3世紀から8世紀までの日本において,日本人は言語の異なる諸国の人々とどのようにコミュニケーションをはかってきたのだろうか.通訳,使節,漂流者などをキーワードに文献から収集した記事を主要なエピソードを中心に歴史背景も含め紹介する.

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  “Sou mold casting method” is a traditional Japanese casting technology handed down as it is from the Heian era. However, difficulties are encountered by inexperienced person during molding operations because no quantitative analysis has been conducted the Sou mold casting method. Thus in this study, effects of the “Sane mold” method on the quality of casting goods were investigated.
  The molding sand used for the Sane mold is Kiso river sand, Chita shore sand and Kibushi clay. As for the grain fineness of the sand particles, river sand was 56.1, and shore sand was 73. The best mixture for molding sand was examined by permeability and compression strength experiments.
  Results of experiments showed that the packing density and particle size of the molding sand influences the permeability and compression strength.
  The best sand mixture for the Sane mold was molding sand made by adding 30% clay and 11% moisture to river sand, and adding 20% clay and 13% moisture to shore sand. For shore sand, adding 25% clay and 11% moisture was the best mixtures.

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1991～1994年にかけて中国の大工道具調査を上海、杭州、昆明、大理、五台山などで実施した。調査結果をもとに、過去の調査例、文字資料、絵画資料を参考にして、中国の鑿についてその形、使い方を整理した。併せて日本と中国の鑿について比較考察をおこなった。 1) 文字から穴を穿つ「鑿」、木を破する「鐫」、木を削り平らにする「鏟」、「鍃」という鑿状の工具があった。 2) 実物資料からも、機能としては穴を穿つ叩き鑿と削りを目的とした削り鑿がある。木を破する「鐫」に相当する道具はみつからなかった。 3) 日本の現代の鑿は口金付のナカゴ式であるが、中国では鑿の柄と穂部の結合は叩き鑿ではソケット式である。削り鑿ではソケット式とナカゴ式の両方がある。 4) 叩き鑿を叩く道具として斧を使用することは絵画資料にみられ、五台山でも確認できた。 5) 削りを目的とした鑿に、日本では見られない刃先が斜めに傾いた鑿の発見があった。押しながら表面を削りとる様子が上海で確認できた。 6) 鑿の刃先は鍛接構造である。このことは過去の中国の文献『北斎書』、『天工開物』)でも示されている。

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With regard to Dharanis (Buddhist charms which are one of the world's first printed papers), I focused on the aspects of printing and paper, looked back on the past findings, and described the results of the research carried out in the area since the beginning of the Heisei era. However, I have not yet arrived at a conclusion on the woodblock theory, according to which, Dharani was printed on a woodblock, and the copper letterpress theory, according to which, they were printed on a copper plate. Dharanis were housed in a million wooden towers. It was revealed that the cypress tower itself adjusted the humidity and protected Dharanis for 1,300 years. The reason why Dharanis were housed in the hollowed-out body of the million towers and were covered with ring roof parts, was based on a scientific effect for preservation.

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東大寺大仏を建立したことで有名な聖武天皇は，また都を平城京から恭仁京，難波京と遷したのち，再び平城京に還ってきた。この間，天平12（740）年12月からわずか4年半である。その意図について，国土経営の観点から仮説を論じたものである。 木津川沿いの恭仁京への遷都は，平城京の物資輸送に大きな役割を果たしていた大和川舟運に支障が生じたからと考える。天平6（734）年4月，畿内は大地震に見舞われたが，その時に地すべり地帯である大和川亀ノ瀬峡谷部で舟運に影響を与える変動が生じたとの推測からである。舟運のための淀川・木津川整備は，恭仁京遷都に合わせて進められていったのだろう。 難波京遷都は，海外との文化交流あるいは文物の移入のための表玄関の整備と考える。平城京還都は，天平17（745）年4月に美濃国を震源とした大規模な内陸直下型群発性に襲われたことが最大の理由と考える。当時，恭仁京に都の人々は住んでいたが，地震に襲われた直後，先を争って平城京に帰っていった。

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SHINANSYA (South Pointing Chariot) is point out device at a uniform direction in Chinese ancient times. The aim of this work is to restoring the SHINANSYA as the graduation thesis. Then, we have reseach studies in SINANSYA at ancient documents and Chinese Syaku(ch'ih) in change gradually with the times. And, SINANSYA was made of all woods. In this paper describes the result of these.

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The purpose of this study is to clarify the characteristics of Shintō-like religious traits in Shintō-ryū kenjutsu.

Exploring the myths found in the Heihō jikanshō scroll of the Shintō-ryū, we found that the religious influence of Shintō was immense. As a manifestation of Shintō religious traits, a unique mythological image was formed with the following characteristics:

- The first thing that became clear was the existence of a magic tradition centred on the warrior god Takemikazuchi and the Futsunomitama-no-tsurugi (divine sword).

- The Futsunomitama-no-tsurugi together with the Kusanagi-no-tsurugi are said to be the two great magical swords of ancient times. However, the Kusanagi-no-tsurugi is not mentioned in the Heihō jikanshō. This provides evidence of Futsunomitama-no-tsurugi's importance in the Shintō-ryū.

- One of the most distinctive magic features in the Shintō-ryū not seen elsewhere is related to the Mitama-no tsurugi majifuru-no-tachi divine sword. This is also described as a “sword dance" and swinging the sword as an act purification was clearly a Shintō-like magical sword technique.

- This can be understood as a direct link between the magical and martial arts.

- A peculiarity of the Shintō-ryū is that it authorises a link between strategy in subduing the mythical serpent Yamata-no-Orochi, and military law, strategy, and tactics of the Kōshū-ryū military school and Sun Tzu's Art of War.

- Notably, as already discussed in another paper, there was a modification made to the myth of “kuni-yuzuri" (transfer of the land from the earthly to heavenly gods). The creation of myths in medieval times has been pointed out in previous research, but this study shows that myths were known to be modified, and narratives mythologised in kenjutsu.

In Shintō-ryū kenjutsu, there is no doubt that the Shintō-like religious characteristics discussed above were present from at least the time of Tsukahara Bokuden, who is acknowledged as the founder of the school. However, this study has shown that from the mid-modern period until the time of the Heihō jikanshō, these traits were imparted with their own unique, mythical imagery.

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The south gate of the Imperial Audience Hall compound was at the center of the Fujiwara palace and capital (694–710). In front of the gate, seven pits were excavated in 2016. These were remains left by flagpoles erected for the New Year’s Day ceremony in 701. Upon consideration, we found that the layout was designed based on right triangles extending from the center of the gate. The Zhoubi Suanjing describes the 3:4:5 ratio of right triangles as part of preparations for astronomical observation. The lengths of these triangles were based on multiples of 40 shaku (1 shaku = 0.295 m), because 40 was considered a lucky number, and the use of regular multiples (40, 80, 120) likely expressed a sense of public order on the ground, just as the planetary motions keep regular hours. This use of right triangles has two symbolic implications. First, it indicates the use of scientific knowledge such as astrology, and second, it is an example of the regular surveying techniques used for the construction of the ancient capital. It is known that tombs of emperors, and shrines associated with the imperial founder and deities, were built along the east–west and north–south center lines running through the gate.

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　中国が源流といわれる版築工法は土の突固めが工法の要であるから，土の突固め技法が渡来人の持込んだ技術であろうと推察し，土の突固め技法を突固め用小型道具の側面から中国の文献に遡って調査した．滋賀県湖東には，地盤を突固めるための道具として，ぐりんさんと呼ばれる地搗石が残されている．このぐりんさんを用いて地盤の突固め実験をした．実験結果から，ぐりんさんを用いて突固めた土工事の歩掛りを推定すると共に，ぐりんさん伝承の背景を文献史学的に調査した．これらの結果，ぐりんさんによる地盤の突固め効果は，近代的な締固め工法による盛土の締固め効果に劣らぬことが判明し，手作業による土工事の歩掛りも推定できた．また，地搗石伝承の文献調査過程において，ぐりんさんが亥の子突き風習と関係ある事と共に，その語源も推察できた．

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There are three traditional accounts as to where Kappa, one of the legendary Japanese folk creatures comes from. From a folkloristics perspective, however, Kunio Yanagita claimed it was a degraded form of a water god. Supposing that claim is true, degradation will be the origin. There is, however, no mention of it in those accounts. In Nihon Shoki, the oldest official chronicle of Japan, there are two mentions of Nomino-sukune. These mentions are part of the "Emperor Suinin Jyou," a collection of events during the reign of Emperor Suinin; one is about the origin of sumo and the other is about the origin of haniwa, earthenware figures. In the early eighth century, "Sumaino-sechie" one of the Imperial Court ceremonies was set on the seventh day of the seventh month and sumo was held on the same day along with the Star Festival. According to the chronicle, "a sumo match between Nomino-sukune and Taimano-kehaya," took place on the seventh day of the seventh month in the seventh year of Emperor Suinin's reign. This intentional setting shows a clear reason for having "Sumaino-sechie" on the seventh day of the seventh month and having a poem-composing ceremony for the Star Festival and sumo on the same day. There must have been some sound reasons, but no documents showing this have not been found. This paper starts examining the intention by assuming that the prototype of the Star Festival was disgrace. The prototype of the Star Festival is the act of sacrificing animals and humans to the water god. In the Jindaiki section of Nihon Shoki. there are some evil acts by Susanoo (a god) mentioned. One of them was the act of throwing a skinned cow into a place where weaving was in process and thus hurt a weaving girl. It can be said that the account was described with the prototype of the Star Festival in mind. The evil acts by Susanoo are the origin of amatsu-tsumi or sin and are regarded as a disgrace, something to be purified. Thus, the prototype of the Star Festival was set as a disgrace. A disgrace means events or acts which are not in compliance with social order and that order is set by the ones in power. In due course, those events or acts will become something that must be purified. This paper lists the outlying regions that don't obey the ruler and the insurrection within the government as these examples. Designating the acts of disgrace gives justification to ruling that region and epuration of the insurrection, solidifying the authenticity of power. The existence of the poem-composing ceremony for the Star Festival on the seventh day of the seventh month can be confirmed by "Manyo-shyu" the oldest collection of poems. Also, the recognition of the prototype of the Star Festival can be confirmed by the fact that it was described as a motif of evil acts by Susanoo. That is, sacrificing animals and humans, which are ceremonies for a water god, become disgraceful. The origin of a water god degrading into Kappa is found here. Originally, "Sumaino-sechie" has been thought to have started as "the rite for governing outlying regions." This paper, however, regards it as a disgrace from the correlations between the beginning of "Sumaino-sechie" and "a sumo match between Nomino-sukune and Taimano-kehaya." If the origin of "Sumaino-sechie" is regarded as disgrace, it can be viewed as "the rite to remain in power against insurrection within the government" in addition to the traditional assumption as "the rite to subject the outlying region." It can be said that the intention for setting the sumo match on the seventh day of the seventh month was to show legitimacy for governing the outlying region.

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