【将軍の館での食事献立 名古屋城探訪-6】

　名古屋城というのは、御三家の尾張家の居城だけれど、そこは徳川ファミリーなので、江戸にいる「本家・徳川氏」が出張で京都に上洛するときには、道中の最重要拠点としてこの城郭に滞在したので、将軍の専用の「御座所」＝お成り殿が造営されていた。その格式はきのうまで見た最高格式で内装が仕上げられている。ただ、そういうファミリー意識は、江戸期を通じてだんだん薄らいでいったのは、史実の通り。名古屋側では自分の家の格式は、将軍家のすぐ次、いわゆる御三家筆頭だと自認していたけれど、江戸期を通じて将軍職をこの家が継承したことはなかったことから、徐々に独立的な家風を持ったとされる。
　この復元された本丸御殿は草創期の江戸幕府期のものであり、きわめて良好な関係性を将軍家と持っていた時期と言うことになる。
　で、展示では「こいつら、どんなメシを食べていたんだ」という多少憎しみの匂いが感じられるわかりやすい庶民的関心事が展示されていた。わたしも、料理趣味人として興味津々。
　いちばん上の写真は現代人の食事にも通じる「ごはん」と副食類の膳部。食事の仕方としてはこういう膳に食器を並べ立ててひと品ずつ鑑賞し味わう。汁物の「皮付きゴボウ」や「葉付き大根」はこういう生々しい姿で食した。刺身は赤貝・鯛に副菜が添えられている。煮物はきすを焼いたもの、麩、インゲン、イモなど。香の物はウリ類と山椒など。なかなか健康食的。ごはんがちょっと摂り過ぎ（笑）。

　つづいて「二の膳」か。右上の竹の細工には「熊笹」〜昔から防腐、殺菌効果に優れいていると言い伝え、レンコン、魚卵をまぶした「造り」、鯉の造り。左下はかれい、ナス、岩茸と味噌の敷物。出ました、名古屋の味噌ですが、写真では良く視覚化されていない、残念。左上煮物。ふきと干しナマコ。中央はよくわからない箸休めか。

　「三の膳」は右にうなぎの蒲焼き。左下にアイナメの付け焼き。お吸い物はかれいと芽ウド。
　魚類がエネルギー摂取の主体で、さまざまな手順を加えた調理ぶりがわかる。それに比較して野菜類の摂取が少量で、しかも「見た目」重視的な摂取だと思われる。将軍さん、こういう食生活では、あんまり健康的な習慣とは言えませんよ、と言いたくなった（笑）。
　わが家では高齢期を迎え健康第一の食事習慣に邁進。「ベジファースト」を徹底していて生野菜・煮野菜・酢の物などをたくさん摂取しております。タンパク源は魚と肉類をしっかり摂って、ご飯はコメとあずき主体での十穀米。それもご飯茶碗に1/2程度と節制。
　現代の庶民として、なんとか徳川将軍家に一矢報いたような気分（笑）。


English version⬇

Meal menu at the Shogun's mansion.
The extravagant tableware is a sight to behold. Although we try to balance our meals with small portions and many varieties, there are not enough vegetables compared to the meals we eat at home, where we practice “veggie first”! .......

　Nagoya Castle is the residence of the Owari family of the Gosanke clan, but because it belonged to the Tokugawa family, when the “Honke Tokugawa” in Edo went to Kyoto on business, they stayed at this castle as the most important base along the way, so an “Oza-sho” (palace) was built for the exclusive use of the shogun. The interior was finished in the most prestigious style we have seen until yesterday. However, it is a historical fact that such family consciousness gradually faded away throughout the Edo period. Although the Nagoya side of the family was self-identified as the first of the three so-called “Gosanke” families, immediately following the Shogun's family, the Shogun's position was never held by this family during the Edo period, and so the family gradually became more independent.
　The restored Honmaru Goten dates from the pioneer period of the Edo shogunate, when the family had an extremely good relationship with the shogunate.
　The exhibition displayed items of common people's interest, with a hint of hatred, such as, “What kind of food did these people eat? As a person who enjoys cooking, I was also very interested.
　The top photo is a table with “gohan” (rice) and side dishes, which is also common to modern people's meals. The way to eat is to set up the dishes on such a table and appreciate and savor each dish one by one. The “burdock with skin” and “daikon radish with leaves” in the soup were eaten in their raw form. Sashimi is red clams and sea breams served with side dishes. Nimono (simmered dishes) include grilled yellowtail, fu, green beans, and potatoes. The savory dishes included cucumbers and sansho (Japanese pepper). It is quite a healthy meal. The rice is a little too much (laugh).

　Next is the second course. The upper right is a bamboo work made of “kumazasa” bamboo - traditionally said to have excellent antiseptic and sterilizing properties, lotus root, “tsukuri” fish roe covered with “tsukuri” and carp. The bottom left is a carp, eggplant, and rock mushroom with a miso dressing. Here it is, Nagoya's miso, but it is not well visualized in the photo, unfortunately. Top left: simmered vegetables. Fukino and dried sea cucumber. The center is a chopstick rest which I do not understand well.

　The “San no Zen” menu features broiled eel on the right. The “San-no-zen” has broiled eel kabayaki on the right, and broiled eel with tsukemono sauce on the bottom left. The soup is made of karei (dried sardines) and bud udo.
　Fish is the main source of energy intake, and the various steps taken to prepare it are evident. In comparison, vegetables are consumed in small quantities and seem to be consumed with an emphasis on “appearance. I feel like saying, “Mr. Shogun, this kind of diet is not a very healthy habit” (laughs).
　In my family, we are striving for health-first eating habits as we approach old age. We eat a strict “veggie first” diet, which includes lots of raw and cooked vegetables and vinegared foods. As a source of protein, we eat fish and meat, and rice is made mainly from rice and azuki beans with 10 grains of rice. I eat only about 1/2 a bowl of rice.
　As a modern commoner, I feel as if I have managed to give the Tokugawa Shoguns a run for their money (laugh).

【権力者内陣の「至福金色空間」 名古屋城探訪-5】

　さて昨日はトラがウヨウヨいるよ、という怖ろしげなる金色空間でしたが、そのエントランス空間を抜けて徳川権力者の内陣空間に入っていくと、ごらんのような金色空間が広がっている。奥州藤原氏の「金色堂」は、末法思想を反映した仏教的な世界の演出だったけれど、家康が創始した将軍専制体制では、いかにも極楽的な自然風景とか、花鳥風月に至るような「雅＆豪華」が徹底的に演出される空間が創造されていた。
　全国約２千万人口（この城創建時点）社会が生み出す経済利得を収奪する権力者の贅を尽くした空間。青少年期にはゲバ棒を握っていた（笑）人間からすると、内心一抹の嫌悪感もあるのだけれど、まぁそれはそれ、この時代の精神が持った「最高空間意識」は、しっかりとそれを受け止めさせていただくところであります。日本人の基底的な価値観、成功観が示されていると。
　こちらも金色ふすま絵は、狩野派などの最高級建築内装の技芸集団が総力を挙げて取り組んだものでしょう。芸術というのはこういう「パトロン」に奉仕する専門集団がその空間美の表現として日本社会でいのちを永らえてきたものでしょう。
　きのうのブログへの反響で、読者のNさんからこうした「翼賛」表現がその存続を支えてきたキモであり、そうした創造者の内心のバランスを維持する目的から、侘さびというような心象芸術が一方で成立したという指摘がありましたが、まったくその通りだと思います。
　ほぼ同時代人の利休は、堺の商人の利権代表として政権中枢に取り入って、黄金の茶室というキンキラ空間をつくる一方で、わびさびの世界を対置したとされる。ビジネスとして権力者には大いに取り入るけれど、本当はそれは嘘っぱちなんだぜ、みたいな内語の世界。
　そういった茶の湯の文化も同時に成長していったのが、日本の独特なところなのでしょうか。
　日本人の基本的価値認識には「家」意識、自分が「先祖」になる、という強い生存価値感があり、その極点にこの写真のような「贅を尽くした」世界観があるのでしょう。わかりやすい人生と社会性の価値感認識。戦国期に多くの武人たちが自分の命を捨てても、家運の上昇を願っていったことの極限ポイントなのでしょう。
　こうした基本意識は、いま現代にも脈々と受け継がれてはいるのでしょう。
　しかし現代社会は人口が縮小していく社会。こういった日本人的な価値感が、今後どのように推移していくか、わびさび的な観念に全国民が帰依していくのか、よく見えては来ませんね。
　さて本日は今シーズン最初の「ドカ雪」気味降雪。雪かき、頑張るぞ！


English version⬇

Blissful Golden Space” of the Inner Sanctuary of the Powerful: Exploration of Nagoya Castle-5
The beauty of the “extravagant” space created by the final victors over the Warring States period. How will this kind of beauty be transformed in the era of declining population? Nagoya Castle

　Yesterday, the golden space was a frightening place where tigers were roaming about, but as you pass through the entrance space and enter the inner sanctum of the Tokugawa power, you will see the golden space as you see it. The “Konjikido” of the Oshu Fujiwara clan was a Buddhist world that reflected the philosophy of the Latter Day of the Law, but under the shogun's despotic regime created by Ieyasu, a space was created in which “elegance and luxury” was thoroughly displayed, such as paradise-like natural scenery, flowers, birds, winds, and the moon.
　This was a luxurious space for those in power to take the economic gains generated by a society with a population of approximately 20 million (at the time of the founding of this castle). As a person who held a geba stick in his youth (laugh), there is a touch of disgust inside me, but, well, that is just it. The “supreme spatial consciousness” possessed by the spirit of this era is something that I will take to heart. I think it shows the Japanese people's fundamental values and view of success.
　The gold fusuma paintings here, too, must have been the combined efforts of the Kano school and other groups of craftsmen who worked on the finest architectural interiors. Art, as an expression of the beauty of space, has long survived in Japanese society as a specialized group that serves its “patrons.
　In response to my blog post yesterday, reader N pointed out that this kind of “winged” expression has been the key to its survival, and that the wabi-sabi style of art was established for the purpose of maintaining the inner balance of its creators.
　It is said that Rikyu, who was almost a contemporary of Rinpoche, took in the center of the government as a representative of the interests of the merchants in Sakai and created the kinky space of the golden tea house, while at the same time counterposing the world of Wabi-Sabi. The world of the ucha-yu is a world of ucha-nai, a kind of ucha-nai where people are willing to take advantage of those in power for business, but the truth is that it is all just a lie.
　Is it unique to Japan that such a culture of chanoyu grew at the same time?
　Japanese people have a strong sense of “home” in their basic value consciousness, a strong sense of survival value that they are “ancestors,” and the “extravagant” world view shown in this picture is probably the extreme point of this sense of “home. An easy-to-understand value perception of life and sociality. This is probably the extreme point at which many warriors during the Warring States period wished for the prosperity of their families, even at the cost of their own lives.
　This basic awareness has been passed down from generation to generation in the modern age.
　However, today's society is one in which the population is shrinking. It remains to be seen how the Japanese sense of values will evolve in the future, and whether the entire nation will take refuge in the wabi-sabi way of thinking.
　Today was the first “heavy” snowfall of the season. Let's work hard to shovel the snow!

【本丸御殿に躍動する「トラトラトラ」 名古屋城探訪-4】

　写真は名古屋城本丸御殿の障壁画のうち、玄関の間に飾られているトラ群であります。金箔の背景色と和の空間の漆喰の白、畳の自然な黄色の色合いの相関性が、いかにも日本的な感受性のある極点なのだという印象を受ける。美術館などで金屏風絵などを見るのともまた違う、いかにもその「本来の見え方・見せ方」を発見するような思い。
　トラという画材テーマは日本には棲息していない獰猛な「怖ろしげなるもの」というのが、日本人全般の意識だった時代。しかし実際に朝鮮出兵などで大陸性のこの動物に遭遇した経験も、加藤清正のトラ退治伝承などで、この名古屋城創建時の時代のひとびとには、ある生々しさもあっただろう。武家の頂点に立つ徳川将軍家の御三家の中枢権力装置として、狩野派への「主題」提示があっただろうことは容易に想像が付く。「本丸御殿に来訪した人間たちに、主人の武威を視覚化して表現せよ」。
　そういう受け手の印象に対して、いかにもケバケバしく眼に飛び込んでくる金色の背景で、獰猛そうなトラが「ウヨウヨいる」という光景は、まことに訴求力があったに違いない。おおむね「等身大」に描画されたトラたちは、いまにも画面から飛び出してくるような姿勢、姿態で描かれて、畳の空間を徘徊しているような印象を与えてくれている。
　イマドキの現代人にとっては、おお、動物園の檻の中に飛び込んだみたいだ、というような半分ワクワクさせられるような光景だけれど、この城の創建の頃の人びと、武家や公家などにとっては、この家の主人は、こういう危険極まりない「武力」を実際に行使するパワーを持った存在であるので、高尚で高邁な芸術を通した「脅迫・プレッシャー」として機能したのだろう。
　「オレ様、こういうの、ウヨウヨ飼っているからね」
　今日ではマンガ的と言えるけれど、江戸時代初期的にはひとつの「安全保障」策として機能したものであるのだろう。現実の軍事力を誇示することで畏怖させて自分に都合の良い安寧を実現し維持するという思考。なにごとも力でしか人心を圧伏できないという冷徹な思考法。しかし今日世界でも、こういう思考法は世界の趨勢に基底的にあり続けている。
　民主主義国家体制ではそれがそのまま表に出てくることはないけれど、天安門事件で民を虐殺した権力とか、核搭載可能なミサイルを誇示し国民の反抗心を萎えさせ周辺国に脅しを掛ける権力とか、「国連常任理事国」でありながら実際に核攻撃までちらつかせ他国を平然と侵略する権力など、わたしたちはこういう輩たちの正面にいることも現実ですね。


English version⬇

Tiger Tigers” Lively in Honmaru Goten: Exploring Nagoya Castle - 4
A lively depiction of a group of dangerous animals that first greet visitors to the castle. The expressive power of the Kano school makes them seem as if they are jumping out of the gold glittering background. ...

　The photo shows a group of tigers among the barrier paintings in the Honmaru Palace of Nagoya Castle, which are displayed in the entrance hall. The correlation between the gold leaf background color, the white of the plaster in the Japanese space, and the natural yellow hue of the tatami mats gives the impression of a certain extreme point of Japanese sensibility. It was as if I was discovering the “original way of seeing and presenting” of the work, which is different from the way I see gold folding screen paintings in art museums.
　The theme of tigers as a painting medium was not native to Japan at that time, when Japanese people in general were aware of tigers as ferocious and “frightening” creatures. However, the people of the time when Nagoya Castle was built must have had a certain vividness, as they had actually encountered this continental animal during the Korean invasions, and there are legends of Kiyomasa Kato's killing of tigers. It is easy to imagine that the Kano school would have been presented as the central power apparatus of the Tokugawa shogunate's three families, which stood at the pinnacle of the samurai class. The Kano school was asked to “visualize and express the military might of the master to the visitors to the Honmaru Palace.
　The sight of ferocious-looking tigers “teeming around” against a gold background that jumped out at the viewer's eyes in a garish manner must have been very appealing to such an impression. The tigers, drawn in a generally “life-size” pose, seem as if they are about to leap out of the screen, giving the impression that they are roaming around the tatami space.
　For modern people, it is a half-exciting scene, as if they have jumped into a zoo cage, but for the people of the time when the castle was built, such as the samurai and court nobles, the master of the house actually had the power to actually use such dangerous “military force” and was therefore a noble and noble man. For the people of the time of the founding of the castle, such as the samurai and court nobles, the master of the house actually had the power to use such dangerous military force.
　I have a lot of these things, you know.
　Although today it could be called cartoonish, in the early Edo period it probably functioned as a “security” measure. The idea was to achieve and maintain a sense of security that suited one's own needs by displaying real military power in order to awe the people. It is a cold-blooded way of thinking that only force can win people's hearts and minds in anything. This way of thinking, however, continues to be a fundamental trend in the world today.
　Although it does not appear in democratic regimes, it is still present in the power that massacred the people in the Tiananmen Square massacre, the power that threatens neighboring countries by flaunting missiles to weaken the defiance of the people, and the power that invades other countries with impunity by threatening nuclear attacks despite being a permanent member of the United Nations Security Council, The reality is that we are right in front of these people.

【障壁画の復元模写 名古屋城探訪-3】

　昨日で当面の懸案事項について、一気呵成に一段落させられた。そういう特異日というのはあるもので、いろいろな作業段取りが複雑に絡み合いながら「腑に落ちる」みたいな感覚で、大団円を迎える。仕事というものは人間のやることなので、心の持ちようが微妙に反映していくものなのでしょう。ただし、これはあくまでも途中経過での一段落。引き続き、油断せずに対応して行きたい。
　ということで、ブログ記述でも「名古屋城編」に復帰。
　この城で興味深かったのは、徳川氏の全国支配の要衝地ということで天下普請としての建築から、内部の装飾がキラキラとまぶしく輝くようであったこと。まぁ金屏風絵がこれでもかと飾られていたのであります。
　こういった性格の城郭建築としては江戸城がその最高点になるものでしょうが、こちらは住宅の一種という建築の仕分けから、天皇の居所として宮殿建築に変容して、もちろんその内部空間は滅多に参照することが出来ない空間になっている。
　そういう流れからすると、この名古屋城は江戸城の内装空間を想起させるような室内空間と推認できる。で、もっとも印象的なのは、金屏風障壁画のきらびやかなこと。上の写真は「玄関」から廊下に至る空間を装飾するもの。狩野派などの日本の伝統的画業がみごとに端座している。


　昔の絵を写す技術を「模写」という。模写は古典絵画の名品が持つ芸術性や優れた技術を修得・継承するために行われてきた。この名古屋城では絵が描かれた当初の姿に戻すという「復元模写」の方法が取られていたのだという。愛知県立芸術大学の日本画保存模写研究会の加藤純子氏による指導でこの復元模写作業は進められた。
　そのプロセスを記録広報するパネル展示がされていて、絵が大好きな血が騒いで仕方なかった（笑）。小学校１年生の時に描いた相撲の立会いの瞬間の絵が、アメリカ・ポートランド市と札幌市の「姉妹都市」提携の時の児童画交換コンテストで特選で選ばれた出自をもつわたしとしては（💦）、まことにひきこまれる。
　芸術というのは、わかりやすく権力建築と宗教建築などの需要に応じて存続発展してきたものでしょうが、日本ではこうした金屏風絵がながく日本民族の美意識を存続させてきた。
　そういう心構えとか、臨場感のようなものが、こうした展示から伝わってきた。真摯に画布に向かって折り目正しく座して、しかし業にあたっては「三昧」の心境で当たっていただろう、その様子をルポルタージュしてくれているようで、こころが激しく反応していた。……


English version⬇

Restoration and Reproduction of the Barrier Paintings: Exploring Nagoya Castle - 3
The art of decorating palaces and religious buildings has been handed down from generation to generation. The work of restoration, which transcended the time and space of several hundred years, is intensely felt. ...

　Yesterday, I was able to complete all of my pending tasks in one fell swoop. There are such special days, when all the various work arrangements are intertwined in a complex way, and the work comes to a conclusion with a sense of “it all becoming clear”. Work is a human activity, so it is a subtle reflection of how one's mind works. However, this is only the end of the story. We will continue to deal with the situation without letting our guard down.
　So, I am back to the “Nagoya Castle” section in my blog entry.
　What was interesting about this castle was that the interior decorations seemed to shine brightly, as it was built as a fuchin under the Tokugawa clan's rule over the whole country. The interior of the castle was decorated with gold folding screen paintings.
　Edo Castle is probably the highest point of this type of castle architecture, but this castle was transformed from a type of residential building to a palace building as the residence of the emperor, and of course, its interior space is a space that can seldom be referred to.
　In that vein, we can infer that the interior space of this Nagoya Castle is reminiscent of the interior space of Edo Castle. What is most impressive is the glittering gold folding screen barrier paintings. The picture above is one that decorates the space from the “entrance” to the corridor. Traditional Japanese paintings of the Kano school and other schools are beautifully displayed.

　The technique of copying old paintings is known as “reproduction. Reproduction has been used to acquire and pass on the artistry and superior technique of masterpieces of classical painting. At Nagoya Castle, the method of “restoration copying” was used to restore the castle to its original appearance when it was first painted. Junko Kato of Aichi Prefectural University of Fine Arts and Music's Japanese Painting Conservation and Reproduction Society guided the process of restoration and reproduction.
　There was a panel exhibit documenting and publicizing the process, which got my painting-loving blood boiling (laughs). As a first-year elementary school student whose drawing of a sumo match was selected as a special prize in a children's drawing exchange contest held in conjunction with the “sister city” affiliation between Portland and Sapporo, I was really drawn to the work (💦).
　In Japan, however, these gold folding screen paintings have long sustained the aesthetic sense of the Japanese people.
　This kind of attitude and sense of presence was conveyed through these exhibits. The reportage of the painters, who were seated with sincerity and poise facing the canvas, and who probably approached their work with a mind of “samadhi,” made my heart react violently to the exhibition. ......

【冬のなんでもない風景と三角屋根という人跡】

　写真は土曜日に行っていた日帰り温泉施設からの冬の北海道のなんでもない景色。雪は木立のすべてに明瞭な「陰影感」を加筆して、墨絵的な美感を際だたせていく。植物という存在が無音ながらまるでオーケストラのように視覚的な「音楽性」を感じさせてくれる。
　幼少年期からずっと見続けてきた自然からのこうしたメッセージに、また何度目かの遭遇をして、人生時間の積層のヒダの隅々から記憶再生されてくる時間。特定の事象について、ではなくそういった記憶が総合されて、ひとつひとつの事象を超えた交響楽的に訴求してくる。雪国で生きてきた人間として、その風景との心象での対話を楽しんでいるのでしょうか。
　もちろんこういう風景を楽しめるのは、自分がいまいる空間の温熱環境が快適領域である、ということが大きく与っている。断熱気密技術が大前提ということにも気付かされる。北国的な自然環境でも快適な室内環境は保障されてきたということで、こういった人生の余韻的な記憶再生も条件が整ってきたということなのでしょう。
　わたしのライフワーク的な部分として、日本的花鳥風月の北海道的自然環境の中でのあらたな発見、みたいなことがあるのですが、たとえば関東以南の風土が生み出してきた「家＋庭」文化、床の間和室からその土地の植物群との対話、庭鑑賞的な住宅文化に対して、北海道の住宅では、庭に自然を「切り取ってくる」という気分がそれほど強く起きない。
　そういった「自然との対話」は必ずしも「家の中から愛でる」というものではなく、壮大な大自然の季節のいとなみの中にこそ、リアルな美感があると感じているのですね。そういう巨きさから比べたら、チマチマとした箱庭作りには興味が湧いてこない。それくらいなら、野外ジンギスカンの場としてウッドデッキの方が実利的と考えられるのですね。
　で、風景の写真のなかでは、三角屋根のシンプルな建築が、オーケストラの中でひときわ印象的に響いてくる。
　「お、あそこではどんな暮らし、いとなみがあるのだろう？」という残響のような興味。自然そのものに対してはあきらかに「異物」ではあるけれど、罪多き人為のなかでは、まだしも共感をもって受容できる、みたいな感覚をもつ。
　あのような自然環境の中で、室内気候は充足できる環境が保全されて、しずかにまわりの自然と調和している様子、それ自体が「花鳥風月」的でもあるように思える。すくなくともそういう安寧的な心理から自然と語らい得ることが、キモのように感じられるのです。


English version⬇

The winter scenery and the human remains of a triangular roof.
Having experienced the cold winters of Hokkaido since childhood, I have always wondered what “Kacho-fu-getsu” means. I had a feeling like “what is Kacho Fugetsu?” but the comfort of indoor climate may create Shin Kacho Fugetsu. I've been wondering what is “Kacho-fu-getsu”?

　The photo is a nondescript view of Hokkaido in winter from a day spa I was visiting on Saturday. The snow adds a distinct “shadowy” feeling to all the groves of trees, accentuating their beauty like an ink painting. The presence of the plants, though silent, gives the viewer a sense of visual “musicality” like that of an orchestra.
　Encountering these messages from nature, which I have been seeing since my childhood, for the second and third time, I feel my memory replaying from every corner of the layers of my life time. The time when these memories are replayed from the corners of the layers of life time. As someone who has lived in a snow country, I wonder if I am enjoying a mental dialogue with the landscape.
　Of course, the reason why we can enjoy this kind of scenery is because the thermal environment of the space we are in is comfortable, which contributes greatly to this kind of psychological impression. We are also reminded that insulation and airtightness technology is a prerequisite. The fact that a comfortable indoor environment is now guaranteed even in the natural environment of northern Japan means that the conditions are now in place for the replay of the lingering memories of life.
　One of my lifeworks is to discover new aspects of the Japanese “Kacho-fu-getsu” in Hokkaido's natural environment. For example, in contrast to the “house + garden” culture that has developed in the Kanto region and southward, in which the Japanese-style room with an alcove is used to interact with the local flora and appreciate the garden, Hokkaido's houses are designed in such a way that the garden is “cut out” of nature. In Hokkaido, however, there is not such a strong feeling of “cutting out” nature in the garden.
　Such “dialogue with nature” is not necessarily something to be “admired from inside the house,” but you feel that a real sense of beauty is to be found in the seasonal life of the grand nature. Compared to that kind of grandeur, I am not interested in making a small, tedious box garden. So a wooden deck is considered more pragmatic as a place for outdoor jingisukan than that.
　So, in the picture of the landscape, a simple architecture with a triangular roof resonates in the orchestra.
　It is like a reverberation of interest, “Oh, what kind of life and lifestyle do they have over there? This is a kind of reverberating interest. It is obviously “foreign” to nature itself, but in the midst of so much sinful human activity, I have a sense of being able to accept it with empathy.
　In such a natural environment, the indoor climate is preserved as an environment that can be fulfilled and is in quiet harmony with the surrounding nature, which itself seems to be like “Kacho Fugetsu” (flowers, birds, winds, and the moon). The key is to be able to talk with nature from such a peaceful mindset.

【2015/9/10名古屋の雲と「死は存在しない」読了】

　セカンドライフの日常にすこしづつ移行してきて、カミさんや家族とゆっくりと過ごす安寧感を抱くような時間を過ごせるようになって来た。昨日もやや遠い日帰り温泉までの往復のドライブを楽しんでおりましたが、ちょうどこの時期らしい北海道の天候に抱かれておりました。
　札幌から北70kmほどの美唄周辺まででしたが、うっすらとした降雪から青空も覗いてくるような空模様と、目的地周辺では一転して数十センチほどの活発な降雪。視界良好から一転して高速道路が通行止めになるかも、という視界不良になっておりました。北海道の人間としてはこういう季節の慣例的な空模様がけっこう「なつかしさ」を刺激してくれる。ブリザード的な猛吹雪も、しずかに受け入れる心理とでも言えるでしょうか。冬将軍の前触れが「来てくれた」と感じる心理模様。
　そういう天候状況の中で従順に、冷静にスピードダウンしてクルマの中から再会を楽しんでいる。
　で、そのあと、今度は複雑で面白い造形の「雲」が青空といっしょに顔を出してくれたりする。時々刻々と変化する雲の表情に、人生時間での視覚感覚がフラッシュバックしてくる。そういう雲の表情に、過去の心境が重なってくるのですね。
　写真は2015年9/10日に愛知県の「名古屋城」を訪問していた日の印象的だった雲の様子。まるで城郭のような晩夏の入道雲。太平洋の島々とつながるような灼熱の夏の大気が活発な雲を造形する様子。日本列島では関東の千葉あたりからずっと沖縄に至るまで「熱帯」感のある夏が出現する。そういう気候とは縁遠い北海道から来てみると、そのオモシロい雲の造形にこころ打たれる。
　そんな心理模様に先日ついに読了できた写真のような本の内容、受け止め方が重なってくる。

　著者の田坂広志氏は以下のような人物。
＜　工学博士（原子力工学）
デモクラシー2.0イニシアティブ 代表発起人
世界経済フォーラム（ダボス会議）グローバル・アジェンダ・カウンシル メンバー
世界賢人会議 ブダペスト・クラブ 日本代表
ニューイングランド複雑系研究所 ファカルティ
米国ジャパンソサエティ 日米イノベーターズネットワーク メンバー
日本総合研究所 フェロー
元内閣官房参与　＞
　非常に刺激的な「生死論」で、最先端科学が「宗教との架け橋をかけた」とでも表すべき内容。わたし自身も高齢化してきて、自ずと生死を身近なテーマ、それもある種、透明な心理で冷静にみつめるような時間がやってきている。そういう心理の中でまことに揺さぶられるような論旨。雲をつかむような心理ながら、いのちと意識のふしぎさにだんだんと近しさが感じられてきています。


English version⬇

[9/10/2015 Nagoya Clouds and “Death Doesn't Exist” reads
Cutting-edge science is beginning to discuss religion in a serious way. Considering that religion once judged science, I am deeply moved by the evolution of mankind. ...

　As I gradually move into the daily routine of my second life, I am now able to spend time with my wife and family and feel a sense of peace and tranquility. Yesterday, I was enjoying the drive to and from a rather distant day spa, and was embraced by the Hokkaido weather that is typical of this time of year.
　The weather was about 70 km north of Sapporo, in the vicinity of Bibai, and the sky was blue with a few light snowfalls, but around our destination, it turned around and was snowing actively, with a few dozen centimeters of snowfall. The visibility was so poor that the highway might be closed. As a person from Hokkaido, this kind of customary seasonal weather stimulates my nostalgia. I guess you could call it a calm acceptance of blizzard-like blizzard conditions. It is a psychological pattern in which we feel that the harbingers of the winter army have “arrived.
　In such weather conditions, they obediently and calmly slow down and enjoy the reunion from inside their cars.
　And then, after that, “clouds” of complex and interesting shapes would appear along with the blue sky. The ever-changing expressions of the clouds bring me back to the visual sensations of my life time. The expression of the clouds overlaps with my past state of mind.
　The photo shows the impressive clouds on 9/10/2015, the day I was visiting “Nagoya Castle” in Aichi Prefecture. Late summer iridescent clouds that look like castle walls. The scorching summer atmosphere that seems to connect with the islands of the Pacific Ocean, sculpting active clouds. In the Japanese archipelago, summers with a “tropical” feel appear from Chiba in the Kanto region all the way to Okinawa. Coming from Hokkaido, which is far from such a climate, I was struck by the interesting cloud formations.
　The contents of the book shown in the photo, which I finally finished reading the other day, and the way I perceive it overlap with such a psychological pattern.

　The author, Hiroshi Tasaka, is the following person.
＜ Doctor of Engineering (Nuclear Engineering)
Representative Founder, Democracy 2.0 Initiative
Member, Global Agenda Council, World Economic Forum (Davos)
Japan Representative, Budapest Club of the World Council of Wise Men
New England Institute for Complex Systems Faculty
Member, U.S.-Japan Society Japan-U.S. Innovators Network
Fellow, The Japan Research Institute, Limited
Former Counselor, Cabinet Secretariat
　A very stimulating “theory of life and death” that should be described as cutting-edge science “bridging the gap between science and religion. As I myself have aged, I have come to see life and death as themes close to my heart and mind, and I have come to look at them dispassionately and with a kind of transparent mind. In the midst of such a mindset, I was really shaken by the content of this essay. Although it is as if I am grasping at a cloud, I am gradually feeling closer to the mystery of life and consciousness.

【「飛鳥・藤原」、世界遺産登録へ前進】

　ブログでは「名古屋城」探訪シリーズの予定なんですが、奈良県橿原市の知人から「飛鳥・藤原の官都とその関連資産群」がようやく世界遺産登録リストに記載されることになって、地元では大いに盛り上がってきていますよ、というご案内の郵便をいただいた。そこで臨時ニュース的告知。
　手掛けていたReplan関西版の出版企画がスタートした頃から、時折関西地域に出張するようになり、かねてから気になっていた「日本はじまりの地」への日本人的「郷愁」が激しく刺激される地域として、「飛鳥・藤原」の地域一帯、橿原市・明日香村・桜井市はその風土を何度も訪問してきている。その知人は橿原に住まいする画家で、奈良県立万葉文化館でボランティアガイドをされていたときに、たまたま訪問した北海道人のわたしに「導き」を与えていただいた。
　以来、こういう特別公開があるよ、などディープな歴史情報をお教えいただいている導師。額田王の顔貌を表現した仏像をみることができるお寺をご紹介いただいて、その美貌の表現に込められた日本人的ビジュアル感には、強いインパクトがあったりした。
　そういうことで、奈良県の世界遺産登録４件目として、いよいよこの地が起動し始めたようです。京都や奈良の都市機能マヒまでもたらせている過剰なオーバーツーリズムとは、この地域はまったく無縁だったので、いつも心静かにいにしえをたどることが出来るのです。この世界遺産登録は地元のみなさんにとってまことに喜ばしいと同時に、遠く北海道に暮らす「日本はじまりの地」への憧憬を抱く迷える衆生としては、一抹の不安も感じてはいますが、・・・。
　今後の予定としては以下のよう。＜明日香村HPより＞
　令和6年
推薦書暫定版をユネスコ世界遺産委員会へ提出（9月30日まで）
令和7年
国内での閣議了解
推薦書正式版をユネスコ世界遺産委員会へ提出（2月1日まで）
イコモスによる審査(現地調査も含む)
令和8年
世界遺産委員会において決定(夏頃)
　ぜひこの地の歴史的価値に大いにスポットが当てられることを祈念しております。
　奈良県中南部のこの地域は、畿内地域全体から見ても「奥座敷」的な位置。後背にあたる吉野熊野との調和する空気感がほんとうに素晴らしい。幸多かれと願います。


English version⬇
　
Asuka and Fujiwara Advancing Toward World Heritage Site Registration
A guide from a “guru” who lives in Kashihara. A “backstage” to heal your mind from over-tourism in Kyoto and Nara. The place where “Japan” began. The place where “Japan” began.

　I am planning to write a series of blog posts on my visit to Nagoya Castle, but I received a mail from an acquaintance in Kashihara City, Nara Prefecture, informing me that the Asuka and Fujiwara Temples and their related properties are finally listed on the World Heritage List, and there is a lot of excitement in the local community. So, here is an extraordinary news announcement.
　I have been visiting the Asuka/Fujiwara area, Kashihara City, Asuka Village, and Sakurai City many times as an area that has stimulated my nostalgia for the “birthplace of Japan,” which I have been interested in for a long time. I have visited these places many times. I have visited the Asuka-Fujiwara area of Kashihara City, Asuka Village, and Sakurai City many times, and have been guided by a friend of mine, a painter living in Kashihara, who happened to be a volunteer guide at the Nara Prefecture Complex of Man'yo Culture.
　Since then, he has been providing me with in-depth historical information, such as information on special exhibits at the museum. He introduced me to a temple where I could see a Buddhist statue depicting the face of King Nukata, and I was strongly impressed by the Japanese visual impression of the beauty of the statue.
　It seems that this place is finally starting to be activated as the fourth World Heritage Site registered in Nara Prefecture. This area has been completely free from the excessive over-tourism that has even paralyzed the urban functions of Kyoto and Nara, so we can always trace back the ancient times in peace and quiet. The World Heritage registration is a great joy for the local people, but at the same time, as a lost sentient being living in faraway Hokkaido who yearns for the “birthplace of Japan,” I feel some anxiety....
　The schedule for the future is as follows. ＜From the Asuka Village website
　2024
Submit a tentative nomination form to the UNESCO World Heritage Committee (by September 30).
2025
Cabinet approval in Japan
The official version of the nomination document is submitted to the UNESCO World Heritage Committee (by February 1).
Examination by ICOMOS (including field survey)
2026
Decision by the World Heritage Committee (around summer)
　We hope that the historical value of this site will be highlighted.
　This area in the south-central part of Nara Prefecture is located in an “Oku-Zashiki” position in terms of the entire Kinai region. The atmosphere of harmony with Yoshino-Kumano, which lies behind it, is truly wonderful. I wish you many happy holidays.

【東海地域はなぜ天下人を生んだのか 名古屋城探訪-2】

　写真は名古屋城の展示で、やはりこの人物がいなければと言える信長さんの肖像画。この城郭、名古屋城自体はその後の尾張徳川家の本拠地として、天下普請で建築されたものなので、尾張織田家とは無関係ではあるけれど、戦国末期に全国統一事業を主体的に推進した中部・東海勢力の首魁としてはやはりこの人物が基盤になっている。
　日本国家の中枢機能は畿内地域が担ってきたけれど、鎌倉幕府の成立など関東に武権が成立したように東西という構図が日本列島全体の権力争奪では根付いていった。さらには、古代における関ヶ原合戦ともいえる「壬申の乱」では、中部地域から東の勢力を統合した天武系が勝利を収めたのに、この地域の勢力の合力が大きかったとされている。東西の中間地域として、この地域は全国の政治情勢の帰趨を決する地域であり続けたといえる。
　そういった最重要地域であり続けたことが、戦国期の日本にとってのヘゲモニーを持たせたということなのだろうか。下の絵柄は展示されていた名古屋城下のにぎわいぶり。伝統的な日本絵画、洛中洛外図と同様のアングルで市井の様子が絵巻物として残されている。信長は、若年期、街のにぎわいのなかをうろつく半グレのような行状を見せていたというエピソードが語られるけれど、京都での政治軍事支配を掌握した後、同時に全国最大の商業中心地域・堺の支配権もすぐさま掌握している。堺の街の醸し出す重商主義気質が、伊勢湾岸の商業中心地育ちの信長のメンタルを刺激したのかも。
　やはり重商主義的な地域性が成長期にも色濃く性格形成に与っていたのだろう。
　さて一方で、北海道はこの地域との関係性が薄いのではないだろうか。明治以前までの北海道はひたすら「北前交易」によって畿内地域や北陸、環日本海地域との関係性が深かった。また、明治維新以降は政権中央の東京から、近代国家国防の最前線地域として最重視されて旺盛に「開拓事業」が推進されていったことで、北海道の隣県は東京というような感覚にまで至っている。
　そういうなかでは、中部東海地域というのは関係性のきっかけが見い出しにくい。明治期以降、東西という日本国内の基本的な地域間権力構図が様変わりして、政治面では東京一極集中が極限まで進んだことがこういう認識の背景になっているようにも思える。
　たぶんこれからの時代にはトヨタの中枢がこの地域を基盤としているということが、大きな要素になっていくようにも思える。北海道とこの地域、さてどんな未来形があるだろうか。興味深い。


English version⬇

Why did the Tokai region give birth to the Tengokujin? Nagoya Castle Exploration-2
The Chubu-Tokai region became decisive in the political and economic situation at the end of the Warring States period. Was this due to the heavy mercantilist climate? What is the future of regional relations with Hokkaido? ...

　The photo shows a portrait of Nobunaga at the Nagoya Castle exhibit, which, after all, would not have been possible without this man. This castle, Nagoya Castle itself, was built as the base of the Owari Tokugawa family, and was built under a contract with the Tenka Fuchin, so it has nothing to do with the Owari Oda family, but it is based on this man as the leader of the Chubu and Tokai forces that proactively promoted a nationwide unification project at the end of the Warring States period.
　The central functions of the Japanese state had been carried out in the Kinai region, but as the Kamakura Shogunate was established and military power was established in the Kanto region, the East-West structure took root in the struggle for power throughout the Japanese archipelago. Furthermore, in the Jinshin Rebellion, which could be called the Sekigahara Battle in ancient times, the Temmu lineage, which united forces from the central region to the east, emerged victorious, but the combined power of the forces in this region is said to have been significant. As the middle region between the east and west, this region continued to be the region that determined the political situation of the whole country.
　The fact that it remained the most important region in Japan during the Warring States period may have given it hegemony over the country. The picture below shows the bustling Nagoya Castle area where the exhibition was held. The picture scroll depicts the city life from the same angle as the traditional Japanese painting, Rakuchu Rakugai-zu. Nobunaga is said to have behaved like a half-wit wandering around the bustling streets in his youth, but after seizing political and military control of Kyoto, he quickly seized control of Sakai, the largest commercial center in the country. Perhaps the mercantilist spirit that Sakai exuded stimulated the mentality of Nobunaga, who grew up in the commercial center on the Ise Bay coast.
　It is likely that the mercantilist character of the region contributed strongly to the formation of Nobunaga's personality even during his period of growth.
　On the other hand, Hokkaido may not have had much to do with this region. Before the Meiji Restoration, Hokkaido had deep relations with the Kinai region, Hokuriku region, and the Japan Sea Rim region through “trade in front of the north. After the Meiji Restoration, Tokyo, the center of government, placed the highest priority on Hokkaido as a frontline region for national defense in the modern era, and vigorous “development projects” were promoted, leading to the perception that Hokkaido's neighboring prefectures are Tokyo.
　In this context, it is difficult to find any opportunity for a relationship between the Chubu-Tokai region and the rest of Japan. The basic power structure between the East and West regions of Japan has changed since the Meiji Era, and the extreme concentration of power in Tokyo in terms of politics seems to be the reason behind this perception.
　The fact that Toyota's hub is based in this region will probably become a major factor in the future. What kind of future shape will Hokkaido and this region take? It will be interesting to see what the future holds for Hokkaido and this region.

【尾張名古屋を「持つ」お城 名古屋城探訪-1】

　城郭は広い意味では「住宅の分類」という説に導かれて探訪記、今回は名古屋城。「尾張名古屋は城で持つ」という天下の名城であります。建築関係の探訪記録がわたしのMacには大量に保存されていて、こちらの記録は2015年９月のフォルダに入っておりました。調べてみると、この時期に新住協の全国大会が名古屋で開かれているので、そのときに時間を縫って、撮影したものと思われます。わたしの仕事人生では住宅についての技術革新の動きが並行して進行していた。北海道由来の技術が本州各地域に拡散していった時期と重なっているのですね。
　で、わたしは小学校低学年時代から、とにかく戦国期・源平期の日本史にどっぷりと脳内占拠されて過ごしていた。信長・秀吉・家康の３英傑を輩出した名古屋地域には、その地名を聞いただけでも「血湧き肉躍る」感覚がさわがしくなってしまう。ということで、尾張名古屋は城で持つ、という名古屋城探訪篇であります。
　上の写真は、名古屋城の天守閣から尾張平野を見晴らしたショットと、本丸天守の外観。当時は修復工事のまっ盛りだったようで、工事のフェンスなども見られていました。

　名古屋城は徳川幕府体制が確立してその体制のひとつの存続装置として「御三家」という将軍輩出システムが家康によって創出されて、かれの九男・義直を初代としてされた尾張徳川家の本城として、1609年に家康自ら築城を決定した。翌年から石垣などの大土木工事に着手して、1612年に店主や各櫓が完成した。・・・ということなので、わたしの少年期からの素志である信長が絡んでいるという城ではない。そういう残念感があり続けていた。日本史を縦横に切り裂いた「革命家」の極地である人物の残影からは縁遠い城郭ではある。
　しかし、この尾張徳川家創建に至る歴史の波瀾万丈は、この名古屋城にも違う意味では投影されているとは言えるでしょう。尾張地域というのは、記紀の時代でも重要な地域権力として日本史に大きく影響を与えた存在だったことを考えれば、どうしてこの地がそういう日本史のカギを握っていたのか、ということがわかってくるのでしょう。
　そういえば、わたしの人生での職業選択でもこの地域に深く絡んでいた広告会社に入社し、そしてはるかな身近では、わたしの家2.0の隣地には名古屋が本拠の大企業があって、そことの「取引」によって境界線変更に立ち至った。この会社は、先述の広告会社のクライアントだったので、はるかにその企業名は知り及んでいた。「え、◎◎会社さんがお隣なんだ・・・」と。
　さてそういう尾張名古屋城、謹んで探訪させていただきたい。

English version⬇

The Castle that “holds” Owari-Nagoya: Exploring Nagoya Castle-1
Owari-Nagoya is an area that I was involved in at various points in my life. However, I have not had the opportunity to visit the area in person that often. I would like to relive it in this exploration of a famous castle under heaven. ......

　This time we will visit Nagoya Castle, guided by the theory that castles are, in a broad sense, a “classification of houses. This time, I visited Nagoya Castle, which is a famous castle under the name of “Owari-Nagoya is held by its castle”. I have a large number of records of architectural visits saved on my Mac, and this record was in the folder for September 2015. I found out that the national convention of Shinjyukyo was held in Nagoya around this time, so I must have taken these photos during that time. In my professional life, there was a parallel technological innovation movement going on regarding housing. It coincided with the diffusion of technology originating in Hokkaido to the various regions of Honshu.
　Since my early elementary school days, my brain had been occupied with Japanese history of the Warring States and Gempei periods. The Nagoya area, which produced three heroes, Nobunaga, Hideyoshi, and Ieyasu, arouses my “blood-rushing” sensation even at the mere mention of the name of the place. This is an exploration of Nagoya Castle, where Owari-Nagoya is said to have a castle.
　The photo above is a view of the Owari Plain from the castle tower and the exterior of the castle tower. The castle was in the midst of restoration work at the time, and the construction fence was visible.

　Ieyasu decided to build Nagoya Castle in 1609 as the main castle of the Owari Tokugawa family, which was headed by his ninth son, Yoshinao, after the establishment of the Tokugawa shogunate and the creation of the “Gosanke” system of producing shoguns as a means of maintaining the shogunate. In 1609, Ieyasu himself decided to build the castle as the main castle of the Owari Tokugawa family. The following year, he started major civil engineering work including stonewalls, and in 1612, the storehouse and various turrets were completed. The castle was not built with the involvement of Nobunaga, who had been a great admirer of mine since I was a boy. I continued to have such a sense of disappointment. It is a castle that is far removed from the shadow of the man who was the ultimate “revolutionary” who tore through the length and breadth of Japanese history.
　However, it can be said that the vicissitudes of history that led to the founding of the Owari Tokugawa family are also projected onto this Nagoya Castle in a different way. Considering that the Owari region was an important regional power that greatly influenced Japanese history even in the Kiki period, one can understand why this region held such a key to Japanese history.
　Come to think of it, my career choice in life was to join an advertising company that was also deeply involved in this area, and much closer to home, there is a large Nagoya-based company located next to my house 2.0, which led to a boundary change through a “deal” with the company. This company was a client of the aforementioned advertising company, so I knew the name of the company by heart. I was surprised to learn that this company was a client of the aforementioned advertising company, so I knew the name of the company for a long time.
　Now, I would like to visit Owari Nagoya Castle.

【年末へ、闌けていく季節】

　昨日、ちょっと懸案になっていて心理的にも重たくなっていた案件にようやくメドがついて、一段落であります。で、その流れから行動予定も決定できて見通しが立ってきた。
　さて一進一退で徐々に冬が深まってきている北海道札幌。写真のような降雪もときどきありつつ、7-8°くらいまで最高気温が上がったりもしております。札幌市民としては、一回くらいドカ雪が来るとハラが坐らざるを得なくなるのですが、どうもことしはハッキリしない。いつ何時くるかわからない中で、心理的には「執行猶予」付きの期間のような受け止め方（笑）。あ、わたし、交通違反は別にして、おかげさまで人生で一度も警察にご厄介になって裁判でそのような状況になった経験はありません。
　一度、大量降雪が来れば、かえって落ち着くのですね。そういう日常がごく自然に受け止められる。その上でどのように行動すべきか、計画も立てられやすいのですね。戸建て住宅に住んでいて、ご近所関係にご迷惑にならないように「共助」の自然な規範が働いてくるもの。除雪と堆雪の、そのシーズンでの行動ルールのようなものを、ご近所関係の円滑化のために確立させる必要があるのですね。
　毎朝のルーティン作業が定まるということでしょうか。最初のドカ雪がくれば否応なくそれの「この冬バージョン」が決定する。そうすると、わたしがもし不在でも、ルールが決まっているので家人はそれに準拠して行動すれば良い、ということになるのですね。毎朝の除雪作業に「筋道」が確立する。
　・・・ということですが、このようにドカ雪ではない状況も、ありがたいのは当然。もうちょっとこの状況を楽しんだらいいのですが、どうも疑い深い性格になってしまっている（泣）。
　しかし温暖地・兵庫県では延々と騒動が継続しているようで、どうもマスメディアのありようのような局面にまで突き進んできている。現代ニッポンの状況の一断面が際だってきている。そういう意味ではまことに現代を象徴するような事案になってきていますね。さて。


English version⬇

The end of the year, the season of growing old.
The snowfall will eventually bring us to the “set condition” of Sapporo's residential area in winter, but I'm somewhat on probation. I am in a state of mind like, “I'm all set, so come on, come on! ...

　Yesterday, I finally reached a decision on a matter that had been pending for some time and had been weighing on me psychologically, and I am now at peace. And, as a result, I was able to decide on a schedule of activities and have a clear outlook for the future.
　Winter is gradually deepening in Sapporo, Hokkaido. While snowfall as shown in the photo sometimes occurs, the maximum temperature rises to around 7-8°C. As a Sapporo resident, I would like to visit Sapporo at least once in a while. As a resident of Sapporo, I am always nervous when we get a heavy snowfall, but this time it is not so clear. I am not sure when it will come, but psychologically, I am taking it like a period of “probation” (laugh). I have never been in trouble with the police in my life, except for traffic violations, and thanks to you, I have never been in such a situation in a court of law.
　Once a heavy snowfall comes, I feel more at ease. You can accept that kind of routine very naturally. It is easy to make plans on how to act. When you live in a detached house, the natural norm of “mutual aid” comes into play so as not to inconvenience your neighbors. You need to establish some kind of rules of conduct for snow removal and composting, for that season, to facilitate neighborly relations.
　Does this mean that a routine task will be established each morning? If the first snowstorm comes, the “this winter version” of it will be determined without denial. Then, even if I am not here, the rules are set and the householder just has to conform to them. A “path” will be established for the snow removal work every morning.
　I am grateful for the situation where we don't have heavy snowfalls. I wish I could enjoy this situation a little more, but apparently I have become a skeptic (cries).
　However, it seems that the turmoil is continuing endlessly in Hyogo Prefecture, a warmer climate area, and apparently, it is pushing us into a phase like the state of the mass media. This is a very striking example of the situation in contemporary Japan. In that sense, this is truly a case that symbolizes our times. Now, let's see.