【聖徳太子がモデル？仏像２体 法隆寺宝物館-3】

　奈良の東大寺大仏など公開されているものもあるけれど、法隆寺の本尊仏像というのはわたしは見たことがなかった。なんとなくボーッと見ていたのか（笑）。一方で飛鳥寺では本堂に入ったらすぐに「飛鳥大仏」さんが迎えてくれる。気軽に迎えてくれる感じで、止利仏師作と伝わるその表情がなんとも言えずに好きになった。で、今回デジタル法隆寺宝物館展示で、紹介されていた「釈迦三尊像」の中心の仏様の表情を見てこちらも、やはり止利仏師作という説に審美眼的に確信を持てた次第。
　なにがどうとは言えないけれど全体としての雰囲気に共通性を感じさせられる。やはり顔の造作、作られよう、バランス感覚的に共通項がきわめて多く、親和性を感じる。
　写真上が釈迦三尊で下が飛鳥大仏。飛鳥大仏の方が先に作られその評判から、同じ制作者に発注されたのかと推測できる。止利仏師は鞍作鳥という名前の示すとおり、本来は乗馬用の鞍の制作がかれの本業だったそうだが、仏教伝来期の専門家不足からなのか、その制作レベルの高さを見込まれ、あるいはむしろこの仕事のために半島から移住したかして、これらの仏像制作に当たったとされてきた。
　この国家事業の発注責任者だった聖徳太子自身がその仏像モデルではないかというのが一般的な通説。だとすれば、飛鳥寺大仏も聖徳太子の支援者であった「蘇我氏」によって造営された最初期の仏教寺院とされるので符合する部分があるのでしょうか。

　飛鳥寺の創建は596年。593年に聖徳太子が推古天皇の摂政となり、その後法隆寺の創建は607年。
　この時代の大きな動乱としては587年7月の崇仏派と排仏派の戦いがある。崇仏派の蘇我馬子は排仏派の物部守屋追討軍を派遣して厩戸皇子（聖徳太子）などの皇族や諸豪族の軍兵を率いて河内国渋川郡の守屋の館へ進軍しこれを討ち果たした。この結果、仏教導入が国策決定し飛鳥寺、四天王寺、法隆寺などの国家的寺院建設事業が旺盛に始められることになった。
　この時代、事実上仏教が世界宗教として隆盛し同時にアジア世界に強大な隋・唐の統一国家が出現したことに対応して、崇仏派はその世界共通思想基盤としての仏教を国策導入しようとしたのだと思う。
　外圧に対して対抗していくには積極的に導入して対外関係を強固にすべきという勢力。一方で既存の分権的国家でいいと考える勢力・物部氏一派との対立だったのか。その後の日本の歩みを見てもこういう政治選択・二元論は常にあった。
　こうして国内争闘に勝利した崇仏派であった聖徳太子だが、一方かれが派遣した遣隋使・小野妹子に日本は隋と同等国であるとしたたかに宣命させる。「日出る処の天子、書を日没する処の天子に致す。つつがなきや」と。隋の皇帝はその不逞な態度に怒ったとされるが、国際関係では高句麗対応の必然性もあって事実経緯としては日本の独立性は尊重された。外交的には勝利を得たと言えるだろう。
　開明派でありながら、外交では独立対等外交にこだわったのだ。むしろこのあたりが聖徳太子が長く日本人に愛され崇拝されてきた大きな理由なのではないか。大陸国家に対してどう向き合うのか、それがいまに至るも日本という国のアイデンティティの骨格部分なのかも知れない。


English version⬇
　
Two Buddhist Statues Modeled after Shotoku Taishi? Two Buddhist statues, The Gallery of Horyuji Treasures-3
Two of the earliest works in the art genre of Buddhist statues in Japan. The admiration for their models. The role they played in imprinting the teachings of Buddhism on the minds of the Japanese people. The role they played in imprinting the teachings of Buddhism in the hearts of the Japanese people.

Some of the statues, such as the Great Buddha of Todaiji Temple in Nara, are open to the public, but I had never seen the main statue of Buddha at Horyuji Temple. I guess I was just kind of staring at it in a daze (laughs). On the other hand, in Asukadera Temple, you are greeted by the "Great Buddha of Asuka" as soon as you enter the main hall. I felt welcomed easily, and I liked the expression on his face, which is said to have been made by Buddhist priest Toributsuji. And when I saw the expression of the Buddha in the center of the "Shakyamuni Sanzon Zo" that was on display at the Digital Gallery of Horyuji Treasures, I was aesthetically convinced that it was also made by the master.
　I cannot say what it is about the statues, but the overall atmosphere of the statues is similar. The facial features, the way they are made, and the sense of balance have a lot in common, and I feel a sense of affinity with them.
　The upper photo shows the three images of Shakyamuni and the lower photo shows Asuka Daibutsu. The Asuka Daibutsu was built before the Shakyamuni Buddha, and its reputation leads us to assume that the same creator was commissioned to make the Asuka Daibutsu. As the name "Kurazakudori" suggests, the original saddle maker's main occupation was to make saddles for horseback riding, but it is said that he was expected to produce these Buddhist statues because of the shortage of specialists during the period of the arrival of Buddhism, or because of his high level of production, or rather because he emigrated from the peninsula to do this work.
　The general consensus is that Prince Shotoku himself, who was in charge of ordering this national project, may have been the model for these Buddhist statues. If so, is there a point of coincidence since the Asukadera Great Buddha is also considered to be the first Buddhist temple built by the "Soga clan," which was a supporter of Prince Shotoku?

Asuka-ji Temple was built in 596; Prince Shotoku became regent of Emperor Suiko in 593, and Horyu-ji Temple was built later in 607.
　One of the major upheavals of this period was the battle between the Chūbutsu and Exclusionist factions in July 587. Soga Umako, a member of the Chūbutsu faction, dispatched an army to defeat Mononobe Moriya, a member of the Zeng-butsu faction, and led a military force of the Imperial Family, including Prince Umamado (Prince Shotoku) and other powerful clansmen, to Moriya's mansion in Shibukawa County, Kawachi Province. As a result, the introduction of Buddhism became a national policy, and national temple construction projects such as Asukadera, Shitennoji, and Horyu-ji were vigorously undertaken.
　In this period, Buddhism virtually flourished as a world religion, and at the same time, the powerful united states of Sui and Tang appeared in the Asian world.
　The Chongbulists believed that in order to oppose external pressure, they should actively introduce Buddhism to strengthen their foreign relations. On the other hand, was this a confrontation between the Mononobe clan and those who thought that the existing decentralized state was sufficient? Looking at Japan's subsequent history, this kind of political choice and dualism has always existed.
　Prince Shotoku, who was a member of the Chōbutsu faction, was thus victorious in the domestic struggle, but he had his envoy to the Sui Dynasty, Ono Imoko, declare that Japan was a nation on par with the Sui Dynasty. The Prince of Heaven where the sun rises and the book is given to the Prince of Heaven where the sun sets. This will be done without fail. The Sui Dynasty emperor is said to have been angered by this intransigent attitude, but in international relations, Japan's independence was respected as a matter of fact, partly due to the necessity of dealing with the Goguryeo Dynasty. Diplomatically, it can be said that Japan won a victory.
　Although he was an open-minded man, he insisted on independent and equal diplomacy in foreign affairs. In fact, this may be a major reason why Prince Shotoku has long been loved and worshipped by the Japanese people. How to deal with a continental nation may be the backbone of Japan's identity to this day.　

【デジタル「聖徳太子絵伝」 in 法隆寺宝物館-2】

　昨日建築を紹介した「法隆寺宝物館」。東京上野の東京国立博物館敷地の奥にある展示施設。明治11年に法隆寺から皇室に献上された宝物群を展示公開。いわば国民共有の文化財産。当然、私的所有という概念には似つかわしいものではなく、すべて共有されている。歴史的に貴重な知的文化資産を民が共有し、その価値感を進化発展させるのは民主主義の基本だと思う。
　宝物館には多数の仏像などの品々が展示されているけれど、ちょうど訪問したとき「聖徳太子絵伝」のデジタル公開が行われていた。日本人と法隆寺、そしてその核心に存在する「聖徳太子信仰」がいきなり直球で展示されていた。
　日本の王権が諸外国のような革命政変ではなく、比較的に温和なカタチで王権と政権の分離というような柔軟な政権交代を実現してきた根源には「鎮護国家」思想の成功、広い民衆の支持があると思う。「篤く三宝を敬え」とされる仏教政策を順守してきたことで、社会崩壊の危機を乗り越えてきた。皇統が少なくとも千数百年存続してきたことは、世界の奇跡。聖徳太子はその実在について論争があるけれど、王権の正統性根拠において枢要な存在だと思う。


　その太子の生涯を伝える「聖徳太子絵伝」は1069年・平安時代に制作された絵画。上の絵はデジタル処理された現存の絵伝の内の一幅。多数の太子の事跡が時系列がやや前後しながらまるで迷路のように描画されている。アメリカの哲学者、ネルソン・グッドマン氏によると「全体として60の事跡がねじれた物語として構成されている」。不思議な絵画構成感覚といえるだろうか。
　法隆寺創建（607年）からは相当の歴史経過を経ている。この時期に法隆寺では「舎利殿」とともに「絵殿」が新設され、その絵殿にこの絵画が障壁画のようにぐるっと一覧展示されていたのだとされる。

　いまは模画が法隆寺絵殿に写真のように展示されているという。法隆寺の記録にはこの制作経緯についても明確な記述があり、絵師は摂津国大波郷の住人・秦致貞と明記されている。
　まことにタイムトラベル風に時代回想を呼び起こされる（笑）。世は藤原氏の摂関政治全盛期ということができる。天皇家王権は象徴的存在であり、それを統御するシステムとして貴族層の頂点に藤原氏が存在していた時代。ただ、そういう藤原氏の政権独占に対して院政を対置して王権の執政回復を狙った白河帝がこの時期、皇太子になっている。やがて武士の興隆を招く直前の時代だろう。
　そういう時代の中で、法隆寺としては日本仏教の根源地として、その創建に深く関わった聖徳太子の事跡を広く広報することで、日本社会での格別な地位を維持発展させようとしたものだろうか。また、平安後期には成立していた「郷絵師」秦致貞という存在にも強く興味を掻き立てられる。〜以下つづく。
＜参考／金沢美術工芸大学紀要・大田昌子氏「法隆寺絵殿本・聖徳太子絵伝の語りの構造」＞

English version⬇

Digital "Shotoku Taishi E biography" in The Gallery of Horyuji Treasures-2
The miraculous acceptance of Buddhist thought in Japanese society as a "state of tranquility and protection". What is the "faith" of Horyu-ji Temple and its founder, Prince Shotoku? ...

The Gallery of Horyuji Treasures, whose architecture was introduced yesterday. This exhibition facility is located at the rear of the Tokyo National Museum grounds in Ueno, Tokyo. The museum exhibits and displays a group of treasures presented to the imperial family by Horyuji Temple in 1878. In other words, the treasures are the common property of the people. Naturally, it does not resemble the concept of private ownership, but is entirely shared. It is the basis of democracy for the people to share historically valuable intellectual and cultural assets and to evolve and develop their sense of value.
　The Treasure House has many Buddhist statues and other items on display, and when I visited the museum, the "Shotoku Taishi Eden" was being digitally displayed. The Japanese people, Horyu-ji Temple, and the "Shotoku Taishi faith" that exists at the core of the temple were suddenly on display in a direct manner.
　I believe that the success of the "Shinko-no-Kokoku" philosophy and the broad support of the people are at the root of the flexible change of government in Japan, where the separation of power and administration has been achieved in a relatively mild manner, rather than through revolutionary changes of government as in other countries. The adherence to the Buddhist policy of "reverence for the three treasures" has helped the country to overcome the crisis of social disintegration. The fact that the imperial lineage has survived for at least a thousand years is a miracle of the world. Although there is some controversy over the existence of Prince Shotoku, I think he is a pivotal figure in the basis of the legitimacy of royal authority.

The "Shotoku Taishi E biography" tells the story of the life of Prince Shotoku, a painting created in 1069 during the Heian period (794-1185). The painting above is one of the existing digitally processed paintings. It is a labyrinth of numerous traces of the Taishi, with the chronological order of events slightly backward and forward. According to Nelson Goodman, an American philosopher, "Sixty events are arranged as a whole in a twisted narrative," which is a curious sense of composition.
　A considerable amount of history has passed since the founding of Horyuji Temple (607). It is said that the paintings were exhibited in the E-den (Picture Gallery), which was newly built along with the Shariden (Hall of Relics) at Horyu-ji during this period, and that the paintings were displayed in the E-den like a wall painting.

A reproduction of the painting is now on display in the Horyuji Picture Hall, as shown in the photo. The Horyuji record clearly describes how the painting was created, and the painter is clearly identified as Hata Chisada, a resident of Ohnami, Settsu Province.
　It is truly a time traveler's recollection of the times (laughs). The era can be said to be the heyday of the Fujiwara family's regal government. The emperor's royal authority was symbolic, and the Fujiwara clan existed at the top of the aristocratic class as a system to control it. However, the Emperor Shirakawa, who aimed to restore the royal regency by countering the Fujiwara's monopoly of power with the Insei government, became the crown prince during this period. This was probably the period just before the rise of the samurai.
　In such an era, Horyu-ji Temple, as the root of Buddhism in Japan, may have sought to maintain and develop its exceptional status in Japanese society by widely publicizing the memory of Prince Shotoku, who was deeply involved in its founding. The existence of Hata Chisada, a "goeji" painter who was established in the late Heian period, also arouses strong interest. To be continued.
＜Reference: Kanazawa College of Art Bulletin, Masako Ota, "Narrative Structure of the Illustrated Biography of Shotoku Taishi in the Horyuji Eden Hon" >.

【端正なモダニズム「法隆寺宝物館」探訪】

　地方にいていちばん「格差」を感じざるを得ないのが、芸術とか文化性との距離感。面白いと思える展覧会とか、希少な展示などが地方で開かれる、公開されるというのはほぼない。
　日本人に生まれて多少なりとも歴史とかに興味を持てば、法隆寺の宝物というものには一度は触れてみたいと思うものだと思います。まぁもちろん東京や近郊に住んでいても、興味がなければ行かないだろうけれど（笑）。わたしは上野の東京国立博物館での企画展示などは機会があれば、参観しています。
　しかし、公園敷地のやや奥まった位置にあるこの「法隆寺宝物館」には足を運んでいなかった。先日、はじめてこの建物と遭遇して、内部も参観することができました。
　建物は水盤越しに端正なモダニズムの外観で迎えてくれる。水盤の右側中央に動線通路があって、通っていくとちょっとした「結界」を感じさせてくれる。


　シンプルなコンクリート建築で水盤に向かって大きく開口部があけられている。静謐な雰囲気を表現し展示物との出会いを坦々と演出してくれている。建築と展示の目的は案内写真の通り。
　さすがに国家的な文化展示なので、写真撮影はストロボなどの手法を使わなければ、自由にできる。確認してから写真撮影させていただいた。その展示物写真群を自宅でときどき見返してみる機縁をいただけるのはたいへんありがたい。現物と接してそのあと、丹念にその情報を反芻して深く理解できるというのは素晴らしい体験機会。
　ちょうど聖徳太子に関する「絵伝」をデジタル技術を活用して展示していて、強く興味を惹かれた。日本人がふつうにリスペクトしてきた精神性部分がこういった展示物には凝集されているのでしょう。
　建築としては訪問者の心理をしずかに落ち着かせるような仕掛けを感じさせられました。
　いろいろな機能性が建築にはあるでしょうが、これはこれ。日本人と法隆寺という関係性には似つかわしい空間性だったように思います。展示物の参観に十分集中することができました。

　PS：昨日６回目のワクチン接種。いろいろ考え方もあるでしょうが、わたし自身としては加齢のこともあり、社会的にご迷惑を掛けないようにと受けた次第。副反応の軽微なることを願う次第。


English version⬇

Exploring the Neat Modernism of the Gallery of Horyuji Treasures
Japanese people have had a long relationship with Buddhism. The treasures in the museum are a collection of the history of Buddhism. The treasures are an opportunity to talk with the ancestors who believed in Buddhism rather than to talk with the treasures. The Treasure House of Horyuji Temple

One of the biggest "disparities" I feel when I am in a rural area is the distance between art and culture. There are almost no interesting or rare exhibitions held or exhibited in the countryside.
　If you are Japanese and have some interest in history, you would like to see the treasures of Horyuji at least once. Of course, even if you live in Tokyo or the suburbs, you probably wouldn't go if you weren't interested (laughs). I visit the special exhibitions at the Tokyo National Museum in Ueno whenever I have the chance.
　However, I had not visited the Gallery of Horyuji Treasures, which is located in a slightly secluded part of the park grounds. The other day, I encountered this building for the first time and was able to visit the interior as well.
　The building greets visitors with a neat modernist exterior over a water basin. There is a flow passage in the center of the right side of the water basin, which gives you a bit of a "boundary" as you walk through.

It is a simple concrete structure with a large opening toward the water table. It expresses a tranquil atmosphere and provides a peaceful encounter with the exhibits. The purpose of the architecture and exhibits is as shown in the guide photo.
　As this is indeed a national cultural exhibition, visitors are free to take photos as long as they do not use strobe lights or other techniques. I was allowed to take pictures after checking it out. I was very grateful to have the opportunity to look back at the photos of the exhibits from time to time at home. It is a wonderful experience to be able to come in contact with the actual objects and then carefully ruminate on the information and understand it in depth.
　I was fascinated by the exhibition of the "Pictorial Biographies of Prince Shotoku," which utilizes digital technology. I believe that the spirituality that Japanese people have usually respected is concentrated in such exhibits.
　As for the architecture, I felt that it was designed to calm the visitor's mind.
　There may be various functionalities in architecture, but this is one of them. I think the spatiality was appropriate for the relationship between the Japanese people and Horyu-ji Temple. I was able to fully concentrate on visiting the exhibits.

　PS: Yesterday I was vaccinated for the sixth time. I am sure there are various ways of thinking about it, but for myself, I received the vaccine because of my aging and in order not to cause any inconvenience to the society. I hope that the adverse reactions will be minimal.

【木質・自然系デザイン in 新木場駅周辺】

　先日の東京ビッグサイトでのAIイベント出張時、都内と会場との往復移動でどうしたらいいかと考えた結果、はじめて「新木場駅」を経由することにした。ちょうど会場往復後の訪問先のことを考慮してクルマを借りていたので、新木場駅周辺での駐車場に入庫後、往復に出掛けた。
　で、駐車場が地下だったのでいったん１階に上がって駅に向かおうとしたら、上の写真のようなフロントディスプレイに遭遇した。一見して、皇居のような巨大な森が窓越しに見えるかと錯覚した。
　しかしよく見ると、これは木製の額縁で仕切って壁面緑化手法で自然の植物なのだと気付かされた。その生命感が新鮮で、単に自然から切り取って貼り付けました，という様子ではない。しっかりとこの体勢で「根付いて」いて、その状態で新鮮な発芽があり枝葉が生育しているのだと望見できた。
　壁面緑化という手法によってコンクリートで固めた現代建築が醸し出す空気感に「うるおい」を与えようという試みをよく見聞きしていたけれど、それは一定の自然光受容があって成立すると思っていた。それに対してこれはものすごく「自然」に馴染んでいるのだけれど、どう考えても室内なのでよく考えると「不思議」感はあった。
　そう考えてさらによく見てみると、どうも採用されている植物群は玄関のガラス面からの微弱な太陽光でもそれなりに生育可能なものなのかも知れないと想像できた。
　壁面緑化というのは、東京のような極度密集地域では面積を必要としないで自然を復元させていくためのひとつの「解」でもあると思うので、こういった試みは大変有意義だと思った次第。少なくともわたしのようなエトランゼにも、強い好感として伝わった。

　このビルを出てみたら、今度はとなりのビルではこんな試みも行われていた。木質建材によるコンクリート建築への「付加」外皮の様子。機能としては日射遮蔽のひとつの手法なのだろうと思える。コンクリートだけが外皮を構成するのと比べると、やはり人間の目にうるおい感は感じさせられる。
　たぶん都の防火の規定でも一定の「外壁後退」が確保されれば木質建材使用は条件クリアすることができるのだろう。
　壁面緑化にせよ木質外皮にせよ、こういった試みは大いに盛り上がって欲しい。昔の江戸の街では町人街で植木鉢などの連続などのちょっとした工夫で緑の演出がされていた様子が伝えられている。最近のこういった都市緑化の挑戦は、江戸期からのDNAが復権してきているようにも感じる。


English version⬇

Woody and natural design in Shinkiba Station area
In the tenement district of Edo (1603-1867), flowerpots were lined up along the street to ensure greenery that was easy on the human eye, based on the concept of mutual aid. There is no reason why such wisdom and ingenuity cannot be applied today. ...

On a recent business trip to an AI event at Tokyo Big Sight, I wondered what I should do when traveling to and from the venue in Tokyo, and decided to go via "Shinkiba Station" for the first time. I had rented a car in consideration of my destination after the event, so I parked at a parking lot around Shinkiba Station and went out for the round trip.
　As the parking lot was underground, I went up to the first floor to go to the station and encountered a front display like the one in the photo above. At first glance, I was under the illusion that I could see a huge forest like the Imperial Palace through the windows.
　However, upon closer inspection, I realized that these were natural plants, partitioned by wooden frames and using the wall-greening technique. The sense of life is fresh and fresh, and it does not look as if it were simply cut from nature and pasted on the wall. It was firmly "rooted" in this position, and I could see fresh germination and growth of branches and leaves in this state.
　I have often seen and heard of attempts to give "moisture" to the atmosphere created by modern concrete-framed buildings through the use of wall greening, but I had thought that such attempts were only possible with a certain amount of natural light. In contrast, this work is very much in tune with "nature," but it is indoors, so when I thought about it more closely, I felt a sense of "strangeness.
　After thinking about it and looking at it more closely, I could imagine that the plant group employed might be able to grow to a certain extent even in the weak sunlight coming from the glass surface of the entrance.
　I think that wall greening is one of the "solutions" to restore nature in extremely dense areas such as Tokyo without requiring a large area. At least, even for an étranger like myself, I felt a strong positive impression of the project.

When I left this building, I found that the building next to it was also experimenting with the following. This is a view of an "added" exterior skin to a concrete building using wood building materials. It seems to me that this is a method of shielding the building from the sun. Compared to a building with an exterior skin composed only of concrete, it still gives a sense of lusciousness to the human eye.
　Perhaps the Tokyo Metropolitan Government's fire prevention regulations also allow the use of wooden building materials as long as a certain amount of "exterior wall setback" is secured.
　Whether it is wall greening or a wooden skin, I would like to see these kinds of attempts gain a lot of momentum. In the old days in Edo (old name for Tokyo), the streets of the townspeople's districts were decorated with greenery through a series of flowerpots and other small efforts. I feel that these recent attempts at urban greening are restoring the DNA that has been present since the Edo period.

【ゲリラ開催、社長食堂・臨増「カツオたたき篇」】

　さて住宅についてのわかりやすい情報の編集・加工生産プロセス、大車輪で作業中であります。わが社は感染症以降、リモートワークを積極的に導入して「あたらしい働き方」に移行してきていて、そういう環境下での生産性のコントロールに取り組んできています。
　それはそれでいいのですが、社長食堂というような取り組みはなかなか再起動させるのがスムーズには行かない。全スタッフが一堂に会してワイワイというのはリモートワーク体制ではなかなか調整がたいへん。しかし、仕事のONのコミュニケーションはそれでいいとしても、いわば意識をOFFにしての会話機会も得がたい全的コミュニケーションが可能。
　そういうことなので、ムリせず「できるときにやる」ということにしての臨時開催。
　わたし自身はリモート体制下でも、魚の捌き方を余市の魚屋さんに弟子入り（笑）して、手ずから教えていただき、見よう見まね、たのしく修行中。お魚は常時買い置き、解体、さばいているので、急遽開催でも対応可能。
　そういうことなので、きのうは全部で９名のスタッフが出社しているなか、お昼ご飯にカツオたたき＆ソイ刺身＆ドデカおにぎり製造・提供いたしました。
　カツオたたきでは、わたしはぜひ「藁焼き」に挑戦したいと思っているのですが、カミさんと娘から「そんなメンドいことはやめよ！」という厳しいレッドカード警告。やむなくキャンプ用のバーナー装備での焼きこがしという手法で取り組んでみました。しばらくぶりでYouTube動画にアップしてリンクを張っておきましたが、見ていただけるものかどうか。早送りでご覧ください。
https://www.youtube.com/watch?v=_KI0Kxq0fRs
　カツオは先日札幌市内のお店でかわいい姿を見かけて、その愛らしさと値段の手頃さ（たしか記憶では１匹7-800円）に惹かれて、動画解説をみながら解体して、冷凍保存させていました。家族で食べまして、準備訓練はしていたので、急遽対応でも問題なし。バーナーでの炙りはカツオの皮の焼けっぷりが楽しいのでスタッフを呼んで見てもらった次第。煉瓦と網だけのワイルド調理。
　久しぶりのスタッフの屈託ない笑顔を見られました。これからもときどきゲリラ的に好き勝手に臨時開催で料理の腕を少しずつ上げていきたいと思います。やるぞ！


English version⬇

Guerrilla event, President's Dining Hall, Rinzou "Katsuo-no-Tataki" (Bonito Tataki)
The straw grill is a mendacious thing, and a camp burner-like device can be used for multiple purposes. The smiling face of food that supports information production. The smile of food that supports the production of information.

We are working hard on the process of editing and processing easy-to-understand information about housing. Since the infection, our company has been actively introducing remote work and moving to a "new way of working," and we have been working to control productivity in such an environment.
　That is all well and good, but it is not easy to smoothly restart such an initiative as the president's cafeteria. It is difficult to coordinate a remote work system where the entire staff can get together and have a good time. However, while this is fine for on-the-job communication, it is also possible to have a conversation with the staff with their minds off the job, so to speak, and have a chance to communicate with the entire staff in a way that is unobtainable.
　Therefore, I decided to hold this event on a temporary basis when I could, without being unreasonable.
　Even though I am working remotely, I have apprenticed myself to a fishmonger in Yoichi, who taught me how to process fish, and I am learning as I go along. We always have a supply of fish on hand, so we are always ready to serve even if we need to hold a party on short notice.
　So yesterday, with a total of nine staff members at work, we made and served bonito tataki, sashimi of sea bream, and huge rice balls for lunch.
　As for the bonito tataki, I would love to try the straw-roasted bonito, but my wife and daughter gave me a stern red card warning: "Don't do such a tedious thing! I was given a stern red card warning by my wife and daughter, "Don't do such a tedious thing! I had no choice but to try it with a camping burner. I uploaded the video on YouTube and put a link to it, but I'm not sure if you can watch it or not. Please watch it in fast forward.
https://www.youtube.com/watch?v=_KI0Kxq0fRs
　I saw a cute little bonito at a store in Sapporo the other day and was attracted by its loveliness and affordability (7-800 yen per fish, as I recall), so I dismantled it and had it frozen while watching the video commentary. We ate it as a family, and since we had done the preparation training, it was no problem to deal with it on short notice. Searing the bonito on the burner was a fun way to see how the skin of the bonito was burned, so I called the staff over to watch. Wild cooking with only bricks and nets.
　It had been a while since I saw the carefree smiles on the staff's faces. I would like to continue to improve my cooking skills little by little by holding occasional guerrilla-style events as I please. Let's do it!