【みどり滴る季節 八剣山の峰を数えてみる・・・】

八剣山というのは札幌市南区にある独特の姿の山。
小さいときから「ゴジラの背中・・・」という刷り込み。
札幌市南区は札幌の中でもいちばん自然環境の保全された地域で
他区のように宅地開発されていない。
いまのような行動抑制の環境下ではこうした手近な自然はありがたい。
日曜日に夫婦でちょっとした「遠出」ということで行ってみた。
「八剣山って、岩の露出した峰が８つだよね？」
「う〜ん、そう言われてるけど・・・」
「え〜っと、１、２、３・・・」
ということで、この山を見ていると多くの人がなぞかけされる（笑）。
だいたいこういう場合、人間としては向かって左側から数える。
で、６くらいまではわかるのだけれど、その先の右端が不明になる。
いっそ峰に数字を刻印してほしい、という自然環境破壊の衝動にもかられる（笑）。
以下、紹介文は「北海道地質百選」から要旨抜粋。
〜八剣山は、札幌から南西に15kmほど離れた標高498mの山。
札幌から定山渓に向かう国道230号線の右手にみえる
「恐竜の背骨」のような稜線として知られ背骨のように連なる多くの岩峰から、
八剣山と呼ばれています。別名で観音岩山とも呼ばれています。
八剣山は新第三紀中新世の砥山層を貫く貫入岩体（複輝石安山岩）であると
推定され南口登山口周辺では垂直方向に発達した柱状節理が観察できます。
山頂部には鋭くとがった岩峰、北西-南東方向の岩脈（石英角閃石輝石デイサイト）が
露出しており水平方向に発達した柱状節理が特徴的。
安山岩の貫入岩体は6.7Ma（K-Ar法）山頂部のデイサイトは4Ma（K-Ar法）の
年代値が報告されています。【執筆者：鬼頭伸治】〜

で、最近はふもとにワイナリー農園とレストランがあって、
お昼時だったので、ごらんのような食事をいただきました。
ちょっと色合いは濃い目で「辛いか、塩っぱいか」と不安だったのですが
食べてみると案外さらっとした味わいで美味しかった。
なにやら「八剣山なんとか」という名前だったような・・・。
どうもこういう大自然のなかにいると細かいことに注意は向かなくなる。
北海道人が、よく言えば「おおらか」悪く言えば「大ざっぱ」なのには
圧倒的な自然の豊かさが人間を包み込む感覚が与っている。

まぁ６つでも８つでもどっちでも大差はない。いいじゃん。
そもそも八という数字には「たくさん」という意味合いがあって
名付けにはそういう意味が込められているようにも思います。
ということで恐縮ですが、みなさん目をこらして峰の数、勘定してみてください。


English version⬇

A Season of Dripping Greenery, Counting the Peaks of Hakkenzan...
In a period of behavioral restraint, we are embraced by the local nature. Come to think of it, I haven't been able to count the peaks of Hakkenzan since I was a child. Hmmm... ...

Hakkenzan is a unique looking mountain located in Minami Ward, Sapporo City.
Since I was a child, I have been imprinted with the image of "Godzilla's back...".
Minami Ward is the most natural environment-preserved area in Sapporo.
The area has not been developed into residential areas like other wards.
In today's action-restrained environment, such close proximity to nature is a blessing.
On Sunday, a couple of us went for a short "outing.
They said, "Hakkenzan has eight peaks with exposed rocks, right?"
"Ummm, that's what they say, but..."
"Well, one, two, three..."
So many people are riddled with riddles when they see this mountain (laughs).
(Laughs) In such cases, people usually count from the left side of the mountain.
So, we can figure out up to about 6, but after that, the right end of the mountain is unknown.
I am tempted to destroy the natural environment by having the numbers engraved on the peaks (laugh).
The following is an excerpt from the introduction.

So, recently there was a winery farm and restaurant at the foot of the mountain.
It was lunchtime, so we had a meal like the one you see below.
I was a little worried that it might be too spicy or salty, but when I tried it
But when I tried it, I found it to be surprisingly light and tasty.
I think the name of the dish was something like "Hakkenzan" or something like that.
I don't pay attention to details when I am in such a great nature.
Hokkaido people are at best "generous" and at worst "messy.
The overwhelming abundance of nature that surrounds us gives us a sense of being surrounded by nature.

Well, there is no difference whether there are six or eight. It's fine.
In the first place, the number eight has the meaning of "a lot.
I think that the naming of the house has such a meaning.
So, I am sorry to say this, but please try to count the number of peaks with your eyes.

【人の生死が重ねる陰影感 大和歴史証言-29】

さて奈良県立民俗博物館・野外展示の古民家群シリーズそろそろ最終回。
たくさんの現代住宅探訪をしてきたわたしですが、
歳をとるごとに古民家での無言の取材先との「対話」のゆかしさに惹かれる。
自分でもそれがどういう意味合いなのか、よくわからないのだけれど、
たとえば上の写真のような室内の雰囲気に強く「陰影感」を感じる。
日本家屋の「開口部」は欧米のWindowとは違って「間の戸」。
欧米では比較的随意に「風の通り道」として開口するけれど
日本では柱の構造の間隔部にしか開口はできない。
断熱性気密性は塗り壁仕上げでのみ追求されてきた。
結果的には採光条件はあまり重視されず、室内は暗いものという感覚が育った。
数少ない開口からの採光が室内壁や建具類によってさらに陰影が強調された。

たぶんこの陰影感が日本民族に相当深い刷り込みをもたらしている。
なにか悲しい出来事があったとき、
室内で「さめざめと泣ける」空間が存在していた。
開放的な空間ではこのあたりの心的状況に十分対応できない。
やはり薄ぼんやりとした暗がりというのが、もっともふさわしい。
悲しいことの最たるものは家族の死だっただろうと思う。
古民家ではそういう死が折り重なって空間に刷り込まれている。
柱梁の自然のままの風合い、塗り壁の微妙な凹凸が生むグラデーション。
建具類も木の表情を自然に漂わせてくれる。
ようするに死者が吸い込まれるようにその陰影感に溶け込んでいく。
家族の生きているときの残像が家の中に滞留する感覚があって
ふとした瞬間に深く心理をかきむしって、さめざめとした涙が頬を伝う。
そういう空気感が訪れるものにも自然に伝わってくる感覚がある。
日本人なら誰しもがこういった内装空間での体感を共有している。
そして外観でも、そういう人の生き死にの痕跡が
仕上げ素材などにおのずと表情を生み出し、陰影が外化している。
きっとそういう佇まいが自然と見る者に感受されるのだろうか。


この野外展示住宅群では台所の加熱調理装置、おくどさんとも言われる
かまど群のデザインがみごとに一律的だった。
おおむね住宅は江戸期建築のものだったので
この時期に、奈良盆地地域ではこういう規格化が進んでいたものか。
いろいろ調べてみたいと思ったけれど、手掛かりがなかなか掴めなかった。
現代のシステムキッチンとは違って、微妙に各戸で表情に違いがある。
調理装置であると同時に土製としてゆったりとした放射熱も感じられただろう。
食と暖で家族の命をささえる基本装置。
余韻のある視覚体験がまだ残像として残り続けている。


English version⬇

A sense of shadows layered by the life and death of people Yamato Historical Testimony-29
An old private house space composed only of natural light and natural materials. The overlapping of the lives and deaths of family members probably forms the mother of the mental landscape of the people. ...

This is the final installment of the series of old houses in the open-air exhibition at the Nara Prefectural Museum of Folklore.
I have visited many modern houses.
As I get older, I am more and more attracted to the quiet "dialogue" in old private houses with the people I visit.
I don't really know what that means to me, but I am fascinated by the atmosphere of the rooms, such as the one in the photo above.
For example, I feel a strong sense of "shadow" in the atmosphere of the interior as shown in the photo above.
The "opening" of a Japanese house is different from that of a Western window, which is a "door between doors.
In the West, the opening is relatively voluntary as a "passageway for the wind.
In Japan, openings are only allowed at intervals in the pillar structure.
Insulation and airtightness have been pursued only with painted wall finishes.
As a result, lighting conditions have not been emphasized much, and a sense that the interior is dark has developed.
The few openings that allowed light into the house were further shaded by the interior walls and fixtures.

Perhaps this sense of shading is deeply ingrained in the Japanese people.
When something sad happens
When something sad happened, there existed a space where one could "cry softly" indoors.
An open space is not enough to deal with this kind of emotional situation.
A dimly-lit darkness is the most appropriate.
I think the saddest thing was the death of a family member.
In an old private house, such deaths are layered and imprinted on the space.
The natural texture of the pillars and beams, the gradation created by the subtle unevenness of the painted walls.
The fixtures and fittings also let the expression of the wood drift naturally into the room.
In a word, the dead are absorbed into the shadows of the house.
There is a sense that afterimages of the family's life linger in the house.
At a moment's notice, a deep psychological stirring occurs, and a wistful tear rolls down the cheek.
There is a sense that this kind of atmosphere is naturally transmitted to visitors.
Every Japanese person shares this kind of experience in interior spaces.
And even on the exterior, traces of human life and death can be seen.
The finishing materials naturally create expressions, and shadows are externalized.
This kind of appearance may be naturally perceived by the interviewer.

The design of the kitchen heating and cooking equipment, also known as "okudo-san," in this group of open-air exhibition houses was wonderfully uniform.
The design of the kitchens, also known as "okudo-san," was quite uniform in this group of open-air exhibition houses.
The houses were generally built in the Edo period (1603-1867).
I wondered if this kind of standardization had progressed in the Nara Basin area during this period.
I wanted to do some research, but I could not find any clues.
Unlike modern system kitchens, each house has a slightly different look.
As well as being a cooking device, it was also made of clay, so it would have radiated heat in a relaxed manner.
It is a basic device that sustains the lives of the family with food and warmth.
The lingering visual experience still remains as an afterimage.

【日本のはじまり「橿原」の農家住宅 大和歴史証言-28】

日本書紀・神武天皇の東征最終着地域として名前が出る橿原。
明治になって創建された「橿原神宮」HPには以下のような記載。
〜建国の聖地・橿原、ここから日本という国が始まりました。
日本最古の正史ともされる『日本書紀』において、日本建国の地と記された橿原。
天照大神の血を引く神倭伊波禮毘古命（後の神武天皇）が、
豊かで平和な国づくりをめざして、九州高千穂の宮から東に向かい、
想像を絶する苦難を乗り越え、畝傍山の東南の麓に橿原宮を創建されました。
第一代天皇として即位されたのが紀元元年、今からおよそ2,600余年前のことです。
日本の歴史と文化の発祥の地でもある橿原は、日本の原点ともいえるでしょう。〜
という高らかな宣言のようであります。
Googleマップ上にこの農家の位置を示すと上のような地理関係。
巻向（纏向まきむく）や明日香という地名とごく近距離に位置。
橿原の地自体ではこの日本書紀を裏付ける遺跡は確証されていないけれど
その実在が確実に裏付けられる10代崇神帝の
１世紀末から２世紀初頭の「纏向遺跡」ともほぼ同地域。
日本書紀の時間的整合性には疑問が呈されるけれど、
古代史の重要な地域であること自体は間違いがないのでしょう。

そしてこの橿原市中区に1703年頃に建てられたのがこの旧吉川家住宅。
江戸期の典型的な「集村」であった国中の中枢的な農家住宅。
庄屋を代々務めていたとされている家格。
屋敷構えは敷地中央に南面して主屋を建て、その前面に長屋門構え。
その両端からコの字型に土塀・納屋・内蔵・米蔵などの付属屋が取り巻く。
典型的な「囲い造」とされています。
移築復元では主屋と長屋門だけが残されている。

土間の表隅の中２階「つし二階」付きの「しもみせ」は機織りに使った。
広い土間は室内農作業のための空間であり、日が暮れてからも
活発な食料生産活動に勤しむ空間。

わたしたち現代人からすると、たとえば東京などの大都会、
その中心施設群である皇居・霞ヶ関の官庁群、国会や首相官邸などの
政治の中心機構群などがたとえば北海道に首都機能移転して
その残地が農地として再開発されていく、というようなことは考えにくいけれど
この奈良盆地の「国のまほろば」地域では200〜400年代に
日本国家の中枢が間違いなく存在していたがその後、みごとに田園還元された。
わたしなどには「日本的サスティナビリティ」を深く思い知らされる。
そういえば古い時代には王宮建築などもその構造材の大部分が
移転先の王宮建築材として再生利用されてもいた。
ギリシャローマでの石材利用の建築群も移転再生利用されたとされるけれど、
そういう「もったいない」精神というか、合理主義はすばらしい。
きれいに片付ければその後、跡地は有用に農地転換利用が容易になる。
こういう「民族の叡智」の明白な痕跡地域という意味合いも大きいと思う。


English version⬇

Farmhouses in Kashihara, the Beginning of Japan, Yamato Historical Testimony-28
The architecture of the royal center was relocated and used in the new city, and the remaining land continued to be used sustainably as farmland. The wisdom of the Japanese people. ...

Kashihara is named in the Chronicles of Japan as the final destination of Emperor Jinmu's expedition to the east.
The Kashihara Shrine, which was built in the Meiji era (1868-1912), has the following description on its website
〜Kashihara, the sacred place of the founding of the nation, is where the nation of Japan began.
Kashihara is mentioned as the site of the founding of Japan in "Nihonshoki," which is considered the oldest authentic history of Japan.
The place where the founder of the nation, Kashihara, was named in the Chronicles of Japan, the oldest authentic history of Japan.
He headed east from his palace in Takachiho, Kyushu, to create a prosperous and peaceful country.
Overcoming unimaginable hardships, he built the Kashihara Palace at the southeastern foot of Mount Unebi.
He ascended to the throne as the first Emperor of Japan in the first year of the second millennium A.D., some 2,600 years ago.
Kashihara, the birthplace of Japanese history and culture, can be said to be the origin of Japan. 〜The first year of the Kashihara Period
This is like a high declaration of "Kashihara is the origin of Japan".
The location of this farmhouse on Google Maps shows the geographical relationship as above.
It is located in close proximity to Makimukai (Mamimukai) and Asuka (Asuka).
Although there is no evidence in Kashihara itself to support this Nihonshoki, the existence of this farmhouse has been confirmed in 10 generations.
The existence of the 10th Emperor Sujin, whose reign lasted from the end of the 1st century to the beginning of the 2nd century, is definitely confirmed.
The site is located in the same area as the "Mimamukai Site," which dates from the late 1st to early 2nd century.
Although the chronological consistency of the Nihonshoki is questionable, it is an important region in ancient history.
Although the chronological consistency of the Nihonshoki is questionable, there is no doubt that this is an important region in ancient history.

The former residence of the Yoshikawa family was built around 1703 in the Naka district of Kashihara City, Kashihara Prefecture.
This is a central farmhouse residence in the central part of the country, which was a typical "shumura" (village) during the Edo period.
The family is said to have served as headman for generations.
The main house was built in the center of the site, facing south, with a nagaya gate in front of it.
From both ends of the main building, there is a U-shaped structure with an earthen wall, a barn, a building, a rice warehouse, and other outbuildings.
It is considered a typical "enclosure structure.
In the reconstruction, only the main building and the row-house gate remain.

The "shimomise" with a mezzanine "tsushi nikai" in the front corner of the earthen floor was used for weaving.
The large earthen floor is a space for indoor farm work and after dark.
It is a space for active food production even after dark.

From our modern point of view, it is a space where we can enjoy the beauty of a large city such as Tokyo, for example.
The central facilities of the city, such as the Imperial Palace, the Kasumigaseki government offices, the National Diet, the Prime Minister's office, and other central political institutions, are all located in the same place.
The central political institutions such as the National Diet and the Prime Minister's Office have been relocated to Hokkaido, for example, and their remaining land has been
It is difficult to imagine that the remaining land will be redeveloped as farmland.
In the Nara Basin, the "Mahoroba of the Nation" area, the center of the Japanese state undoubtedly existed from the 300s to the 400s.
The core of the Japanese nation undoubtedly existed in the 300s and 400s in this "national maboroba" area of the Nara Basin, but it has since been completely transformed into a rural area.
I am deeply reminded of the "Japanese sense of sustainability.
Come to think of it, in the old days, most of the structural materials for royal palaces and other buildings were
In the old days, most of the structural materials of royal palaces were recycled as building materials for new palaces.
It is said that the stone buildings in Greece and Rome were also relocated and reused.
Such "mottainai" spirit or rationalism is wonderful.
If the site is cleaned up, it can be easily converted into useful agricultural land.
I think it is also significant that the area is an obvious trace of such "wisdom of the people.

【江戸期の町家「職住一体」ぶり 大和歴史証言-26】

商家としての町家という日本の建築文化。
それぞれの「家業」に即していろいろなスタイルが存在した。
この家ではお米屋さんという生業のありようも垣間見える。
一方で、町家は職住一体感が非常に強く感じられる。
この家では自給的な井戸が残されていて
いかにも独立的生存装置のように思えて印象的だった。
日本の住文化というのはそもそもが職住一体が基本なのだと思う。
古建築住宅の場合、その暮らし・生き様がよくわからないのは、
武家住宅と長屋住宅に局限されるように思う。
長屋住宅は江戸で「奉公」するという形での生き方しかできなかった
農家の次男三男層が選択した生活環境。「一旗揚げる」気概を胸に
最初は極小面積賃貸に住み、そのなかでよりマシな階層に身分上昇し
ようやく同じ長屋での賃貸戸建てに住み所帯を構えるまでになれた人もいた。
商家に奉公した場合には番頭クラスになれた場合などに相当する。
そこからさらに身分上昇できると都市での戸建て住宅を得ることも
万に一つ、ありえたということだろう。商家奉公人の場合、暖簾分け相当。
きわめて機会の少ない「江戸での成功者」確率に
それでも挑戦せざるを得なかったひとの生き様も多数派だったのだと思う。
大部分の長屋賃貸生活者は、所帯を持てることもなく
江戸社会の中で安住を得ることは難しかったのだろうと思う。
江戸期に「個人主義」が芽生えるとすればこういう階層が
その主役になるべきだったろうけれどその確率はきわめてレアだった。
古代西洋社会、ローマなどの「市民」と「奴隷」の仕分けで見れば
体のいい奴隷だったともいえるのかもしれない。
ただ、日本社会は古代西洋のような過酷さはなく、
より人権的社会システムだったように思える。
すくなくともそういう階層が差別扱いをされるようなことはなかった。
一方、武家住宅を見ていると基本的に「生活感」が乏しい。
いかにも虚構の権威主義のなかで生きていたように感じられる。
「武士は食わねど高楊枝」みたいに空虚な虚栄心で心理を維持していた。

そのような江戸期「都市居住」類型のなかでは商家の職住一体感は
強い「生活感」をもって迫ってくる部分がある。
商家自身も江戸期社会の固定的家系でのシステムに組み込まれていたけれど、
しかしいちばん「自由」な生き方を生きていたように思う。
少なくとも商売についてはそれぞれの知恵と工夫で才覚を発揮もできただろう。
が、基本的には社会全体は武家支配という抑圧があり
突破する方向性としてはその支配構造を利用するしかなかっただろう。
商業の自由はなく「取り入る」という努力の仕方がやむなき選択。
個人的には田沼意次の政権が幕府でよりながく継続していれば、
江戸体制にも存続可能性があったと思うけれど、
「賄賂政治」だというバカげた他者非難で資本主義的社会進歩を抑圧した。
結果、そういう固陋な思考が幕末まで続いてしまったのだろう。

いま新しい資本主義というやや実態不明な題目を政権は掲げている。
より資本主義的な発展を図らない限り、この国の未来はない。
社会発展のダイナミズムはさてどういう動きの中から出てくるのでしょうか？


English version⬇

The Edo Period's "Work and Residence Togetherness" of Town Houses: Yamato Historical Testimony-26
The Edo period, when society was fixed. The ruling class is too perverse, although elements of development can be found in the way of life of merchant families. The traditional art of condemnation of ridiculous ethics. ...

The Japanese architectural culture of the machiya as a merchant house.
Various styles existed in line with each "family business.
In this house, we can catch a glimpse of a rice dealer's business.
On the other hand, the machiya house has a very strong sense of unity between work and residence.
In this house, a self-sufficient well remains.
I was impressed by the fact that it seems to be an independent survival device.
I believe that the Japanese housing culture is based on the concept of "work and residence as one.
In the case of old houses, it is difficult to understand the lifestyle of the residents.
In the case of old houses, I think that the lack of understanding of the way of life is limited to samurai residences and tenement houses.
The tenement houses were the only way of life for the second and third sons of farmers who could only live as "servants" in Edo.
The second and third sons of farmers chose this type of living environment. With the spirit of "making a name for themselves
They first lived in a very small rented house, and then moved up to a better class within the family.
Some of them finally managed to live in a rented house in the same tenement and set up their own household.
In the case of those who were apprenticed to a merchant family, this would be equivalent to being in the banto class.
If you were able to rise further in rank, you could even get a detached house in the city.
This was a one-in-a-thousand chance. In the case of merchant family servants, it is the equivalent of being a "noren-keisatsu" (goodwill divider).
The probability of being a "successful person in Edo" was extremely low.
I believe that there were many people who had no choice but to take up the challenge.
Most of the tenement renters were not able to have their own families.
It would have been difficult for them to find a safe haven in Edo society.
If "individualism" was to sprout in the Edo period
However, the probability of such a situation was extremely rare.
If we look at ancient Western societies, such as Rome, and sort out "citizens" and "slaves
It could be said that they were slaves in the sense that they were good for the body.
However, Japanese society was not as harsh as that of the ancient West.
It seems that Japanese society was not as harsh as that of the ancient West, but was a more human rights-oriented social system.
At the very least, such classes were not discriminated against.
On the other hand, when we look at samurai residences, there is basically a lack of a "sense of life.
It is as if they were living in a fictional authoritarianism.
They maintained their mentality with an empty sense of vanity, as if to say, "Samurai don't eat, but they do eat.

In this type of "urban residence" of the Edo period, the sense of unity of work and residence of the merchant family
The merchant family itself was part of the fixed family system of Edo period society, but it was also a part of the family system of the Edo period.
Although merchant families themselves were part of the fixed family system of Edo period society
However, I think they lived the most "free" way of life.
At least in the area of business, they were able to exercise their own wisdom and ingenuity.
However, the society as a whole was basically under the oppression of samurai rule, and the direction to break through the oppression was to use the structure of that rule.
The only way to break through this oppression would have been to take advantage of the ruling structure.
There was no freedom of commerce, and the only choice was to "take in" the oppressor's efforts.
Personally, I believe that if Tanuma Iiji's regime had continued in the Bakufu for a longer period of time, the Edo system would have been more viable.
I think the Edo system would have had a chance of survival if Tanuma Iiji's regime had lasted longer in the Bakufu.
However, he suppressed capitalist social progress by ridiculously accusing others of "bribe politics.
As a result, such perverse thinking continued until the end of the Edo period.

Now, the regime is raising the somewhat unrealistic title of "new capitalism.
There is no future for this country unless it pursues a more capitalist development.
What kind of dynamic of social development will emerge from this movement?

【江戸期「米屋」の店構え 大和歴史証言-25】

この鹿沼家は横大路の北側に居を構え、代々米屋を営んでいた。
主屋の表側の庇部分には格子を飾り二階両端には袖壁を付け中央部に出格子を飾る。
大戸から入ると「みせどま」になっておりその右には低い板の間の「しもみせ」に、
左は「みせ」があり、その奥は「おくみせ」になっている。
町家の様子をよく伝えている。現在展示されている米屋の秤などは
明治以降の計量機器だと思われる。いわゆる量り売りの様子。
江戸期以来の「町家・米屋」の雰囲気がわかる。
コメは主食だから町家ビジネスの基幹的な店舗と言えるでしょう。
桁行9.2メートル梁間8.6メートルの切妻造り二階建てで屋根は桟瓦葺き。
平面の右手は通り土間とし前後を仕切り表側下手には米穀を並べた下店を設ける。
表の角太格子、二階の出格子、両端の袖壁などに町屋建築の特徴がよくあらわれている。
店舗の左手は畳の敷かれた「みせ」として来客との現金決済、もしくは
購入記録の記帳などが相対で行われていたものだろう。
現金決済などはあまり行われず、近隣の居住者とはおおむね信用売買。
年末に一括決済を行っていたのが日本の伝統的決済方法。
「年を越せるかどうか」というコトバは庶民経済の実態を表しているのだろう。
来客が訪問して購入する売買形式と考えると１回の売買量は持参できる範囲。
現代では５kg入りか10kg入りが標準的なので
たぶんその程度が想像できる。主食だけれど標準的家族数での食事で
どの程度の購入頻度になったか、取引現場シーン的にも興味が湧く。
建築的には表の角太格子がたいへん野太く、特徴的と思える。

内部には空隙部があって通りに対しての「ショーウインドウ」機能を果たしたか？
米屋としての展示造作、アイキャッチはなんだろうかと想像が膨らむ。
日本の伝統的商家・町家を簡潔に表現する建築様式として
こうした「格子」デザインは外観アイコンでもあったのだろう。

復元展示ではこの商品の米俵の収納ストック場所が明示されていない。
移設のときに省略されたものだろうか。
間取り図を見ると奥に３畳ほどの「とりつぎ」は見えるので
その奥などに蔵のような建築装置があった可能性が高い。
店と生活の場にある四つの部屋は全て１間ｘ２間の広さ。
間取りを見れば正方形の４間四方が骨格的な構造規模になる。
現代でももっとも「効率的」な間取りとして認識されているけれど、
江戸期の商家として、計算たくましく建築空間効率を追求したように思える。
相対の顧客との関係性を想像しながらムダを徹底的に引き絞って、
コスト削減に努めていたような、そういう気概が伝わってくる気がする。


English version⬇

The Edo Period "Rice Shop" Structure: Yamato Historical Testimony-25
Is the wooden lattice design an exterior icon of machiya merchant houses in Japanese society? The floor plan is a 4-ken square, rationality-compliant type. Is it an expression of the spirit to cut waste? ......

The Kanuma family has lived on the north side of Yoko Oji Street and has operated a rice store for generations.
The front eaves of the main house are decorated with latticework, and the two ends of the second floor are decorated with sleeve walls and a latticework in the center.
Entering from the main door, there is a "mise-doma," and to the right is a "shimomise," a low wooden floor.
To the left is the "mise," and behind that is the "okumise.
The "mise" is on the left, and the "omise" is in the back. The scales of the rice shop, etc. currently on display are thought to be measuring instruments from the Meiji period onward.
The scales and other weighing equipment on display today are thought to be from the Meiji period onward. The so-called "weighing and selling" scene.
This shows the atmosphere of a townhouse and rice shop since the Edo period.
Rice is a staple food, so it can be said to be the backbone of the machiya business.
It is a two-story gabled structure with a girder length of 9.2 meters and a beam length of 8.6 meters, and the roof is covered with pierced tiles.
The right side of the plane is a street earthen floor, and the front and rear sides are partitioned off, with the lower part of the front side used as a storefront for rice and grain.
The front latticework, the second-floor latticework, and the two end walls are all characteristic of machiya architecture.
On the left side of the store is a tatami-mat-lined "mise," where cash settlements with visitors or recording of purchases are conducted.
The left side of the store is a tatami-mat-lined "mise," where cash settlements with customers or bookkeeping of purchase records were conducted.
Cash settlements were not often conducted, and transactions were generally conducted on credit with residents in the neighborhood.
The traditional Japanese settlement method was to settle in a lump sum at the end of the year.
The phrase "will I be able to make it through the New Year?" probably expresses the reality of the common people's economy.
Considering that this is a form of trading in which visitors visit and make purchases, the amount bought and sold at one time is within the range of what one can bring with them.
In modern times, 5kg or 10kg packages are the standard.
I can imagine that the amount of food is about the same. It is a staple food, but with a standard family size meal, how often would it be purchased?
It would be interesting to see how often it was purchased, in terms of the trading site scene.
Architecturally, the square thick latticework on the front side is very bold and characteristic.

Was there an interior void area that served a "show window" function to the street?
One can only imagine what the display structure and eye-catcher would be as a rice store.
As an architectural style that succinctly expresses a traditional Japanese merchant house or townhouse
This "lattice" design must have been an exterior icon.

In the restored exhibit, the storage stock location for the rice bales of this product is not clearly indicated.
This may have been omitted during the relocation.
The floor plan shows a "toritsugi" of about 3 tatami mats in the back.
It is highly possible that there was a storehouse-like structure behind it.
All four rooms in the store and living quarters are 1 ken x 2 ken in size.
Looking at the floor plan, a square 4-ken square is the skeletal scale of the structure.
Although it is recognized as the most "efficient" floor plan even today
As a merchant house in the Edo period, it seems to have pursued architectural space efficiency with great calculation.
They seemed to have made an effort to reduce costs by thoroughly eliminating waste while imagining the relationship with their customers.
I feel that this work conveys the spirit of a merchant family that was striving to reduce costs by thoroughly eliminating waste while imagining the relationships with their customers.