地域観光資源の 多言語解説文データベース

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Construction on Kashiragashima Church began in 1910 at the request of Osaki Yajū the local priest. Work was twice interrupted, and it took nearly a decade before the building was completed in 1919. The church was designed by the architect Tetsukawa Yosuke, who is responsible for numerous churches, and was built using local sandstone.

Although sandstone is generally thought of as a soft stone, the local variety is of an unusually high quality. Due to its hardness, the structure shows very little weather damage. Local masons and masons from Nagasaki shaped the stone and built the walls, while the local faithful helped to carry the blocks and put them in place.

The walls of the church have a rusticated finish. The sandstone blocks were placed long-side down, while the exposed surface of each block was deliberately roughened and the edges deeply cut back. This creates deep shadows that project a sense of strength and order.

There is an octagonal cupola—a feature that Tetsukawa was particularly fond of—on the top of the tower. There was no tower in the original plans, and it was added at the last minute, just before building work was finished. You can see this decision led to some awkwardness in the positioning of the windows at the front (which are pressed up against the tower) and of the Lombard band motif (which does not continue onto the tower itself).

CAPTIONS

Cross

Cupola

Lombard band

Rose window

Dentil

Keystone

Arch

Rusticated masonry

Stone steps

Monument marking Domingo Matsujirō’s house

Buttress

Scarcement

Underfloor ventilation aperture

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• Coved ceiling

• The coved ceiling, supported by hammer-beams and double trusses

• Double truss

• Hammer-beam

• Flower motifs are used extensively in the church interior. The white flowers are thought to be either camellias or roses, but we do not know for sure what the woodworkers of the time wanted them to be

• Sanctuary lamp

• Statue of the Virgin Mary

• Old altar

•Tabernacle

• Statue of Saint Joseph

• Confessional

• Note the absence of pillars

• Stations of the Cross

• Present-day altar

• In sharp contrast to the church’s rough and massive exterior, the interior is a soft, gentle space adorned with multiple flower motifs

頭島天主堂的建築

相較於質地柔軟的普通砂岩，此地採掘的砂岩不但堅硬，而且品質極高，是不易被風化和損壞的優質建材。長崎及當地的石工負責砌牆及加工，而當地信徒亦參與了搬運及堆石的工作。

教堂牆壁表面質地粗糙，這是由於建築採用將砂岩方石水平交疊的方式，為使石塊緊密吻合，才刻意將石面加工得不平整。此一設計令建築外觀明暗對比強烈，看起來更加強勁有力、井然有序。

樓頂的小屋，則蓋上了鐵川與助愛用的八角形圓頂。其實當初的建設計畫中並未包含小屋，而是在接近完工時才另外增建，因此也產生了許多失衡的特徵：例如前方窗戶位置與小屋過於接近，或是倫巴底帶裝飾並未延續至小屋等。

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十字架

圓拱型屋頂

倫巴底帶

玫瑰窗

齒狀裝飾

拱心石

拱

粗石砌的石牆

石階

Domingo松次郎宅邸舊址之碑

扶壁

狹路

地下通風口

（#184 (第二部分)）

・挑高天花板

・由懸臂托梁與雙桁架支撐的挑高天花板

・雙桁架

・懸臂托梁

・天主堂的內部設計採用了許多花卉圖案。根據推測，這些白花或許是山茶花，亦或許是玫瑰，然而設計者的本意早已不得而知。

・聖體燈

・瑪利亞像

・昔日的祭壇

・聖櫃

・若瑟像

・告解室

・無柱構造

・苦路

・現在的祭壇

・有別於粗獷豪放的外觀，建築內部點綴的花卉圖案充滿溫和氣息，整體空間細膩優美。

头岛天主堂的建筑

砂岩通常质地较软，但此地采掘的砂岩不仅坚硬，且品质极佳，是不易受风化而损坏的优质建材。长崎及当地的石匠负责砌墙及加工，而当地信徒则参与了搬运及堆石工作。

教堂墙壁表面粗糙不平，这是由于建筑采用将砂岩方石水平交叠的方式，为使石块紧密契合，才刻意将石面加工得不平整。这一设计令建筑外观产生强烈的明暗对比，看起来更加强劲有力、井然有序。

教堂楼顶有一座八角形圆顶小屋，正是铁川与助在设计中热衷运用的元素。其实当初的建设规划中并未包含小屋，而是在接近完工时才另行增建，因而便产生了一种失衡之感——譬如前方窗户位置与小屋过于接近，或是伦巴第带装饰并未延续至小屋等。

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十字架

圆拱型屋顶

伦巴第带

玫瑰窗

齿状装饰

拱心石

拱

粗石砌的石墙

石阶

Domingo松次郎宅邸旧址之碑

扶壁

狭路

地下通风口

（#184 (第二部分)）

・挑高天花板

・由悬臂托梁与双桁架支撑的挑高天花板

・双桁架

・悬臂托梁

・天主堂的内部设计采用了许多花卉图案。据推测，这些白花可能是山茶花，亦可能是玫瑰，然而设计者的本意早已不得而知。

・圣体灯

・玛利亚像

・昔日的祭坛

・圣柜

・若瑟像

・告解室

・无柱构造

・苦路

・现在的祭坛

・有别于粗犷豪放的外观，建筑内部点缀的花卉图案充满温和气息，整体空间细腻优美。