戻る　 ジョーモン・カタログ　４月　２０１５／０4／０９　～　　　　Kenji Toyoda

原稿-４月 Catalog-3 The first term 3-1 Sketch – No.035 (1) Possession Gunma prefectural history museum (2) Location Takasaki-shi, Gunma (3) Exhumation place Hatimanyama ruins, Kitatatibana-mura (5) My personal impression — 　このように豊かにふくらむ土器はどのように作られたのだろう。ふつうに立てたままでは難しい。逆さにしてロープ状の粘土を積み上げるか。もちろん、この複雑な形状の口から直ちに取りかかるわけにはいかない。 　How would the earthenware vessel which greatly swelled out in this way be made?　About this earthenware vessel, it is difficult to make it by the situation that let it stand.　He inverted it and did he pile up clay of the ropiness?　In that case, he cannot start it from the mouth of this complicated shape promptly. 　この土器の特徴は頂点が２つということ。これは本州では珍しいことだ。口辺は、その２点からつり下げられたような形に作られている。その外側に一段さがって棚のような出っ張りが取り巻く。棚の低まった両側には２枚の板が立て掛けられる。それらには何か物を小刻みに押しつけたような凹凸がある。注ぎ口の中には内部に続く穴がない。ふくらんだ側面にはいくつも走る２条の筋。これらの形や表面のせいだろうか、上部には構造的な丈夫さ、土器全体には堅さと不思議な華やかさを感じる。 　A characteristic of this Utuwa is to have two peaks in the upper part.　This is rare in Honshu.　The form of the mouth is made as hung from 2 peaks.　It goes down by one step in the outside and sticks out like a shelf.　On both sides of Utuwa, two pieces of boards are leaned against the place where a shelf was lowered.　They have the concavity and convexity that they pushed something to little by little.　A beak of Utuwa does not have a hole passing inside.　In the trunk which swelled out, it is put many two lines. 　I feel structural robustness in the upper part.　And I feel hardness and mysterious gorgeousness in the whole. 　このかたちには、ほかの容器や祭器にはない独特な雰囲気がある。実用からはかけ離れているので、何かの目的を持った飾り物だろう。まるで豪華、厳粛な祭壇のようだ。このかたちに飾らなければならなかった彼らの心の動きに思いをはせる。 　In this form, there is a unique atmosphere not to be seen to other containers and ritualistic implements.　Because I am remote from practical use, I think that it will be the decoration with some kind of purposes.　It is somewhat luxurious, and it is like a solemn altar.　I think about the movement of their heart that had to decorate this form.(4/9) 3-2 Sketch – No.036 (1) Possession Gunma prefectural history museum (2) Location Takasaki-shi, Gunma (3) Exhumation place Hitomi ruins, Annaka-shi (5) My personal impression — 　この器の特徴は、とがった峰のような１つだけの突起にある。すべてはここを中心に構成される。 　The characteristic of this Utuwa is the projection such as one pointed peak.　All is structured focusing on here. 　注ぎ口を正面にしてほぼ左右対称だ。器の反対側を見ることができなかったが、後方の同心円模様は両側にあるらしい。峰と注ぎ口の間には背びれのようなひだが立っていたらしい。注ぎ口の欠けた様子を見ると途中で折れたようにも見えて、その先端はもっと高く突き出ていたかもしれない。下についた台は器の構造にはあまり関係がなく、器を持ち上げて見せるために付け加えられたもののようだ。 　Utuwa is approximately symmetric when I watch a beak as the front.　I was not able to look at the other side.　Both sides of Utuwa seem to have the concentric circle pattern.　The fold such as the dorsal fin seemed to stand between a peak and beaks.　The beak of Utuwa is chipped.　It seemed to be completely broken at the middle.　The top of beak might be originally given more highly. 　The stand under Utuwa seems to have nothing to do with the structure.　It is like the thing which was added to lift Utuwa. 　峰は口を取り巻いているテープ状の面をつまみ上げたようにしてできている。両側に置かれたレリーフはこの峰に集められる。見る者の視線は、必ずここに誘い導かれる。これは何の高まりを表そうというのか。この器は何らかの祭祀に使われた道具のようだが、6000年前の人々はそれにふさわしい装飾を目指した。 　A tape-formed aspect surrounds a mouth of Utuwa　The form of the peak is thing that has been raised by pinching the tape-like surface.　The reliefs of both sides are collected to this peak.　The viewer’s gaze is always invited to here.　This seems to be going to express uplift of the mind.　This Utuwa is like a tool used for some kind of religious service.　And the people 6,000 years ago gave the decoration appropriate for it.(4/12) 3-3 Sketch – No.121 (1) Possession Yamanashi Pref. Archaeological Museum (2) Location Kohu-shi, Yamanasi (3) Exhumation place Hanatoriyama ruins, Huehuki-shi (5) My personal impression — 　その部屋には同じ装飾を施した土器がたくさん並んでいる。装飾は、細い粘土ひもを置き、その上に小さな半円形の型を連続して押したものだ。これは彼（彼女）の眼に負担の大きい細かい作業だ。全部遣りおおせるには長時間を要したにちがいない。 　I watched much earthenware of the same decoration in the room.　The decoration puts a thin clay string and pushes the small semicircular pattern in succession there.　This is big careful work of the burdens to his (she) eyes.　He must have needed long time until he ended work of this Utuwa. 　この器は、そうした中のもっとも華麗で優美な鉢だ。鉢は胴の下の方がややふくらんでいて、帯のような横の線が胴を軽く締めている。つぎに口は思い切り広がって四つの先端を鋭くのばす。器の容量は十分にある。全体のかたちは、たとえば両手首を合わせて、すべての指を伸ばして広く開いたかたちだ。 　It is more splendid than those much Utuwa and is elegant.　A lower part of the body of Utuwa swells out a little and puts on a thin belt on the trunk.　The mouth widens it vigorously and grows four projections sharp.　Capacity of this container is enough.　About the overall form, for example, a person puts both wrists together and his all fingers are open form widely. 　何重もの円が表面にいくつも配置されていて、それがすべてこの細かい押し型で丹念に刻まれている。特に規則的に並べたわけではない。この文様はある角度で見ると胴のふくらみをより豊かに装う。この円は中心からたどっていくと実は渦巻きで、巻いた線は隣の図形に重なったりしてたいていは途切れてしまう。器の表面はこの細やかな装飾で満たされる。これらのかたちや装いのせいか、容器は全体にゆったりとした姿を見せている。 　The circle overlapping lot are arranged without a gap there.　All patterns are carefully placed in this fine engraved.　The magnitude of the circle is not particularly mean arranged regularly.　This pattern is seen by the swelling of the body more wealthily when I look at a certain angle.　This pattern shows the swelling of the trunk more abundantly when I watch Utuwa at a certain angle. 　When this circle follows it from the center, in fact, it is a spiral.　Its rolled lines, would usually interrupted by overlap or next to the figure. 　The surface of the Utuwa is satisfied by this delicate decoration.　Probably because of these form and clothing, the container is showing a figure which is spacious throughout. 　この技法の可能性は作り手の意欲をたいそうかきたてるのだろう。彼は大きな成果を期待してへら先を慎重に運びつづける。できあがった土器を身近においた人々は日々大いに満ち足りていつまでも愛でる。ここには現在と何も変わらない感性を持った人々がいる。 　The possibility of this technique will so excite the will of the artist.　He continues moving a spatula end carefully while expecting big result.　The people who put a completed the Utuwa close are contented very much every day and enjoy it forever.　There might be people with the sensitivity same as us in those days.（4/14） 3-4 Sketch – No.138 (1) Possession Tokyo National Museum (2) Location Tokyo-to (3) Exhumation place Shimoda-tyo ruins, Kohoku-ku, Yokohama-shi (5) My personal impression — 　これを見て思わずその口に目をとめる。すぐ気がつくことは、この器の口が少し狭められていること。ほんの僅かだが確かに上が狭めてある。浅い円筒形の入れ物を作ろうとしたとき、誰でもこんな風に円筒の上を細めるだろうか。 　I notice the mouth to see this unintentionally.　I saw a mouth of this Utuwa was narrowed a little.　It is just slight, but the top is surely narrowed.　When somebody was going to make a shallow cylindrical container, will he narrow the cylindrical upper part in this way? 　器の側面の模様や、その上下にはめられた輪を見ると細く裂かれた竹で編んだ籠のようにも見える。そんな籠がごく普通に日頃から使われていて、よく似た形の器ということでそれを模したのかもしれない。その結果として、器の上下に堅牢な感じを与えている。とくに上にはめられた輪は広がろうとする円筒を締めて止めているような確かさをかたちとして見せる。 　I look at the pattern of the side of the Utuwa, and look at the ring that has been fitted to the part of the top and bottom. 　Then it looks like a basket of knitted bamboo that people tore thin.　Such a basket might be usually used commonly.　They will of imitating it as a similar form of the Utuwa .　As a result, it has given more robust feel for the portion of the top and bottom of the Utuwa.　In particular ring are fitted to the top, it appears that tightening the cylinder to spread. 　このように上を狭めた器は現在でもときどき目にするように思う。たとえば、茶道に使われる楽焼きの器。この5000年近く前の土器も、それには少し大きいかとも思うが、両掌に挟んで口に運ぶにちょうどよいかたちなのだ。ただ、この器の場合は底に高台があるわけではない。底全体がやや凸面にされてふくらみ、そのために周囲が少し浮き上がっている。 　The Utuwa who narrowed the top in this way thinks that I sometimes see it now. For example, it is a teacup of “Rakuyaki” used for tea ceremony.　I think whether the earthenware vessel these nearly 5,000 years ago is slightly big in it.　Before the earthenware this 5000 year nearby, might be a little big for it.　But, it’s a just a good form to carry the mouth sandwiching this on both palms. 　However, in the case of this Utuwac, there is not a “Koudai” at the bottom.　Whole bottom is bulging become slightly convex.　Therefore the Utuwa is slightly lifted from the base. 　器を上からのぞき込むと、底の隅に角はなくなめらかに湾曲する。発掘されたとき、その破片はかなりの部分が出土したらしい。側面では出土しなかった部分がよく見えている。底の場合は、その破片がどのくらいあるか分からない。 　注　Rakuyakiはフリーハンドで作られた日本の陶器です。 　注　Kodaiは日本のティーカップの底に付けられたリング状の基台です。 　I look into from above the Utuwa.　The corner of the bottom does not have an angle, and what curve smoothly is seen there.　When the Utuwa has been excavated, the broken piece seems to have obtained a lot.　At the side of the container, I can confirm the part which was not provided.　In the case of a bottom, I do not know where there is the broken piece. 　　”Rakuyaki” is Japanese ceramics made freehand. 　　”Kodai” is a ring-shaped base attached to the bottom of Japan’s teacup. 3-5 Sketch – No.175 (1) Possession Asahi-mura Okumiomote History Museum (2) Location Niigata-ken (3) Exhumation place Atiya taira ruins, Asahi-mura (5) My personal impression — 　この土器はわずかな出土破片をもとにして何とか再生されている。多分、破片はひどい状態で出たのだろう。その多くは角がすり減って丸くなったり、破片どうしをつなぎ合わせても透き間が多かったりする。 　This earthenware vessel is reproduced from a slight exhumation broken piece somehow.　Probably the broken piece would appear with a severe situation.　As for most, a corner wears down and curls up, and there are many gaps even if the pieces which the neighbor should match are connected. 　それでも、大まかに白く補足されたかたちからは思いがけない優雅な姿を想像させる。口辺は円筒状の細めの胴から思い切り広くみごとに開く。胴の下の方は出土しなかったようだが、真横から見ると円筒はそのまま下につづくように見える。もう少し下に伸びて底近くでやや広がって閉じる、というのはどうだろうか。 　Still it lets me imagine an unexpected elegant figure when I look at the form supplemented white roughly.　The mouth side is open from a cylindrical body wonderfully most widely. It open wide brilliantly as possible from the body of cylindrical. The lower part of the trunk was not excavated. 　When I look at the cylinder from the side, it even seems to follow the below.　It continues a little more to the bottom and may open a little at a bottom. 　上でひらいた口辺の端はほとんど失われている。たまたま運良く見つかった正面の一部から全体のようすが分かったのだろう。容器の上部は勢いよく広がって、その先になかなかしゃれた縁どりを見せていたのだ。この縁どりは本体ができてから取り付けられたようで、一部に剥がれ落ちたあとが露出している。 　As for the Utuwa, most of the tip of a widened mouth have been already lost.　Fortunately, overall form was understood from a part of the found front by chance. 　As a result, the upper part of the container are spread vigorous, it was confirmed that it was showing a gorgeous shape at the tip.　This shape is like mounted after the could bowl body, traces of peeling a part is exposed. 　この器は横から少し見あげるようにして眺めることが多かっただろう。広がった口はひさしのように張り出している。その下には、波もようがある。それは細い粘土のひもをおいたもので、２段あり、そのあいだには別のもようがならんでいる。そこには下げられた円弧が等間隔にあったようだ。上下の波もようのあいだには何かのもようが順にくりかえされていたらしい。これらの文様は上部にまとめられ、その下には斜めに流れる縄文だけが一面にあったようだ。 　I think that it was usual that the people look up at this bowl a little from the side and look.　The expanse of the mouth overhangs like sunshade.　Under it, there is a wave pattern.　It places by a strap of thin clay.　There are two columns it.　A different pattern is put in the meantime.　A hung arc is put at equal distance there.　Some kind of patterns were repeated between the wave patterns sequentially. 　These patterns are gathered up in the upper part of Utuwa.　Only the straw-rope pattern flowing diagonally below overspreads the aspect. 　この器ができたときの、真新しく置かれたそのすがたを思うとたまらなく心が騒ぐ。 　I imagine the scene which this earthenware completed at that time.　It is brand-new earthenware to be put there.　My heart flutters secretly by all means when I imagine such a scene.(4/20) 3-6 Sketch – No.229 (1) Possession Yokohama City History museum (2) Location Yokohama-shi, Kanagawa (3) Exhumation place Sakuranami ruins, Tuzuki-ku (4) Other data — Jomon earthenware form of the Kansai district. (5) My personal impression — 　このデザインの特徴は器の上部で大きな空間を占有するところにある。それは各頂点を構成する線やふくらみが醸し出す包み込むような動きによる。あの東北地方の一部の器の持つ巨大な突起空間と同じものだ。しかし、これは「大歳山（おおとしやま）式」と呼ばれる関西方面の土器で、当時の交易等により神奈川県鶴見川流域にもたらされたものなのだという。 　This Utuwa occupies large space at the upper part.　Each projection in the mouth swells out and seems to be going to wrap up something big.　It is a thing same as the state of the huge projection that some Utuwa of that Tohoku district shows. 　However, this is a kind of the ancient earthenware of the Kansai district known as “the Outosiyama type”.　It is said that it is a thing brought in the Kanagawa Tsurumi River basin by the trade of then people. 　この器のもう１つの特徴はそのかたちや文様が整然としている点だ。４つの峰の位置を軸として、四方八方から見ていずれも左右対称だ。これは縄文式土器ではあまりないことだ。突起が４つだったせいもあるかもしれない。文様はどの突起の下も同じになっている。突起と突起のあいだの文様も同じだ。すべて、四回ないし八回くりかえされている。もっとも、裏側を見ていないので周囲すべてを確かめたわけではないが、おそらくその通りだと思う。 　Another characteristic of this Utuwa is the point where the form and pattern are orderly.　Seeing from all directions, all are symmetric as an axis at the position of four peaks.　There are not many these in the Jomon ware.　It might be also due to projections was four. 　Pattern is also becomes to the same under any projections.　Pattern which is in between the projections also the same.　All of these are repeated four times or eight times.　However, because I have not seen the back, it is not confirmed all. But I think I’m probably likely. 　この器の装いは豪華な線もよう。口辺では峰の高まりに応じてうねる波。胴に締めるベルトを軸に大きく交差していくライン。下段では上のかたちを支えて連なる円弧。その文様は変化に富み、すべてのラインはなめらかに無理なく流れ、配置される。 　The decoration of this Utuwa is a pattern of a luxurious line.　There is undulating waves around the mouth.　It is depending on the rising peak.　There is a line crossing on a belt to fasten around a trunk.　The lower is circular arc continuing to support the form above. 　The pattern is full of changes, and all lines flow smoothly and are positioned.(4/22) 3-7 Sketch – No.274 (1) Possession City Hakodate museum (2) Location Hakodate-shi, Hokkaido (3) Exhumation place Todohokke- ruins, Hakodate-shi (4) Other data –Model of the Todohokke-style (5) My personal impression — 　文様は不思議な線の流れを見せる。同じような線の重なりは全体を単調にさえ感じさせる。しかし、気をつけて見ると中程の三本の線はまとまって波打ち、とぎれずに器を一周している。また、全体の中の各部分はすべて上の四つの頂点に対応している。これらの規則は緩やかな流れの中に隠されてすぐには目立たない。 　The pattern shows the flow of a mysterious line.　For the heap of the similar line, I feel the whole to be monotonically.　However, when I look carefully, three lines of the middle wave together.　It goes around Utuwa without being interrupted.　In addition, all of each pattern is related to four peaks of the mouth of Utuwa. 　These placement plan is hidden in a gentle flow and does not attract attention immediately. 　この図の位置から見るとはっきりしないが、支持パイプの下には３本ないし４本の横線がある。さらにその下には底の中心に向かって縦線が並んでいたらしい。 　Under the display support pipe, there is the horizontal line of three or four.　And in the lower part, vertical lines seemed to be drawn towards the center of the bottom.　However, judged by the position of this picture, they do not become clear. 　このきわめて意図的な文様構成は、目立たない表現の中でいっそう謎めいてくる。ここには様々な線の流れを密やかに織りなす華やかな世界がある。これは何かの目的があってのデザインなのだろうが、それはそれとして、この器の装いに取り組んだ人物はこの独特の表現を楽しんでいたかもしれない。 　This extremely intentional pattern composition comes to seem to be still more mysterious for expression not to be noticeable.　Here is the gorgeous world secretly, and the flow of various lines continues weaving it.　This design will have some kind of purposes.　And this unique expression might be also the work that was very pleasant for the person who worked on the decoration of this Utuwa. (4/27) 3-8 Sketch – No.317 (1) Possession City Kasiwazaki museum (2) Location Kasiwazaki-shi, Niigata (3) Exhumation place Nabeyatyo- ruins, Kakizaki-shi (5) My personal impression — 　口辺部に透かし彫りふうの模様を刻む土器。実際には彫りが深い表現で透かしではない。これは縄文ではあまり見ない。もっと自由な波形がこの狭い場所に押し込められたのかもしれない。 　Earthenware to put the pattern of the openwork style in the lower part of the mouth.　It is not really watermarks by clear-cut expression.　I do not watch this pattern very much in Jomon.　In fact, more free waveforms might have been pushed into this narrow place. 　側面では山梨県でたくさん見た模様（3-3 Sketch – No.121）の付け方。曲面で流れる線の変化がおもしろい。容器下部の文様が欠けているのが残念だ。しかし、側面の半分近い出土部分がそろっているので文様構成のだいたいは想像できる。 　I saw a lot of patterns that are drawn to the trunk of this Utuwa in Yamanashi Prefecture.（3-3 Sketch – No.121）　I think variation of the line flows in curved surface is interesting.　It regrets it that a pattern of the lower container is missing. However, there is an excavated portions of about half.　Therefore I can imagine most of the pattern composition. 　巨大な渦巻きには吸いよせるような力がある。そこへ斜めの線たちが集まっていく。これらは胴の水平線で上下に分けられ、巧みにバランスを取りながらそれぞれ繰りかえされる。土器の側面をキャンバスにした繊細な表現、雄大な構成。口辺の無機的な文様との対比は巧妙。 　この器のかたちと欠けた文様をそのままに、現代の素材で置き換えてみる。たとえば、織部釉を掛けた陶器などはどうだろうか。 　The huge eddy has power attracting.　Diagonal lines gather there.　Pattern is divided into an upper and a lower by a horizontal line of the trunk.　The pattern is repeated each while keeping the balance skillfully.　It is a delicate expression painted on canvas of earthenware, also, it’s a majestic configurations.　The contrast with this pattern and upper inorganic pattern is smart. 　I imagine the case that made this Utuwa in modern material.　And, it is making a lost pattern as it is.　For example, what about such Oribe glaze earthenware.(4/29) 3-9 Sketch – No.311 (1) Possession Akita Prefectural Buried cultural assets Center (2) Location Senhoku-shi, Akita (3) Exhumation place Ikeuti- ruins, Odate-shi (5) My personal impression — 　これはなんと豪華な姿。輪郭の曲線は思いがけない均整を見せ、上下の文様は不思議に大胆なくみあわせだ。何かの偶然で凡庸な手が生み出した見事な対比か。上の細かい横線はこれといった主張もなく目立たないものだがこのようにくびれたかたちにはこれしかないのかもしれない。そのすぐ下からいきなり華やかな木目模様が底近くまで降ろされる。この器では、口に波のうねりを乗せず、とがった突起も出さない。すてきな感性による選択。 　Is this what a gorgeous figure.　The curve of the outline shows surprising balance.　The upper part and the pattern with the lower part are bold combinations strangely.　Will this be the wonderful contrast that a mediocre hand brought about by some kind of coincidence? 　The upper thin horizontal line is not outstanding without a particular claim.　There may be only this method for the form constricted in this way.　From the lower part, a gorgeous grain of wood pattern continues immediately to the bottom of the Utuwa. This Utuwa does not put the undulation of the wave on the mouth, and the sharp projection does not occur, too.　It is a selection by the nice sensibility. 　これは貯蔵用の土器だという。口の下のくびれたこのかたちは何かでできた円盤状のものでふたをするのに都合がいいのだろうか。また、これなら幅ひろい草の葉や編み布をかぶせてひもで閉じておくことができる。 　It is said that this is an earthenware for storages.　This form of constriction under the mouth, a good convenience to the lid with those of disc-shaped.　In addition, it covers with something and can be closed with a string.　To do so, it is wide leaf and knitting that they might use. 　木目もようはこの列島の５千年以上前の人々によるすばらしい発明の１つだ。もようを押し印すの道具は、短い細枝と短い細縄。細縄の中央を小枝の中央に当て、左右に巻いたものらしい。巻きが解けないように工夫をする必要があるだろう。このもようは様々な表情を見せるのでデザイナーの意欲を搔きたてたにちがいない。 　The grain of wood design is one of the splendid invention by the people more than 5,000 years ago that lived in this chain of islands.　A tool for people to push a pattern on the clay is a short thin branch and a short thin rope.　It put the center of the branch on the center of the rope and seemed to be wound around right and left.　However, the situation will have to think it up so that a roll is not removed.　Because there were many variations, this design would excite the will of the designer. 　この器ではくびれのすぐ下から底に至るまで何度も根気よくその道具を転がしている。くびれともようの境目に目立つ区切り目などは置いていない。強烈なもようの開始ラインで十分なのだ。この器のすっきりしたかたちは、押し印されたもようの効果を最大限に発揮させている。 　The artist of this Utuwa rolls the tool patiently many times from just below the constriction to a bottom.　He does not put the boundary line which is outstanding between a constriction and patterns.　It is enough only by a unique pattern being started here. 　This Utuwa shows the natural figure neat.　As a result, I think that the pattern pushed to the clay is very effective. (5/1) 3-10 Sketch – No.312 (1) Possession Akita Prefectural Buried cultural assets Center (2) Location Senhoku-shi, Akita (3) Exhumation place Ikeuti- ruins, Odate-shi (5) My personal impression — 　まっすぐ上に開く器の側面はあたかも平たい板の上で転がしたかのよう。口辺の帯以外は一様に隙間なく矢羽根文様を積み重ねる。細かい線の向きが入れ違いに変わることだけでこんなにも不思議な表情を見せている。 　The side of the Utuwa is opened straight up towards the top.　The form seemed to be rolled on a flat board.　It places all in “Yabane pattern” other than the belt of the mouth without a crack.　Here, the direction of a small line only changes.　I watch the facial expression that is so wondrous there. 　容器のこの簡潔な輪郭、装いを見るとかたちや装飾は予想以上に洗練され、その感性は原始時代とか土俗的とか未開とかいわれるものとはまるでちがう。 　Form and the decoration are refined more than expected when I watch this concise outline and clothing of the Utuwa.　Normally, I think there are things that you associate with words such as “primitive times” and “folk manner” and “uncivilized”.　However, I think the sensitivity of this artist to be totally different from it. 　矢羽根文様は細枝に図の方法でロープを結び巻き付け、粘土面に押しつけ転がしたものだという。この器の場合は、その外形と同様に非常に慎重な作業が行われ、また簡素な表現になっている。文様の並べ方は単純で機械的だがその視覚に与える効果は大きい。 　The picture put to the right shows the scene which wound a rope around a thin branch.　”Yabane pattern” is, that’s what it was rolled while pressed against the clay surface.　In the case of this Utuwa, very careful work was carried out same as the external form.　In addition, it is simple expression. 　The arrangement of the pattern is mechanical, but the effect to give the sense of sight is big. 　当時の人々はこの表現の効果に気づいてたいへんお気に入りだったようだ。この地方のかなり広い範囲でこの矢羽根文様が盛んに使われていた。特にこの地ではこの背の高い器のかたちの独特の文様として多くの土器が出土するらしい。 　The then people noticed an effect of this expression and seemed to be a favorite very much.　This “Yabane pattern” has been used extensively in large areas of this region.　Especially in this region, it seems often excavated as a unique pattern of this high back earthenware. 　日本列島では、歴史時代に入ってその中世から、この文様によく似た矢絣文が使われた。それはごく最近まで和服の装いにもよく見られたものだ。 　In the Japanese Islands, “Yagasuri pattern” similar to this pattern was often used from the Middle Ages of the Historic Times.　It was seen in design of “Wahuku” well extremely until recently. “Wahuku” is Japanese clothes (Kimono). 　(5/3) 3-11 Sketch – No.373 (1) Possession Ebetu City Kyodoshiryokan (2) Location Ebetu-shi, Hokkaido (3) Exhumation place Remains in Ebetu-shi (5) My personal impression — 　あきらかに縄を飾った土器。これは、「当時の人々のあいだに流行していた文様の１つがわれわれには偶然に縄飾りのように見える。」というのではないだろう。紐状のものの途中で輪を作って垂らすという場面が当時の人々の生活の中に、ごくふつうにあったにちがいない。また、鉢や壺の首に縄そのものを巻いて使うこともよくあったことかもしれない。 　The earthenware that this was given glory to clearly by a rope. 　”In fact, this is not a rope decoration, and it is accidental that we can see like that”　Such words do not apply to it here. 　This makes a ring in the middle of a string and is a scene hanging it down.　I think the scene to have been extremely common in the living of then people.　In addition, the people wound a rope around Utuwa and actually might often use it. 　この展示館には、どこまでも続く長大な棚に非常にたくさんの土器が並んでいる。この器と同じ年代のものが集められた所には「縄飾りのある土器」が目立って多い。この器が作られたとき、周辺にはいろいろな縄デザインが行われていたらしい。「縄」文化はこの時期のこの地方でごく一般的なものだったのだ。 　In this exhibition room, a great many earthenware lines up on the large-scale shelf following forever.　”The earthenware with the rope decoration” is outstanding much in the place where the things of the generation same as this earthenware were collected.　When this Utuwa was made, various rope designs seemed to be carried out in this area.　The “rope” culture was an extremely general thing in this district of this time. 　人々は手に入れられる様々な繊維を利用して糸やひもを撚り、布や網やロープを編み上げ使っていた。草や蔓を編んだ籠の場合は、そこにロープをさかんに利用しただろう。彼らは籠の口の周りを縄で締めたり、人の手や木の枝に縄で吊り下げたりもしただろう。そんな使い道には関係なく、ただ籠のための飾りだったことさえあったかもしれない。 　The people twisted a thread and a string with various fiber which they could obtain and made cloth and a net and a rope and used it.　When they knit a basket with grass and a vine, they would often add a rope there.　They wound a rope around a basket.　And they would use the rope again to hang the basket by hand.　When they hang a basket to the branch of the tree, it is the same. 　Or, regardless of such a use, it might be only the decoration for baskets. 　この器のデザインは、この時代の人々のこのような生活の中で生み出されたことは容易に想像できる。また、土を焼いて作るかたちの装飾に、そのような思いつきができる柔軟な感性にも思いをはせる。 　It is easy to imagine that the design of this Utuwa was brought about among such a life of people of this period.　In this case, however, it is the decoration to the form that can by burning soil.　I admire the flexible sensitivity that can have such on a whim.