地域観光資源の 多言語解説文データベース

Kaga Domain and the Maeda Family Cultural Policy

The area now known as Ishikawa Prefecture was once a part of Kaga domain—one of about 250 relatively autonomous regions under the authority of the shogun during the Edo period (1603–1867). Kaga was governed by 14 lords of the Maeda family from 1583 until the abolition of the domain system in 1871. Thanks to the family’s strong commitment to fostering Kaga’s traditional arts, the Maedas’ legacy remains alive and well in the cultural life of Ishikawa.

Kaga domain was a large and highly productive agricultural region. Because a domain’s wealth was determined by the volume of crops—particularly rice—that it produced, the Maedas’ income was second only to the aggregate income of the shogunate itself.

Before the start of the Edo period, Japan had endured centuries of conflict among independent warlords who had funded and waged war with their own armies. At the end of the sixteenth century, the Tokugawa family rose to ascendency and established a shogunal government based in Edo. The Tokugawas were well aware that greater wealth meant more resources to recruit and equip troops, and that wealthy domain lords like the Maedas could pose a significant threat should they decide to revoke their allegiance and funnel their wealth into rebellion.

The Maedas, too, worried their wealth might lead the shogun to view them as political rivals. As a result, they embarked on a shrewd political course: to invest heavily in non-military pursuits like noh theater, the decorative arts, and tea ceremony. This policy kept the family in the shogun’s good graces, giving them access to government posts and transforming Kanazawa into a regional hub despite its distance from the capital. At the same time, developing cultural influence was a peaceful way to assert the domain’s independence and offset the control of the shogunate.

The Maeda cultural policy can broadly be categorized as twofold: collection and cultivation. Accumulating fine works of art lent prestige to a domain lord. While this was a common pursuit among the samurai class, the deep pockets of the Maedas allowed them to outspend their rivals, and many masterpieces from around Japan ended up in their possession. The Maedas were not satisfied, however, with simply collecting. They made the promotion of local arts and crafts a fundamental part of their domain management. They attracted many of the country’s finest artisans to Kaga by offering generous stipends, patronage, and land. Many of the crafts for which Ishikawa is famous, such as Kaga yūzen silk dyeing, were established by artisans from Kyoto and Edo (now Tokyo) who moved to Kanazawa at the Maedas’ invitation.

One of their most influential acts was to turn a former armor repair workshop at Kanazawa Castle into a multidiscipline crafts workshop called the Kaga Domain Workshop (Osaikusho). With the financial support of successive domain lords, artists honed their skills, trained successors, and collaborated on boundary-pushing projects and masterworks. The fifth Maeda lord, Maeda Tsunanori (1643–1724), initiated the creation of a wide-ranging compendium of contemporary craft samples from around the country. Known as the Hyakkō Hishō, it helped to educate and inspire artisans at the Kaga Domain Workshop. Many key techniques that define Ishikawa’s lacquerware, metalwork, and woodwork today emerged from this innovative institution.

加賀藩和前田家的文化政策

在江戶時代（西元1603–1867），幕府轄下約有250個相對自治的領地，現在的石川縣當時屬於其中的加賀藩。從西元1583年到1871年廢藩置縣，加賀藩歷經14任前田氏藩主統治。多虧有前田家大力推動加賀藩的傳統藝術，這項文化傳統才得以歷久彌新，並延續到今日石川縣的文化生活中。

　　加賀藩是一片地域遼闊、富饒多產的農業區域。由於各藩地的財富取決於生產的農作物（尤其是稻米）產量，因此前田家的收入僅次於幕府的總收入。

　　在江戶時代之前，日本經歷了幾個世紀的混戰。武將們各自擁兵，割據一方且爭鬥不休。到了16世紀末，德川家族在征戰中崛起，在江戶建立了幕府政權。德川家族清楚地意識到當財富增加，代表擁有更多資源來招募軍隊和備妥裝備。當前田家如此富裕的藩主一旦不再效忠，並將財富用於叛亂，將會構成重大威脅。

　　另一方面，前田家也擔心可能會因為所擁有的財富，被幕府視為政治對手，因此他們選擇了一種高明的政治策略，將財富大量投入能劇、裝飾藝術和茶道等非軍事活動。上述策略讓前田家得到了幕府將軍的青睞，並獲得一些官職，他們管理的金澤儘管遠離首都，但也發展為地區中心。與此同時，前田家透過發展文化影響力，以一種和平的方式與幕府的控制抗衡，維護領地的獨立性。

　　前田家的文化政策大致可以分為收藏手工藝品和培養人才兩個方面。收藏精美的藝術品可以提升藩主的威望，雖然這種興趣在武士階級並不少見，然而前田家的財力格外雄厚，更願意為收藏一擲千金，因此得以將日本各地的許多珍品和傑作納入囊中。不過單單收藏無法滿足前田家，他們更致力於推動當地藝術和手工藝發展，以此作為治理藩地的基礎，因此提供豐厚的資助、補貼和土地，吸引日本全國最優秀的工匠們來到加賀藩。在前田家的邀請下，不少工匠從京都和江戶（今東京）遷居至金澤，並研究出許多石川縣著名的手工藝，例如加賀友禪染絲綢。

　　前田家所推行的措施中影響最深遠之一，是將金澤城的盔甲修理坊，改造為匯集多種手工藝類別的加賀藩御細工所。在歷任藩主的財政支援下，工匠們不斷磨鍊技藝、培養傳人，並攜手完成突破性的創新計畫，創造一流的作品。前田家的第五代藩主前田綱紀（西元1643–1724）廣泛收集當時日本各地的手工藝樣本，並編成「百工比照」，為加賀藩御細工所的工匠們提供指引、帶來啟發。今日石川縣代表性的漆器、金屬加工和木工，許多的關鍵技術都源於這個創新機構。

加贺藩和前田家族的文化政策

　　在江户时代 (1603–1867)，幕府政权下有大约250个相对自治的藩领，现在的石川县当时属于其中的加贺藩。从1583年到1871年废藩置县，前田家族共有14任藩主统治加贺藩。得益于前田家族对加贺藩传统艺术的强劲支持，这种文化传统历久弥新，并延续到今天石川县的文化生活中。

　　加贺藩是一片地域辽阔、富饶多产的农业区域。由于各藩地的财富取决于其农作物（尤其是大米）的产量，因此前田家族的收入仅次于幕府本身的总收入。

　　在江户时代之前，日本经历了几个世纪的混战。武将们各自拥兵，割据一方，争斗不休。16世纪末，德川家族在征战中崛起，并于江户建立了幕府政权。德川家族清楚地意识到，拥有更多财富意味着有更多的资源来招募和装备军队。前田家族这样富裕的藩主一旦不再效忠，并将财富用于叛乱，将会构成重大威胁。

　　而前田家族也担心自己因为富甲一方而被幕府视为政治对手。为此他们选择了一种高明的政治策略，将财富大量投入能剧、装饰艺术和茶道等非军事活动。因为这种策略，前田家族得到了幕府将军的青睐，获得了一些官职；他们管理的金泽尽管远离首都，也发展成为地区中心。与此同时，前田家族通过发展文化影响力，以一种和平的方式抵消幕府控制，从而维护领地的独立。

　　前田家族的文化政策大致可以分为收藏工艺品和培养工艺人才两个方面。收藏精美的艺术品可以提升藩主的威望。这种兴趣在武士阶层并不少见，然而，前田家族的财力格外雄厚，更愿意为收藏一掷千金，因此得以将日本各地的许多珍品和杰作纳入囊中。但前田家族并不仅仅满足于收藏，更以推动当地艺术和工艺发展作为治理藩地的基础。他们通过提供丰厚的资助、补贴和土地，吸引全国最优秀的艺术家们来到加贺藩。在前田家族的邀请下，不少艺术家从京都和江户（今东京）迁居至金泽，并开发出石川赖以闻名的许多工艺，例如加贺友禅染丝绸。

　　前田家族所推行的措施中影响最深远之一，是将金泽的武器盔甲修理坊改造为综合多种工艺类型的加贺藩御细工所。在历任藩主的财政支持之下，艺术家们不断磨炼技艺，培养传人，并合作进行突破边界的创新项目，创造一流的作品。前田家的第五代藩主前田纲纪 (1643–1724) 广泛收集和汇总当时日本各地的工艺样本，编成“百工比照”，这一收藏集为加贺藩御细工所的工匠提供了指导和启发。今天石川的漆器、金属工艺和木工的许多关键技术都源于这一创新机构。