11）民俗芸能用装身具の安定化処理および修復 ア．簪
高田歌舞伎に使用された装身具
江戸時代後期には気仙地方で地芝居が行われていたことが、『角屋敷久助覚牒』の1829（文政12）年の「世間風唱後知鏡」<20の11>に記載されています（渡辺1994）。地芝居は明治時代中期に隆盛を極め、「荒川歌舞伎」、「今泉歌舞伎」、「竹駒歌舞伎」、「高田歌舞伎」の４座が現在の陸前高田市内で活躍し、宮古、釜石、久慈方面などの周辺地域まで興行しました。戦後は様々な娯楽が生まれたことで地芝居は廃れていきましたが、高田歌舞伎は女歌舞伎として装いを変え最後まで残りました。女歌舞伎の役者として名古屋などで修業を積んできた佐々木トキワ氏が指導者となり、近隣の裕福な家庭の主婦を中心に「高田女歌舞伎」を結成しました。1989（平成元）年まで公演活動を行っていましたが、２代目座長の猪股みや氏の急死で途絶えてしまいました。
陸前高田市立博物館に収蔵されていた高田歌舞伎関連資料は、故猪股みや宅で収蔵されていた資料で、1999（平成11）年12月に受け入れられました。この時作成されたリストに記載された簪の数量は、現在残されているものの数倍になっています。この簪類は、猪股みや氏が扇子などと共に浅草で購入し、主だった役柄に使われていました（注）。救出された簪類には、端役が使ったとされる割箸に金紙を貼って作った簪もあり、様々な工夫を凝らして舞台を造っていた様子が、残された資料から窺うことができます。

救出された簪類
お姫様簪4点、ビラビラ簪19点が津波による流失を免れました。お姫様簪は、前髪に飾る一番大きい目立つ簪です。
金色や銀色を呈する数十μmの極薄い金属板を花型に整形し二重、三重に重ね、中央に珊瑚色の玉や模造ダイヤを嵌め、その周囲には蝶型飾りや珊瑚色の玉などを散らすなど、手の込んだ造りになっています。ビラビラ簪は２種類あり、お姫様簪に使われている素材と同様な極薄い金属板で作った花や葉飾りの下部に、鎖や短冊状の長い垂れ飾りが下がっているもの12点、ビラカンとも称される板状扇型で周囲に短冊状の垂れ飾りが下がっているもの７点です。簪の金属飾りは、各種金属の固有色である金色、黄銅色、銀色を効果的に使い分け、装飾効果をあげています。
簪は救出後、ドライクリーニングが施されました。その後ガスバリア性袋に保存されてきましたが、錆化が進行していました。形全体の歪み・折損・剥離などは随所にみられ、表面や入り組んだ個所に泥や細砂が固着し、金属は劣化により全体がくすみ、水色や緑青色の錆も散見されました（図1・10）。特に、飾りの基部となっている鉄製の板状部位は損傷著しく、被災前に補修した痕跡も認められました。また、ビラビラ簪の銀色の垂れ飾りは、震災前に相当腐食が進み樹脂を塗りこんで応急処置をしていたと推測される個所も多々あり、欠損や錆化は津波被害に拠るものだけではないと推定されました（図2）。

11) Stabilization and Restoration of Folk Performing Art
Accessories - Ornamental Hairpins -Asakusa, Tokyo and was used when performing major roles (SeeNote). The salvaged ornamental hairpins include an item madeby applying gold paper to a disposable chopstick presumably
used by an actress playing a small role. In this manner, theremaining objects enable us to take a glimpse into the past
about how the troupe members used to devise creative methods
in preparation for the performance.

Accessories used in Takata Kabuki
It is known from the description in the Seken Fusho Atoshiru
Kagami (20-11) written in 1829 of the Kadoyashiki Kyusuke
Oboecho (a collection of manuscript records concerning local
arts and crafts) that by the late Edo Period, theater utilizing
local performers was being performed in the Kesen region(Watanabe 1994). Theater featuring local performers in thisregion reached its height in popularity in the middle Meiji
Period; four troupes, the Araga Kabuki, Imaizumi Kabuki,Takekoma Kabuki and Takata Kabuki, were active in what
is present-day Rikuzentakata city, and they even traveled toneighboring regions such as Miyako, Kamaishi and Kuji togive performances. While theater by local performers lostpopularity after the end of WWII due to the emergence of otherforms of entertainment, Takata Kabuki managed to survive
even after the war as the last local kabuki troupe by switching
to performing onna (women) kabuki , a type of kabuki theaterthat is performed solely by females. With Tokiwa Sasaki who
had trained herself as an actress in a womens’ kabuki troupe
in Nagoya as the leader and instructor, the troupe Takata
Onna Kabuki was established. The troupe’s members weremainly housewives from rich local families. Though the troupe
performed until 1989, its performances came to an end with thesudden death of Sasaki’s succesor, Miya Inomata.
The collection of objects related to Takata Kabuki ownedby the RTCM originally belonged to the late Miya Inomata
and had been stored at her residence. The museum received
this collection in December 1999. The number of kanzashi(ornamental hairpins) recorded in the list created at this time isseveral times larger than the number of the currently remaining
kanzashi. This group of ornamental hairpins was purchased byMiya Inomata together with other items such as folding fans of126

Salvaged ornamental hairpins
Four items of princess kanzashi and 19 items of birabirakanzashi (a hairpin used on the top frontal part which has fixedornaments and long dangling ornaments) were salvaged after
the tsunami. The princess kanzashi was used to adorn the upper
frontal part of the hair and is the most noticeable kanzashi . It isa work of meticulously crafted ornamentation; gold and silver
colored ultra-thin metal sheets of only a few dozen μm thick
are manipulated into flower-shaped patterns and double ortriple folded largers, coral colored balls and imitation diamond
pieces were placed at the center, and then butterfly-shaped
ornaments and coral colored balls were randomly placed in
the area surrounding the center. As for birabira kanzashi , thesalvaged items belonged to the following two types: a typecomposed of flower and leaf ornaments made from ultra-thinmetal sheets similar to those used for the princess kanzashi
with dangling chains and long strips hanging under those metalornaments (12 items), and a type, also referred to as birakan,
composed of a flat folding fan-shaped ornament with dangling
ornamental strips hanging from the side of the object (7 items).
The decorative effect of the metal ornaments on the hairpins
was enhanced by the crafter’s selective and creative use of thecolors unique to each type of metal – gold, brass and silver.
Though the ornamental hairpins had been dried and cleaned
after being salvaged and subsequently preserved in the gas
barrier bags, rust on the items had progressed. Deformation

第4章

安定化処理と修理

図2 錆化したビラビラ簪
Fig. 2 Rusted birabira kanzashi

図1 お姫様簪の花飾り損傷状況
Fig. 1 Damaged flower ornaments of a princess kanzashi

図3 処理前の補強
Fig. 3 Pre-treatment reinforcement

図4 双眼実体顕微鏡下でのクリーニング
Fig. 4 Cleaning using a binocular stereo
microscope

図5 錆を軟化するためキレート剤に浸漬
Fig. 5 Soaking in a chelator solution to soften the rust

図6 有機溶剤で油分を洗浄Fig. 6 Rinsing off oil using an organic solvent127

簪類の安定化処理および修復処理方針を構築するにあたり、簪の母材と発生した錆が進行性のものか否かを確かめるため、７点の簪からそれぞれ特徴的な錆をサンプリングし、蛍光Ｘ線分析に供しました。その結果、銀色を呈している扇型ビラビラ簪の錆からはZn、Alおよび極微量のAgが、黄銅色を呈している扇型ビラビラ簪とお姫様簪の黄銅色花飾りの錆からはCu、Znが検出されました。前者の母材には亜鉛が使用され、アルミニウムや銀で表面仕上げが行われており、後者の母材には真鍮が用いられていたものと推定されました。５点からClが検出され、相当量の塩分が混在していることも判明しました。
これらの調査結果から、錆はできるだけ除去することとし、双眼実体顕微鏡下で筆やメスによる物理的処理を優先的に行い（図4）、キレート剤を用いた化学的処理は、堅い錆を軟化する程度に留めました（図5）。メスや筆で除去しきれない堅い錆が固着している場合には、資料の状況に応じてキレート剤に短時間浸漬し錆を軟化させ、処理直後に超音波洗浄器を用い精製水で薬剤を除去し、その後、残存している錆を検鏡下で再度除去する工程を繰り返し行いました。ビラビラ簪やお姫様簪は、金属の花飾りが幾重にも重なりあい入り組んでいるため、このクリーニング処理の工程を少なくとも３回繰り返しました。なお、油分の付着が認められる資料は、有機溶剤で除去しました（図6）。
安定化処理では健全な金属表面が薬剤による損傷を受けないよう細心の注意を払いました。板状のビラビラ簪

で、ごく一部にのみ錆が認められる資料はキレート剤に浸漬せず、高吸水性樹脂にキレート剤を浸み込ませ、錆だけに反応するようにしました。なお、キレート剤の使用に当たっては予め真鍮板および採取した錆片で予備実験し、資料表面の色調に影響を与えることがない薬剤と浸漬時間を選択しました。薬剤処理後は資料を精製水で充分洗浄し、洗浄液のpHおよびCl－濃度が水道水とほぼ同じ値になるまで洗浄を続けました。また、クリーニング・脱塩処理工程中のさらなる損壊を防ぐため、損傷個所は和紙やたこ糸で養生し（図3）、補強してから処理に取り掛かりました。
安定化処理を終了後、綿棒を用い双眼実体顕微鏡下で再度表面をクリーニングしました。垂れ飾りなど非常に脆弱な薄片状の金属は和紙で、お姫様簪の鉄製部分の比較的厚い部位はガラス繊維で裏打ちし、エポキシ樹脂で強化しました（図7）。折損個所はエポキシ樹脂で接着し（図8）、欠損個所はエポキシパテで復元し、アクリル絵の具で古色仕上げを行いました。歪みの激しかったお姫様簪、ビラビラ簪は、最後にバランスをみながらピンセットなどで全体の形を整えていきました（図9・11・12）。

of the entire shape, breakage, detachment and further damage
was observed in almost all areas of the items. Furthermore,dirt and fine sand grains had attached to the surface and areasof elaborate ornamentation, the metal parts appeared dull due
to degradation, and light blue colored corrosion products andgreen colored corrosion products were observed sporadically(Figures 1 and 10). The flat iron parts, the foundation of theornamentations, were badly damaged, and traces of pre-disaster
repair was also observed. In addition, since it was observedthat the silver dangling ornaments of the birabira kanzashi
presumably had been given emergency treatment prior to thedisaster by applying resin in the areas of severe corrosion
damage, it was assumed that this disaster was not the only
cause of structural deformation and rust (Fig. 2).

surgical knives and utilizing a binocular stereo microscope (Fig.
4), while chemical treatments using a chelate reagent were onlyused for softening rigidly-affixed corrosion (Fig. 5). Areas with
fixed substances which could not be completely removed bybrushes or surgical knives were, depending on the conditionsof the salvaged objects, soaked for a short period of time in achelate solution to soften attached corrosion. Immediately after
this treatment, the items were washed in purified water using
an ultrasonic cleaner to remove the agent and subsequently,
the remaining corrosion products were removed whileobserving them through a microscope. This process was thenrepeated. Since the birabira kanzashi and princess kanzashi had
complicated ornamentations containing multiple layers of metal
flower ornaments, this cleaning process had to be repeated atleast three times. Oil adhering to salvaged objects was removed
with an organic solvent (Fig. 6).
Extra caution was taken during the stabilization to conserve
the non-damaged metal surface areas from being damaged bychemical agents. Some flat ornament birabira kanzashi items
in which corrosion was observed only on a small portion weretreated with high water absorption resin in which a chelate
agent was added so that the agent reacted only with the fullycorroded whole item in a chelate solution. As for the use of achelate agent, preliminary experiments were conducted using a
brass plate and collected corrosion product samples. Based on
the results of those experiments, chemical agents and soaking
durations which did not affect the surface color of the salvaged
objects were selected. The items were thoroughly washed inpurified water after being treated by chemical agents, and thewashing continued until the pH and the Cl concentration levels
were reduced to values close to those of tap water. Furthermore,damaged areas were repaired by applying Japanese paper andkite strings (Fig. 3) prior to performing treatment to reinforce
them in order to prevent any further damage from occurring

Stabilization and repair of ornamental hairpins
In order to create a treatment method, samples ofcharacteristic corroded materials were collected from 7 hairpinsand analyzed by X-ray fluorescence spectrometry to identify
the main substances used in the hairpins and to confirm whether
or not the rust that occurred was progressive. As a result, Zn,
Al and a trace of Ag were detected in the collected sample ofthe silver colored, folding fan ornament birabira kanzashi , andCu and Zn were present in the collected samples of the brasscolored folding fan ornament birabira kanzashi and the brasscolored flower ornaments of the princess kanzashi . The main
substance of the first item was zinc and its surface was finishedwith aluminum and silver. As for the other items, it wasassumed that the predominant substance was brass. In addition,
Cl was detected in 5 items; providing evidence that the items
contained a considerable amount of salt.
Based on these results, corrosion objects were removed
from the items to the maximum extent possible and priority
was given to performing physical treatment using brushes and128

注 元東海新報記者木下繁喜氏の取材記録および関連史
料に拠る。
武田昭子（昭和女子大学）

第4章

安定化処理と修理

during the cleaning and desalination processes.
Subsequent to performing stabilization, the surface of thetreated hairpins was cleaned again with cotton swabs using abinocular stereo microscope. The extremely fragile ultra-thinmetal parts such as the dangling ornaments were lined withJapanese paper while comparatively thick parts such as the ironparts of the princess kanzashi were lined with glass fiber, andthen strengthened with epoxy resin (Fig. 7). Broken parts werere-attached using epoxy resin (Fig. 8), and areas with missing
material were reproduced using a paste epoxy and giving thema finish containing acrylics. The severely deformed princess
kanzashi and birabira kanzashi items were, as a final treatment,

molded into their original shapes using tweezers while
maintaining the overall symmetry of the object (Figures 9, 11and 12).

図7 樹脂による折損・剥離個所の補強
Fig. 7 Reinforcement of broken and detached parts using resin

図8 花弁の接着
Fig. 8 Attaching a petal

図9 全体の形を整える
Fig. 9 Restoring the overall shape

図11 修復後お姫様簪Fig. 11 Princess kanzashi after treatment

Note: B ased on the research, interview records, and relatedmaterials written by Shigeki Kinoshita, former reporter forTokaishinpo Newspaper.

Akiko Takeda (Showa Women’s University)

図10 修復前お姫様簪
Fig. 10 Princess kanzashi prior to treatment

図12 修復後ビラビラ簪
Fig. 12 Birabira kanzashi after treatment

129