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[Research Notes] The Reality and the Representation of “莠” (Hagusa, a Weed) : from Shi Jing to Kamui-den (a Japanese Manga)
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[Research Notes] The Gardens of Samurai Residences in the Great Pre-modern City of Edo
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[Article] Archaeological Materials Depicted in the ‘Reitokaku-Shukocho’ : Focusing on the Collection of the Kansai University Museum
Full text link本稿は『聆濤閣集古帖』に掲載されている考古資料のうち，関西大学博物館に現存している資料を取り上げて，吉田家3代にわたる古物収集過程の意義を考察した。
『聆濤閣集古帖』に掲載された馬形埴輪には出土地も所蔵者の情報もないが，『摽有梅』（野里梅園著）には「将門城跡ヨリ出ル古代土馬」「蒹葭堂蔵」との記述がある。このことから馬形埴輪は，常総市にある「向石毛城跡」近くにある「神子埋古墳群」から出土したものと判断した。その根拠は古墳群から出土した埴輪の胎土と，馬形埴輪の胎土の特徴が一致したことによる。すなわちこの埴輪は江戸時代に常陸国で出土したのち大坂に居住した木村蒹葭堂の手に渡り，彼の死後吉田家にもたらされた。そして明治維新を迎え，埴輪は吉田家から兵庫県令神田孝平のもとに移る。神田は好古家でもあり，吉田家とは親しい交際が知られている。その後，神田のコレクションは，昭和初期に本山彦一（大阪毎日新聞社長）に譲渡され，戦後になって関西大学が一括して購入した。
次に『聆濤閣集古帖』にある琴柱形石製品は，木内石亭によって著された『雲根志』や，『集古図』（藤貞幹著）にも掲載されている。この資料は大和国長岳寺塔頭普賢院の住職が所蔵したとされるが，『聆濤閣集古帖』には底面の拓本が記録されており，吉田家の近いところに存在したことが窺える。明治維新後は好古家の柏木貨一郎が所蔵し，その後神田と本山の手を経て関西大学博物館に収蔵された。
本稿では『聆濤閣集古帖』に掲載された考古資料の，その後を明らかにしてきた。そして18世紀後半に登場してくる好古家が，彼らの知的好奇心によって古物を収集し考索を重ねてきた様子を見てきた。そしてこのことは単に古物が今日まで伝えられてきたというだけではなく，彼らの活動は現在の考古学研究においても有用であることを論じた。さらにこの知的好奇心による収集と研究があったからこそ，明治維新からそれほど時間を経ることなく文化財保護体制の確立や，現在の東京国立博物館の設立につながっていくものとして評価すべきことを論じた。This article examines the significance of the antiquities collection process over three generations of the Yoshida family, focusing on the archaeological materials housed at the Kansai University Museum, which also appear in the book ‘Reitokaku-Shukocho.’
Although there is no information on the place of origin or owner of the horse-shaped Haniwa published in the ‘Reitokaku-Shukocho’, in the “Hyoyubai” (written by Baien Nozato) there are the descriptions such as “There is an ancient clay horse unearthed from the Masakado Castle Ruins.” and “It is owned by Kenkado.” Based on this, it is judged that the horse-shaped Haniwa was excavated from the “Mikonome-Burial Mounds” near the “Mukouishige Castle Ruins” in Joso City. The reason for this is that the characteristics of the haniwas’ soil excavated from these burial mounds and the horse-shaped Haniwa’s soil seem to have the same origin. In other words, this haniwa was excavated in Hitachi Province during the Edo period, and then passed into the hands of Kenkado Kimura, who lived in Osaka, and was brought to the Yoshida family after he passed away. Then, with the Meiji Restoration, this haniwa was transferred from the Yoshida family to Kohei Kanda, the governor of Hyogo Prefecture. Kanda was also an antiquarian and is known to have a close relationship with the Yoshida family. Kanda's collection was then transferred to Hikoichi Motoyama (President of Osaka Mainichi Shimbun) in the early Showa period, and after the World War II Kansai University purchased it in bulk.
Next, the kotoji-shaped stone products in the ‘Reitokaku-Shukocho’ also appear in the “Unkonshi” written by Sekitei Kiuchi and the “Shukozu” (authored by Tou Teikan). This material is said to have been owned by Fugen-in, Chogaku-ji Temple in Yamato Province, however, the ‘Reitokaku-Shukocho’ records the rubbing of its bottom, suggesting that it existed near the Yoshida family. After the Meiji Restoration, it was owned by antiquarian Kaichiro Kashiwagi, and then passed through the hands of Kanda and Motoyama before being acquired by the Kansai University Museum.
In this paper, I have clarified what happened to the archaeological materials listed in the ‘Reitokaku-Shukocho.’ I have also seen how antiquarians, who appeared in the latter half of the 18th century, collected and examined antiquities based on their intellectual curiosity. I additionally argued that this can be evaluated not only as the fact that antiquities have been handed down to the present day, but also in that their activities are useful in current archaeological research. Furthermore, it is precisely because of this collection and research based on intellectual curiosity that it should be evaluated as leading to the establishment of a system for the protection of cultural properties and the establishment of the current Tokyo National Museum within a short period of time after the Meiji Restoration.departmental bulletin pape
[Article] Non-walled Palanquin Built for Retired Emperor Kōkaku's Visit to the Shūgakuin Villa : The History of the “Oyōyō” Used by the Saiō-dai in the Aoi Festival
Full text link『聆涛閣集古帖』（以下、『集古帖』）に収められている模写・拓本は、基本的に江戸後期においてすでに「古」と認識されていた対象を写したものが大部分である。しかしながら、二帖ある「乗輿」のうち「乗輿一」帖で、かなりの部分を占める輿（四方輿）の図は、他の古物の模写・拓本とは趣が異なり、明らかに同時代性を示している。
『集古帖』の注記や貼り込まれている文書目録を手がかりに、『修学院御幸録』の記事を探ると、光格上皇の七度目の修学院御幸に向けて、文政十二年（一八二九）三月に完成した四方輿「菊八葉」の意匠検討に関わる一括の史料群と判明した。
この四方輿「菊八葉」は、それまで用いられていた網代輿に替わって「山輿」として新造されたもので、竹屋光棣・原在明らの考証にもとづく復古的な態度で意匠が定められた。その際、絵巻などの古図のみならず、やまと絵師たちによる輦輿の原物の実測的な調査が参考資料とされた。この四方輿は現存し、京都御所に保管される「御腰輿（およよ）」で、毎年五月の葵祭（賀茂祭）で斎王代を勤める女性が乗る輿としても用いられている。
四方輿「菊八葉」新造に先立って、文政七年の光格上皇初度修学院御幸に際しては、網代輿が新造された。京都御所保管の網代輿がこれに該当し、「唐八葉」の文が施されている。この盛儀は記録画とされ、輿は中心モチーフとしてその記憶を伝えるものとなった。
さらにこの京都御所の「唐八葉」網代輿に酷似する網代輿が、聖護院門跡に所蔵されている。これには「菊二重」文があり、光格上皇から実弟の盈仁法親王に下賜されたもので、おそらくは光格上皇が譲位後の御幸始に用いたものに相当する。寛政度の内裏再興に復古的な考証が基礎とされたことは周知であるが、それに続く文政期の四方輿新造においても、復古的な考証を志向して意匠が定められた。この事例は、考証の内実をうかがい知るとともに、好古の嗜好は具体的な事業と結びつき、当時の政治とも密接な関係にあったことを示している。Most of the traces and rubbings included in ‘Reitokaku-Shukocho’ are depictions of objects that were already considered “antique” in the late Edo period. However, the non-walled palanquins that comprise a large proportion of the first volume on “palanquins” are clearly contemporary.
Aided by the annotations and the catalog of documents pasted within ‘Shukocho’, an examination of entries from ‘Shūgakuin Gokōroku’ (a record of an imperial visit to the Shūgakuin villa) allows us to ascertain that the images relate to the design of the non-walled palanquin “Kiku-Hachiyō” (eight chrysanthemum petals), which was completed in Bunsei 12 (1829) for use in Retired Emperor Kōkaku's seventh visit to the Shūgakuin villa.
“Kiku-Hachiyō” was newly built as a yama-koshi (mountain palanquin) to replace the ajiro-koshi (wicker body palanquin) that had been used up until then, and was designed with an attitude of “revival” based on historical research by Takeya Mitsutoshi, Hara Zaimei, and others. At that time, in addition to old drawings such as emaki scrolls, actual measurements taken of the old palanquins by Yamato-e painters were used as reference materials. This “Kiku-Hachiyō” palanquin still exists and is kept by the Kyoto Imperial Palace as an “Oyōyō” and is also used for the palanquin ridden by women serving as Saiō-dai in the Aoi (Kamo) Festival.
Prior to the construction of “Kiku-Hachiyō”, an Ajiro palanquin was constructed for Retired Emperor Kōkaku's first visit to Shūgakuin in Bunsei 7 (1824). This is the Ajiro palanquin still held by the Kyoto Imperial Palace, and features a “Kara-Hachiyō” (eight Chinese-flower petals) design. This grand procession was depicted in paintings, with the palanquin as the central motif.
An ajiro palanquin very similar to the “Kara-Hachiyō” palanquin is also held by Shōgoin Monzeki. This palanquin has a “Kiku-Futae” (double chrysanthemum) design, and was given by Retired Emperor Kōkaku to his younger brother, Cloistered Imperial Prince Einin. It was likely used by Retired Emperor Kōkaku in his first imperial visit after his abdication.
It is well known that the reconstruction of the Imperial Palace in the Kan'ei era was guided by historical advice rooted in the principle of “revival”, but the non-walled palanquins subsequently constructed in the Bunsei era were similarly designed with an attitude towards “revival”. This case reveals the true nature of historical investigation and restoration at that time, and also shows that tastes for antiquities were tied to specific projects and were closely tied to politics.departmental bulletin pape
[Report on Investigation and Research Activity] Some Considerations on the Use of Scientific Names of Plants in the Botanical Garden of Everyday Life
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[Article] Reconsider Ranking of Chrysanthemum Crafts
Full text link本研究は、既出論文「菊細工番付再考」（二〇〇四年発表）に続く論文である。本稿では、新しく判明した資料を元に、新知見を加えた。
菊細工とは一般に、鶴や象などの鳥獣、富士山や二見が浦などの風景、宝舟や唐子などの縁起物、汐汲や暫などの物語を、小さな菊で形作った見世物のことをいう。「菊の作り物」、「作り菊」などとも呼ばれ、「菊人形」の前身にあたる。菊細工は、はじめ文化・文政期に流行し、一度下火になった。天保十五年（一八四四）と翌弘化二年（一八四五）に爆発的に流行し、幕末・明治期まで存続した。本研究ではこれらのうち、天保十五年から嘉永元年（一八四八）までを対象とした。
今回の検討により、以下の二点が判明した。（一）菊細工の内容を検討することによって、花壇から植木鉢へと過渡期を迎えている菊栽培の様相が明らかになった。（二）同じ番付と考えられたものの異版を複数発見した。This study is a follow-up to the previously published paper “Reconsideration of Kikuzaiku Banzuke” (published in 2004). This paper adds new findings based on newly identified materials.
The term “Kiku-zaiku” generally refers to exhibition works made of small chrysanthemums, depicting animals such as cranes and elephants, landscapes such as Mt. Fuji and Futamigaura, lucky charms such as treasure ships, and stories such as “Shiokumi” and “Shibaraku.” They are also called “Kiku no Tsukuri-mono” (chrysanthemum ornaments) or “Tsukuri-giku” (chrysanthemum objects), and were the predecessor of “Kiku Ningyo” (chrysanthemum dolls). Kiku-zaiku Banzuke (lists of chrysanthemum works) first became popular in the early nineteenth century. After once going out of fashion, their popularity exploded in 1844 and 1845, and they continued to be popular until the end of the Edo period (1603-1868) and Meiji period (1868-1912). From among these years, this study covered the period from 1844 to 1848.
The present study revealed the following two points. First, from the contents of the Kikuzaiku, the aspect of entering the transition period in chrysanthemum cultivation from flower beds to flowerpots was revealed. Second, discovered examples of different editions of Kiku-zaiku Banzuke.departmental bulletin pape