【古代地形とナゾの海神・息栖神社① 東国三社探訪-21】

　さて東国三社と呼ばれる鹿島神宮、香取神宮、そして若干スピンアウトして蘇我氏の関係する龍角寺とみてきましたが、このシリーズ最後はナゾに包まれた息栖神社であります。
　事前にわかる資料もほとんどなく、歴史好きの興味で「東国三社といわれているし・・・」程度のノリで探訪させていただいたのですが、実際に現地を訪問してその実感を踏まえて再度探索をはじめて見ると、「おお、あの事実はこういった背景から生成したことなのか」と驚かされることばかり。関東との縁がふたたび濃厚になって、この日本最大の平野地帯の地形変容ということについての理解、正確な把握が迫られてきていることに気付かされる次第。
　必ずしも大和平野、京都大阪での日本史だけが悠久なのではないということか。
　上の図は、いまの息栖神社のマップと縄文期の海進のなかでの古代地形推計。眼前には香取の海、霞ヶ浦、古鬼怒湾といった内海が広がっていた古代風景が見えてくる。息栖神社というのは古代地形からみれば海上交通の要衝地であったことが推測できてくる。とくに太平洋を介して東北地域とヤマト政権支配地域との物流・移動を考えれば、最前線的な位置であると知れてくる。


　そういう気付きに踏まえて現地での探訪体験を重ね合わせると、なにげに見ていた「忍潮井(おしおい)」と呼ばれる2つの井戸の記憶が湧き上がってきた。こういった縄文海進の痕跡と重ね合わせれば、古代の海上交通での最大の生命線・必需品、飲料水のことが雷鳴のごとくに納得感として襲ってくる。
　この湧き水は伊勢の明星井(忍塩井）、山城(京都・伏見)の直井とともに日本三霊水の一つとされる。神社のHPを見ると以下の記述（要旨）。　
　〜常陸利根川沿いにある一の鳥居の両脇に小さな鳥居の建てられた二つの四角い井戸「忍潮井（おしおい）」があります。男瓶（おがめ）と女瓶（めがめ）と呼んでいます。忍潮井は194年に造られ2000年近く清水を湧き出し続けてきました。辺り一面が海水におおわれており、真水（淡水）の水脈を発見し噴出させたところ、辺りの海水を押しのけて真水が湧出したことから、忍潮井の名がつけられました。水と人類との関わりの中で最も古いかたちの井戸です。女瓶の水を男性が、男瓶の水を女性が飲むと二人は結ばれるという言い伝えがあり、縁結びのご利益もあるとされます。〜
　日本海の航海と違って荒波で知られる太平洋航路でようやく波穏やかな内海に入ってほどなくのこの息栖の地で、この清水にめぐり会った人びとは、大いにこの地のありがたさに感動させられ、この地には「神宿る」とその神性を感受したことだろう。
　この列島に生きてきた人間として、そういう自然への原初的帰依は激しく理解できる。


English version⬇

Ancient Landforms and the Riddle of the Sea God, the Ikisu Shrine (1): Exploring the Three Shrines of Eastern Japan - 21
A node of maritime traffic and logistics in an archipelagic society. A strategic point between the Yamato regime-controlled area and Northeastern Japan. A place where fresh water, where the god resides, springs from. The shrine is a place where the gods dwell.

We have already visited the three shrines in the eastern part of Japan, Kashima Jingu Shrine, Katori Jingu Shrine, and, slightly spinning out, Ryukakuji Temple, which is related to the Soga clan.
　I visited the shrine with little information beforehand, and with only a casual "it is said to be one of the three shrines in the eastern part of Japan..." out of historical curiosity, but when I actually visited the shrine and began my search again based on that experience, I was surprised to find that "Oh, so this is the background that led to that fact. I was surprised at the fact that it was generated from such a background. As my connection with the Kanto region has grown stronger, I have come to realize that I must now understand and accurately grasp the topographical transformation of Japan's largest plain area.
　It may be that the history of Japan is not necessarily limited to the Yamato Plain and Kyoto-Osaka area.
　The above figure shows a map of the present-day Ikosu Shrine and an ancient topographic map of the Jomon period in the midst of the sea advance. In front of our eyes, we can see the ancient landscape of inland seas such as the Katori Sea, Kasumigaura, and Ko-Kinu Bay. The ancient topography of the shrine suggests that it was a strategic point for maritime traffic. In particular, it was a frontline location for the distribution and movement of goods between the Tohoku region and the Yamato regime-controlled areas via the Pacific Ocean.

When I took this realization into account and superimposed it on my exploration experience at the site, memories of two wells called "Oshioi," which I had casually observed, began to well up. When superimposed on these traces of the Jomon sea advance, the idea of drinking water, the greatest lifeline and necessity of ancient maritime traffic, hit me like a thunderclap of conviction.
　This spring water is considered one of the three sacred waters of Japan, along with Meisei well (Oshioi well) in Ise and Naoi well in Yamashiro (Fushimi, Kyoto). The shrine's website gives the following description (summary).　
　〜˜There are two square wells called Oshioi (Oshioi) with small torii gates built on either side of the first torii gate along the Hitachi-Tone River. They are called Ogame (male bottle) and Megame (female bottle). Oshioi was built in 194 and has been producing fresh water for nearly 2,000 years. The entire area was covered with seawater, and when a vein of fresh water (freshwater) was discovered and gushed out, the fresh water gushed out, pushing aside the seawater in the area, hence the name Oshioi Well. This is the oldest well in the relationship between water and humankind. According to legend, if a man drinks the water from the woman's bottle and a woman drinks the water from the man's bottle, the two will be united, and the well is said to bring good luck in marriage. 〜The water in the male bottle is said to be good for marriage.
　Unlike voyages on the Sea of Japan, those who encountered this fresh water in the Pacific Ocean, known for its rough seas, must have been greatly moved by the gratitude of this place, and must have felt the divinity of this place, as if a god resided here.
　As a person who has lived on this archipelago, I can understand this primordial devotion to nature.

【素朴な神性「奥宮」・香取神宮⑥ 東国三社探訪-20】

　香取神宮の「奥宮」は荒魂というように言われる。荒魂は神の荒々しい側面、荒ぶる魂である。経津主大神の勇猛果断、義侠強忍等に関する妙用とされる。先日触れた拝殿そして本殿の江戸文化最盛期の爛熟デザインに対して、こちらは古格な神さまの素性を正直に表しているようで、ぐっと心を奪われる。
　現在の社殿は、昭和四十八年伊勢神宮御遷宮の折の古材に依るものとされている。式年遷宮による建て替えでの古材がこのように生まれ変わるのは、いかにも古来からの伝承性、魂の継続性を感じさせてくれる。

　神々のデザインには好みのようなものがあるのでしょうが、一定の自然豊かな神域を定めて、公園のような環境を作りそこを身分の上下なく自由に参観させる、そしてその背筋を「きよらかにさせる」という民族文化を継続してきていることは、日本の特質なのだと思わせる。
　わたし的にはこういう神性に対して、本来の日本人のこころを感じさせられる次第。
　周辺環境との調和、全体としての空間デザインマインドというものの日本的コア部分なのではないか。こういうデザイン論が基本的な感受性を支配していると思う。
　「荒ぶる魂は邪気を払い霊妙な神気のもと、破邪顕正の働きも活発に開運、厄除け、心願成就のご加護」云々という説明が添えられていて微笑ましい。


　香取神宮にも鹿島神宮同様に「要石」が配置されている。上の写真は「要石を背負うナマズ」の絵図で、この武神が鹿島の神と連携して関東の大地震を押さえつけているのだという（笑）。歴世に渡って関東地域一帯は地震被害が続発していたことを表している。
　そうであるからこそ、鹿島も香取も武神が守るという日本的信仰心が育っていったのだとも思える。日本民族にとって関東の地域は大きな開発フロンティアであり、地震多発地帯という困難も抱える中で、利根川東遷などの人為的努力が継続的に投入されてきた。
　そのような歴史時間での「民族体験」がこの東国三社のうちの主要２社には込められている。そこからさらにわたしの暮らす北海道の開拓という歴史体験に日本社会は向かっていくことになる。東北地域は「征夷」という対象に挙げられた不幸な歴史を背負って来たけれど、しかし北海道ではそのような経緯はなかった。ただひたすらに寒冷であるという条件に対して、生存環境的進化、住宅性能の向上が不可欠とされた。
　ナマズの地震多発地帯という関東フロンティア体験はこうした戯画を生んだけれど、さて北海道の高断熱高気密住宅創造体験からは、どんな戯画化が生成していくだろうか。
　いまのところ、北海道神宮にはそのような民族体験の形象化は見られないけれど（笑）。
　

English version⬇

Katori Jingu Shrine (6): Exploring the Three Shrines of Eastern Japan - 20
The space is an architecturally designed representation of the fierce spirit of the god of worship, Kyotsu-no-okami. The construction materials are recycled from the old materials used for the ceremonial relocation of the Ise Jingu Shrine. It is a very "Arakotama" (spirit). The building is designed by the architect, Mr. K. Kikuchi, who is also the director of the building.

The "Okumiya" of Katori Jingu Shrine is said to be called Arakotama. Arakotama is the wild side of God, or the soul that rages. It is said that it is a strange symbol of the god Kyotsu-no-okami's valor, chivalry, and perseverance. In contrast to the mature design of the hall of worship and the main hall of the shrine, which I mentioned the other day, this shrine seems to honestly express the nature of the ancient god, and is captivating.
　The present shrine pavilions are said to have been built using old materials from the Ise Jingu Goshengu in 1973. The fact that the old timbers were used for the reconstruction of the shrine during the ceremonial relocation of the Ise Jingu shrine gives one a sense of the continuity of the ancient tradition and spirit of the shrine.

Although there may be some preferences in the design of deities, the fact that Japan has continued to maintain a national culture of designating certain nature-rich sacred areas and creating park-like environments where people of all ranks are allowed to freely visit, and where people's backs are made to stand upright, makes me think that this is a characteristic of the Japanese people.
　In my opinion, this kind of divinity makes me feel the true spirit of the Japanese people.
　I believe that this is the core of the Japanese mindset of spatial design as a whole, in harmony with the surrounding environment. I believe that this kind of design theory dominates the basic sensitivity.
　The explanation that "the souls of the wild spirits are under the influence of a mystical spirit that dispels evil spirits, and the work of breaking evil and manifesting righteousness is also active to bring good luck, ward off bad luck, and fulfill one's desires" is very funny.

Like the Kashima Jingu Shrine, the Katori Jingu Shrine also has a "keystone" in place. The photo above is a drawing of a "catfish carrying a keystone," and it is said that this warrior god is holding back a major earthquake in the Kanto region in cooperation with the god of Kashima (laugh). It represents the fact that the Kanto area and its vicinity had suffered a series of earthquake damage over the past generation.
　It seems to me that this is why the Japanese belief that the god of war protects both Kashima and Katori grew up. For the Japanese people, the Kanto region was a great development frontier, and human efforts, such as the eastward shift of the Tone River, were continuously invested in the region, despite the difficulties of being an earthquake-prone area.
　The "ethnic experience" of such a historical period is contained in these two major shrines of the Three Eastern Provinces. From there, Japanese society will further move toward the historical experience of the development of Hokkaido, where I live. While the Tohoku region has had the unfortunate history of being singled out as the target of "barbarian conquests," this was not the case in Hokkaido. The cold conditions of the region made it essential for the evolution of the survival environment and the improvement of housing performance.
　The Kanto frontier experience of earthquake-prone catfish has given rise to such caricatures, but what kind of caricatures will be generated by the experience of creating highly insulated and airtight housing in Hokkaido?
　At the present time, we do not see such a caricature of ethnic experience in the Hokkaido shrine (laugh).
　The explanation that "the souls of the wild spirits are under the influence of a mystical spirit that dispels evil spirits, and the work of breaking evil and manifesting righteousness is also active to bring good luck, ward off bad luck, and fulfill one's desires" is very funny.

【武神の本殿建築と装飾性・香取神宮⑤ 東国三社探訪-19】

　明治以前まで全国の神社の中で「神宮」という名称を託されていたのは、伊勢と香取・鹿島の３社のみ。
　神社建築の場合は祀られる神さまが鎮座される建築が「本殿」であり、それに対して参詣する場が「拝殿」ということになる。一般的な神社建築ではこのふたつは一体的だと思う。わたしが毎日のように参拝する北海道神宮でも拝殿の奥に本殿が連続している。この香取神宮でも同様のスタイルで、拝殿の奥に本殿があって建築的には「繋がって」連棟形式で建てられている。鹿島神宮では本殿は令和の建て替え工事中で仮囲いされていたけれど、建築スタイルとしてはこの香取と同様に連棟形式が採用されていた。
　デザイン傾向として、どちらも建築時期である江戸期の独特に進化した装飾形式が取られている。鹿皮のような色をした桧皮葺の屋根に黒塗り壁面が特徴。
　一方、伊勢神宮では本殿は完全分離して外宮では拝殿という建築はなく、簡素な本殿建築が敷石平面の上に建っているだけでそれを仰ぎながら遙拝する形式。つくりが簡素なだけに式年遷宮という建て替えが歴史年代、一時期の衰退はあったけれど、ほぼ継続されてきた。
　勅祭社らしく香取神宮本殿では屋根の飾りとして金細工で菊の紋章があしらわれ、その下の破風飾りにも金細工が施されて黒い本体着色と対比的で目を奪う装飾性を感じさせる。武神ということでもっと武骨なデザインがと思うけれど「目を奪う」という方向に向かっているように感じられる。オシャレに目覚めた武神か。
　江戸期の日本社会というのは建前上は武断政治的だけれど、ながく平和が続いたことで武神というもののイメージもそのように変容していったものだろうか。香取神宮の周辺環境もまた変貌している。利根川東遷という大土木事業が成功して「香取の海」が縮小して利根川河川に変貌したのと対応しているとも感じる。

　こちらは香取神宮の神宝・国宝海獣葡萄鏡。香取神宮の創建は神武18年とされてそれは確認しようもないが,
この神宝は正倉院にも同様の宝物が全５点あるという。そのなかで正倉院南倉9号収蔵品と同型とのこと。正倉院の創建は西暦756年だから、少なくともその頃にまで香取神宮の来歴は遡れることになる。
「鏡径29.7㎝。界圏は刳り込み形。鈕は伏獣形で鬣と背骨を表現し、口に小鹿を咥える。内区の獣には有角狻猊や獅子が表され、その周囲に小獣13匹が表され、それぞれの様相も様々である。帯圏上に外区の葡萄文が伸びて葡萄紋と柘榴瑞果紋が表され、その間に小禽・昆虫が表現される。外区は8禽8獣が右旋回で表され外縁帯は雲花紋とパルメット紋が混合した唐草文。鏡形が大きくひとつの完成形ともいえる。」
　関東を治める神格としてこうした神宝がその格式を表現。ただこの鏡を見てオシャレに目覚めたか。
　

English version⬇

Katori Jingu Shrine 5: Exploration of Three Shrines in Eastern Japan - 19
The same objects as the Shosoin treasures are the sacred treasures. The Shosoin treasures are the same as the Shosoin treasures, cutting-edge artifacts imported through trade with the Tang Dynasty. The Takejin also cared about the appearance of these treasures (laugh)...

Before the Meiji era, only three Shinto shrines in Japan, Ise, Katori, and Kashima, were entrusted with the name "Jingu" (Shrine).
　In the case of shrine architecture, the "hon-den" is the building where the deities are enshrined, and the "haiden" is the place of worship where visitors pay homage. In general shrine architecture, these two are considered to be one and the same. At the Hokkaido Jingu Shrine, which I visit every day, the main hall is located behind the worship hall. The Katori Jingu Shrine has the same style, with the main hall behind the worship hall, and the two are architecturally "connected" and built in a series of buildings. At Kashima Jingu, the main hall was temporarily enclosed during the reconstruction of 2021, but it was built in the same style as this Katori shrine, in a series of linked buildings.
　The design trend in both buildings is the uniquely evolved decorative style of the Edo period (1603-1868) when they were built. The roof is cypress bark thatched with a color similar to deer skin, and the walls are painted black.
　On the other hand, in Ise Jingu, the main shrine is completely separated from the outer shrine, and there is no worship hall in the outer shrine, but only a simple main shrine built on a paving stone level, which is worshipped while looking up to it. Because of the simplicity of the structure, the shrine has been reconstructed in the form of shikinen sengu (ceremonial relocation of the shrine) for most of its history, although there was a decline for a period of time.
　As is typical of an imperial shrine, the main hall of Katori Jingu Shrine has a gold-work chrysanthemum crest as a roof decoration, and the gable below it is also decorated with gold work, which contrasts with the black coloring of the main body, creating an eye-catching decorative effect. The gold work on the gable below the chrysanthemum crest is also gold-plated, contrasting with the black coloring of the main body, and creating a sense of eye-catching ornamentation. Is this a god of war who has awakened to fashion?
　Japanese society during the Edo period was, by its very nature, a military-dominated society, but the image of the warrior gods may have changed as peace continued for a long period of time. The environment surrounding the Katori Jingu Shrine has also changed. I feel that this corresponds to the success of the great engineering project of the eastward shift of the Tone River, which caused the "Katori Sea" to shrink and transform into the Tone River.

This is the Katori Jingu Shrine's sacred treasure, the National Treasure Kaiju Budo Kagami (mirror of sea beasts and grapes). The Katori Jingu Shrine was founded in the 18th year of the Jinmu period, although there is no way to confirm this.
This is the same treasure as five other treasures in the Shosoin Repository. Among them, this treasure is said to be the same type as the one housed in Shosoin's Nanzang No. 9. The Shosoin was built in 756 A.D., which means that the history of Katori Jingu can be traced back at least to that time.
The mirror is 29.7 cm in diameter. The mirror is 29.7 cm in diameter, with a gouged-in outer circle. The knob is in the shape of a beast with a mane and backbone, and a fawn in its mouth. The inner category of beasts includes an antlered eminence and a lion, surrounded by 13 smaller beasts, each of which has a different aspect. The grapevine pattern on the outer section extends above the band and is surrounded by a grape and boxwood pattern, with small birds and insects between the grape and boxwood patterns. The outer band has an arabesque design with a mixture of cloud and flower patterns and palmetto patterns. The large mirror shape can be said to be one of the most complete forms.
　As the deity that ruled the Kanto region, these treasures expressed his prestige. But did this mirror awaken your sense of fashion?

【キッチュな元禄建築「拝殿」・香取神宮④ 東国三社探訪-18】

　楼門を抜けると、香取神宮の拝殿がまっすぐ参詣者の眼前に現れる。三角形の破風と、さらにその下にはまろやかなカーブを見せる唐破風がわたしたちを引き寄せてくれる。香取神宮の前に鹿島神宮を参拝しているわたしからすると、鹿島神宮の古格な「奥宮」の簡素な深遠さとは異質なデザイン感覚。
　いかにも江戸期（元禄13）1700年建築という時代相がそのまま表れたような空気感に包まれる。どうしてこのような表現が隆盛したか、神さまには申し訳ないが自分的にはちょっと違和感が募ってくる。

　これが２−３年前に建て替えられる前の鹿島神宮・奥宮。コケのエッジもいかにもゆかしさを強調している。ちなみにこれは家康時代に寄進された建築。
　一方の上の写真の香取神宮拝殿・本殿は５代徳川将軍が寄進した建築なので、幕府の「威光を示す」的な表現意図から、いかにも江戸期文化爛熟期の感覚が投影されたものなのでしょう。この香取にも奥宮はあってあとで紹介しますが、それはそれでいい（笑）のですが・・・。
　多様な感受性を通史的に体験できる現代日本人としては、こちらの鹿島・奥宮の方がデザイン表現としては親和性を感じる。しかし徳川初期とは、たぶん参詣者の数もうなぎ上りになってそれなりの拝殿として巨大さが求められコケ脅かし的な要素も必要になったのか。江戸期の一般大衆への訴求として、奥宮の時代とは人心も変化した時代には、こういう表現が求められたのでしょう。

　こちらの写真は「本殿」建築の「蟇股〜かえるまた」のキッチュデザイン。こういった木造建築の構造補強材には日本的なデザイン感覚集積の推移がある。
　蟇股は仏教伝来のとき、寺院建築の建築様式として入ってきたもので屋根荷重を受ける補強材。建築構造上必要部材の一つでしたが、やがて日本人好みで装飾化。もちろん中国や韓国の寺院建築にもある部材ながら、ここまで装飾化していくのは日本独自の発展とされる。以下に時代変化ぶり。
奈良時代：とにかく分厚くがっちり
平安時代：ちょっと飾り的な要素が出てくる
鎌倉時代：透かし彫りなどの加工がされる
室町・安土桃山：彫りと曲線が特徴
江戸時代前期：きらびやかな彩色と彫刻
江戸時代後期：彫刻技術が飛び抜ける
現在：どれも曖昧・融合・良いとこ取り
　どうも時代を経る毎にゴテゴテになっていくのは、日本人大衆の気分の趨勢を表すのだろうか？

　しかし日本建築にはこういった日本人の精神性の推移というものが証言者のように表現されている。それはコトバによる表現とか，観念とかではなく、より直接的な感受性をわたしたちに伝えてくる。木造の匠たち、建築表現者たちは、その過程でデザインを構想し、そのための装飾要素の美的鍛錬も繰り返し継続してきたということ。
　現代人としては、謹んで拝させていただく次第。


English version⬇

Katori Jingu Shrine, a kitschy Genroku-style building (4)
The world has changed since the early Edo period, and perhaps the building was intended to show the prestige of the shogunate. The building's inclination toward showiness is astonishing. The building's design is a bit of an eccentricity.

After passing through the gate, the worship hall of the Katori Jingu Shrine appears straight before the eyes of visitors. The triangular gable and the gently curving karahafu (Chinese gable) below it draw us in. As someone who has visited Kashima Jingu Shrine before Katori Jingu Shrine, I find the simplicity and profundity of the ancient "Okumiya" of Kashima Jingu Shrine to be quite different from the sense of design.
　It is wrapped in an air of being built in 1700 during the Edo period (13th year of the Genroku era), as if it were a direct expression of its historical phase. I am sorry to say that I feel a little uncomfortable about why this kind of expression has flourished.

This is the Kashima Jingu Shrine Okumiya before it was rebuilt 2-3 years ago. The moss edges also emphasize its yukashisa (gracefulness). Incidentally, this is a building donated during the Ieyasu era.
　On the other hand, the Katori Jingu worship and main shrines in the photo above were donated by the 5th Tokugawa Shogun, so the intention of the Shogunate was to "show its prestige," which is a projection of the sense of the full maturity of Edo period culture. There is also an inner shrine in Katori, which I will introduce later, but that is fine (laughs)....
　As a modern Japanese who can experience diverse sensitivities in a diachronic manner, I feel more affinity with this Kashima Okumiya as a design expression. However, in the early Tokugawa period, the number of visitors to the shrine was probably on the rise, and the shrine was required to be large enough to scare people away with its mossy appearance. This kind of expression was probably required to appeal to the general public in the Edo period, when people's minds had changed from the time of the Okumiya shrine.

This photo shows the kitsch design of the "toadstools (kaerumata)" of the "main shrine" building. This kind of structural reinforcement material for wooden buildings has a transition of Japanese design sense accumulation.
　Toadstools were introduced as an architectural style for temple buildings when Buddhism was introduced to Japan, and were used as reinforcements to take the load of the roof. It was one of the necessary structural members of a building, but it eventually became a decorative element for Japanese taste. While toadstools are of course also found in Chinese and Korean temple architecture, the development of toadstools to this extent is said to be a uniquely Japanese development. The following is a brief description of the changes over time.
Nara Period: Thick and solid
Heian period (794-1192): A little decorative element appears.
Kamakura period (1185-1333): Openworking and other decorative processes began to be used.
Muromachi and Azuchi-Momoyama Periods: Carvings and curves became a feature.
Early Edo period: Lavish coloring and carving
Late Edo period: Carving techniques jump out
Present: Vague, fusion, or a combination of the best of both worlds
　Is it an indication of the trend of the Japanese public's mood that the Japanese artwork has become more and more elaborate with each passing era?

Japanese architecture, however, is a witness to the transition of the Japanese mentality. It conveys to us a more direct sensitivity than verbal expressions or ideas. The wooden craftsmen and architectural expressionists conceived of the design process, and repeatedly trained the aesthetic of the decorative elements for it.
　As a modern human being, I would like to respectfully acknowledge this.

【楼門と朝臣像の仁王門・香取神宮③ 東国三社探訪-17】

　香取神宮をめぐってその霞のような上代の様子を眺めると、やはり蝦夷、東北地域の制圧に向けた軍事上の重要拠点だったことが露わになってくる。香取神宮の祭神・経津主大神（ふつぬしのおおかみ）は奈良の春日大社でも祀られるとともに、王権による蝦夷制覇の象徴のように仙台の近くの「鹽竈神社」にも祀られている。
　中央王権による東北進出は、幾度かの日本史上の戦乱期、前九年後三年合戦や頼朝による奥州征伐などが想起されるけれど、この香取−鹿島が日本中央の畿内地域から東北に至る交通上の最重要な結節点になっていて、兵員輸送や軍需物資の輸送などの基地になっていたと思える。東北地域での輸送受け入れ先港湾としての塩竃の位置関係も見てみれば、このことは類推しやすい。
　現代でも、太平洋航路としてのフェリーでは苫小牧ー仙台ー大洗という物流の大動脈ルートがあるように東北と関東はこういったルートをたどった可能性が高い。
　日本書紀記述で武内宿禰が東北・蝦夷の地域を「撃ちて取るべし」と上申した旨を記したけれど、この香取神宮本殿に至る「楼門」を守護する狛犬の位置に、武内宿禰が配置され、相方には，香取と縁の深い春日大社を造営した藤原氏の始祖・中臣鎌足が鎮座している。畿内地域と東北とを繋ぐ交通上の要地としての香取神宮をそのように表現していると見える。
　日本の中央王権は、古代に於いて薩摩隼人も制圧したとされ、その拠点として宇佐神宮があり、こちらもその武徳を表すように「八幡神」が祀られている。八幡は鎌倉の鶴岡にも祀られる武神。
　事業として北海道から東北に広げ、そこから関東を見晴らすときに、この香取神宮や鹿島神宮に不思議と導かれるように参詣させていただいたのには、そういう縁があるのかも知れません（笑）。北海道人としては、こういうカムバック・ジャパンという道もあるかもと勝手に思う。
　祭神としての経津主大神の活躍ぶりは、以下の葦原の中つ国草創神話にも記される。

　神話では天照大神が日本国草創を意図したときに、当時日本列島を治めていた出雲大社の神を制圧するのに２度失敗した後、３度目の正直として遣わされたのが香取の経津主大神であったのに、鹿島の武甕槌大神（タケミカヅチ）が激しく自己主張して同道したのだとされる。このイラストでは経津主大神がしっかりと坐っているのに、武甕槌大神は付随しているような描かれ方をしている。また、日本書紀ではそのように書かれているのに、古事記には経津主大神は記述されていないとされている。
　この両神間ではどのような相関関係であったか、ちょっと心配にもなる（笑）。しかしその後の歴史ではこうした地域間対立のようなことは記録もない。


English version⬇

Katori Jingu (Katori Jingu Shrine 3), the Gate of the Tower and the Statue of Asaomi [Exploring the Three Shrines of Eastern Japan - 17].
Katori's strategic location is historically important for the formation of a unified state by the central Japanese monarchy. A strategic strategic point. The god of worship, Kyotsunushi, is enshrined both in Nara and in Yanagama. ・・・・.

When we look at the hazy Upper Period scene surrounding Katori Jingu Shrine, it becomes clear that it was an important military base for the conquest of the Emishi and Northeast regions. The deity of Katori Jingu, Futsunushi no Okami, is also enshrined at Kasuga Taisha Shrine in Nara, as well as at the nearby Shiogama Shrine in Sendai, symbolizing the conquest of the Emishi by the royal power.
　The expansion into the Tohoku region by the central royal power is reminiscent of several periods of warfare in Japanese history, such as the Nine Years' War in the Former Nine Years and Three Years' War in the Later Three Years, and the conquest of Oshu by Yoritomo (1467-1568). It seems that Kashima was the most important transportation node from the Kinai region in central Japan to the Tohoku region. This is easily analogized by looking at Shiogama's position as a port for receiving transportation in the Tohoku region.
　Even today, the Tohoku and Kanto regions are likely to have followed this route, as in the case of the Pacific Ocean ferry route Tomakomai - Sendai - Oarai, which is a major logistics artery route.
　In the Nihon-shoki (Chronicles of Japan), it is written that Takeuchi Sukune (the founder of the Fujiwara Clan) proposed that the Tohoku and Emishi regions "should be taken by shooting". Takeuchi Sukune is placed in the position of the guardian dogs that guard the "tower gate" leading to the main shrine of Katori Jingu, and on the other side sits Nakatomi Kamatari, founder of the Fujiwara Clan who built the Kasuga Grand Shrine, which is closely related to Katori. The shrine appears to represent Katori Jingu Shrine as such, as a strategic location for transportation between the Kinai region and the Tohoku region.
　In ancient times, the Satsuma Hayato also suppressed the central Japanese royal power, and Usa Jingu Shrine is located at the center of this power, where the Hachiman deity is enshrined as a symbol of their military virtue. Hachiman is also a warrior god enshrined at Tsuruoka in Kamakura.
　When I expanded my business from Hokkaido to Tohoku and looked out over the Kanto region from there, I may have been mysteriously led to this Katori Jingu Shrine and Kashima Jingu Shrine to pay homage to them (laugh). As a Hokkaido-jin, I selfishly think that there may be such a way of come-back Japan.
　The activities of Kyotsunushi no Mikoto as a deity are described in the following myth of the creation of the Land of Reed Plains.

According to mythology, when Amaterasu intended to create Japan, he failed twice to subdue the deity of Izumo-taisha, which ruled the Japanese archipelago at the time, and sent him to Katori as his third attempt. In this illustration, the deity Kyotsunushi is firmly seated, but Takemikazuchi is depicted as if he were an incidental deity. In addition, the Kojiki (Records of Ancient Matters) does not mention Kyotsunushi no Mikami, even though the Nihon Shoki (Chronicles of Japan) does.
　It is a little worrisome what kind of correlation there was between these two deities (laughs). However, there is no record of any such interregional conflict in subsequent history.