022.名古屋 03.名古屋城本丸御殿
022.Nagoya 03.Nagoya Castle’s Honmaru Goten Palace (Japan)

2023年6月30日

1615年（慶長20年）に、徳川家康が、九男義直のために普請した名古屋城本丸御殿は、京都の二条城二の丸御殿と並ぶ、近世書院建築の代表。

The Nagoya Castle Honmaru Goten Palace was built in 1615 by Ieyasu Tokugawa, the first shogun of the Tokugawa Shogunate, for his 9th son Yoshinao. Along with the Nijo Castle's Ninomaru Goten Palace in Kyoto, it was a representative of a traditional Japanese architecture called "Shoin-Zukuri".

本丸御殿の上洛殿の欄間の彫刻「笹と椿に山鵲」。彫刻の欄間があるのは、将軍の御座所があり、格のもっとも高い上洛殿のみ。復元は、富山県南砺市井波の国の伝統工芸品に指定された「井波彫刻」の職人が行った。
See the sculpture “Bamboo grass, camellia and wild geese” in the transom of the Joraku-den hall of the Honmaru Goten Palace. Only the Joraku-den hall, which was the highest-rank room as the abode of the shogun, had carved transoms. The restoration was done by craftsmen of "Inami Carving", a traditional craft of Inami in Toyama Prefecture.

義直および家族がここで暮らしたのは５年余り。1634年（寛永11年）の三代将軍家光の上洛に合わせて改築されましたが、その後、将軍上洛の際の宿舎として使われることもほとんどなく、閉ざされ続けたまま、明治維新を迎えました。

戦前の1930年（昭和5年）に、世界遺産の姫路城、二条城より先に天守閣とともに国宝に指定され、残っていれば、こちらも世界遺産の可能性があったでしょうが、第二次世界大戦末期の45年に米軍の空襲で全焼。空襲前に、かなりの部分が実測、写真撮影され、空襲を避けるために、襖絵、天井絵の障壁画が別所に保管されていたため、それらに基づいた正確な再建が可能となり、2018年に公開されました。ただし、多くを保管していた別所は、人里離れた場所ではなく、名古屋城内の、堀を挟んだところにあった倉庫。文化財の危機管理意識が、昔も今も欠落というか不十分な日本ですが、名古屋城本丸御殿の障壁画も、たまたま延焼しなかっただけのよう。

再建された室内は、木の香りが漂う白木に、鮮やかな彩色の襖絵（復元）や彫り物（復元）がはめ込まれ、落ち着いた華やかさ。全焼前の御殿が贅を尽くし、文化財として別格だったことが分かります。復元も、見えない部分では耐震対策を施しながらも、表に現れる部分に関しては、現代風な中途半端なものとせず、細部までお金をきちんと掛けたもの。総工費は150億円で、そのうち市民からの寄付は50億円。まさに、使うときにはきちんと金を使う名古屋らしい。

京都や奈良の文化財は、数百年経って剥落し、退色した状態ですが、本丸御殿を見ると、そういう文化財の完成時の、生まれたての空間とはどんなものだったかがよく分かります。古建築の古さびた空間＝日本建築の空間と思い込んでいましたが、本丸御殿は、まったく違う、若々しく瑞々しい姿。日本建築とは、そういう姿が、やがて侘び寂びの状態になる、時間の建築だと気付かされました。

そして、日本の書院建築が格あるいは序列の表現であることを、視覚化しているのも本丸御殿。障壁画の画題は、走獣（動物）、花鳥、人物、山水（風景）の順に部屋の格が高くなり、技法も、格の低い金地に彩色された金地濃彩画から、格の高い水墨画へと変わっていきます。格の低い玄関や廊下の竿縁天井が、格の高い表書院や上洛殿では格天井となり、それも、平坦な格天井から、四周を湾曲させて持ち上げた折上げ式、さらに、中央をもう１段持ち上げた二重折上げ式と発展し、天井の鏡板も、白木から漆塗り、蒔絵と豪華になります。

実際にはほとんど使われなかった本丸御殿ですが、通された部屋の設えから、来訪者に、自分のポジションや、主人との関係性を、明確に読み取らせるというか、思い知らせる、書院建築の格差の作法にかなり忠実に見えます。その格差の作法では、障壁画は格が上がるに連れて静謐になるのに対して、天井は豪華になり、ベクトルが真逆なのが不思議ですが、水墨画の静かさを、天井の豪華さでバランスを取ったのだろうか。

それにしても、日本に限らず、軍事施設でない最上級の文化財を、簡単に破壊することの多い、戦争時のアメリカの感覚は（ロシア同様）検証が必要。

Yoshinao and his family lived here for more than five years. A part of the building was rebuilt in 1634 when the third shogun Iemitsu Tokugawa visited Kyoto, but after that, it was rarely used as accommodations for the shogun and remained closed until the Meiji Restoration in 1868.

In 1930, before the war, it was designated as a national treasure along with the castle tower ahead of Himeji Castle and Nijo Castle as a World Heritage Site. If it had remained, it must have been a World Heritage site as well, but it was burned down by US air raids in 1945, near the end of World War II. Before the air raid, a large part of the building was measured and photographed, and the Japanese sliding doors with paintings had been evacuated and stored in other places. That made possible an accurate reconstruction, and it was opened to the public in 2018. However, other place, where most of them were stored, was not a remote place but a warehouse located across the moat inside the Nagoya Castle. In Japan, both in the past and now, the awareness of risk management for cultural properties is either lacking or insufficient. It seems that the screen paintings of the Honmaru Goten Palace just happened that the fire did not spread.

In the rebuilt palace, the Japanese sliding doors with paintings and engravings in vivid colors were inlaid among the plain wood with the scent of wood, creating a calm and gorgeous atmosphere. Those conveyed that the previous palace before burning down had not been spared the expense and been a special cultural property. As for the restoration, while taking measures to withstand earthquakes in the parts that could not be seen, the parts that appeared on the surface were not half-baked in a modern style. The total construction cost was 15 billion yen, of which 5 billion yen was donated by citizens. It's just Nagoya, which spends money properly when necessary.

Cultural properties in Kyoto and Nara have fallen and faded after hundreds of years, but the Honmaru Palace conveyed what a freshly born space was like when such cultural properties were completed. I took it for granted that the timeworn elegance of an old building was Japanese architecture, but the Honmaru Palace was completely different, youthful, and fresh. I noticed that Japanese architecture was the architecture of the time, in which such a feature eventually obtained the sense of wabi-sabi (the aesthetic sense in Japanese architecture with transience and imperfection).

The Honmaru Palace also visualizes the fact that Japanese Shoin-zukuri architecture is an expression of ranking. The subjects of the paintings on the screen paintings were decided according to the ranking of the room, from Sojyu (animal), Kacho (flower and bird), and people, to Sansui (landscape). The technique also shifted from a color painting on a gold background for the low rank to an ink painting for the highest rank. The low-ranked entrance and corridor used a board and batten ceiling meanwhile the higher-ranked Omote Shoin Hall and Joraku-den Hall used the higher-ranked coffered ceilings. The ceiling also developed into a raised double fold-up style, and the panels on the ceiling became more gorgeous with lacquer work.

The Honmaru Goten Palace was rarely used for a long time, but the interior of the rooms that visitors were led into clearly showed their status and relationships with their masters, so it looks pretty faithful to the manners of the rank in Shoin-zukuri architecture. In the manners that showed the rank, the screen painting becomes more serene as the rank rises, while the ceiling becomes more luxurious, and the vector is the opposite. Was that the way to keep a balance?

Even so, the sense of the USA (and Russia), which easily destroyed top-class cultural properties that were not military facilities, needs to be verified.

玄関 / Entrance Hall wing

玄関：本丸御殿で最初に造営された玄関の一之間。障壁画は、狩野長信によると考えられている「竹林豹虎図」。障壁画の格としては、もっとも低い動物（走獣）を、格の低い技法、金地に彩色で描いたもの。御殿の部屋の中で玄関の格が低いことを示す。
Entrance Hall wing : See the primary room built at the Honmaru Palace. The title of the screen painting is "Bamboo Forest, Leopard and Tiger", which is thought to be painted by Naganobu Kano. As for the theme of the screen painting, the animal (Soujyu - running beast) was the lowest status, and it was painted with low-rank techniques, color painting on a gold background. Those indicated that the entrance had a low-rank room among the rooms of the palace.

玄関：二之間から一之間を見る。天井は、どちらも白木の竿縁天井。金地や虎は、来訪者を威圧することを意図。
Entrance Hall wing : See the primary room from the secondary room. Both ceilings are unfinished wooden board and batten ceiling. Gold and tiger were intended to intimidate visitors.

玄関：二之間の障壁画は、一之間と同じ「竹林豹虎図」だが、一之間の狩野長信によるものではないらしい。
Entrance Hall wing : The title of the screen painting in the secondary room is the same as the primary room. However, it seems that the painter was Naganobu Kano who painted the screen paining in the primary room.

表書院 / Omote Shoin Hall (the Main Hall) wing

表書院：藩主と来客や家臣との正式の謁見の場。一之間から上段之間を見る。上段之間の障壁画は、動物（走獣）の上の格となる花鳥が、金地に描かれている。上段之間の障壁画は、狩野貞信によるものの復元。
Omote Shoin Hall (the Main Hall) wing : It was the official audience venue for the lord with guests and vassals. See the raised room from the primary roomIn the screen painting in the raised room, flowers and birds (Kacho) that were superior to animals (Soujyu - running beasts) are painted on a gold background. The screen painting in the raised room is a reproduction of one by Sadanobu Kano.

表書院：一之間から、左手に一段高い上段之間、右手奥に二之間、三之間を見る。一之間の正面の襖の障壁画は、満開の桜と雉子を描いた「桜花雉子図」。
Omote Shoin Hall (the Main Hall) wing : See the raised room on the left, the primary room in front, the secondary room and the tertiary room in the back on the right. The title of the sliding screen painting in the primary room is "Cherry blossoms and pheasants" depicting cherry trees in full bloom and pheasants.

表書院：徳川義直の着座した上段之間を見る。障壁画は「松に梅図」。天井は、白木の折上げ格天井。
Omote Shoin Hall (the Main Hall) wing : See the raised room where Yoshinao Tokugawa seated. The title of the screen painting is "Pine and Plum". The ceiling is a raised coffered ceiling made of unfinished wood.

表書院：上段之間の障壁画「松に梅図」の細部。
Omote Shoin Hall (the Main Hall) wing : See the detail of the screen painting "Pine and Plum" in the raised room.

対面所 / Taimen-jo Hall (Reception Hall) wing

対面所：藩主と身内や家臣との私的な対面や宴席のための場所。正面は、一部保護用の青いゴザで覆われた畳廊下、右手は、藩主と身内の対面・宴席に使われた対面所で、手前が次之間、その奥が上段之間。障壁画は、花鳥の上の格となる人物の風俗画が描かれている。
Taimen-jo Hall (Reception Hall) wing : It is the place for private banquets or meetings for the lord with his relatives or vassals. The front is a tatami corridor partially covered with blue mats for protection, and the right is the meeting room used for meetings and banquets between the feudal lord and his relatives. The theme of the screen paintings are people who were higher rank than the flowers and birds (Kacho).

対面所：上段之間の障壁画は、京都を舞台にしたさまざまな人々。床の間は愛宕山を描き、正面は賀茂競馬（かもくらべうま）を描いたもの。狩野甚之承によるものとされる。折上げ天井には、黒漆を施している。
Taimen-jo Hall (Reception Hall) wing : In the screen paintings in the raised room, various people set in Kyoto are painted. Mt. Atagoyama is painted on the Toko-no-ma (alcove), and the Kamo horse race on the front. It is said to be painted by Jin-nojo Kano. The raised coffered ceiling is coated with black lacquer.

対面所：次之間は、和歌山を舞台にしたさまざまな人を描く。左手には神社への勅使参詣を、中央には船祭りを、右手には、製塩づくりを描いている。義直の正室春姫の故郷、和歌山に因んだもの。
Taimen-jo Hall (Reception Hall) wing : In the lower room, various people set in Wakayama are depicted. A group pf imperial envoys visiting a shrine are on the left hand, a boat festival in the center, and salt making on the right hand. It is associated with Wakayama, the hometown of Haruhime, the lawful wife of Yoshinao.

対面所：京都の賀茂競馬（かもくらべうま）を描いた、上段之間の帳台構の障壁画の細部。
Taimen-jo Hall (Reception Hall) wing : See the detail of the screen painting of the raised room, depicting the Kamo horse race in Kyoto.

上洛殿 / Joraku-den Hall (Shogun Accommodation Hall) wing

上洛殿：1634年（寛永11年）の三代将軍家光の上洛のためにつくられた上洛殿の上段之間。他のエリアとは違い、長押上の壁まで障壁画となっている。もっとも格の高いテーマ山水を、もっとも格の高い技法水墨画で描き、天井は、二重折上げ式の格天井。狩野探幽による上段之間と一之間の障壁画の画題は、中国の歴代皇帝の治道の善政と悪政を示す「帝鑑図」に基づく。正面の帳台構は「帝鑑図（不用利口）」で、饒舌に説明する野夫を雇用しようとする皇帝を家臣が諫める話。床の間は「帝鑑図（遺倖謝相）」で、正直な家臣の意見を聞き、怠慢なお気に入りの家臣を罰する話。
Joraku-den Hall (Shogun Accommodation Hall) wing : See the raised room of the Joraku-den wing, which was built in 1634 for staying in the way of the third Shogun Iemitsu's visit to Kyoto. Unlike the other areas, screen paintings are painted on even the upper wall. The highest-ranked theme in the screen painting is landscape, and it is painted with the highest-ranked ink painting technique, and the ceiling is a coffered ceiling with double folds. The subject matter of Kano Tanyu's screen paintings in the raised room and the primary room is based on the "Teikan-zu," which depicts the good and bad deeds of successive Chinese emperors. The screen paintings in front is "Teikan-zu (Fuyo Riko),'' a story about a vassal admonishing the emperor who was trying to hire a talkative bastard who explained him. The Toko-no-ma alcove is "Teikanzu (Iko Shaso)", a story about listening to the opinions of honest vassals and punishing negligent favorite vassals.

上洛殿：一之間を見る。長押の上が豪華な彫刻欄間となっている。正面の襖の障壁画は「帝鑑図（褒奨守令）」で、優れた地方官を重用し厚遇する話。
Joraku-den Hall (Shogun Accommodation Hall) wing : See the prymary room. The upper part is a gorgeous carved transom. The screen paintings on the fusuma sliding doors in front are the "Teikan-zu (Ho-sho Syurei,'' which tells the story of treating excellent local officials with respect.

上洛殿：三之間を見る。４面の襖絵が春夏秋冬を描いている。正面は、狩野探幽による「雪中梅竹鳥図」。
Joraku-den Hall (Shogun Accommodation Hall) wing : See the tertiary room. Four screen paintings on the fusuma sliding doors depict four seasons. The front painting is "Plum, Bamboo and Birds in Snow" by Tan-yu Kano.

上洛殿：二之間を見る。狩野探幽による４面の襖絵には、中国の文人の嗜みである琴、棋（囲碁）、書、画による「琴棋書画図」を描いている。
Joraku-den Hall (Shogun Accommodation Hall) wing : See the secondary room. Four screen paintings on the fusuma sliding doors by Tan-yu Kano depict the tastes of Chinese writers (Chines harp, game of go, calligraphy, and painting).

上洛殿：上段之間の細部。
Joraku-den Hall (Shogun Accommodation Hall) wing : See the detail of the raised room.

上洛殿：二之間の、蒔絵を嵌め込んだ黒漆の格天井。
Joraku-den Hall (Shogun Accommodation Hall) wing : See the black lacquer coffered ceiling with lacquer work in the secondary room.

黒木書院 / Kuroki Shoin Hall (Inner Reception Hall) wing

黒木書院：上洛殿より奥向きとなる場所で、静かな気配に満ちている。檜を使った本丸御殿の他の部分とは違い、黒木書院では使われた松材の色みから、白い檜に対して、黒木と命名された。清洲城にあった家康の宿舎を移築した説があり、障壁画の技法も、狩野派の描いた本丸御殿の他の部分とは異なっているそう。一之間が山水、二之間が人物、入側が花鳥となっており、一つの書院の中で、格の違いを表現している。
Kuroki Shoin Hall (Inner Reception Hall) wing : It is located further back than Joraku-den Hall wing, and has a quiet atmosphere. Unlike the other parts of the Honmaru Goten Palace that used white cypress, the Kuroki Shoin used pine which color is more black therefore it was named Kuroki (black tree). There is a theory that the accommodations for Ieyasu Tokugawa as the first shogun were relocated from Kiyosu Castle to here, and the technique of screen painting is said to be different from that of the rest of the Honmaru Goten Palace painted by the Kano school painters. The theme of the screen paintings is Sansui (landscape) in the primary room, the people in the secondary room, and Kacho (flower and bird) in the entry side, expressing the difference in rank within one study.

湯殿書院 / Yudono Shoin (Bathing Room) wing

湯殿書院：湯殿と休息のための座敷からなり、寛永11年（1634）に完成。一之間の障壁画には、「扇面流図」が描かれている。
Yudono Shoin (Bathing Room) wing : It consists of a bathroom and a sitting room for resting, and was completed in 1634. The screen paintings in the primary room are "Throw fans into a river".

湯殿書院：唐破風の付いた湯殿。当時の風呂は蒸し風呂だった。
Yudono Shoin (Bathing Room) wing : See the bathhouse with a gable. The bath at that time was a steam bath.

外観 / Exterior appearance

玄関を見る。2013年の完成から10年経っているため、木材の色も焼けて来ている。
See the entrance hall wing. It's been 10 years since it was completed in 2013, so the color of the wood is starting to be sunbuned.

2013年に再建部分の第１期の公開が始まり、2018年、第３期が完成した直後の本丸御殿。木材の色が若々しい。手前が上洛殿、奥が表書院、その先に飛び出ているのが玄関。それぞれの棟が雁行して配置されている。
n 2013, the first phase of the reconstruction of the Honmaru Goten Palace began. The photo was shot in 2018, just after the completion of the third phase. The wood color is youngful. The front is the Joraku-den wing, the back is the Omote Shoin wing, and the entrance wing is projecting beyond the Omote Shoin. Each wing is arranged in the form of Ganko (lining up shoulder to shoulder like flying geese).

本丸御殿の庭から、本丸御殿と名古屋城天守閣を見る。戦前、木造の名古屋城天守閣と本丸御殿は、城郭建築として最初に国宝に指定。戦時中にアメリカ軍の爆撃で炎上した天守閣は、戦後、コンクリート造で再建されたが、戦前に測定したオリジナル寸法で外観復元。江戸時代、この場所で見えた景観も、きっとこういう感じだったのだろう。
See the Honmaru Palace and Nagoya Castle Tower from the garden of Honmaru Goten Palace. Before the war, wooden Nagoya Castle's and Honmaru Goten Palace were the first castle buildings to be designated as national treasures. The castle tower, which was destroyed by bombing by the US military during the war, was rebuilt with concrete after the war, but the appearance was restored with the original dimensions measured before the war. In the Edo period, the landscape seen at this place must have looked like today.

ご感想はこちらへ / Click here for your impressions

参考文献 / reference
"名古屋城本丸御殿ガイドブック"(名古屋城本丸御殿PRイベント実行委員会,名古屋城総合事務所,2018)
"本丸御殿の至宝　重要文化財名古屋城障壁画"(名古屋城管理事務所,名古屋城本丸御殿PRイベント実行委員会,2009)
"名古屋から始める名古屋カルチャークルーズ"(Pen+,CCCメディアハウス,2018)
"探幽の「帝鑑図」２９面鮮やか"(朝日新聞デジタル2018年6月20日,朝日新聞社,2018)
安藤ハザマの現場見学レポート「ゲンバる」第11回名古屋城本丸御殿（前編）
安藤ハザマの現場見学レポート「ゲンバる」第12回名古屋城本丸御殿（後編）
特別史跡名古屋城
Wikipedia