Chronology and Bibliography of MATSUGI Takehiko

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Contents

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[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

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

[Research Notes] Characteristics of ‘Reitokaku-Shukocho’ and Background of its Compilation : The Gaze on the Past in the Late 18th Century

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[Research Materials] The Reprint and Commentary of the Documents of Morikawa Toen Preserved in the Hashimoto Family : Copies of the Shōsō-in Treasures and its Utilization

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[Research Materials] Siebold’s Open Letters from Japan, Part I ： The First and the Third Open Letters in Japanese Translation

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[Research Notes] Basic Study on Seal Chapter of ‘Reitokaku-Shukocho’, Formerly Owned by the Yosida Family (Settsu, Sumiyoshi)

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[Article] Archaeological Materials Depicted in the ‘Reitokaku-Shukocho’ : Focusing on the Collection of the Kansai University Museum

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

[Research Materials] Discussion of Trees in “Botanical Garden of Everyday Life” from the Wood Samples of “Japanese Commercial Wood” and Its Handbook “Japanese Wood”

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Progress and Overview of the Collaborative Research

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