word "gaiyō" was used only for the act of "writing.
I learned for the first time that drawing pictures like this is also called "gaiyo" (painting).
In the drama "Kamakura-dono no 13inin", the scene where Emperor Goshirakawa painted on the occasion of the reconstruction of the Great Buddha Hall in Nara was broadcasted.
It means an act of writing or painting by a person with authority.
In Japanese history, the "Kano school" is sometimes mentioned as the head family of Japanese painting.
However, we do not know much about the surrounding circumstances with a sense of reality.
It is true that, like the town of Sakai in the medieval society, Otaru had a situation like this as a recent historical fact in the last 100 years or so.
So, there was this kind of situation in Otaru as a recent historical fact.
The significance of asking the "Soke of the Kano School" to write the script comes through.

The Kano school received orders for decorative paintings for Azuchi Castle, which was built by Oda Nobunaga.
In the era of Nobunaga, who was unusually ambitious in his "descent from heaven" mindset, the Kano school was the legitimate owner of the Japanese painting culture.
The Kano school, which was recognized as the legitimate leader of Japanese painting culture, colored history in this way.
This atmosphere of Japanese history was also emanating in Hokkaido in the 20th century.
The traditions of Japanese society and the cultural nature that forms the undercurrent of Japanese society are
The traditions of Japanese society and the culture that formed the foundation of Japanese society were made visible only in Hokkaido, a newly developed region.
It seems to be a vivid site where Japanese culture was imprinted on the land of Hokkaido.
In the early days of pioneering, the "Hokkaido Kaitakushi" was the central government ministry.
And when the pioneering work was completed, the railroad, a symbol of the latest civilization, was built between Otaru and Sapporo before the Kansai region.
The Emperor Meiji took a train for the first time and came to Sapporo.
The efforts of the people to "Japanize" the newly developed territory
The Japanese people's efforts to "Japanize" the newly settled territory left traces in the cultural realm.

【北海道の日本建築文化 小樽の「能舞台」-1】

先週の土曜日、Facebookの友人の情報をチェックしていたら、
小樽在住の建築の達識・駒木定正氏が小樽に残る能舞台について
講演会を行うという案内に遭遇した。
それも「本日・・・」という案内なのであります（！）。
おいおい、というところですがこの能舞台は５年前に撮影もしていた。
ところが、取り紛れていて情報開示していなかったことに
このお知らせを目にして「おお」と気付かされた次第。
この能舞台の情報は以前から駒木先生から教えられていたので、
先生から「あの〜」と声掛けされているように感じさせられた。
急な日程にはなるけれど、これはぜひ参加しなければと急行した。
なんとか、開始前に到着して一番前の席が空いていたので
ちゃっかり席を占拠して、先生にもご挨拶させていただけた。
ふ〜といったところであります。

地元の古建築についての先生の探究成果を学ばせていただけた。
北海道は150年程度の日本文化史でありもちろん民の側で能舞台などは
これ以外に存在していない。
発注者・数寄者は明治10年新潟県佐渡生まれの岡崎謙氏。
明治21年の少年期に小樽で荒物卸・倉庫業を営んでいた父の元に移住。
その後、現一橋大学に学び宝生流の波吉門下にて能をたしなんだ。
明治32年、父の死去に伴って事業を後継した。
・・・という経緯で20歳そこそこで事業を継いだことになる。
大正11年45歳前後で小樽市議会議長を務めているという地元の名士。
事業の方は安定していたと思われ、大正13年頃から
若いときの伝統芸能への心酔に導かれ能舞台建設に着手したとされる。
小樽市の私邸敷地内に広さ64㎡（橋掛り含む）、
建設費16,873円43銭
（現在の約1億7千万円）をかけて創建した。
東京九段の靖国神社能舞台（旧芝能楽堂）に調査に出向き
大工棟梁の小杉米蔵をともなって詳細に設計プランを煮詰めた。
用材としては、故郷の佐渡に残る「神代杉」の利用を考え、
河川に倒木として眠っていたその神代杉を「掘り起こした」という。
能舞台の背中、鏡板というメイン部材として利用した。
写真の３−４番目はその掘り起こしと直系2.4mというその勇姿。
これだけでも大事業だと思えるが、それを小樽まで運び込んだ。
神代杉の運搬には船1隻を借り切り、木挽きも佐渡から呼び寄せた。
そのほか、九州産のヒノキ、北海道産の松などを厳選したという。

開拓期の北海道は無尽蔵なほどの物資需要が旺盛で
そういった好景気が「入口」となった小樽にはもたらされたのでしょう。
景気の良さは「北のウォール街」とまで表現された。
この岡崎氏の私的事業も「数寄」として人口に膾炙したに違いない。
このような空気感、いまとなっては蜃気楼とも思えます・・・。
この項、続きます。


English version⬇

Japanese Architectural Culture in Hokkaido: Otaru's "Noh Stage"-1
Otaru, the Wall Street of the north, was like Sakai in the Middle Ages, where pioneer goods were gathered and dispersed, and the economy was booming. The stage is made of 2.4-meter-diameter Jindai cedars dug out from the river on Sado Island, his hometown. The...

Last Saturday, I was checking in on a Facebook friend of mine.
I came across an announcement that Sadamasa Komaki, an architectural expert living in Otaru, was to give a lecture on the Noh stage
Sadamasa Komaki, an architectural expert who lives in Otaru, will give a lecture on Otaru's remaining Noh stage.
It was also an announcement that "today..." (!). I was surprised to hear that the lecture was going to be given by Sadamasa Komaki.
I had photographed this Noh stage five years ago.
However, it had been taken in confusion, and the information had not been disclosed.
I was surprised to see this notice.
Mr. Komaki had already told me about this Noh stage.
It was as if he had asked me to come.
I had to attend this event, even though it was on short notice, so I rushed to the site.
I managed to arrive before the start of the class and found a seat in the front row available.
I managed to get there before the event started and found the first seat available, so I was able to occupy it and say hello to the teacher.
I was very happy to be able to sit down and greet the professor.

I was able to learn about the results of the professor's exploration of the local ancient architecture.
Hokkaido has a 150-year history of Japanese culture, and of course, the Noh stage is not the only one that exists on the people's side of the island.
There is no other Noh stage in Hokkaido.
The person who ordered the Noh stage was Ken Okazaki, who was born in Sado, Niigata Prefecture in 1877.
He moved to Otaru as a boy in 1888 to join his father, who was running a wholesale and warehousing business of rough goods in Otaru.
After that, he studied at Hitotsubashi University and learned Noh under Hakichi of the Hosho school.
In 1897, he succeeded to the business upon his father's death.
He succeeded to the business at the age of just under 20 years old.
In 1922, at the age of around 45, he became the chairman of the Otaru City Council, a prominent local figure.
The business seems to have been stable, and from around 1924
It is said that he started the construction of a Noh stage, guided by his passion for traditional performing arts when he was young.
The stage, 64 square meters in size (including the bridge), was built on the grounds of a private residence in Otaru City.
It cost 16,873.43 yen (about 170 million yen today) to build.
The Noh stage of Yasukuni Shrine (former Shiba Noh Theatre) in Kudan, Tokyo, was visited for research.
He visited the Yasukuni Shrine Noh Stage (former Shiba Noh Theatre) in Kudan, Tokyo, and worked out a detailed design plan with Kosugi Yonezo, a master carpenter.
For the materials, he considered using "Jindai cedars" that remained in his hometown, Sado Island, and decided to use a cedar that had been lying in a river as a fallen tree.
They "dug up" the Jindai cedars that had been lying in a river as fallen trees.
The cedar was used as the main material for the back of the Noh stage and for the mirror panel.
The third and fourth photos show the excavation of the cedar and its 2.4 m height.
This alone would seem to be a major undertaking, but the cedar was transported to Otaru.
A ship was rented to transport the cedar, and a woodcutter was also brought in from Sado Island.
In addition, they carefully selected cypresses from Kyushu and pine trees from Hokkaido.

During the pioneering period in Hokkaido, the demand for goods was so great that it was inexhaustible.
Such a booming economy must have been brought to Otaru, which was the "gateway" to the city.
The economic boom was even described as the "Wall Street of the North.
Mr. Okazaki's private business must have also been well-known among the population as "Sukiyomi.
This atmosphere seems like a mirage nowadays....
This section will be continued.

【きわどく急を告げるロシア-欧州情勢と日本】

北海道とフィンランドの交流週間が終わった。
フィンランド・カレリア地方の知事さんや建築関係者との交流経験。
わたしとしては直感的に対ロシアの緊張する情勢背景を思ったけれど、
終了したタイミングでヨーロッパ情勢がきわどくなってきている。

ウクライナの東部・南部での戦争情勢が激しさを増している。
昨日段階でプーチンがNATO・アメリカのウクライナへの武器供与について
非難し、警告を発出したという情報が流れている。
地上軍の戦闘ではロシア陸軍の士気は最初から低く、
「侵攻すれば簡単に政権転覆できる」という甘い見通しが破綻した後、
NATOからの潤沢な情報と武器供与でロシアの劣勢が明らかになった。
そのなかで６月12日はロシアの建国記念日の休暇だという。
徐々に「停戦」という動きが出てきている。
戦争動乱はこれまで「中立」だったスウェーデン・フィンランド
北欧２カ国によるNATO加盟申請も大きく絡んできている。
この動きに対しNATO既加盟国・トルコが「拒否権」発動の動きに出ている。
トルコは強権支配独裁体制の国であり、国内に民族紛争を抱えている。
その「反体制派」が北欧２カ国に拠点を置いていることに
クレームを出して２カ国の加盟に難を唱えているのだという。
フィンランドとしては国の命運を懸けたNATO加盟申請であり、
複雑な外交・地ならしを周到に展開しているとされる。
女性首相は５月10日に訪日して伝統的なトルコと日本の友好関係を
情勢転換のテコに利用したい思惑もあったとされる。
日本は日米同盟が基軸でありNATOに対して連携姿勢を明確にしている。
岸田首相は近々NATOの会議に参加する予定だという。
こういった世界情勢のなかでの今回の北海道・フィンランドウィーク。

国連の機能不全・破綻が完全に露わになって自由主義国家群は
NATOなどの集団的自衛権同盟組織に結集しつつある。
ロシアなどの独裁的集権国家の武力侵略に対して現実の力としては
それしか選択肢はない。日本もまったく同じであり日米同盟を基盤に
オーストラリアとの集団的同盟枠組みに進み出す。
対中国という関係性ではインドも呼応する姿勢を見せている。
ここでも日本の動向がかなり世界情勢の基底に関わっている。
トルコはいま、ロシア−ウクライナの停戦調停の動きに出ている。
ここ数日でこれらの外交的動きに顕著な方向性が出てくるのではないか。
これからは国連幻想から完全に無縁なパワーリアリズムの時代。

ほんの数日前に言葉を交わした相手はこのような緊迫した情勢下にいる。
かれらの無事と安全を深く祈念すると同時に、
今後とも住環境向上の友人として交流していきたいと思います。
＜写真は札幌発寒川緑地と欧州から移植された当地のルピナス＞


English version⬇

The situation in Russia-Europe and Japan is becoming extremely urgent.
Promotion of exchange with Finland. The collective self-defense framework of liberal states replacing the failed UN. The world's geopolitical upheaval. ...

The exchange week between Hokkaido and Finland has come to an end.
I had the opportunity to meet with the governor of the Karelia region of Finland, as well as with people involved in the building industry.
I intuitively thought of the tense situation in Russia, but the situation in Europe is becoming more and more dangerous at the time of the end of the week.
However, the situation in Europe has become more and more dangerous at the time of the end of the week.

The war situation in the eastern and southern parts of Ukraine is intensifying.
As of yesterday, Vladimir Putin has condemned and warned against NATO and U.S. arms transfers to Ukraine.
Putin has condemned NATO and US arms transfers to Ukraine and has issued a warning.
In the ground combat, the morale of the Russian army has been low from the start.
After the collapse of the naive prospect that an invasion would easily overthrow the government, the Russian army's morale was low from the start.
After the collapse of the naive prospect that the Russian army could easily overthrow the government if it invaded, the abundant information and arms supplies from NATO revealed Russia's inferiority complex.
In the midst of all this, June 12 is Russia's National Day vacation.
Gradually, a "ceasefire" movement is emerging.
Sweden and Finland, which have been "neutral" in the war uprisings so far.
The application for NATO membership by the two Scandinavian countries is also a major factor.
In response to this move, Turkey, a former member of NATO, is moving to invoke its "veto power.
Turkey is a country with an authoritarian dictatorship and is involved in an ethnic conflict within its borders.
Turkey has an ethnic conflict within its borders, and has complained that its "dissidents" are based in two northern European countries.
The Finnish government is concerned about the fate of its country.
Finland's application to join NATO is a matter of national destiny.
Finland is said to be carefully developing a complex diplomatic and groundwork plan.
The prime minister will visit Japan on May 10, hoping to use the traditional friendly relations between Turkey and Japan as a lever to turn the tide of the situation.
The prime minister is also said to have hoped to use the traditional friendship between Turkey and Japan as a lever for a change in the situation.
Japan's Japan-U.S. alliance is the cornerstone of its relations with NATO, and Japan has a clear stance on cooperation with NATO.
Prime Minister Kishida is scheduled to attend a NATO meeting in the near future.
The Hokkaido-Finland week comes amidst such a global situation.

The dysfunction and bankruptcy of the UN has been completely exposed, and a group of liberal nations are now in a position to take the lead.
The UN's dysfunction and bankruptcy has been completely exposed, and liberal nations are rallying to NATO and other alliances for collective self-defense.
The only realistic force against the armed aggression of Russia and other autocratic, centralized states is the United States.
That is the only option. Japan is no different, and based on the Japan-U.S. alliance
Japan, too, is moving toward a collective alliance framework with Australia, based on the Japan-U.S. Alliance.
In terms of relations with China, India is also taking a corresponding stance.
Here, too, Japan's moves have a significant bearing on world affairs.
Turkey is now moving to mediate a Russian-Ukrainian ceasefire.
In the next few days, these diplomatic moves will probably take a noticeable turn.
We are now in the era of power realism, completely free from the UN illusion.

The people with whom we exchanged words just a few days ago are in such a tense situation.
I deeply pray for their safety and security, and at the same time
I hope to continue to communicate with them as a friend for the improvement of the living environment.
＜The photo shows the Sapporo Hassamu River Green and our lupines transplanted from Europe.