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[Research Notes] Research Note: Sketches of Shōsō-in Treasures in ‘Reitokaku-Shukocho’
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[Article] A Study of the Distribution and Characteristics of “Hashigo-Jishi” Ladder Lion Dance in the Japanese Archipelago
Full text link本稿は，日本各地に伝わる梯子を用いて曲芸的な演技をする獅子舞・虎舞（本稿ではこれらを「梯子獅子舞」と総称）の日本列島における伝承実態をフィールドワークなどから明らかにし，伝承地の地理的特徴や各地の梯子獅子舞の差異を分析するとともに，同芸能の伝播について考察することを目的とした論文である。
梯子獅子舞については，これまでに民俗芸能研究者などによって，いくつかの伝承地を対象とした個別研究が行なわれてきた。しかしながら，日本全域を対象とし，梯子獅子舞の伝承状況—いずれの地域にどれほどの数の梯子獅子舞が伝承されてきたか—や，伝承地の地理的特徴などの解明に正面から取り組む研究は行なわれてこなかった。
本稿では，まず文献調査やフィールドワークなどから，現存する梯子獅子舞と，中断あるいは消失した梯子獅子舞伝承地を明らかにした。筆者の調査の結果，2019年時点で33か所の梯子獅子舞が現存し，少なくとも25か所で過去に梯子獅子舞が伝承されていたことが判明した。
また，本調査を通じて，梯子獅子舞伝承地の位置について，特徴的な分布を示すことが確認された。すなわち，東北から九州にまで広く分布しているが，主として太平洋・瀬戸内海・紀伊水道の沿岸部とその周辺に伝承されており，日本海側には認められない。また，伝承地が集中する地域（梯子獅子舞伝承圏域）が複数設定できることや，各地で用いられる梯子の形態は一様ではなく，伝承圏域により差異があり，四形式にタイプ分類できることを指摘した。
以上のような伝承地の地理的な特徴を踏まえ，梯子獅子舞は主として，近世期から近代にかけての海上での人々の活動により広域的な伝播がなされた可能性が考えられるとする仮説を立て，歴史資料を用いた考察の必要性を述べた。This paper aims to clarify the actual transmission of acrobatic lion and tiger dances performed using ladders, referred to here as “ladder lion dances,” throughout the Japanese archipelago through fieldwork and other methods. It also analyzes the geographical characteristics of traditional sites and the differences in ladder lion dances across various regions while examining the dissemination of this performing art.
Previous studies by folk performing arts researchers have focused on individual traditional sites of ladder lion dances. However, there has been no comprehensive research on the transmission situation nationwide, including how many ladder lion dances have been transmitted in each region, and clarifying the geographical characteristics of traditional sites in Japan.
This paper first identifies existing ladder lion dances and sites where the tradition has been interrupted or lost through literature surveys and fieldwork. The author’s investigation revealed that as of 2019, there were 33 existing ladder lion dances, and that there had been 25 traditional sites where ladder lion dances had been performed in the past.
Furthermore, through this survey, it was confirmed that traditional sites for ladder lion dances exhibit distinctive distribution patterns. While they are widely distributed from the Tohoku region to Kyushu, they are primarily transmitted along the coastlines of the Pacific Ocean, Seto Inland Sea, and the Kii Channel and their surroundings, with no transmission observed on the Sea of Japan side. It was also noted that multiple areas with concentrated traditional sites (ladder lion dance traditional zones) can be identified, and the forms of ladders used vary from region to region, with differences based on traditional zones, categorizable into four types.
Considering the geographical features of traditional sites, the paper proposes a tentative discussion suggesting that ladder lion dances were likely disseminated extensively due to maritime activities from the early modern period to modern times and states the necessity of examining historcal materials.departmental bulletin pape
[Article] Wisteria in Japonism
Full text linkジャポニスムが隆盛を迎えていた時期，西洋向けに制作された日本の美術工芸品には，モティーフとして藤が多用されている。小稿では，その要因を明らかにした。
園芸の対象となっている藤には，中国原産のシナフジと日本原産のノダフジとがある。そして，シナフジの方がノダフジよりも早くに西洋に伝来し，また，より広範に普及しているという状況にあった。シーボルトが初めて西洋にもたらしたノダフジは，時間の経過とともに成熟した個体が出現するようになったおかげで，本来の特性を発揮して耳目を集め，19世紀末期の一時期，大いに注目されたこともあった。しかし，シナフジとノダフジの間で普及の高低が逆転することは，今日に至るまで起きていない。
それにもかかわらず，藤が中国ではなく日本をイメージさせる花となったのは，「花の国日本」の花々を語るうえで欠かせない花の一つどころか，日本の美しい花の代表格と捉えられることすらあったという事実がある。さらに重要なのは，藤の名所として知られた亀戸天神の境内が人気を集め，西洋人にとっての理想的な日本庭園をそこに求めていたことである。それは，西洋で日本庭園を造園するうえでほとんど規範化し，藤なくしては不完全とされるほどであった。
この日本庭園と藤を不可分とする認識は，日本を象徴する花という藤のイメージ形成に寄与し，ジャポニスムと藤との強い結びつきが生じたと考えられる。During the period when Japonisme was flourishing, Japanese arts and crafts produced for the Western market frequently used wisteria as a motif. In this paper, I have identified the factors that contributed to this trend.
There are two types of wisteria used in horticulture: Sinafuji (Wisteria sinensis), which is native to China, and Nodafuji (Wisteria floribunda), which is native to Japan. The Sinafuji was introduced to the West earlier than the Nodafuji, and was more widely spread. The nodafuji, first introduced to the West by Philipp Franz von Siebold, attracted attention for a time at the end of the 19th century when it showed its original characteristics thanks to the appearance of fully grown trees over time. However, a reversal of the highs and lows of diffusion between Sinafuji and Nodafuji has not occurred to this day.
Nevertheless, wisteria became a flower that evoked images of Japan, not China, due to the fact that it was not only one of the most indispensable flowers in the “kingdom of flowers” Japan, but was even considered by Westerners as a representative of beautiful Japanese flowers. More importantly, the precincts of Kameido Tenjin, known for its wisteria, became so popular that Westerners sought the ideal Japanese garden there. It became almost the norm for Japanese gardens in the West, so much so that they were considered incomplete without wisteria.
I believe that this recognition of the inseparability of the Japanese garden and the wisteria contributed to the formation of the image of the wisteria as a symbolic flower of Japan, and thus created a strong link between Japonisme and the wisteria.departmental bulletin pape
[Article] “The Drawn Palanquins” and “the Made Palanquins” : Trough Comparison the Drawings in ‘Reitokaku-Shukocho’ “Joyo” and the Existing Palanquins and the Creation of a Model of the Ajiro-koshi
Full text link江戸時代後期に編纂された『聆涛閣集古帖（れいとうかくしゅうこちょう）』「乗輿（じょうよ）一」「乗輿二」には，京都・奈良の社寺に伝存していた輿（こし）や牛車（ぎっしゃ）の図が収載される。中には，透視図を使って立体的に描き，寸法を付した図もあり，それらはこれから製作する輿の概要を示すものであったと推測する。「乗輿一」に描かれた四方輿（しほうこし）1基と網代輿（あじろこし）2基は，図と同じ様式の輿が京都に現存することがわかった。これら3基の原物の輿の調査結果を基に，意匠，構造，仕様，製作工程等について，ものづくりの視点を含めて考察する。
「乗輿一」内題「菊八葉御輿圖（きくはちようおこしず）」と同じ様式の輿は京都御所の四方輿である。構造部は木製で黒漆塗りである。意匠や形態，仕様が図と共通することから，「菊八葉御輿圖」の原物と考えられる。「乗輿一」内題「當時御車轅圖（おくるまながえず）」と同じ様式の網代輿は聖護院と京都御所に1基ずつ現存する。構造部は木製で黒漆塗り，外装は黄色の網代である。聖護院の網代輿には二重菊の文（もん），京都御所の網代輿には唐八葉（とうはちよう）の文が描かれる。2基の網代輿は上皇の修学院御幸のために造られたと考えられ，関係があることは確かであろう。網代輿の主構造は下部・床下，中央部・屋形（やかた），上部・屋根の3つに大別できる。そして社寺建築に倣ったことが見て取れる。緩やかな曲線・曲面の意匠が特徴的で，美しく仕上げられた形態からは木工技術の高さが窺える。
聖護院の網代輿の調査結果を基に，筆者が縮尺5分の1の木部構造模型を制作し，国立歴史民俗博物館の企画展示にて展示した。模型には桜材を使用し，手道具と木工機械を併用して制作した。床下は屋形と屋根の基礎となるため歪みなく作ることが求められる。屋形は曲線故の難しさがあるが，正確な加工と接合によって頑丈な構造になる。屋根の三次曲面は垂木と桟の本数の多くして設計し，精密に加工することで実現可能である。実際に木で木部構造模型を作ることによって，部材の形や接合方法には無駄がなく，理に適っていることがわかった。The ‘Reitokaku-Shukocho,’ “Joyo I,” and “Joyo II” collections, compiled in the late Edo period, include drawings of Koshi (palanquins) and Gissha (ox-drawn carriage) that had been handed down in shrines and temples in Kyoto and Nara. Some of the drawings are drawn three-dimensionally using perspective and using measurements, it is assumed that they were intended to depict the outline of the Koshi (palanquin) that was to be made. Findings revealed that one Shiho-koshi and two Ajiro-koshi drawn in “Joyo I” exist in Kyoto in the same style as that shown in the drawing. Based on the results of the investigation of these three original Koshi (palanquins), this study aimed to discuss their design, structure, specifications, and creation processes from a manufacturing perspective.
The Koshi with the same style as the one shown in the “Kikuhachiyo-okoshizu” in “Joyo I” is the Shiho-koshi in the Kyoto-gosho collection. Its wooden structure is painted in black lacquer. It is considered as the original of the “Kikuhachiyo-okoshizu” because its design, form, and specifications are similar to those shown in the drawing. The same style of Ajiro-koshi as depicted in “Toji Okurumanagaezu,” the title of which is included in “Joyo I,” separately exists in Shogoin and Kyoto-gosho. The wooden structure is painted in black lacquer, and the exterior is covered in yellow Ajiro. The Ajiro-koshi in the Shogoin collection has a Niju-kiku design while the Ajiro-koshi in the Kyoto-gosho collection has a Karahachiyo one. The two Ajiro-koshi are believed to have been made for Joko's visit to Shugakuin, and it is certain that they are related. The main structure can be roughly divided into three parts: the lower part “Yukashita” (under the floor), the central part “Yakata” (the cabin), and the upper part “Yane” (the roof). It can be seen that these made by following Japanese shrine and temple architecture. The Ajiro-koshi is characterized by its gentle curves and curved surface design, and its beautifully finished form reveals a high level of woodworking skill.
Based on the findings of the Ajiro-koshi in the Shogoin collection, the author designed a onefifth scale model of the wooden structure, which was displayed in a special exhibition at the National Museum of Japanese History. The model was made of cherry wood, using both hand tools and woodworking machines. The Yukashita is the foundation of the Yakata and Yane; therefore, it must be made without distortion. It is challenging to design the Yakata owing to its curvature, but accurate handling and joints ensure a sturdy structure. The cubic curvature of the Yane can be achieved by designing it with a large number of rafters and crosspieces and by handling them precisely. By actually creating the model of the wooden structure using wood, the shape of the parts and method of joining them were found to be lean and sensible.departmental bulletin pape
[Article] Large-scale Transcription and Structuralization of Historical Disaster Records through Crowdsourcing
Full text link本稿では，国立歴史民俗博物館開発型共同研究「歴史災害研究のオープンサイエンス化に向けた研究」（2018〜2020年度）を通じて実施した，災害史料の構造データ化に向けた取り組みについて述べる。本研究の目的は，地震を中心とする前近代の災害史料を対象として，クラウドソーシングにより大規模なテキスト化と構造データ化を実現することであった。この目的のために開発した文献史料のクラウドソーシング翻刻システム『みんなで翻刻』では，2019年3月までに東京大学地震研究所図書室が所蔵する499点の災害史料の全文テキスト化を実現した。また，翻刻テキストの構造化のために，テキスト中の重要情報をマークアップし，外部データソースと結びつけるクラウドソーシングシステム『みんなでマークアップ』を開発した。クラウドソーシングによる災害史料の大規模な構造化データ化は未達成であるが，システムの開発を通じて災害史料から時空間情報と被害情報を抽出し，各種の外部データソースと連結することで地震被害記録を構造化データへと変換するワークフローを整備した。この過程を通じて，現時点での問題点を整理し，解決の手がかりをつかむための考察をおこなった。This paper describes a series of our effort to convert historical disaster records into machine readable structural data that can be processed and analyzed by computers. This study was a part of a collaborative research program “Enhancing Historical Disaster Research with Open Science Methodologies”, which had been conducted by National Museum of Japanese history between FY 2018-2020. The objective of this program was to achieve large-scale transcription and structural data conversion through crowdsourcing for pre-modern disaster archives, with a focus on earthquakes. The crowdsourcing system “Minna de Honkoku,” which was developed for this purpose, achieved full transcription of 499 disaster historical materials owned by the Earthquake Research Institute of the University of Tokyo by March 2019. In addition, for structuring the transcribed texts, a crowdsourcing system “Minna de Markup” was developed to markup critical information in the text and link it to external data sources. Although we have not yet achieved large-scale conversion of disaster archives into structured data through crowdsourcing, we have developed a workflow for converting earthquake damage records into structured data by extracting spatio-temporal information and damage information from disaster records and linking them to various external data sources through the development of the system.departmental bulletin pape
[Report on Investigation and Research Activity] Current Issues and Suggestions for Future Improvement in the Botanical Garden of Everyday Life
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[Article] Connection to Archeology Viewed from the Documents Included in ‘Reitokaku-Shukocho’ : On the Study of Weapon-shaped Objects of the Yayoi Period
Full text link『聆濤閣集古帖』鋒帖所収の弥生時代武器形品について，関連近世史料と近現代の考古学研究成果から詳細を検討し，各資料の来歴と考古資料としての特徴を明らかにした。『聆濤閣集古帖』所収にあたっては，考古資料自体ないし拓本，あるいは写本・刊本といった記録・図からの書写といった多様な媒体を通して資料の収集が図られていること，かつ書写の精粗や情報の変化・遺漏・混同等の生じていた状況を指摘した。さらに，近世における好古・集古盛行について，以後の継承も含めた歴史的変遷・系譜について概略整理を行い，『聆濤閣集古帖』は，18世紀末寛政期に吉田道可が藤貞幹と密接な関係をもって進めた好古・集古の成果，その嚆矢の一つと位置付けた。In this paper, I have examined weapon-shaped objects of the Yayoi period included in ‘Reitokaku-Shukocho’, and clarified the provenances and archaeological features of them. I pointed out that in compiling ‘Reitokaku-Shukocho’ , documents were collected through various media, but associated with information transmission, various skills of copying, changes, omissions, confusions had occurred. I organized the changes in antiquarian activities, and positioned ‘Reitokaku-Shukocho’ is one of the earliest achievements of antiquarian hobby and collection, which was promoted by Yoshida Doka in close relationship with Tou Teikan during Kansei period at the end of the 18th century.departmental bulletin pape
[Article] The Yoshida Family of Goden, Settsu Province : Cultural Activities and Publications in the Late Edo Period
Full text link本論文は近世後期の摂津国呉田（ごでん）の豪商であった吉田家の三代、とくに吉田道可（一七三四～一八〇二）を主たる対象として漢詩文や和歌、俳諧、茶道、医学、茶会興行、好古など多方面にわたる彼の学芸上の諸活動並びに文人諸家との交流について跡付け、また吉田家が蒐集した古物の摸刻出版の実態を解明することを目的としたものである。
本論文ではまず道可の墓碑銘の検証を行い、そこに記された以外に道可が使用していた号や字の類を同時代資料に基づいて明らかにした。続いて墓碑銘において道可が師事し、あるいは信頼を寄せたとされる儒者の林東溟、医師の吉益東洞、公家・歌人の日野資枝、公家で能書の大炊御門家孝と道可との関係をそれぞれ検討した上で、道可による寛政七年（一七九五）及び八年の銀閣寺での茶会興行について『都林泉名勝図会』増修本に見られる関連記事に基づいて跡付け、谷文晁のものをはじめ現存する道可の肖像画についても整理を行った。
加えて道可の蒐集品をめぐる諸名家との交流や、玉田成章編『耳比磨利帖』（天明七年序刊）や松平定信編『集古十種』・『集古文書』に道可の所蔵品が掲載されていることなどについて論及し、道可自身が自身の蒐集品の摸刻を作製し頒布していた事実を、現存する刷物や尾崎雅嘉『群書一覧』（享和二年刊）の記述などから明らかにした。
道可以後の吉田家当主である粛（一七六八～一八三二）と敏（一八〇二～六九）に関しては、それぞれの墓碑銘を紹介した上で、粛には学芸上の活動が確認できず、他方で敏は蒐集品を通した諸家との交際など道可のふるまいを反復しようとした形跡があることを指摘した。さらに現在二種類の存在が確認できる刊本『聆涛閣帖』の出版も敏の主導で行われたもので、同時代に版行されていた好古図譜の影響を受けつつ編纂されたものと評価できることを述べ、国立歴史民俗博物館の所蔵する『聆涛閣集古帖』編纂の背景の解明を試みた。The purpose of this article is twofold. First, we aim to clarify the cultural activities of the Yoshida family, especially those of Yoshida Dōka (1734-1802). Dōka was a wealthy merchant from Goden in Settsu province during the late modern period. Second, we seek to elucidate the publishing activities of this family.
According to contemporaneous sources, there are several pseudonyms used by Dōka in addition to the known ones written on his tombstone epitaph. By referring to related documents, it is possible to elucidate the interactions between Dōka and several teachers mentioned in his tombstone epitaph: the Confucian scholar Hayashi Tomei, the physician Yoshimasu Todo, the court nobleman and waka poet Hino Sukeki, and the court nobleman and calligrapher Ooimikado Ietaka. Furthermore, the details of the tea ceremonies held by Dōka at the Ginkakuji Temple in 1795 and the following year can be clarified from the articles in the supplementary edition of Miyako Rinsen Meisho Zue. In addition, several portraits of Dōka, including one painted by Tani Bunchō, were analyzed.
Dōka's collection of antiquities is included in Niimarijo, compiled by Tamada Seisho and published in 1787, as well as in Shuko Jussyu and Shukomonjo, compiled by Matsudaira Sadanobu. Over time, Dōka's collection gradually gained fame throughout Japan. This trend was spurred on by his publishing activities. Details of the woodblock reproductions of antiquities published by Dōka can be found in Ozaki Masayoshi's Gunsho Ichiran.
There is no evidence of any cultural activities by Yoshida Shuku (1768-1832), the head of the Yoshida family after Dōka. However, Yoshida Bin (1812-1869), the next head of the this family, used his collection to socialize with various people, as did Dōka. The above matters can be clarified from their epitaphs and related documents.
ReitoKaku Cho is a book that contains illustrations of the antiquities collection published by the Yoshida family. There are two types of ReitoKaku Cho in existence, and it is presumed that they were published during Bin's lifetime. I have argued that he must have taken the initiative in producing this book.
Through the above investigations, this paper attempts to explore the historical background of the compilation of the Reitokaku-Shukocho in the collection of the National Museum of Japanese History.departmental bulletin pape