【涼やかな空気感、佇まいを求めて】

　写真は、東京国立博物館中庭の茶室と、源平合戦図の水軍船の様子。
水軍船が水上を水面と交叉しながら櫂が水と会話している。主に「水の描写」をテーマとした絵図というように感じさせられる。戦争の一場面描写だけれど、瀬戸内の水に癒される。
　例年ならば北海道はお盆を過ぎると一気に秋風が立って、やや肌寒い雰囲気が漂うところですが、ことしは「ありがたくも」本州以南地域のみなさんと季節感を共有させていただいています（笑）。
　家は夏を旨とすべし、というのは兼行法師の有名な言葉ですが、北海道人には体感的にはやや理解しにくい部分があったのですが、日中、外を歩いていると無意識に木陰を求めることが続いていると、その心境がよくわかるようになって来ます。
　写真上の茶室には豊かな植栽演出が施され、なお、庇の長い軒の出で日射遮蔽が作られ、その屋根の交叉ぶりが見た印象からは音楽的なシンフォニーを感じさせられる。人間の体感記憶とそのシンフォニーが同調して、建築的な「すずやかさ」が意図されていることが体感でもわかる。
　建築デザインとしても、やはり「夏を旨とした」感覚への訴求が目指されていることが伝わってくるのですね。日本人の屋根のデザイン感覚にはそういった心理が基底に刷り込まれている。

　わが家はコンクリートブロック外断熱が基本構造なので、夏は涼しい室内気候で過ごせますが、それでも屋外に出る場合は、やはり厳しい体力消耗を避けられない。そういった気候が８月にはほぼ継続しておりました。
　で、茶室景観とはかなりの距離感がある。屋根はフラットが基本で第一、外壁に煉瓦を使ったりしているので、涼やかさを意図するということはない。
　しかし「暑苦しげ」とは言えないのではないか。たぶん建築で「暑苦しい」と感じる外観デザインというのはあんまり共通認識がない。断熱材そのものと思える「茅葺き屋根」でも、暑苦しいというようには感じないのが一般的通念でしょう。むしろ過酷な日射から重厚に室内を守っている印象の方が強い。
　あえて言えば北方型住宅の外観は「ニュートラル」と言うことなのでしょう。
　ただ、通風性への配慮は外観デザインからは感じられないでしょう。一方の茶室建築の屋根のシンフォニーには日射と陰が作り出す「温度差」をできるだけ工夫して、感覚的にでも風を通したいという潜在欲求表現と感じさせられる。一方の煉瓦外壁からは通風性よりも密閉性は感じるでしょう。
　ただ、一歩室内に入ると「おお」とクールダウン感に満たされる。なにもしないでも汗が一気にひいていく感覚が訪れてくれる。
　さて長くシリーズ化した「東国三社」の神社訪問から、あした以降また違った建築探訪へ。
　札幌では朝晩は涼感も出てきて、また虫の声も聞こえてきています。本州以南のみなさんへ、残暑お見舞い申し上げます。

English version⬇

[Seeking a cool atmosphere and appearance
The coolness of seeing a Tokyo teahouse in the heat of the summer heat. A roof symphony that is cool to the eyes. On the other hand, the northern-style house has a neutral design, and once you step inside, you are instantly cooled down. ・・・・.

The photo shows a teahouse in the courtyard of the Tokyo National Museum and a naval boat in the painting of the Genpei wars.
The oars are conversing with the water as the naval vessels cross the surface of the water. The theme of this painting is "depiction of water. Although it is a depiction of a scene from the war, the water of the Seto Inland Sea soothes me.
　Usually, after the Bon Festival in Hokkaido, the autumn winds blow in and the air is a bit chilly.
　The famous words of Kanegyo Hōshi, "A house should be built for the summer," have been somewhat difficult for Hokkaido people to understand from a physical point of view, but as I continue to unconsciously seek shade when I walk outside during the day, I can better understand his sentiments.
　The tea house in the photo above has a rich planting direction, and yet the long eaves of the eaves create a sunshade, and from the impression of seeing its crossed roofs, one can feel the musical symphony of the roofs. The intersecting roofs create a musical symphony. The symphony is in tune with the human experience and memory, and the architectural "coolness" of the building is evident in the sensory experience.
　You can tell that the architectural design also aims to appeal to the "summery" senses. Such a mentality is imprinted in the Japanese sense of roof design.

Our house is basically constructed with concrete block exterior insulation, so we can enjoy a cool indoor climate in the summer, but we still cannot avoid severe physical exertion when we go outdoors. Such climate was almost continuous in August.
　So, there is quite a distance from the tea house landscape. The roof is basically flat, first and foremost, and bricks are used for the exterior walls, so it is not intended to be cool.
　However, it cannot be said that it is "hot and humid". Perhaps there is no common perception of "hot and unsatisfactory" exterior design in architecture. Even a "thatched roof," which seems to be an insulator itself, is not perceived as "hot and unsafe. Rather, the impression that the interior is heavily protected from the harsh solar radiation is stronger.
　I would venture to say that the appearance of a northern-style house is "neutral.
　However, consideration for ventilation would not be felt from the exterior design. On the one hand, the symphony of the roof of the tea house architecture makes us feel that it is an expression of the latent desire to let the wind pass through, even if only sensitively, by devising as much as possible the "temperature difference" created by the sunlight and shade. From the brick exterior wall on the other hand, you will feel more airtightness than ventilation.
　However, once you step inside, you will be filled with a cool-down feeling. Even if you don't do anything, you will feel your sweat disappear at once.
　After the long series of visits to the "Three Shrines of Eastern Japan," we will move on to a different kind of architectural exploration in the coming days.
　In Sapporo, the mornings and evenings are getting cooler and we can hear the sound of insects. To those of you in Honshu and southward, my best wishes for the lingering summer heat.

【人格化されなかった神の社殿・息栖神社⑤ 東国三社探訪-25】

　息栖神社の境内には「本殿」「拝殿」というような建築はない。代わりに「社殿」が中心的な建築物として建てられている。いわゆる祭神の明示がない。由緒書きには以下の記述。
　〜息栖神社が最初に置かれたのは現在の日川地区と伝えられており、大同2年(807)に現在地に遷されました。 岐神(くなどのかみ、路の神・井戸の神)、天鳥船神(交通守護の神)に加え、住吉三神(海上守護の神)が祀られています。 息栖神社は鹿島神宮の摂社という位置づけです。〜鹿島神宮の摂社ということで祭神の鎮座する「本殿」は存在しないということ。さらに、
　〜御祭神の御神格からして神代時代に鹿島・香取の御祭神に従って東国に至り、鹿島・香取両神宮は其々台地に鎮座するものの、久那斗神（岐神）と天乃鳥船神は海辺の日川（現在の神栖市日川）に姿を留め、やがて応神天皇の御代に神社として祀られたと思われます。〜という記述。
　〜かつて鹿島地方の丘陵地南端は今の鹿嶋市国末辺りまでで、やがて沖洲が陸続きとなり幾つかの集落が出来ました。このような中州に鎮座された祠を、大同二（807）年、平城天皇の勅命を受けた藤原内麻呂により現在地の息栖に遷座した。国史書『三代実録』にある「於岐都説神社」が現在の息栖神社です。仁和元年（1120年）の記には「授常陸国 正六位上 於岐都説神従五位下」とあり、於岐都説（おきつせ）は於岐都州（おきつす）であり、沖洲➡息栖になったものであると考えられます。〜
　神格自体が特定の人格神ではなく、路の神・井戸の神・交通守護の神というそういった「営為」の守護であるということなのでしょう。常識的な神社信仰とは異質な神格だと言える。
　さらに「くなど」という神格をググると「岐の神とは、古より牛馬守護の神、豊穣の神としてはもとより、禊、魔除け、厄除け、道中安全の神として信仰されている。日本の民間信仰において、疫病・災害などをもたらす悪神・悪霊が聚落に入るのを防ぐとされる神である。また、久那土はくなぐ、即ち交合・婚姻を意味するものという説もある。」

　息栖神社のいろいろなナゾがようやくにして全貌を見せてくれているように思える。
　東国三社として鹿島・香取と同列に位置づけられていながら、モヤがかかったような不鮮明さがぬぐえなかったものが、古代地形としての内海の風景の中で水上交通の最大要衝地であって、その場所自体が「神宿る」とされたけれど、具体的な人格神特定には至らなかったということ。
　海外には「マーメイド」という女神が存在する。人魚は女性の頭と上半身、魚の尾を持つ水生生物であり、ヨーロッパ、アジア、アフリカを含む世界中の多くの文化の民間伝承に登場する。
　本来であれば、日本の神社信仰でもこういう人格に仮託されるべきだったのかも知れない。
　

English vrsion⬇

The Shrine of the Unpersonalized God, Ikisu Shrine (5): Exploration of Three Shrines in Eastern Japan - 25
I have been writing and polishing my research on the mysterious shrine. Finally, I came up with a hypothesis. Is it a shrine belief version of the Mermaid legend? The Mermaid Legend.

There is no "main hall" or "hall of worship" within the precincts of the shrine. Instead, a "shrine pavilion" is built as the central structure. There is no indication of the so-called "deities of worship. The history of the shrine includes the following description
　〜It is said that the shrine was first located in the present-day Nikkawa area, and was moved to its present location in the 2nd year of the Daido Era (807). The shrine enshrines three deities, Sumiyoshi (guardian of the sea), in addition to Ki (god of paths and wells) and Amatori-Fune (guardian of traffic). The shrine is positioned as a regency shrine of the Kashima Jingu Shrine. 〜The fact that it is a regent shrine of Kashima Jingu Shrine means that there is no "main shrine" where the deities are enshrined. In addition, the shrine does not have a "main hall" where the deities of the shrine reside,
　〜The deity of the deity of Kashima and Katori followed the deities of Kashima and Katori to the East during the Kami period, and although both Kashima and Katori shrines were located on the plateau, the deity of Kunato and the deity of Amano-torifune remained at the seashore at Hikawa (present Hikawa, Kamisu City) and were eventually enshrined as a shrine in the reign of the Emperor Ojin. 〜The description of the shrine is "a shrine of the gods of the sea".
　〜In the past, the southern edge of the hills in the Kashima area extended as far as Kunisue, Kashima City, and eventually a sandbar connected to the land and several settlements were established. In 807, Fujiwara no Uchimaro, under the command of Emperor Heijo, relocated the shrine to its present location in the middle of the island. The "Oki-tosetsu Shrine" mentioned in the national history book "Sandai Jitsuroku" is the present-day Ikisu Shrine. In a chronicle of the first year of Ninna (1120), it is written, "授常陸国 正六位上 於岐都説神従五位下," and it is thought that Okitsuse is 於岐都説, which became Okisu ➡息栖. ~.
　The deity itself is not a specific personal deity, but rather a guardian of such "activities" as the god of roads, the god of wells, and the god of traffic protection. It is a deity that is alien to common sense shrine worship.
　Furthermore, when I googled the deity "Kudo", I found that "Ki no Kami has been believed in since ancient times not only as a god of cow and horse protection and fertility, but also as a god of misogi, protection from evil spirits, protection from mischief, and safety on the road. In Japanese folk beliefs, he is said to prevent evil gods and spirits that bring plagues and disasters from entering the village. Some people also believe that kunado means "kunagu," which means mating or marriage."

It seems that the various riddles of the Ikisu Shrine have finally been revealed in their entirety.
　Although the shrine was ranked with Kashima and Katori as one of the three shrines in the eastern part of the country, it was a strategic point for water traffic in the ancient topography of the inland sea, and although the place itself was considered to be "home to a god," it was not identified as a specific personal deity.
　The goddess "mermaid" exists in other countries. Mermaids are aquatic creatures with a woman's head, upper body, and fish tail, and appear in the folklore of many cultures around the world, including Europe, Asia, and Africa.
　Perhaps they should have been hypothesized as such personalities in Japanese shrine beliefs.

【海上交通の社、陸の景色・息栖神社④ 東国三社探訪-24】

　息栖という神社名の由来についてもう少し考えて見たい。
　「栖」という文字は鳥の巣、ねぐらというような意味合いの文字なのだという。そうだとするとこれは漢字的な「意味」からの命名だろうと確定して考えることができるのではないか。
　そして一般的に２文字の名詞で「表意」と「表音」が混在することは考えにくい。地名はわかりすさが優先して、やがて人口に膾炙して普遍化していくものなので多くの人が共有できることが優先されていくだろうと思う。そうであれば「息」も表意と考えられる。
　そうすると「息」という漢字文字にはどんな意味があるか？
　やはり、イキモノとしての生存のねぐら、安心の拠点という意味合いだろう。海水を割って湧き出る清水の存在が象徴化・神聖化された命名、と言う理解に整合性があるように思える。
　一方で「おきす」についても表意では、沖＋栖ということになるので港・津という概念に近い。
　どうも水にまつわる概念なので「土地・地名」としての強い執着を感じさせる概念とはやや様相の違う言語感の世界なのではないか。もっとも核心的な存在意義が水にかかわっていて、しかも移動交通の拠点という「移ろう」ことの軸点なので、地名としては「あわい」表現になったのではないか。
　鹿島にせよ、香取にせよ、いかにも強い語感、印象を与える地名であるのに対して、息栖にはどうも陸上的存在感を強く感じさせる地名語感インパクトは意図されていないように思う。
　それよりも語感からの印象では、海の交通でのオアシス的な「やすらぎ」感がもっとも伝わりやすい命名根拠であり、そういう機能性への衆知理解が優先されたのではないか。
　そんなことから陸上の神社施設よりも、一の鳥居周辺の飲料水目印の鳥居施設などの方が、この神社の意味合いを色濃く見せてくれているのかも知れない。
　後の世で平家が建設した厳島神社のような、いかにも「海の神」に対しての自然崇拝的な存在だったのではないだろうか。むしろ、厳島のはるかなさきがけのような存在だったと思える。
　厳島では神の御霊を海中の神門が迎えて、本殿建築は満潮のときの喫水線に合わせて、水上に浮かび上がるような建築デザインが実施されている。日本民族、その海民性格は以降の歴史過程であのような表現に至ったけれど、はるかに先行する息栖神社では、そういった建築デザインにまでは構想が到達していなかったと考えられる。まぁ平家権力には強制力・経済力ともはるかに及ばなかった。
　この東国三社地域のにぎわい創設・振興を考える立場になったら、この息栖神社の海神としての性格をどのようにアピールしていくべきか、が最優先されるのではないか。ただし、古代のように「香取の海」が眼前には見られないなかでは、説得力にも乏しい。
　人新世による関東の地形変動が、この息栖神社にとってはマイナスに作用した・・・。


English version⬇

Shrine of Maritime Traffic, Land Scenery, and Breathing Shrine (4): Exploring the Three Shrines of Eastern Japan - 24
Is it a far precedent of Itsukushima Shrine? Is it a far precedent of the Itsukushima Shrine? ...

I would like to consider the origin of the name of the shrine, "Breathing Place.
　It is said that the character "栖" means "nest" or "roost" for birds. If this is so, we can conclude that the name is derived from the meaning of the Chinese character.
　In general, it is difficult to mix "ideogram" and "phonogram" in a two-character noun. I think that the priority for place names will be comprehensibility, and since place names will eventually become universalized, the priority will be that they can be shared by many people. If this is the case, "breath" can be thought of as an ideogram.
　If so, what meaning does the Chinese character for "breath" have?
　It is probably the meaning of a roost for survival and a base of security as an inanimate object. It seems to be consistent with the idea that the existence of the fresh water that gushes out of the seawater is symbolized and sanctified in the naming of the place.
　On the other hand, "okisu" is also close to the concept of "port" or "harbor" in the sense of "offing" and "dwelling place.
　Since "okisu" is a concept related to water, it may be a different linguistic world from that of "land/place names" that evoke a strong sense of attachment. The most important meaning of the name is related to water, and it is an axis point of "shifting" as a mobile transportation hub, so it may have been expressed as a place name in a "wai" form.
　While Kashima and Katori are both place names that give a strong sense and impression, breath seems not to have been intended to give a strong sense of land presence.
　Rather, the impression from the sense of the word is that the most easily conveyed basis for naming is a sense of "relaxation" as an oasis for sea traffic, and it is likely that popular understanding of such functionality was prioritized.
　For this reason, the drinking water marker torii facilities around the Ichino-torii (first torii) may have shown the meaning of this shrine more strongly than the shrine facilities on land.
　It may have been a nature worship presence for a "sea god," much like the Itsukushima Shrine constructed by the Heike clan in later generations. Rather, it seems to have been a far forerunner of Itsukushima.
　At Itsukushima, the spirit of the god is greeted by an underwater shrine gate, and the main shrine building is designed to float above the water according to the draft line at high tide. Although the Japanese people and their seafaring character have come to that kind of expression in the course of history since then, it is thought that the much earlier Ikisu Shrine had not reached such an architectural design. The Heike power did not have the coercive or economical power to do so.
　If we were in a position to consider the creation and promotion of liveliness in the three shrines in the eastern part of Japan, the first priority would be how to promote the character of the shrine as a sea god. However, the "Katori Sea" is not as compelling as it was in ancient times, when it was not visible.
　The topographical changes in the Kanto region during the Anthropocene period had a negative effect on the shrine.

【おきす⇒いきす＆国内海運史・息栖神社③ 東国三社探訪-23】

　現地の息栖神社では不覚にもこの「碇」の存在に気付かず、説明板のついでに周辺を撮影した写真から今回いちばん上の写真を拡大・編集してみた。よく文章を読んでみたらこの目立たない「碇」が重要な役回りで港（津）であったこの息栖の地の素性を表していたことにあとで気付かされた。
　どうも「息栖」という漢字表記の地名は一般的な日本語感覚からは想像しにくい。息という字はまさか地名とは思わず、つい「鳥」と無意識に見間違えて「とりす、かなぁ。ウイスキーみたいだ」というような無用な妄想誤解がアタマのなかに浮かんで収拾がつかない（笑）。
　こういうのはわたしだけではなく多くの人がそう思うようです。
　一方で「おきすの津」と古代に呼ばれていた地名はよくわかる。ストンと腑に落ちてくる表現。ではどうして「おきす」が「息栖」になったのか、調べてみても情報に巡り会えない。
　そういう不条理感から、どうも地名に「海民」的な、原初的日本人言語感が投影されているのではないかと妄想が飛躍したりする。古日本語的な言語感覚があるようにも思えるのですね。この感覚は飛鳥地方とか、徳島県の山岳地域などにも通じるようなもの。その後の日本語は活発な「漢字文化」の導入によってその「音読み」「意味づけ」が主流になっていったのに対して、オリジナルな日本語の感受性を伝えてくれていると思えるのです。
　さらに、一説ではこの東国三社とは、ヤマト王権以前に関東〜東北に存在したとされる「日高見〜ひだかみ〜国」の根拠地に相当するのではないかとも言われる。
　北海道にいるとアイヌ語由来の地名が非常に多いけれど、そういう言語感覚にも通底しそうな表現の仕方が投影されているとも思えてくる。

　いずれにせよ、古関東の内海の港（津）であった息栖に関連して日本列島の国内各地間の太平洋側海上ルートを探ってみるけれど、なかなか明示的研究に突き当たらない。この息栖神社の解説説明板には以下の記述。
　「徳川期になると幕府の拠点江戸と東北との交流が盛んになりその水上輸送路は、江戸川・利根川・水郷地帯・銚子河口から北上しての鹿島灘といった航路が選ばれていた。こうした長距離輸送には当然大型船舶が用いられ、往復途上で息栖神社は航海の安全祈願をしたとされる。」（要旨抜粋）
　上の図は江戸期に消費都市江戸に20万石ほどの米を提供したといわれる仙台藩の安定的輸送ルートを諮問された先端的事業家・河村瑞賢が開拓した「東回り航路」図。
　「これまでの海運では船が難破することが多い。仙台藩から江戸に到着するのに１年かかることすらある。」と相談されたかれが開発した。
　しかし、奥州藤原氏の時代には愛知県常滑の磁器が威信材として、遠く北海道・厚真でも発掘されている。たしかに日本海側が国内物流の基本ではあったでしょうが、熊野水軍など太平洋側の物流輸送活動実態もある。海路の日本史、非常に奥行きのある世界だと思います。


English version⬇

Okisu ⇒ Ikisu & Domestic Shipping History, Ikisu Shrine (3): Exploration of Three Shrines in Eastern Japan - 23
Japanese History of Language Sense Transition. Is it a residue of the ancient Yamato language?　What about the development process of domestic sea routes on the Pacific Ocean side from ancient times? The history of domestic maritime transport in Japan

I was unintentionally unaware of the existence of this "anchor" at the local shrine, so I enlarged and edited the top photo from the photos I took of the surrounding area while reading the explanatory board. After reading the text carefully, I realized later that this inconspicuous "anchor" played an important role in the identity of this place, which used to be a port (Tsu).
　It is difficult to imagine a place name written in kanji characters as "breath" in the common Japanese sense. I did not think that the character for "breath" was a place name, and I unconsciously mistook it for "bird" and said, "Torisu, I wonder. It sounds like whiskey.
　(Laughs.) This is not only me, but many people seem to think so.
　On the other hand, I understand the name of the place called "Okisu-no-tsu" in ancient times. It is an expression that falls into place. But when I tried to find out why "Okisu" became "Ikisu," I could not come across any information.
　This sense of absurdity leads me to wonder if the place name might reflect a primitive Japanese linguistic sense like that of the "Kaimin" people. It seems to me that there is an old Japanese linguistic sense. This sense is something like that of the Asuka region or the mountainous areas of Tokushima Prefecture. It seems to me that it conveys an original Japanese sensibility, whereas the Japanese language since then has been dominated by its "sound reading" and "meaning making" with the introduction of an active "kanji culture.
　Furthermore, one theory suggests that these three shrines in the eastern part of the country may correspond to the border line with the "Hidakami - Hidakami - Province," which is said to have existed in the Kanto - Tohoku region before the Yamato Kingship.
　In Hokkaido, there are many place names derived from the Ainu language, and I cannot help but think that such a way of expression that seems to be common to such linguistic sensibilities is also projected here.

In any case, I have been searching for maritime routes between the Japanese archipelago and other parts of Japan in relation to the ancient Kanto inland sea port (Tsu) of Suisu, but have been unable to come across any explicit research on the subject. The explanatory board at the shrine reads as follows.
　The Edo River, the Tone River, the Suigo area, and the Kashima Sea route northward from the mouth of the Choshi River to the Kashima Sea were chosen for the water transportation routes. Naturally, large vessels were used for such long-distance transportation, and it is said that the shrine prayed for safe voyages on the way there and back. (Abstract excerpt)
　The above chart shows the "eastbound route" pioneered by Kawamura Zuiken, a leading entrepreneur who was consulted on a stable transportation route by the Sendai clan, which is said to have supplied the consuming city of Edo with some 200,000 koku of rice during the Edo period. In the past, ships were often shipwrecked in shipping. It sometimes takes a year for a ship to reach Edo from Sendai. Takara, who was consulted by the Oshu Fujiwara clan, developed the map.
　However, during the reign of the Oshu Fujiwara clan, porcelain from Tokoname, Aichi Prefecture, was excavated as prestige material, as well as in Atsuma, Hokkaido in the distant past. It is true that the Sea of Japan side was the basis of domestic distribution, but there were also activities on the Pacific side, such as the Kumano Suigun (navy). The history of Japan by sea is a world of great depth.

【列島海民のはるかな交流・息栖神社② 東国三社探訪-22】

　鹿島や香取は海との関係はそれなりには感じるけれど、この息栖に至ってなぜ、東国三社というように言われ続けてきたのかのワケが腑に落ちてきています。
　そもそもこの日本列島に現生人類が到達したのには海を渡って来たのでしょう。わたしたち日本人のルーツにはそういうDNAが深く宿っているのだと思う。「大工」という人間の仕事の最初期とは家や建築物を作ることではなく、船をつくることが本然の仕事、スタートだったとされる。船大工というのが始原に近く、家大工はそこから派生してきた存在なのだと言われる。
　そして石器時代の昔からこうした船大工を束ねて日本列島地域に現生人類のいろいろな系統が多数、波状的に移住してきたというのが実態なのでしょう。この列島地域で世界有数の豊富な漁業資源とめぐり会って、海辺で定住した。
　魚という、陸上動物とはまったく違う行動原理を持った狩猟対象と本格的に出会い、縄文集落という定住生活が始まった。日本の神社文化には、こうした悠久の記憶遺産が反映している部分が強い。
　こうした民族意識の底流の海民的伝統、それへの素朴な帰依のこころがこの息栖神社のたたずまいからは立ち上っていると思える。写真は「一の鳥居」周辺、そこに湧き出る清水を祀る「男瓶」「女瓶」の小さな鳥居たち。まことに「海民」のための神宿る地なのでしょう。
　一方でアマテラス系のヤマト王権は「葦原の中つ国」という米作適地でのコメ生産を主導する文化体系をこの列島に持ち込んで、殖産興業と人口増加を実現させてきたように思っている。
　そういう東アジア的農耕文化と、先述した海民文化とが、排他的ではなく「和の国」として平和共存を目指して日本社会は建国されてきた流れが強いのではと感じています。

　こうした古代からの海民伝統の聖地として東国三社は尊崇されてきたのではないか。
　上の写真は息栖神社境内に置かれた説明板。
　「大船の香取の海に碇おろし、いかなる人か物思わざらむ＜柿本人麻呂＞」
　「今よりはぬさとりまつる船人の、香取の沖に風向かうなり＜藤原家隆＞」という２句。
　〜広大な内海であったために香取の海と言われた古代の水郷のなかで、「おきすの社」と呼ばれた水の神、息栖神社のある息栖の地は「おきすの津（港）」と呼ばれていた。＜中略＞〜
　600-700年代の歌人の歌は、当時の古代地形とそのなかでの息栖神社のたたずまいを浪漫的に伝えてくれる。はるかな船旅の末にこの地に来訪した柿本人麻呂さんは、たぶん船主が風を読んでいる様子をみながら、その場の空気感を描写してくれている。また、ぬさ〜幣帛。ごへい〜をかざして船旅の安全を祈願している様子は、古代の交通をあきらかにしてくれる。ため息が出るようだ。・・・

＜この歌は息栖神社境内に説明があり、当然この息栖神社前の「香取の海」を歌ったものとリードされましたが、飛鳥の柿本人麻呂たちが謳ったのは近江の「香取海」という説もあることを注記します。＞

English version⬇

Far-flung exchanges between the archipelago's sea people and the breath shrine (2) Exploration of the three shrines in the eastern part of Japan - 22
Asuka poets convey the atmosphere of breath to the present day. The simple nature worship of the sea people, who prayed for the safety of ancient traffic. The shrine is a place of

While Kashima and Katori have a certain relationship with the sea, the reason why they have been referred to as the "Three Shrines of the East" is becoming clear to me now.
　It is likely that the present-day humans arrived in the Japanese archipelago by crossing the sea. I believe that the roots of the Japanese people are deeply imbued with this kind of DNA. It is said that the earliest work of a "carpenter" was not to build houses or buildings, but to build ships. It is said that ship carpentry was close to the origin of carpentry, and house carpentry was derived from it.
　The reality of the situation is that many different lineages of present-day humans migrated to the Japanese archipelago region in waves, uniting these ship carpenters since the Stone Age. In this archipelago region, they encountered one of the world's richest fishery resources and settled down by the sea.
　They encountered in earnest fish, a hunting target with behavioral principles completely different from those of land animals, and began a settled lifestyle known as the Jomon settlement. The culture of Japanese shrines reflects the legacy of this long-standing memory.
　The simple devotion to the traditions of the seafaring people, which are at the bottom of our national consciousness, can be seen in the appearance of the shrine. The photo shows the area around the Ichino-torii (first torii), and the small torii (male and female) that enshrine the fresh water that gushes out of the torii. It is truly a place where the gods dwell for the "sea people.
　Of course, I believe that the Yamato kingdom of Amaterasu lineage brought to this archipelago a cultural system that led rice production in the "reed field of Nakatsukuni," a land suitable for rice cultivation, and realized reproduction, development, and population growth.
　I feel that there is a strong trend toward a peaceful coexistence of such East Asian agricultural culture and the aforementioned seafaring culture as a "country of harmony" rather than exclusivity.

　I believe that the three shrines in East Asia have been revered as sacred sites of such ancient maritime people's traditions.
　The photo above is an explanatory board placed in the precincts of the shrine.
The above photo is a signboard placed in the precincts of the shrine.
The two phrases are: "The boatman who now more than ever will be at the Nusatori Festival is heading into the wind off the coast of Katori.
〜The ancient water village of Katori was called "Katori no Umi" (Katori Sea) because of its vast inland sea, and the place where the god of water, the breath shrine, is located was called "Okisu no Tsu (port). <Omission.
　Poems by poets of the 600s and 700s romantically convey the ancient topography of the time and the appearance of the Ikisu Shrine in the midst of it. Kakinomotojinmaro, who came to this place after a far journey by boat, probably saw the boat owner reading the wind and described the atmosphere of the place. Also, nusa ~ hibaku. The scene of the boatman praying for the safety of the boat's journey by holding up the nusa - gohei - reveals the ancient traffic. It makes me sigh. The shrine is a place of