　　戻る　ジョーモン・カタログ　６月　２０１５／０６／０６　～　０７／０２　　　　Kenji Toyoda

原稿-６月
4-10 Sketch - No.122 -- P31
(1) Possession
Yamanashi Pref.
Archaeological Museum
(2) Location
Kohu-shi, Yamanashi
(3) Exhumation place
Mizukuti ruins, Huehuki-shi

(5) My personal impression --
　口辺に四つの突起をもつ鉢(注口土器)。どの突起もトンネル状になっていて口辺をとりまく斜面は通路を思わせる。向かい合った二つは対になり、通路の上で八の字を描くものと面を巻いてトンネルを作るものとに分かれる。このうち１つが注ぎ口らしい。それぞれの突起は巧妙に口辺の斜面に続いている。ここでは流れる線と面が立体的にデザインされていく。
　The bowl (spouted earthenware) which has four projections in the side of the mouth.　It becomes all projections like a tunnel.　The slope surrounding the side of the mouth lets you imagine a passage.
　As for two that faced each other, for each one makes a pair.　One draws eight characters on a passage.　The other rolls round an aspect and makes a tunnel.
One of these becomes the beak of Utuwa.　Each projection continues skillfully on the slope surrounding a mouth.
　Here, a flowing line and aspect are designed three-dimensionally.

　器の上部は特に複雑なかたちというわけではない。正面の斜めに架けられたアーチは、口の内側を巡る通路から引き出されている。まるで外側への連絡通路だ。その接続はなめらかに、また通路の中央はへこませている。この道を通るのは何か？流れる液体か？あるいは濃密な気体か？人々はどうしてこのような表現を必要としたのか。
　The upper part of Utuwa is not particularly complicated form.
　The arch built diagonally in the front goes out of the passage surrounding the inside of the mouth.　It's as if it were of passage for the contact to the outside.　It is connected smoothly and the center of the passage becomes dented.　What is it to go along this way?　Is it a flowing liquid?　Or is it heavy gas?
　Why did the people need such an expression?

　これらのかたちが通り道のように見えてしまうのは、ここにあるすべてのかたちができる限りなめらかに続いていくからだ。この、どうしても線をたどり面をなぞりたくなるデザインは、長い時間をかけて伝えられた形式の一つなのかもしれない。またそれは心の奥から自ずからわき出る衝動のようにも思われる。造形につながるこの想念は長い時間にわたって多くの人々が共有してきたものらしい。おそらく、私もあなたも例外ではない。
　Why will these aspects and lines be seen like a road to pass through of someone?　It is because all form of this mouth continues limitlessly smoothly.　As for this design, a person traces the line by all means and wants to trace an aspect.
　It may be one of the forms continued for a long time.　In addition, it seems like the impulse to spring out of the depths of the mind naturally.　This feeling to lead to molding seems to be the thing which many people shared from old days.　Probably both I and you are no exception about it. (6/6)

4-11 Sketch - No.124 -- P32
(1) Possession
Yamanashi Pref.
Archaeological Museum
(2) Location
Kohu-shi, Yamanasi
(3) Exhumation place
Itinosawa ruins, Kohu-shi
(4) Other data --Important cultural
property of the country
(5) My personal impression --
　あたまでっかちで文様の少ない奇妙なかたちの容器。持ち上げられた上部はなにか大事なものを両側から包み込んでいるよう。頂点の背面に植えられた一本の線はその伸び上がる方向を強める。帯は上下を区別するくびれ目に巻かれる。これなど、本当は少し下にずらした方が作業がしやすいのだろうけれども。下部の表現はいかにも丈夫そうだ。このデザインは、ただ文様を控えめにしたのではなく強調したいところを厳しく選んでいる。
　This earthenware has few patterns, and the head is big strange form.　The lifted upper part seems to wrap up something important from both sides.　1 line is put in the aspect going down from the top.　It develops force toward the upper part.
　The thin belt is put on to a waist of Utuwa which distinguishes the lower part from the upper part. 　I think that I am easy to do work if this is put slightly below.　Still they did not do so it.
　The expression of the lower part of this Utuwa seems to be quite durable.
　The people did not merely reduce a pattern.　They choose the place that they want to emphasize strictly.

　博物館の展示説明を見ると、この土器が出土したのは一の沢遺跡の住居跡だ。そのとき一緒に出たいくつかの土器はそれぞれが全く別の形式、特徴のものだった。つまり、別の目的で作られていた。たとえば、祈りのための祭壇に供えるにしても、それぞれが別の願い事を託されていたのかもしれない。そのためにこのような特別な表情を与えられていたのかもしれない。多分、それはこの地の小さな集落ごとに行われていたことだ。この器と同じかたちの土器はほかにもあるのだろう。
　According to the display explanation of the museum, it is a house trace of the Itinosawa ruins that this earthenware was excavated.　At that time, as for some earthenware which appeared together, each featured a totally different form.　In other words they were made with the purpose of difference.　For example, each earthenware will be entrusted with a different wish when it is offered on the altar for prayer.　To do so, these might be given a special expression.
　And probably it is to have been conducted in every small village of this area.　I think that there is the earthenware of the form same as this Utuwa still more.

　ところで、文の初めに述べたような見方は数千年前の人々の感性とどの程度重なり当てはまるのだろう。彼らはそんなことを思っていなかったかもしれない。彼らなりの理由によって器のこの場所に細い筋を設ける当然の必要があったし、器の下部にこの文様を必要としたのだ。そのこととは別に、無意識に彼らの感性がこのかたち、この姿を選んでいた部分があるとしたら、それはどれほどのものなのか。
　By the way, I spoke an impression about this Utuwa at the beginning of this sentence.　How long will it overlap with the sensitivity of ancient people?　In the case of a fact, they might not think of such a thing.　To people, there would be the clear reason that must put on a thin stripe at this place of the Utuwa.　They would need this pattern in the lower part of the Utuwa.
　Apart from it, I also imagine it as mentioned below.　There may be the part which their sensitivity chose this form, this figure as unconsciously there.　In that case, I think that they often showed sharp sensitivity. (6/11)

4-12 Sketch - No.125 -- P33
(1) Possession
Yamanashi Pref.
Archaeological Museum
(2) Location
Kohu-shi, Yamanasi
(3) Exhumation place
Itinosawa ruins, Kohu-shi
(4) Other data --Important cultural
property of the country
(5) My personal impression --
　向かって右側と前面の一部が欠けている。ほぼ左右対称の器形を想像する。人の顔だということは、二つの深い小穴で表す目と額からかすかな稜線で盛り上がる鼻でそれとわかる。幼児の顔？　心憎いほどの省略。
　顔の下は箱になっていて、前後左右4面に丸窓。前面は板状に処理されて左右に広がる。左手には蛇ふうのものが置かれる。小さな目もある。
　右手に何があったのか知りたい。完全な左右対称をさけて別のものだったかもしれない。口の周りは棚状の斜面が取り巻いている。そこに文様が並ぶ。
　As for this earthenware, the right side and a frontal part are lost.　I imagine approximately symmetric container form.　Because there are eyes and a nose there, I understand that it is the face of the person.　The eyes express it in two deep small holes.　The nose swells in a slight ridgeline from a brow.　Is it the face of the infant?　This omission is exquisiteness.
　The lower part of the face becomes the box and has a round window in four sidewalls.　The frontal sidewall spreads out in right and left.　The form put on the left resembles a snake.　It has even small eyes.
　I want to know what there was on the right.　It avoided a complete symmetry and might be a different thing.　A shelf-formed slope surrounds the mouth of the Utuwa.　A pattern is put there.

　この土器も一の沢遺跡出土。胴の下部に締める帯や底近くの表現が4-11と似ている。この展示ではこの器の中に「さな」を入れて蒸し器として使われた可能性を説明している。しかし、この派手な飾りを載せた器が日頃からよく使われたとは思えない。
　This earthenware was excavated in Itinosawa ruins, too.　The expression close to a belt and the bottom to tighten in the lower part of the trunk resembles 4-11.　This display attaches the next explanation together with a picture.
"The people put a drainboard in a step in Utuwa and might use it as a steamer"
　However, I do not think that Utuwa which this showy decoration was put on was usually used well.

　全体は見事に構成的で、細部の作りは精巧だ。すでに実用から離れたもののように思われる。この器の場合は前面が欠けて開いて見せているので、まるで何かの記念碑のようだ。
　The whole this Utuwa is constitutive wonderfully, and the making of of the details is precise.　It already seems like a remote thing from practical use.　In the case of this Utuwa, the front is missing and it is opened up and shows us the inside.　It is as if a monument of something. (6/13)

4-13 Sketch - No.147 -- P34
(1) Possession
Tokyo Maizobunkazai Center
(2) Location
Tama-shi, Tokyo-to
(3) Exhumation place
Tama-New-town No. 139 ruins,
Tama-shi

(5) My personal impression --
　大きな深鉢。これは中部地方、関東地方東部を中心に分布する土器だという。この器を飾る密集したラインは山梨県考古博物館の巨大な深鉢と同じだ。カメラを上の方へあげて口辺部をのぞく。容器の口は内側へ傾斜した面がつくる輪になっている。側面のすべてのラインはその傾斜面まで入り込む。
　This is a big deep bowl.　It is said that this is earthenware excavated well mainly on the Chubu District and the eastern part of the Kanto district.　This Utuwa is decorated by dense lines.　It resembles a big deep bowl of the Yamanashi archaeology Museum.
　I lift up a camera towards the top and look in adoral.　The mouth of this Utuwa has a slope to the inside.　The slope surrounds a mouth.　All lateral lines of the Utuwa go on the slope.

　胴の上の側面には細い粘土紐が張り付いている。これは隣り合う同心円の間に置かれている。多分、全部で4本あるだろう。他に同心円の中心から出て口の斜面に張り付く短い紐が4本ある。上から見ると、これは細長い生き物たちが器の口に這い上がった場面に見える。これらはすべて先が曲がっている。その様子は、あたかも彼らが後ろを振り返っているかのようだ。
　Are thin clay string is stuck on the side of the top of the Utuwa.　This is placed between the concentric circles adjacent.　Probably there will be four in total.　In addition, four short strings go on the slope of the mouth.　It goes out of the center of the circle of the concentricity.
　Seeing from the top, this is the scene which slim creatures crawled up to the mouth of the Utuwa.　As for all these creatures, a tip turns.　It is, though looks as if they are back.

　口辺部の実際に出土した部分は少ない。上の斜面にいる生き物の8つの頭部の内、1つだけは確実に出土したものだ。他の7つの紐は復元時に作られたらしい。
　In the adoral, there are really few excavated parts.　Among eight head of the creature which was on the upper slope, only one was excavated surely.　The other seven string seems to have been made at the time of the reconstruction.

　くびれの上を大きく開くのはなぜか？　その開いた側面と下の胴の側面の文様表現は大きく違っていて、その対比がおもしろい。上と下の文様に託されたそれぞれの意味は何？
　Why is it that the upper part of the waist of the trunk is greatly opened?
　And pattern expression is greatly different when I compare the lower part with the upper part.　Contrast to be seen there is interesting.
　What is the meaning entrusted each pattern with?　(6/19)

4-14 Sketch - No.152 -- P35
(1) Possession
Tokyo Maizobunkazai Center
(2) Location
Tama-shi, Tokyo-to
(3) Exhumation place
Tama-New-town No. 920 ruins,
Tama-shi

(5) My personal impression --
　器の底は異常に小さい。不釣り合いに広くひらいた口辺はそのまま引き延ばされて鳥の頭のような突起が立つ。トカゲの頭にも似ているけれどもこのような姿勢は無理だ。この頭部であきらかにそれとわかるのは目とくちばしだ。人々が日頃から見ていた鳥のうちどの鳥だろうか。頬やあごの下の肉垂れから連想するのはニワトリだがそれは当時にはあり得ない。ではヤマドリかキジか。
　The bottom of this Utuwa is abnormally small.　The mouth side widely open to imbalance.　It is raised smoothly from there, and the projection such as the head of the bird stands.　It resembles the head of the lizard, and, however, as for such posture, it is impossible.　It is eyes and a beak at this head to understand that it is it clearly.　The people usually watched various birds.　Which bird will this be?
　It's a chickens to associate from the appearance of the head. But it can not be there at the time.　Then is it a copper pheasant or a pheasant?

　もしかすると、どんな鳥でもないように、トカゲでもないように見せることが彼らにとって重要だったのかもしれない。写実的な表現をごまかすためにも彼らは独特の表現力を発揮した。
　It does not look like a certain bird.　It does not look like a certain lizard.
Probably it was important to them.　They planned it to deceive naturalistic expression and showed the unique power of expression again.

　器の口をこのように変形することを誰が何のために考えたのか。この生き物が器を抱え込み、器の上にいつまでもとどまろうとするのは何のためか。この生き物と器の中身の関係は？
　Who thought about the mouth of the Utuwa transformed in this way?　Did he do so for what?
　This creature lengthens both hands(wings?) and holds the Utuwa.　And he is going to stay on the Utuwa forever.　Why is it?　Does this creature have what kind of relation for the contents of the Utuwa?

　この器は側面全体に文様が刻まれる。文様はもともとたいへん浅くひかえめに表されていたか、あるいは絶えずこすられていたためか、消えかけている。くびれの上の文様には直線やその鋭角が見られる。これは大きく鋭く開いた器のかたちに関連させたのだろう。下の文様は主に曲線で表され、かたちの定まらないものが立ち昇ったり、揺れ動いたりいている。
　As for this Utuwa, a pattern is carved with in the lateral whole.　Probably originally the degree to carve with was very shallow, and the pattern was expressed modestly.　Or the pattern is about to disappear because it was rubbed constantly.　A straight line and the acute angle are seen in the upward pattern of the waist.　This is related to the form of the opened the Utuwa sharply large.
　The lower pattern is expressed with a curve mainly.　Someone who is not decided of the form goes up and it floats and swings and is there. (6/23)

4-15 Sketch - No.153 -- P36
(1) Possession
Tokyo Maizobunkazai Center
(2) Location
Tama-shi, Tokyo-to
(3) Exhumation place
Tama-New-town No. 46 ruins,
Tama-shi

(5) My personal impression --
　この器の場合もそうだが、縄文の人々は具体物をその通りに描くことをわざとさけているように見える。
　In the case of this container, I can point out next again.　The people of the Jomon era revise the concrete object which they watch and express it.　They avoid the accurate expression of the concrete object on purpose.

　これは誰が見ても人物を描いたように見える。しかし、明らかにふつうではない状態がいくつかある。両手の指が三本指。上にあげた両腕は反りかえった一本の太い綱のように表される。腕と胴のつながりは全く考慮されていない。頭部は何重もの同心円。その上に後光のようなかざりがのぞく。この人体らしきもののりんかくはさらに細いひも状のもので取り巻かれている。
　Everyone is looking at this figure example, this appears to be drawing in which a person is drawn.　However, there are several situations that are not clearly common.
　These both hands have a finger of three each.　The both arms put up above are expressed like one bent big rope.　The relation of an arm and the trunk is not considered at all there.　The head is concentric.　The decoration such as the aureole is attached to the top.　A thin string-formed thing surrounds it outside an outline like this human body.

　こんなにも目立つ両腕は、人々がそこにとくに強い意味を込めていたからにちがいない。これは両手を挙げた人物が顔を仰向かせている様子を表すためだろうか。そのとき、光を浴びた両肩はこのように腕につづいて見えるのかもしれない。
　The both arms which are outstanding so much must be because people gave it in a particularly strong meaning there.　This is the scene where the person who raised both hands turns a face to above.　This arm is emphasizing it.
　The shower of the light pours into there at some time.　Under bright sunshine, people will be able to see the shoulder and arm that is integrated.

　いつからこんなふうになったのだろうか。ここには多くの作り手がかかわっているように思われる。かれらはその線の流れを現実の情景の中でたしかに見ていて、それを大まかにとらえた。そして、作り手たちがその重要な部分を何度もくりかえしているうちに、ついにここまで整理した。これは何人もの自由な感性によって変形され、強調され、整理されながら、しかもある方向へむかってみごとに結実したものなのかもしれない。
　Since when would this scene become like this?
　Many makers seem to participate here.　They surely watched the flow of the line in a real scene and captured it roughly.　And makers repeated the important part many times.　They rearranged it in this way at last afterwards.
　This was transformed by the free sensitivity of many makers and was emphasized and was rearranged.　Besides, this showed impressive results on the modeling toward a certain direction. (6/26)

4-16 Sketch - No.156 P-37
(1) Possession
The Syakado Museum
of Jomon Culture
(2) Location
Huehuki-shi, Yamanasi
(3) Exhumation place
Syakado ruins, Huehuki-shi

(5) My personal impression --
　底の方から目立たないようにいつの間にか現れるライン。途中に細かい飾りをつける。やがて互いにつながり合って器を取り巻く。ラインは大きくうねりゆったりと流れる。パターンは同じようなくり返しだが少しずつちがう。
　幼い亡き者は家族とともに住まいに留まる。穏やかで楽しげな保護ラインに囲まれて。もうすぐまた生まれ出るのだ。
　Imperceptibly line appears to be inconspicuous from the direction of the bottom of the Utuwa.　It adds to a small decoration on the way.　It is connected each other before long and surrounds Utuwa.　The line greatly undulates and flows relaxedly.　Pattern is the same as repetition.　However, it is always different somewhere little by little.
　Young dead person, remain in the house with his family. Young dead person, is surrounded by a calm and joyful protection line.　It is hoped that the baby is born again soon.

　逆さに置かれた大きな土器。始めは張り付くように表面を飾る文様は、ラインをくねらせながら外へ大きく張り出す。胴の表面から離れ出たこの立体的造作は容器の制作段階のすべてにおいて作り手に大いに気を遣わせたにちがいない。それにもかかわらず線はあくまでなめらかに曲がり続ける。この大きな土器がこれほど丁寧に処理されていくにはどれほどの手間と時間を要するのか。
　This is big earthenware put upside down.　The pattern began to decorate the earthenware to sticking to surface.　It greatly overhangs outside while wiggling a line before long.　This three-dimensional fixtures exiting away from the surface of the body must have been able to trouble a maker in all of the production stage of the Utuwa very much. 　Nevertheless the line continues bending smoothly to the last.　How much work and time does he need so that this big earthenware vessel is processed such carefully?

　釈迦堂博物館は高速道路SA脇の丘の上に建つ。道路工事の際に縄文遺跡が見つかった。この土器は住居址内部から出土。底には小さな穴が開けられている。幼児の遺体を埋葬するための土器である可能性が高いという。
　The Shakado museum is built on the hill of the "rest stop" side of the expressway.
When a roadwork was carried out, the ruins of the Jomon period were found.　This earthenware was excavated from the habitation site of the ruins.　It is said that this earthenware is more likely to be intended to bury the dead body of the infant. (7/2)