KOGIRE-KAI 46th Silent Auction Catalogue III JOMON

神代そして古代

Age of Gods and Ancient Times 日本の原始美術 縄文土器から弥生土器、土師器と併行して須恵器へとつづく列島の土器史は、縄文時代、弥生時代、古墳時代に相当する。 教科書的には、一万年前に始発し、古墳時代の終末期である六世紀までの永きに亘る。この特集では各時代の魅力を個々の 作品の魅力で表現することができればと願う。

Primitive Art of Japan The history of earthenware of the Japanese islands which begins with the Jomon pottery and develops into Yayoi pottery, then into the Sueki and Hajiki pottery, corresponds to the Jomon, Yayoi and Tumulus Periods, respectively. It covers a long time period from ten thousand years ago to the 6th century or the end of the Tumulus Period. In this special issue, we hope that the attractiveness of each period is shown by that of each work piece.

#001 縄文壺

￥30,000. ～ 付識箱（モミ） 19×19×25 縄文葉瓶（箱識）

#001 Jomon pot ¥30,000 With a container box with written appraisal (fir) 19 × 19 × 25 Jomon leaf bottle (Appraisal written on the box)

#002 縄文小壺

￥35,000. ～ 付識箱（杉） 10×10×13.5 底部穴補修 富山県東破波郡庄川町発掘（昭和三十六年）

#002 Jomon small pot ¥35,000 –

#003 縄文小壺

￥35,000. ～ 13×13×13 カケ

#003 Jomon small pot ¥35,000 - 13 × 13 × 13 Chipped

With a container box with written appraisal (cedar) 10 × 10 × 13.5 Hole at the bottom repaired Excavated in Shogawacho, Higashi-tonami County, Toyama Prefecture (1961)

日本の縄文化のなかの縄文土器 縄文土器の呼称は、モースがその著（『Shell Mounds of Omori』）のなかで、｢cord marked pottery｣ と表記し、谷田部 良吉が ｢索文｣ と訳し、白井光太郎が ｢縄紋土器｣ とし、明治二十一年に神田孝平が ｢縄文土器｣ と『人類学雑誌』に発表し、 これによって定着をみることになったものである。 土器の表面に縄目を押しつけた文様をもつ ｢縄文式土器｣ が日本列島に出現したのは、一万五千年前（紀元前七千五百年 前後）とみられている。この文明は紀元前三百年頃まで継続したと観察される。 凡そこの七千年間を私たちは縄文時代と呼び、考古学は六期（草創期・早期・前期・中期・後期・晩期）に画期するが、 同時並行する世界文明といえば、オリエントに青銅器文明、インダス文明、エジプト文明、中国文明などの驚異的な高度文 明である。 日本列島は、これらの高度文明とは隔絶した空間、土器中心の文明を継続したのである。 縄文時代は、次代の弥生土器文化の出現、中国･半島文明の日本列島への進出とともに消滅するが、その呪術的な造形によっ て、次代の弥生土器との決定的な美意識の違いを鮮明にし、私たちに強い刺激を与えつづけることになった。 その実際とは別に、彼らは稲作以前の狩猟民族と考えられ、原始的な祈りをもち、家族を単位に一万年に近い時間を平和 に暮らしたと想像されている。 ただし、列島の民がこの文明の記憶を維持したわけではない。江戸後期に偶発的におきた、縄文土器を神代の古器物とし て珍重した骨董趣味の盛行を除けば、この記憶の再確認は、明治時代のモースによる大森貝塚の発掘と考古学的な成果をま たねばならない。 そしてこの土器が考古学的に世界で最も古い土器と公表されるとともに、列島民族（大和民族）の優位性を鼓舞する情報 へと変質を遂げ、世界で最も早く土器を創始したのは大和民族という思想をも醸成した。 土器をのみといってもよいだろう列島文明を、他の同時並行する高度文明との比較をまたず、世界最古の土器を造ったの は原始日本人なのだと観念的に喜ばせた。 戦前にあっては、大和民族の系譜の正しさを、戦後はその呪術的な造形が、芸術家を刺激した。 岡本太郎に芸術を爆発させたのも、須田剋太がその元気を表現したのも、その感性の基底部に縄文回帰の願望がみてとれる。

#004 縄文注口土器

￥300,000. ～ 付大工箱（杉） 15×13.5×15 茨城古代文化展出品

#004 Jomon earthenware with spout ¥300,000 With a carpentry-box-type container (cedar) 15 × 13.5 × 15 Submitted to the Ibaraki Ancient Times Exhibition

#005 縄文小壺 ￥80,000. ～ 付合箱（桐） 11×11×7 #005 Jomon small pot ¥80,000 With a lidded container box (paulownia) 11 × 11 × 7

弊社の縄文土器への賛歌には、縄の文様に拘泥した縄文人への同志的な讃仰がある。かつて、縄文土器に付した解説をふ たたび取り上げてみたい。 縄文人はなぜ縄目にこだわったか、なぜ縄目は消滅したか。 この設問を列島における染織文化の特殊な展開と並行的に、対照的に捉えた仮想理論である。 日本人は、生活の三要素を ｢衣･食･住｣ と呼ぶ。｢衣｣ を第一におき、すなわち、｢食事｣ よりも ｢住宅｣ よりも ｢衣服｣ を優先して考える民族である。 ｢衣｣をどのように考えたかは、伊勢神宮の神宝をみれば一目瞭然である。神様に献げられる神服の調進は当然の理ながら、 数多の織道具が献進されている事実に注目して、これを織りの科学への感謝の姿勢と説明するのはいかがであろう。 神道ではその宇宙観を、天孫降臨に象徴される ｢天地の結び｣ に披瀝するが、タテとヨコの関係は織物の科学そのもので ある。経糸（天）と緯糸（地）を交互に交差させて布帛はなるわけで、神道のいう理と見事に合致している。否、神道が織 物の科学をその理論に摂取したと解すべきと考えたのである。この科学（織物）の取得に感謝し、感謝を持続させる姿勢を 伊勢神宮の二十年ごとの遷宮は明らかにしているのではないかと捉えてみた。遷宮は二十年ごとに、これを再現して技法を 次代に継続させ、そしてこれに対する感謝を形として献げるのである。 ならば縄文土器の縄目は、これは染織文化の原点である ｢縄技法｣ の獲得への感謝を基底部にもつ行為と説明することが できないだろうか。世界の古代土器にも縄目の押圧は観察される。それと列島の縄目土器に差異があるか。その説明は極め て困難だが、縄文人の執拗なまでの縄目への執着については、何がしかの説明が必要だろう。 単繊維を縒り合わせ強度を加える縄の技術は、古代人が最初に手に入れた科学にほかならない。縄の技法を手に入れたこ とへの感謝が、土器への縄目の押印だと考えれば、縄文人の縄目への拘泥は必然の行為として説明することができよう。 また、その消滅は織物の登場によると考えられる。一万年に及ぶ縄文化から布帛の時代である弥生土器の時代への展開と して説明してみたい。 なお、土器への押圧から離れた縄文化に対する感謝はといえば、神社の注連縄にその残映を見ることになる。縄の呪術性 を濃厚に伝え、浄界への魔界の侵入を拒絶する結界を象徴している様子は、縄および縄を使う科学を取得した縄文人の祈り を率直に伝える事象なのだと観察すべきではないだろうか。

#006 縄文土版 三 ￥80,000. ～ 5×6ほか 昭和十六年二月十日伊奈良村・・・（採集地墨書） #006 Jomon earthen plates (three items) ¥80,000 - 5 × 6, etc.

Inara Village, Feb. 10, 1941 (Place of discovery written in sumi ink)

Jomon Pottery in the Rope Culture in Japan The Jomon pottery was first called “Cord marked pottery” by E. Morse in his book “Shell Mounds of Omori”, then “Sakumon” by Ryokichi Yatabe, “Rope-figured pottery” by Kotaro Shirai, and “Jomon pottery” by Kohei Kanda in the Anthropology Magazine in 1888, established finally as the formal name.

It is believed that around 15,000 years ago (7500 BC), the straw-rope patterned Jomon pottery was made for the first time in Japan and the Jomon pottery culture is observed to have lasted until around 300 B.C. This 7000 year Jomon Period can be archaeologically divided into six sub-periods, namely, Incipient, Initial, Early, Middle, Late and Final periods. Amazingly sophisticated civilizations existed in the same period in the orient, such as in the Bronze Age, and Indus Valley, Egyptian and Chinese civilizations.

This part of Japanese civilization was centered around pottery, and existed separately from these highly sophisticated civilizations.

The Jomon Period disappeared as the Yayoi pottery period emerged and the Peninsula civilization from China moved to Japan, however, due to its magical designs, the sense of beauty of the Jomon Period is clearly differentiated from that of the Yayoi and Jomon civilization contributed to strongly stimulate us.

Despite the fact that the Jomon people started rice cultivation, they were considered to have been hunters, and that for 10,000 years they lived in peaceful family units and had very primitive ways of praying.

However, history of this civilization became unknown in Japanese culture. It was only when, during the Meiji Era, Dr. Mose discovered the Omori Shell Mound, that the Japanese people again realized the history of the Jomon. Apart from an antique boom in the late Edo Period when Jomon pottery was believed to be from the Age of Gods and was highly valued, the importance of the Jomon culture was not fully realized until it was archaeologically discovered that their pottery was the oldest in the world.

This information changed its value and it boosted the historical importance of Japan, showing that Japanese culture was the first to create pottery in the entire world. Being the first to do so amongst other sophisticated civilizations in the world at that time was a source of pride and delight for Japanese people then, and still is today.

I think it is safe to assume that by having knowledge of the proper genealogy of the Japanese race and the magical designs of the Jomon pottery sparked much inspiration in artists before and after the war. This inspiration may have led artists back to the Jomon, underlying their artistic sense, allowing Kokuta Suda to express his energy, and making Taro Okamoto claim that “art is an explosion.”

As a compeer who stuck to the straw-rope pattern style, our company praises Jomon pottery. We would like to provide the explanation of the Jomon Pottery style we used.

Why did the Jomon people stick to the straw-rope patterns? Why did those patterns disappear?

#007 縄文耳飾 三 ￥50,000. ～ 大6.5×6.5×2 #007 Jomon earrings (three items) ¥50,000 - 6.5 × 6.5 × 2 (large one)

We made a hypothetical theory which considered these questions in parallel and in contrast with the unique development of the dyeing and weaving civilization in Japan.

The Japanese consider “clothing, food and housing” as the three major elements in their lives. “Clothing” comes first, in other words, the Japanese put clothing before food and housing.

The votive items at Ise Jingu Shrine clearly explain how the Japanese thought of “clothing.” It was natural that they offered clothing to Gods, but attention should be also paid to the fact that a number of weaving tools were offered too due to their appreciation of the science of weaving.

In Shinto, its view of the universe is the “Link between Heaven and Earth” represented by God’s descending to Earth. This relationship of Heaven and Earth is represented by the warps and woofs in weaving. Fabrics are made by interlacing warps and woofs. We thought that we should understand this as Shinto took the science of weaving into its theory. We made a hypothesis that the Sengu (rebuilding of all the shrine buildings, and making of new costumes and votive items) conducted every 20 years at Ise Jingu Shrine displays their attitude to appreciate the fact that this science of weaving was taken into Shinto and to continue the appreciation.

The Sengu is conducted in order to reproduce votive items, pass down the technique and to offer the appreciation for acquiring this knowledge to Gods in a tangible form.

If this hypothesis is true, the straw-rope patterns on the Jomon pottery could be explained as a technique based on the appreciation of the knotting technique that originated in the dyeing and weaving civilization. The straw-rope patterns can also be observed in pieces of ancient pottery found in other regions in the world. Are there any differences between these and those with straw-rope decoration found in Japan? It is extremely difficult to explain this but the Jomon people’s persisting adhesion to the design style needs some sort of explanation.

The rope-making technique that adds strength by twisting a single fiber was the first technique that ancient people acquired. If it is surmised that the appreciation for acquiring this technique is expressed through the straw-rope decoration on pottery, it could logically explain the Jomon people’s continual use of this style.

We can also guess that its disappearance was due to the emergence of fabrics whose advancements were made possible by the Jomon civilization and were carried into the Period of Yayoi pottery, known as the period of fabrics.

The use of straw-rope patterns has ceased, however the Jomon civilization that lasted around 10,000 years can still be appreciated in the designs of Shimenawa (sacred ropes) at various shrines. They richly convey the magical attribute of the ropes and represent the Kekkai (protective ward) that refuses invasion from evil into their pure land. The prayers of the Jomon people that created these ropes and the science of using them are present, passing through them through history.

縄文大壺 縄文土器では口縁部にむかって直線的に筒形を形成する深鉢と呼ばれる土器が圧倒的に多く、 いわゆる壺形は少数派に位置している。掲出はそれらの少数派のなかにあって、巨大さを含め極 めて強い存在感を主張して注目される。重量は運搬を拒否するかのようで、現代人にその用途を 簡単には想像させない。

Jomon Big Pot The bowls called Fukabachi (deep bowl) having a cylindrical form extending linearly up to the brim accounts for the overwhelming majority of the Jomon earthenware vessels, and so-called pot-type ones are minority. The article shown which belongs to the minority attracts our attention because it asserts very strong presence, including its big size. Its heavy weight looks like to refuse to be conveyed, and we modern people feel difficulty in imagining its use.

#008 縄文大壺

¥250,000. ～ 47×49×60 接合補修

#008 Jomon large pot ¥250,000 47 × 49 × 60 Repaired by bonding

#009 縄文細口小壺 ￥180,000. ～ 12×12×15 丹塗コン #009 Jomon small pot with small mouth ¥180,000 - 12 × 12 × 15 Container painted with vermillion

#010 縄文細口小壺 ¥100,000. ～ 12×12×13.5 丹塗コン #010 Jomon small pot with small mouth ¥100,000 - 12 × 12 × 13.5 Container painted with vermillion

#011 縄文深鉢 ¥500,000. ～ 48×48×57 #011 Jomon deep bowl ¥500,000 - 48 × 48 × 57

#124 縄文性器形注口壺 ¥400,000. 〜 18×17×18 大館市山館古墳出土 #124 Jomon pot with spout of female genital-organ shape ¥400,000 .- 18×17×18 Excavated from Yamadate tumulus, Ohdate City

#012 縄文鉢 ￥80,000. ～ 付溜塗箱 23×23×9

#013 縄文平鉢 ¥80,000. ～ 26×26×11 ヒビ カケ

#012 Jomon bowl

#013 Jomon flat bowl ¥80,000 - 26 × 26 × 11 Cracky and chipped

¥80,000 With a container box painted with translucent Japanese-lacquer

23 × 23 × 9

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#014 縄文深鉢 ¥300,000. ～ 53×53×58 接合補修

#015 縄文極小深鉢 ¥120,000. ～ 13×13×12 接合補修

#014 Jomon deep bowl

#015 Jomon very-small deep bowl

¥300,000 - 53 × 53 × 58 Repaired by bonding

¥120,000 - 13 × 13 × 12 Repaired by bonding

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#016 縄文深鉢 ¥250,000. ～ 36×33×45 接合補修 #016 Jomon deep bowl ¥250,000 - 36 × 33 × 45 Repaired by bonding

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#017 縄文深鉢 ¥350,000. ～ 29×30×46 接合補修 #017 Jomon deep bowl Repaired by bonding ¥350,000 - 29 × 30 × 46

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#018 縄文深鉢 ¥180,000. ～ 50×40×54 接合補修 #018 Jomon deep bowl Repaired by bonding ¥180,000 - 50 × 40 × 54

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#019 縄文深鉢 ¥200,000. ～ 38×36×48 接合補修 #019 Jomon deep bowl Repaired by bonding ¥200,000 - 38 × 36 × 48

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#020 縄文深鉢 ¥180,000. ～ 38×38×51 接合補修 #020 Jomon deep bowl ¥180,000 - 38 × 38 × 51 Repaired by bonding

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#021 縄文深鉢 ¥150,000. ～ 付木箱（桐） 38×38×52 接合補修 #021 Jomon deep bowl ¥150,000 - With a wooden container box (paulownia) 38 × 38 × 52 Repaired by bonding

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#022 縄文深鉢 ￥350,000. ～ 45×45×56 接合補修 #022 Jomon deep bowl ¥350,000 - 45 × 45 × 56 Repaired by bonding

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#023 縄文壺 ¥450,000. ～ 36×36×42 接合補修 #023 Jomon pot ¥450,000 - 36 × 36 × 42 Repaired by bonding

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#024 縄文深鉢 ¥150,000. ～ 31×30×43 接合補修

#025 縄文深鉢 ¥150,000. ～ 32×25×39 接合補修

#024 Jomon deep bowl

#025 Jomon deep bowl

¥150,000 - 31 × 30 × 43 Repaired by bonding

¥150,000 - 32 × 25 × 39 Repaired by bonding

#026 縄文深鉢 ¥100,000. ～ 28×27×40 接合補修

#027 縄文深鉢 ¥120,000. ～ 32×32×37 接合補修

#026 Jomon deep bowl

#027 Jomon deep bowl

¥100,000 - 28 × 27 × 40 Repaired by bonding

¥120,000 - 32 × 32 × 37 Repaired by bonding

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#028 縄文深鉢 ¥150,000. ～ 33×33×48 接合補修

#029 縄文深鉢 ¥350,000. ～ 37×37×44 接合補修

#028 Jomon deep bowl

#029 Jomon deep bowl

¥150,000 - 33 × 33 × 48 Repaired by bonding

¥350,000 - 37 × 37 × 44 Repaired by bonding

#030 縄文深鉢 ¥150,000. ～ 25×23×35 接合補修

#031 縄文深鉢 ¥150,000. ～ 26×28×34 接合補修

#030 Jomon deep bowl

#031 Jomon deep bowl

¥150,000 - 25 × 23 × 35 Repaired by bonding

¥150,000 - 26 × 28 × 34 Repaired by bonding

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#032 縄文壺 ¥50,000. ～ 21×21×31 接合補修

#032 Jomon pot ¥50,000 - 21 × 21 × 31 Repaired by bonding

#033 縄文深鉢 ¥100,000. ～ 26×26×32 接合補修

#034 縄文深鉢 ¥80,000. ～ 26×26×34 接合補修

#033 Jomon deep bowl

#034 Jomon deep bowl

¥100,000 - 26 × 26 × 32 Repaired by bonding

¥80,000 - 26 × 26 × 34 Repaired by bonding

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#035 縄文壺 ¥400,000. ～ 25×25×28 底に葉押文 カケ #035 Jomon pot ¥400,000 - 25 × 25 × 28 Leaf pattern stamped on the bottom Chipped

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古墳時代 Tumulus Period 弥生式土器 明治17年、東京都文京区弥生町で縄文土器とも土師器とも違う土器が発見され、中間土器とも呼ばれたが、やがて地名に 依って弥生式土器と分類されたのは明治後期のことである。それらは農耕社会を母体として発展したとみられ、前代の縄文 時代は狩漁を中心に生活した時代と捉えられた。紀元前三百年頃から紀元三百年頃を弥生時代と呼び、弥生土器は前・中・ 後期に分類される。

Yayoi Pottery In 1884, a type of earthenware different from Jomon or Hajiki pottery was discovered in Yayoicho, Bunkyo Ward, Tokyo. It was called first “Intermediate pottery”, then classified formally as Yayoi pottery after the name of the place of its discovery in the late Meiji Era. The Yayoi pottery is considered to have developed in the agricultural society, while the precedent Jomon period was an age of hunting and fishery. The Yayoi Period covers a time period from about B.C. 300 to A.D.300, and the Yayoi pottery is classified into the early, medium and later types.

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#036 丹塗大壺 ¥1,000,000. ～ 付識箱（桐） 38×38×41 筑紫郡春日町岡本出土 #036 Large pot painted with vermillion ¥1,000,000 - With a container box with written appraisal (paulownia) 38 × 38 × 41 Discovered in Kasugacho Okamoto, Chikushi County

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#037 弥生丸底壺 ￥80,000. ～ 付木箱（杉 貼札） 27×27×31 筑前国遠賀郡茅場出土 #037 Yayoi pot with round bottom ¥80,000 - With a container box (cedar, a certificate pasted) 27 × 27 × 31 Discovered in Kayaba, Onga County, Chikuzen Domain

#038 弥生壺 ¥100,000. ～ 29×29×38 底部木葉形 #038 Yayoi pot ¥100,000 - 29 × 29 × 38 Bottom of the wood-leaf shape

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#039 弥生壺 ¥200,000. ～ 付木箱（桐） 26×26×29 #039 Yayoi pot ¥200,000 - With a wooden container box (paulownia) 26 × 26 × 29

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#040 弥生高杯 ¥100,000. ～ 19×19×15 #040 Yayoi one-legged cup ¥100,000 - 19 × 19 × 15

#041 弥生高杯 ¥60,000. ～ 付木箱（桐） 25×25×18 #041 Yayoi one-legged cup ¥60,000 - With a wooden container box (paulownia) 25 × 25 × 18

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#042 弥生広口壺 ¥50,000. ～ 30×30×40 接合補修 ヒビ 穴 #042 Yayoi pot with large mouth ¥50,000 - 30 × 30 × 40 Repaired by bonding, Cracky and holed

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#043 弥生中壺 ¥100,000. ～ 17×17×21 カケ #043 Yayoi pot of medium size ¥100,000 - 17 × 17 × 21 Chipped

#044 弥生壺 ¥130,000. ～ 17×17×22 ヒビ #044 Yayoi pot ¥130,000 - 17 × 17 × 22 Cracky

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#045 弥生大壺 ¥300,000. ～ 付識箱（杉） 30×30×39 岡山県出土（墨書） #045 Yayoi large pot ¥300,000 - With a container box with written appraisal (cedar) 30 × 30 × 39 Discovered in Okayama Prefecture (Place of discovery written in sumi ink)

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古墳時代

埴輪

Tumulus Period

Clay Figures

男子埴輪

まるえり

長髪にみずらを結い、額に白土の化粧をみせ、両手を前方へと突き出す。盤領の上衣を被け、腰を細帯で結び、上衣の裾 を広げる。袴は膝上を紐で結ぶがズボンの様に細い。珠の首飾りをつけ、太刀を佩いて器台に立つ。足先の工作が珍しい。 見るからに若々しく凛として、被葬者の若き後継者を夢想させる。

Clay Figures of Men This man throws out both arms, with his long hair put up in the Mizura style and the forehead made up with white clay. He wears an outer coat with round collar and girds himself with a thin girdle, with the hem of the outer coat wide open. His ceremonial skirt tied just upward the knees is thin like trousers. He is standing up on a platform wearing a necklace of balls and a sward. Making of his feet is out of common. He is discernibly young and dignified-looking, and causes us to imagine that he may be a young successor of the deceased.

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#046 武人埴輪 ¥130,000. ～ 付木箱 総高89 #046 Clay figure of a warrior ¥130,000 - With a wooden container box Total height: 89

33

#047 壺を頭に踊る埴輪 ¥1,800,000. ～ 総高110 #047 Clay figure of a dancer with a pot on the head ¥1,800,000 - Total height: 110

壺を頭に踊る埴輪 襷をかけて立ち、頭には円座状のものをおいて壺を載せ、両手は壺に添えられず中空をさまよっている。頭上の壺には酒 が満たされているのだろうか。殯の酒席に集う陪膳の踊る女子埴輪とみられる。殯は神代の葬送儀礼で、縄文人は人が死ぬ と喪屋をつくり一定期間は埋葬せずに死者の魂を呼び戻すための儀式を営んだ。人物埴輪はその殯の儀式を永久化するため の工作とみられる。

Human Clay Figure Dancing with a Pot on the Head Wearing sashes across the chest, the figure is standing with a pot put on a cutout cushion on the head. Both hands are not supporting the pot but hovering in the air. Maybe the pot would have been filled with the Sake wine. The figure is considered to be a clay figure of a woman dancing at a Mogari funeral banquet. Mogari is the funeral ceremony in the age of the gods. The Jomon people built a funeral house whenever a member of them died, conducting a ceremony to call back the soul of the dead for a specific time period before burial. Human clay figures are considered to have made to perpetuate the Mogari ceremony.

34

35

#048 壺を頭に載せる女性埴輪 ¥2,000,000. ～ 付木箱（杉） 総高49 入墨様彩色 接合補修 #048 Clay figure of woman with a pot on the head ¥2,000,000 - With a wooden container box (cedar) Total height: 49 Colored like tatoo Repaired by bonding

36

#049 櫛を挿す女性埴輪 ¥1,500,000. ～ 付木箱（桐） 総高54 下半身欠 接合補修 #049 Clay figure of woman combing her hair ¥1,500,000 - With a wooden container box (paulownia) Total height: 54 Lacking in the lower body, repaired by bonding

37

38

#050 水鳥埴輪

¥280,000. ～ 付木箱（桐） 付飾台 31×15×31 尻尾補修

#050 Clay figure of aquatic bird ¥280,000 - With a wooden container box (paulownia) and a platform 31 × 15 × 31 Tail feather repaired

39

埴輪 一重瞼に杏形をした眼の工作に、大陸及び半島民族の列島への進出を先学は想定し、眼の奥の黒い闇に無限の神秘を指摘 している。埴輪の魅力、不思議な笑みに対する答えの一つである。

#051 埴輪人物頭 ¥250,000. ～ 付飾台 像高15 総高31 接合補修 #051 Clay figure of a human head ¥250,000 - With a decorative stand Figure height: 15, total height: 31 Repaired by bonding

40

Clay Figure Precedent scholars assumed that the making of the eyes of the apricot form with single eyelids suggests the ancient peoples in the continent and peninsula coming over to Japan, and pointed out infinite mystery in the darkness of the bottom of the eyes. This will be one of the answers to the enigmatic smile of the clay figures of men, which is their attractiveness.

#052 埴輪人物頭 ¥230,000. ～ 総高28 #052 Clay figure of a human head ¥230,000 - Total height: 28

41

馬頭埴輪 テラコッタの作品に独自の境地を開いた彫刻家の竹内克の旧蔵になり、顔面を中心に遺存していた長野出土の馬埴輪の破 片に、1976年（箱書）、竹内が耳ほかの不足部分を石膏で補い着彩して竹内作品としたもの。 竹内克（明治二十五・1892 ～昭和五十二・1977）は茨城生まれ、海野美盛に学んだのち、朝倉文夫に師事し、後、パリ に渡りブールデルの指導を受けた。パリに15年間滞在し1935に帰国、二科展を中心に活動した。

Clay Figure of Horse Head Masaru Takeuchi, a sculptor who opened a new frontier of his own in terracotta work, made this work in 1976 (according to the appraisal written on the box) by repairing ears and other lacking parts with plaster and adding colors to a fragment of a clay figure of a horse. The fragment, mainly the face of the horse, was discovered in Nagano and used to belong to M. Takeuchi.

M. Takeuchi (1892 - 1977), born in Ibaraki, studied under Bisei Unno, then Fumio Asakura, going to Paris, France, to study under A. Bourdelle. After staying fifteen years in Paris, he returned home in 1935 and was active thereafter submitting his work mainly to the exhibitions held by Nika Association.

#053 埴輪馬頭 ¥200,000. ～ 付識箱（桐） 30×20×16 木内克（1976）旧蔵 補修 #053 Clay figure of a horse head ¥200,000 - With a container box with written appraisal (paulownia) 30 × 20 × 16 Former collection of Masaru Kiuchi (1976) Repaired

42

#054 埴輪馬頭 ￥250,000. ～ 付識箱（杉） 36×17×24 #054 Clay figure of horse head ¥250,000 - With a container box with written appraisal (paulownia) 36 × 17 × 24

43

は

じ

き

土師器 土師器は弥生土器の次代、すなわち古墳時代に出現し平 安時代にかけて盛行する。職能集団である土師部がこれを 職掌した。そして現代の神社などで供物器として多用され るかわらけ土器こそがこれの末裔であろうことは想像に難 くない。

Hajiki Pottery The Hajiki pottery emerged in the Tumulus Period, i.e. the next age of the Yayoi Period, and was prevalent until the Heian Era. Hajibe, a professional group of that era, was in charge of making the Hajiki pottery. It is not hard to imagine that the today's clay pottery used frequently for dedication to gods in shrines is a descendant of the Hajiki pottery.

#055 土馬 ￥80,000. ～ 長17 #055 Clay horse ¥80,000 - Length: 17

#056 伯耆国土師丸底壺 ￥50,000. ～ 15×15×19

#057 丸底壺 ¥50,000. ～ 14×14×17

#056 Hajiki pot with round bottom of Houki Domain

#057 Pot with round bottom

¥50,000 - 15 × 15 × 19

¥50,000 - 14 × 14 × 17

44

す

え

き

須恵器

朝鮮半島の新羅から焼成法が日本に伝わったのは5世紀

初頭とみられる。中国の灰陶に淵源するもので灰色を呈す。 畿内の朝廷の官立の窯業の体裁を色濃くもち、地方の勢力 の増大とともに焼成地は全国に広がり、平安後期には次代 の古窯の時代へと変転する。

Sueki Pottery The firing process for making Sueki pottery is considered to have been introduced to Japan from Shiragi Domain in Korean Peninsula in the early fifth century. Originating from Kaito, or ash firing process in China, this pottery has grey color. It has a style of the work of the earthenware industry operated by the government then dominant in the Kinki region of Japan. The places for making the Sueki pottery extended to all over Japan as the regional powers grow until late Heian Era, which marks the beginning of the age of Koyoh, or the old kiln of the next generation.

#058 須恵壺 ￥80,000. ～ 24×24×34 #058 Sueki pot ¥80,000 - 24 × 24 × 34

45

須恵窯は泉州陶邑に最初の窯を築くが、最初期のそれは新羅土 器に酷似して識別は簡単でない。新羅で焼成して日本へ輸入され、 日本で発掘される新羅土器も少なくないわけでこれの判別を複雑 にしている。ただ、須恵器は8世紀あたりから肉厚を増し、形の なかに敢然と和風を確立して混乱をきたすことはない。

The first kiln for the Sueki pottery was built in Toyu in Senshu Domain. The work of the earliest period is very similar to the Shiragi pottery, and it is not easy to distinguish between both. Not a few Shiragi pottery has been made in Shiragi, imported in Japan, and excavated in Japan, thus making it more difficult to make difference between both. Since around the eighth century, though, the thicker Sueki pottery has been made, establishing a definite form of the Japanese style. Thus there is no room for confusion with the Shiragi pottery.

#059 須恵大壺 ¥350,000. ～ 45×45×50 口辺接合補修 陶邑窯出土（貼紙） #059 Sueki large pot ¥350,000 - 45 × 45 × 50 Mouth repaired by bonding Discovered in Toyu kiln (with a certificate pasted)

46

#060 須恵丸底大壺 ¥300,000. ～ 付合箱（桐） 41×41×44 #060 Sueki large pot with round bottom ¥300,000 - With a lidded container box (paulownia) 41 × 41 × 44

47

#061 須恵薬壺 ¥250,000. ～ 付木箱（桐） 21×21×18 補修 #061 Sueki pot for medicine ¥250,000 - With a wooden container box (paulownia) 21 × 21 × 18 Repaired

#062 須恵高脚蓋付壺 ¥120,000. ～ 20×20×34 ヒビ ワレ #062 Sueki legged pot with lid ¥120,000 - 20 × 20 × 34 Cracky and split

48

#063 須恵平瓶 ¥130,000. ～ 付大工箱 23×22×13 カケ 接合補修 #063 Sueki flat bottle ¥130,000 - With a carpentry-box-type container 22 × 22 × 13 Chipped, repaired by bonding

#064 須恵長頸瓶 ¥180,000. ～ 付識箱（桐） 17×17×23 高台に三孔 #064 Sueki long-neck bottle ¥180,000 - With a container box with written appraisal (paulownia) 17 × 17 × 23 Three holes in the leg

49

#065 須恵提瓶 ¥80,000. ～ 付識箱（モミ） 23.5×13×31 #065 Sueki bottle with handles ¥80,000 - With a container box with written appraisal (fir) 23.5 × 13 × 31

#066 須恵広口壺 ¥150,000. ～ 22×22×29 ヒビ ソゲ #066 Sueki large mouth pot ¥150,000 - 22 × 22 × 29 Cracky and sheared

50

石製釧 縄文時代の貝の腕輪に始発する釧は、弥生時代には貝の形を模した銅製の腕輪を創り、古 墳時代には碧玉をはじめとする石製釧に到達する。貝の腕輪に祖形をもつ石製のそれだが腕 輪として装着することは希で、王権を象徴するなど権力を誇示する宝器として機能したと考 えられている。石質不明。

Stone Bracelet The bracelets made of shells originating in Jomon Period develop into those of cupper in the shape of shells in Yayoi Period, then into those made of stones, including jasper, in Tumulus Period.

It is considered that those stone bracelets were rarely used only for the purpose of ornament but functioned as a symbolic treasury instrument to display the royal power. Details of the stone materials are unknown.

#067 石製釧 ￥300,000. ～ 付木箱 10.5×15.5×2 #067 Stone bracelet ¥300,000 - With a wooden container box 10.5 × 15.5 × 2

51

石棒 石棒は縄文時代の中期以降に出現するもので、宗教的な儀式で用いられた祭祀具とみられている。掲出は両端に瘤をもつ 形式ながら石棒としては最大級の寸法を誇っている。石質は関東に特有の青石系とみられ、軟質も手伝って研磨痕を失って いる。

#068 石棒 ¥200,000. ～ 総長105 #068 Stone stick ¥200,000 - Total length:105

#070 石棒

￥30,000. ～ 付木箱（杉） 長28

#070 Stone stick ¥30,000 With a wooden container box (cedar) Length:28

#071 石器

￥28,000. ～ 付木箱（桐 添状） 8×18

#071 Stone ware

#069 大珠他 ￥100,000. ～ 総長5ほか #069 Ohtama, etc. ¥100,000 - Total length: 5, etc.

52

¥28,000 With a wooden container box (paulownia, painted with japan-like lacquer) 8 × 18

Stone stick The stone sticks emerge in the middle Jomon Period or later, and are considered to be ritual instruments used in religious ceremonies. The article shown is one of the largest stone sticks, having swellings at both ends. The stone is considered to be one of the blue stones found specifically in Kanto area, and has lost polishing traces on it partly because of its softness.

古代の玉 ｢玉｣ は ｢魂｣ に通じるとされ、天皇を象徴する三種の神器のなかでは ｢ヤサカニノマガタマ｣ として尊敬される。列島 における玉の歴史を通観すると、縄文の ｢大珠｣ に起点し、弥生時代に ｢勾玉｣ を完成させ、仏教伝来とともに姿を消す。 この ｢玉｣ の歴史の最終章で特記すべきは、仏教に深く帰依した聖武天皇によって、その周辺に在ったと思われる多くの勾 玉が、仏尊の荘厳、例えば二月堂不空絹索観音の宝冠飾りや大仏殿の金銅幡飾りとして奉献された事実であろう。聖武天皇 の仏尊への勾玉の奉献にこそ、奈良時代の新たな王権の方向性を明らかに知ることになる。

Gyokus of the Ancient Times In the ancient times, a Gyoku (or Tama, ball) was believed to be akin to soul (“Tamashii”). In particular, a Gyoku called “Magatama of Yasakani” was respected for as one of the three sacred emblems of royal family. Taking an overlook at the history of the Gyokus, “Ohtama” (big ball) in the Jomon Period is the first found in the history, “Magatama” is accomplished in the Yayoi Period, and no Gyokus are found after the Buddhism was imported in Japan. It is noticeable in the last stage of the history of the Gyokus that many Magatams which were considered to have existed around Emperor Shomu, a deep believer of the Buddhism, were dedicated by the emperor for the solemnity of the Buddha to serve for the decoration of the crown of Fukukensaku Kannon, a Buddhist deity of mercy honored in Nigatsudo Temple, and the decoration of gold and cupper flag in the Daibutsuden Temple, for example. In the fact of such dedication, we can perceive obviously the direction of the new royal sovereignty in the subsequent Nara Era.

53

#072 勾玉 三 ￥150,000. ～ 付木箱（桐） 大長4ほか #072 Magatama (three items) ¥150,000 - With a wooden container box (paulownia) Length (large one): 4, etc.

#073 勾玉 六 ￥150,000. ～ 3×1.5×4.5ほか #073 Magatama (six items) ¥150,000 - 3 × 1.5 × 4.5, etc.

54

#074 瑪瑙勾玉 六 ￥100,000. ～ 総長3.5ほか

#075 勾玉 四 ￥50,000. ～ 総長3.5ほか

#074 Magatama made of agate (six items)

#075 Magatama (four items)

¥100,000 - Total length: 3.5, etc.

¥50,000 - Total length: 3.5, etc.

#076 勾玉 七 ￥100,000. ～ 総長4ほか 滑石ほか

#077 勾玉 二 ￥15,000. ～ 総長3ほか 瑪瑙

#076 Magatama (seven items)

#077 Magatama (two items)

¥100,000 - Total length: 4, etc. Made of talc etc.

¥15,000 - Total length: 3, etc. Made of agate

55

#078 滑石製子持勾玉 ￥100,000. ～ 長12 #078 Komochi Magatama made of talc ¥100,000 - Length: 12

滑石製子持勾玉 この形式の勾玉で注目されるのは、同種の勾玉の出土地である。一は玄界灘に浮かぶ神の島である沖の島。二は三輪大社 の禁足地。掲出は出土地を詳しくしないが、勾玉として極めて重要な意味をもつものであったと推察させる。下端部の欠失 が惜しまれるが、作期は六～七世紀に比定されよう。なお、子持勾玉の性格については諸説をみるが、霊力のある勾玉から 小玉が産みだされ、さらに霊力が増大するというよう繁栄の意識の造形と解したい。

Komochi Magatama Made of Talc The Magatama of this type attracts our attention to the places of discovery of the similar types of the Magatamas: one is Okinoshima, the god’s island in Genkainada Sea, and another is the confinement area in Miwa Shrine. It is not known where the article shown was discovered, but the article is supposed to have had very high importance as a Magatama. The article, regrettably lacking in the bottom part, is determined to have been made in the 6th or 7th century by comparison with others. There are plural theories about the features of the Komochi Magatamas (meaning child-holding Magatamas). We would like to adopt one, though, that they represent the embodiment of the consciousness of prosperity that the Magatama having spiritual power bears child Magatamas, thus increasing its spiritual power further.

56

#079 勾玉 ￥50,000. ～ 総長8 二条線

#080 白石勾玉 ￥50,000. ～ 総長8 三条線

#079 Magatama

#080 Magatama made of white stone

¥50,000 - Total length: 8 With two lines engraved

¥50,000 - Total length: 8 With three lines engraved

#081 勾玉 ￥50,000. ～ 総長7.5 出雲石

#082 勾玉 ￥40,000. ～ 総長6 三条線

#081 Magatama

#082 Magatama

¥50,000 - Total length: 7.5 Made of Izumo stone

¥40,000 - Total length: 6 With three lines engraved

#083 滑石勾玉 ￥40,000. ～ 総長5.5

#084 勾玉 ￥40,000. ～ 総長4.5

#083 Magatama made of talc

#084 Magatama

¥40,000 - Total length: 5.5

¥40,000 - Total length: 4.5

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#085 勾玉 ￥30,000. ～ 総長4

#086 勾玉 ￥30,000. ～ 総長3.7 水晶

#087 勾玉 ￥30,000. ～ 総長4 紫水晶

#085 Magatama

#086 Magatama

#087 Magatama

¥30,000 - Total length: 4

¥30,000 - Total length: 3.7 Made of crystal

¥30,000 - Total length: 4 Made of amethyst

#088 勾玉 ￥25,000. ～ 総長4 青石

#089 勾玉 ￥25,000. ～ 総長3.8

#090 勾玉 ￥20,000. ～ 総長4.5

#088 Magatama

#089 Magatama

#090 Magatama

¥25,000 - Total length: 4 Made of bluestone

¥25,000 - Total length: 3.8

¥20,000 - Total length: 4.5

#091 出雲管玉ネックレス

#092 水晶切子玉ネックレス

#093 水晶ネックレス

#091 Necklace made of tubular Izumo Gyoku

#092 Necklace made of faceted crystal Gyoku

#093 Necklace of crystal

¥100,000 - Length: 47

¥70,000 - Length: 24

¥30,000 - Length: 34

￥100,000. ～ 長47

58

￥70,000. ～ 長24

￥30,000. ～ 長34

#094 管玻璃ネックレス

#096 紺玻璃ネックレス

#097 赤玻璃ネックレス

#094 Necklace made of tubular glass #095 Necklace made of red glass

#096 Necklace made of mazarine glass

#097 Necklace made of red glass

¥20,000 - Length: 27

¥20,000 - Length: 29

¥20,000 - Length: 26

¥20,000 - Length: 29

#098 赤玻璃ネックレス

#099 青玻璃ネックレス

#100 色々玉ネックレス

#101 色々玉ネックレス

#098 Necklace made of red glass

#099 Necklace made of blue glass

#100 Necklace made of various Gyoku

#101 Necklace made of various Gyoku

¥20,000 - Length: 29

¥20,000 - Length: 28

¥20,000 - Length: 31

¥20,000 - Length: 30

#102 色々玉ネックレス

#103 色々玉ネックレス

#104 色々玉ネックレス

#105 色々玉ネックレス

#102 Necklace made of various Gyoku

#103 Necklace made of various Gyoku

#104 Necklace made of various Gyoku

#105 Necklace made of various Gyoku

¥20,000 - Length: 33

¥20,000 - Length: 30

¥20,000 - Length: 32

¥20,000 - Length: 35

#106 色々玉ネックレス

#107 色々玉ネックレス

#108 色々玉ネックレス

#109 黄緑ネックレス

#106 Necklace made of various Gyoku

#107 Necklace made of various Gyoku

#108 Necklace made of various Gyoku

#109 Necklace of yellow green color

¥20,000 -

¥20,000 - Length: 33

¥20,000 - Length: 27

¥15,000 - Length: 22

￥20,000. ～ 長27

￥20,000. ～ 長29

￥20,000. ～ 長33

￥20,000. ～

#095 赤玻璃ネックレス ￥20,000. ～ 長29

￥20,000. ～ 長28

￥20,000. ～ 長30

￥20,000. ～ 長33

￥20,000. ～ 長26

￥20,000. ～ 長31

￥20,000. ～ 長32

￥20,000. ～ 長27

￥20,000. ～ 長29

￥20,000. ～ 長30

￥20,000. ～ 長35

￥15,000. ～ 長22

59

#110 石包丁 五 ￥100,000. ～ 大総長13ほか #110 Food chopper made of stone (five items) ¥100,000 - Total length (large one): 13, etc.

#111 人形勾玉 ￥100,000. ～ 総長8

#112 勾玉 ¥80,000. 〜 付吊金具 長4.2 緑石

#111 Magatama of doll shape

#112 Magatama

¥100,000 - Total length: 8

¥80,000 .- With a hanging ring Length: 4.2 Deer's-horn coral

60

#113 石斧ほか 十 ￥45,000. ～ 総長2.5ほか

#114 牙製斧 二 ￥40,000. ～ 総長12ほか

#113 Stone axe, etc. (ten items)

#114 Axe made of fang (two items)

¥45,000 - Total length: 2.5, etc.

¥40,000 - Total length: 12, etc.

#115 石斧 十五 ￥35,000. ～ 総長17ほか

#116 石斧 八 ￥30,000. ～ 総長9ほか

#115 Stone axe (fifteen items)

#116 Stone axe (eight items)

¥35,000 - Total length: 17, etc.

¥30,000 - Total length: 9, etc.

#117 石斧ほか 七 ￥30,000. ～ 総長17ほか

#118 水晶耳鐶 二 ￥40,000. ～ 径2.4ほか

#117 Stone axe, etc. (seven items)

#118 Earrings made of crystal (two items)

¥30,000 - Total length: 17, etc.

¥40,000 - Diameter: 24, etc.

61

#119 埴輪鞘 ￥200,000. 〜 24×26×22 台脚部欠失 #119 Clay figure of casing ¥200,000 - 24×26×22 Stand leg lost

62

#120 弥生尖底壺 ￥100,000. 〜 付木箱（杉 貼札） 27×27×38 丹塗 #120 Yayoi pot with protruding bottom ¥100,000 - With a wooden container box (cedar; with a certificate pasted) 27×27×38 Painted with vermillion

63

#121 須恵手付水瓶 ￥300,000. 〜 付識箱（モミ） 17×17×21 口先欠失 ヒビ #121 Sueki water bottle with handles ¥300,000 - With a container box with written appraisal (fir) 17×17×21 Tip of spout chipped and lost Cracky

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#122 渥美長頸壺 ￥400,000. 〜 17.5×17.5×27 口辺共色補修 #122 Pot with long neck discovered in Atsumi kiln ¥400,000 - 17.5×17.5×27 Mouth repaired in the same color

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#123 土偶 ¥350,000. 〜 付木箱（桐） 像高23 接合補修 #123 Clay figure of man ¥350,000 .- With a wooden container box (paulownia) Height of figure: 23 Repaired by bonding

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