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[Research Materials] Painting Techniques in the 16th Century in Italy
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[Article] Problems of the Gregorian Calendar Adopted as Part of the Meiji Reforms : What is a Typical Japanese Calendar?
Get PDFapplication/pdf明治五年一一月九日の改暦の詔書には、「四年毎ニ一日ノ閏ヲ置」とのみ置閏法の記載がある。天文学者・内田正男などは、これではユリウス暦法の置閏法であり、四〇〇年に三回閏を省くというグレゴリオ暦の規約が落ちているとして、「不備」を指摘してきた。
現代の日本では、改暦でグレゴリオ暦が採用されたと通念的に理解されている。これは決して間違いとはいえないが、明治改暦当時において事はもう少し複雑で、政府は太陽暦の採用を謳ったが、グレゴリオ暦法を採用したとは明言しない。本稿では、政府が後に「不備」を指摘されるような書き方をした背景を考察した。そのなかで、①明治政府がグレゴリオ暦の置閏法を正確に把握していたことを具体的に示すとともに、政府にとって明治改暦は未完の改暦であった、②改暦当時、国体が表現され、伝統的な暦日意識にも合致する日本独自の暦を要請する声がかなり強くあった、という二点を確認した。
改暦前後期には、暦に関わる様々な意見と改暦案が政府に建言された。例えば市川斎宮は改暦直前に正院に改暦案―グレゴリオ暦に準じ、四〇〇年に三度閏を省く特別の年を算出する方法として、皇紀に則り、皇紀二六〇〇年を閏年、二七〇〇年、二八〇〇年、二九〇〇年を平年とする―を提出した。他の建言の多くも、西洋暦の受け売りではなく国体を反映した暦を要望する。
詔書の「不備」は、それ以上の言及が問題を惹起する可能性があったからではないか。改暦は、日本が未だキリスト教禁教下にあった時期に行なわれた。一〇〇年毎の特別の平年を、イエス誕生を紀元とする西暦で算出することは、国体に即した暦を要望する声が強いなかで説明が難しかったであろう。とはいえ市川のように皇紀を導入すると、欧米と暦日のズレを生じる。この議論は結局、明治三一年まで持ち越され、明らかにグレゴリオ暦と同一だが、日本独自の皇紀による暦法の規定が付け加わった(勅令第九〇号)。The imperial edict on the reform of the calendar on November 9, 1872, describes how to set leap days with the phrase “set a leap day every four years.” Astronomer Masao Uchida and others have pointed this out as an imperfection because this approach applies to the Julian calendar and does not reflect the fact that the Gregorian calendar omits 3 leap days over every 400-year period.
It is generally understood in Japan that the Gregorian calendar was adopted during the Meiji reforms. Although this conventional understanding does not necessarily constitute a mistake, the situation at the time of the reform was complicated. The government advocated the use of the solar calendar but did not clearly promote the adoption of the Gregorian calendar.
In this paper, I consider the background behind the government’s writing style, which was later pointed out as an imperfection. I also confirm the following three points: (1) The Meiji government accurately grasped how to set the leap day of the Gregorian calendar; (2) for the government, the calendar adopted in the reform was not a complete version and had to be continuously modified; and (3) at the time of the reform, there was a strong demand for a calendar unique to Japan to reflect the national polity and fit the time sense of the traditional calendar.
The reason for the imperfection in the imperial edict may have stemmed from the fact that further reference to leap days could have caused problems. The calendar change happened when Christianity was still prohibited in Japan. Therefore, it would have been difficult to calculate a special normal year every 100 years according to the Western calendar system based on the birth of Jesus in the Christian era because there were strong calls for a calendar based on the national polity. However, if imperial records were introduced (as Ichikawa did), the dates would differ from those in Europe. In the end, this argument was carried over to 1898, and although the resulting calendar was the same as the Gregorian calendar, the calendar rules based on the original from the Japanese Imperial era were added.departmental bulletin pape
[Research Notes] Issues Concerning the Status of Former Shogunate Retainers Shown in the Petition Campaign for their Welfare
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[Report on Investigation and Research Activity] Mitochondrial DNA Analysis of Human Bones of theYayoi Period Excavated at Asahi Site, Kiyosu-shi, Aichi Pref.
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[Report on Investigation and Research Activity] Mitochondrial DNA Analysis of Human Bones of the Kofun Period Excavated in South Kyushu. : Shimauchi Underground Corridor Style Burial Chambers, Machidabori Site and Tachionobori Site
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[Article] The Lacquer Arts of Ryukyu and Okinawa
Get PDFapplication/pdf1429年に成立した琉球王国は，1879年の沖縄県設置までの450年間にわたり，独自の国家を保持してきた。14世紀から始まる中国との冊封・朝貢関係に加え，1609年の薩摩・島津氏の侵略以降は，日本の幕藩体制にも組み込まれる日支両属の関係が続いた。琉球王国は，中国や日本，朝鮮そして東南アジア諸国との交易を経済基盤とした国家運営方針を図った。その結果，琉球ではアジア諸国の人・モノ・情報が行き交い，国際色豊かな「琉球文化」を創出した。とりわけ，漆器は中国皇帝や日本の将軍や大名への献上品であり，さらに経済基盤を支える交易品として王国外交を支えた。王府は漆器の生産管理部署として貝摺奉行所を設置し，王国の誇る漆器の品質保持に努めた。琉球では，材料や技術などをアジア各地に求めつつも，その湿潤な風土が螺鈿・沈金・箔絵・堆錦など豊かな加飾技法を育み，特色ある琉球漆器の美を確立した。
1879年(明治12)の沖縄県設置により王国は崩壊し，献上漆器の生産の中核であった王府機構の貝摺奉行所も解体した。以降，沖縄県の漆器は殖産興業として民間工房へと製作が転換していった。「王朝文化の華」と謳われた琉球王国の漆芸であるが，王国の崩壊や今次大戦の戦禍により伝世品や技術などが消滅した。
僅少な史資料の琉球漆芸であるが，近年の理学調査による分析研究の成果で，科学的・客観的な情報が共有され，新たな琉球漆芸のすがたが構築されつつある。
本稿では，文書記録類や現存作品に管見ながら可能な限りあたることとした。「琉球漆芸史の概略」，「琉球列島の漆樹」，「王家に関わる可能性のしるし」，「琉球国王から中国皇帝へ献上された漆器」などの観点から述べる。The Ryukyu Kingdom, established in 1429, preserved their nation for 450 years until the establishment of Okinawa Prefecture in 1879. In addition to the tributary relationship with China that began in the 14th century, bilateral relations embedded in Japan’s shogunate system continued since the invasion of the kingdom by the Satsuma and Shimazu Clans in 1609. The Ryukyu Kingdom devised national administration policies with their economic foundation based on the trade with China, Japan, Korea, and various other Southeast Asian countries. Consequently, people, goods, and information from various Asian countries passed through Ryukyu, and an internationally rich Ryukyu culture was formed. In particular, lacquerware were presented as offerings to Chinese emperors or Japanese shoguns and daimyos. Furthermore, lacquerware contributed to the kingdom's foreign relations as trade goods, thus supporting its economic foundation. The royal government established the Kaizuribugyosho as the position of managing the production of lacquerware and endeavored to maintain its quality in which the kingdom took pride. While Ryukyu lacquerware demanded materials, techniques, etc., from various parts of Asia, the wet climate of Ryukyu nurtured rich decoration techniques, such as Raden (mother-of-pearl), Chinkin (gold-inlaid lacquerware), Hakue (gold leaf pictures), and Tsuikin (Ryukyuan technique), and established the distinctive beauty of Ryukyu lacquerware.
The kingdom fell in 1879 through the establishment of Okinawa Prefecture, and the royal governmental institution that was the Kaizuribugyosho, which was the core of the production of lacquerware used as offerings, was also dismantled. Since then, circumstances began to change, with the lacquerware of Okinawa Prefecture being produced in private workshops as a promotion of industry. The lacquer art of the Ryukyu Kingdom was famed as a treasure of dynastic culture, but through the kingdom's fall and the chaos of World War II, techniques, lacquerware handed down from generation to generation within families, etc., vanished.
Although there is only a very small number of Ryukyu lacquer art historical materials, with the results of analytical research through physical investigation of recent years, scientific and objective information has been shared, and a new shape of Ryukyu lacquer art is being constructed.
In this paper, I decided to work on written records and existing lacquerware as much as possible, although it may only be within my narrow personal view. I will explain from viewpoints such as “The Summary of Ryukyu Lacquer Art History,” “The Lacquer Trees of the Ryukyu Islands,” “Symbols that are Possibly Involved with the Royal Family” and “Lacquerware Offered by the King of Ryukyu to the Emperor of China.”departmental bulletin pape