@article{oai:rekihaku.repo.nii.ac.jp:00002508,
 author = {堀部, 猛 and Horibe, Takeshi},
 journal = {国立歴史民俗博物館研究報告, Bulletin of the National Museum of Japanese History},
 month = {Dec},
 note = {application/pdf, 古代の代表的な金属加飾技法である鍍金は、水銀と金を混和して金アマルガムを作り、これを銅製品などの表面に塗り、加熱して水銀を蒸発させ、研磨して仕上げるものである。本稿は、『延喜式』巻十七（内匠寮）の鍍金に関する規定について、近世の文献や金属工学での実験成果、また錺金具製作工房での調査を踏まえ、金と水銀の分量比や工程を中心に考察を行った。
古代の鍍金については、今日でも小林行雄『古代の技術』を代表的な研究として挙げることができる。専門とする考古資料のみならず、文献史料も積極的に取り上げ、奈良時代の帳簿からみえる鍍金と内匠式の規定を比較することを試みている。しかしながら、内匠式における金と水銀の分量比をめぐっては、明快な解釈には至っていない。氏の理解を阻んでいるのは、奈良時代の史料が鍍金の材料を金と水銀で表すのに対し、内匠式が「滅金」と水銀を挙げていることにある。「滅金」が何を指し、水銀の用途は何であるのか、また、なにゆえこうした規定となっているのかが課題となっている。
内匠式では「滅金」は金と水銀を混和した金アマルガムを指し、その分量比は一対三としている可能性が大きいこと、それに続く水銀は「酸苗を着ける料」として梅酢などで器物を清浄にする際に混ぜ、また対象や部位によりアマルガムの濃度を調節するのに用いるものとして、式が立てられていると解した。鍍金の料物を挙げる内匠式の多くの条文では、水銀が滅金の半分の量となっており、全体に金と水銀が一対五の分量比となるよう設定されている。この分量比は、奈良時代の寺院造営や東大寺大仏の鍍金のそれとほぼ同じである。以上のような滅金と水銀による料物規定は内匠式特有のものであり、実際の作業工程に即して式文を定立したことによると評価できる, Gilding, one the most representative decorative techniques for metals used in ancient Japan, consists in the mixture of mercury and gold to produce gold amalgam, which is then applied to the surface of copper artifacts. These are heated up to let the mercury evaporate, and finally polished. In this paper I have, on the basis of early modern written sources, metallurgical experiments, and visits to workshops active in the traditional arts of metal decoration, examined the ratio of mercury and gold, and the process of production with regard to regulations for gilding found in the seventeenth scroll of the Engishiki (Bureau of Artisans).
When discussing gilding in ancient Japan, Kobayashi Yukio's book Kodai no gijutsu (Techniques of ancient Japan) can still be considered a classic. In this work, Kobayashi uses not only archeological materials, which are his specialty, but also written historical materials, and he compares ledgers from the Nara period that mention gilding to the regulations found in the "Procedures for the Bureau of Artisans" from the Engishiki. However, he confines himself to raising some issues based on his interpretation of the latter without reaching a conclusion. A problem in Kobayashi's analysis is constituted by the fact that while Nara period records indicate that the materials used for gilding are gold and mercury, in the "Procedures for the Bureau of Artisans" it is written that mercury and mekki 滅金 should be used. This raises various questions: what does mekki refer to? How is mercury used? Why are the regulations on gilding phrased in this way?
We think it is highly possible that mekki in the "Procedures for the Bureau of Artisans" indicates gold amalgam produced mixing one part of gold with three parts of mercury; that mercury was mixed with plum vinegar, which was used to remove oil content from the surface of containers, in order to make the plum vinegar adhere when the containers were cleaned; and that the concentration of mercury in the amalgam was adjusted on the basis of the target object and specific part. In many of the articles in the "Procedures for the Bureau of Artisans" that deal with gilding, mercury is half the quantity of the amalgam, so that the total ratio of gold to mercury is one to five. This ratio is almost identical to the one used in temple construction works during the Nara period, and for gilding the great buddha statue at Tōdaiji. These regulations on mekki and mercury are unique to the "Procedures for the Bureau of Artisans", and it can be said that the text of these procedures was shaped by the actual production process.},
 pages = {279--298},
 title = {[論文] 古代の鍍金と内匠式 : 金・水銀の分量比をめぐって},
 volume = {218},
 year = {2019},
 yomi = {ホリベ, タケシ}
}