著者

蜷川 順子

出版者

関西大学東西学術研究所

雑誌

関西大学東西学術研究所紀要 (ISSN:02878151)

巻号頁・発行日

vol.41, pp.3-22, 2008-04-01

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A View of Delft preserved at the Mauritshuis in The Hague is well known as a rare cityscape by Johannes Vermeer (1632-1675), who otherwise depicted mostly interior everyday life. Kenneth Clark, the English art historian who published the Landscape into Art in 1949, described it as "like a postcard" to underline its property as the truth of the total view, commenting that no particular part would catch beholders' eyes. On the other hand, Marcel Proust, the French novelist who inserted a scene of Bergotte's death in front of the painting into A la Recherche du Temps Perdu (1913-27), emphasized the beauty of a particular part of yellow wall in the composition. It makes us notice that the very source of light exists out of the painting and then that the tower of the New Church of Delft is also illuminated by the light in the center of the city. As the tomb of Willem of Orange the Silence is located in the church, some scholars indicate that the connection between the city and the house of Orange is herewith intentionally underlined. Therefore, we may infer that there is a twofold aspect of the modern for the Europeans: the uniform or scientific view and the particularized or intentional view on the surroundings. The author is to compare the modern imagery with the medieval one in order to make the former clearer. Concerning the uniform or scientific view, the history of the cityscape of Jerusalem is most worth noticing. Jerusalem became the prototype of European or Christian cities since the publication of De Civitate Dei by Augustine in the 5th century. It gave an ideal imagery of city, which should be constructed from artificial matters by the efforts of devotional people. It contrasts to that of nature, including the nature in the human being, which had only negative meaning for the early medieval Christians. The images of medieval city were filled with buildings, or churches, within the city wall, while surrounding nature of the city had gotten to be depicted or appropriated little by little in diverse images towards the era of Renaissance. The landscape, the original meaning of which is considered to be the issue of property, was depicted as scenery of nature where people were laboring, enjoying, observing etc., viewed from the city or the owner’s house. The cityscape of Jerusalem was changed in the fifteenth century from the older type to the new one, which became surrounded by nature or filled with greens. When both the city and the nature of surroundings were viewed with the same appropriation, people obtained the germ of the linier perspective, the system of scientific view, namely the uniform view over the world. The linier perspective, on the other hand, proscribed the position of a viewer, which could in its turn related to the particularized or intentional view on the surroundings. In the sixteenth century, for example, when God was far less visualized in the way with similitude, the bird's-eye perspective found among the so-called world landscape seems to indicate the very place of the invisible God. It was also the age of discovery for the Europeans and both the geography and the topography were rapidly developed with map- and landscape-making relating each other. In the seventeenth century, lots of landscapes of non-European regions were made on the model of drawings made by VOC people etc., reflecting diverse intentions of image makers. These images aroused the concerns of beholders toward the depicted imagery of foreign places.

著者

呂 超

出版者

関西大学東西学術研究所

雑誌

関西大学東西学術研究所紀要 (ISSN:02878151)

巻号頁・発行日

vol.49, pp.353-376, 2016-04-01

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As is well known, Miyazaki Ichisada (1901‒1995) is one of the preeminent Japanese postwar scholars in the field of Chinese history, but his research interests did not stop there; he left a scholarly legacy that includes wide-ranging research on East-West relations and the history of Asia. Moreover, Miyazaki grasped history with the long view of a generalist, and argued that Chinese history should be studied from a world-historical perspective rather than being confined to the framework of a single nation. On the other hand, Miyazaki is well known for having been the first in Japanese academic circles to emphasize the existence of the historical phenomenon of the city-state in ancient China. This paper investigates a number of papers by Miyazaki which treat of his theory of city-states, and after examining the view of ancient Chinese history which he constructed, clarifies the relationship between his concept of world history and his theoretical approach to China’s ancient city-states. It also traces the formative process of Miyazaki's conception of world history, analyzing its structure in the context of the social ideologies of the time, and elucidating the nature and characteristics of his philosophy of world history.

著者

長谷部 剛

出版者

関西大学東西学術研究所

雑誌

関西大学東西学術研究所紀要 (ISSN:02878151)

巻号頁・発行日

vol.49, pp.589-594, 2016-04-01

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資料紹介Hayashi Kenzo's unpublished manuscript, "Musical Scores for the Dunhuang Pipa and their Relation to Songs," looks at restored musical scores for the Dunhuang pipa (a type of Chinese lute from the Dunhuang area) to investigate what kinds of lyrical songs were sung in the actual performance of such music. While the manuscript is both undated and incomplete, significant insights can be gleaned about the process of Hayashi's investigations and the traces of evidence they provide.

著者

西本 昌弘

出版者

関西大学

雑誌

関西大学東西学術研究所紀要 (ISSN:02878151)

巻号頁・発行日

vol.38, pp.A1-A23, 2005-04-01

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The original Portraits of the Five Patriarchs of the Shingon Buddhism that Kukai brought back from Tang have been handed down in Toji Temple. With the portraits of Ryumo and Ryuchi newly added in Japan in the 12th year of Konin (821), the portraits of the seven patriarchs were completed. It is generally believed that the inscriptions on the seven portraits were handwritten by Kukai, but there were some doubts about it in the old days. In this paper, based on the study of the historical research works, we support the opinion that the biographies on the four patriarchs (Ryumo, Ryuchi, Zenmui, and Ichigyo) out of the seven were not written by Kukai. On the other hand, in the collection of Kukai's letters, 'the Koya Collection of Letters', is the letter concerning the restoration of the Portraits of the Five Patriarchs. The letter addressed to the Left Chief of the Guards (Fujiwara no Fuyutsugu) is the one. It has been believed that the letter was written around the 6th year of Konin (815), but based on our study, it has been made clear that it was written around the 12th year of Konin. In this letter, Kukai requested Emperor Saga to restore the Portraits of the Five Patriarchs, and at the same time, he requested the emperor to write the biographies on the Portraits of the Five Patriarchs following the historical fact about the Emperor of Tang Dynasty. It is highly possible that the Emperor wrote them to reply to Kukai's request. So it can be considered that the inscriptions on the fourpatriarchs, in a different handwriting from Kukai's, should have been written by Emperor Saga.

著者

小野 文

出版者

関西大学東西学術研究所

雑誌

関西大学東西学術研究所紀要 (ISSN:02878151)

巻号頁・発行日

vol.40, pp.157-178, 2007-04-01

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The present article examines the process of how Hieroglyphics and Chinese characters have been studied in parallel. The article includes the author's examination of how the perspective on relationships between Hieroglyphics Studies and Chinese Writing Studies was modified in the 19th century. To begin, we are going to outline several ideas of Sinologists on Egypt-China relation, that are formulated from the 17th century to the 19th century. Secondly, we will examine epistemological obstacles that prevented European Chinese Studies from facing the phonographical aspect of Chinese Writing. Lastly, we are going to analyze the development of Phonological Studies in the 19th century, and remark a similar tendency in Chinese Writing Studies in Europe.

著者

許 海華

出版者

関西大学東西学術研究所

雑誌

関西大学東西学術研究所紀要 (ISSN:02878151)

巻号頁・発行日

vol.44, pp.297-318, 2011-04

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While Japan at the end of the Edo period revised their national seclusion system and started to set forward with internationally opening policy, it was the training of translators to communicate at practical negotiations with foreign countries that was most urgently required. In the case of To tsuji 唐通事, Chinese translators at Nagasaki during the Edo period, some of the youths transferred themselves to be in charge of two languages, from solo translation for Chinese to translation for both Chinese and English. They later became very active in the frontlines for diplomacy, education and translation because of their English abilities during the periods from the end of the Edo to Meiji era. One of the typical examples was Ga Noriyuki. Ga Noriyuki was the person who flourished as a liege of Tokugawa Shogunate, a bureaucrat, an educator as well as a translator, who had been working as a Chinese translator at Nagasaki. It was his mastering English which brought him a great turning point for his life. This paper examines historical backgrouds and progress for Ga Noriyuki's mastering English from the view point of the alteration of To tsuji at Nagasaki during the periods from the end of the Edo to Meiji era, through full survey on articles on his carrers.

著者

山口 正晃

出版者

関西大学東西学術研究所

雑誌

関西大学東西学術研究所紀要 (ISSN:02878151)

巻号頁・発行日

vol.51, pp.233-259, 2018-04-01

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This paper aims to clarify part of the situation where so-called "Chinese Buddhism" is established, by analyzing the currency situation of "Fo-ming jing 仏名経". Chinese Buddhism was established mainly in the Chang'an 長安 Buddhist circle led by the Sui 隋 Tang 唐 Dynasty. At the time, the Buddhist church repeatedly created a catalog of sutras to arrange Chinese-translated Buddhist scriptures and tried to establish authority by creating a system called "Tripitaka 大蔵経". There are also many Buddhist scriptures that were culled out during the process, the influence of which is also strongly seen in the "Fo-ming jing 仏名経". Originally, in Dunhuang 敦煌, a unique Buddhist world spread and from the Sui 隋 to midway through the Tang 唐 period, the influence of the Chang'an 長安 Buddhist world was accepted, although limited. The Nara 奈良 dynasty in Japan was far more strongly influenced by the Chang'an 長安 Buddhist world than the Dunhuang 敦煌, but common elements with Dunhuang also emerge. It was found that one variety of "Fo-ming jing 仏名経" didn't spread in Chang'an 長安 Buddhist circle, but spread to both Dunhuang 敦煌 and Japan. From here, we can see how the Buddhist world in the private sector, which is closer to common people, has spread widely around the "orthodox" Buddhist world by the Chang'an 長安 Buddhist world.

著者

角山 幸洋

出版者

関西大学東西学術研究所

雑誌

関西大学東西学術研究所紀要 (ISSN:02878151)

巻号頁・発行日

vol.28, pp.A17-A104, 1995-03-31

著者

鼓 宗

出版者

関西大学東西学術研究所

雑誌

関西大学東西学術研究所紀要 = Bulletin of the Institute of Oriental and Occidental Studies, Kansai University (ISSN:02878151)

巻号頁・発行日

no.51, pp.65-78, 2018-04

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Poemas árticos of Vicente Huidobro is one of the most influential works in the evolution of avant-garde poetry in Spain and Hispanic American countries, especially the former post-1918, when the Chilean poet visited its capital, frequented 'tertulias' of the leading literary figures of the time, such as Cansinos-Assens and Ramon Gomez de la Serna and kept an apartment in Madrid. At the same time, Huidobro 's own poetry enjoyed considerable success among young Spanish poets such as Gerargo Diego and Juan Larrea, encouraging them to compose poems based on the new esthetics, which were mainly elaborated by Parisian artists, but also reflected in Huidobro's own poetics of Creationism. Guillermo de Torre, future critic of avant-garde literature and founder of the Ultraismo, the principal avantgarde movement in Spanish literature, is a case in point. In this brief article, we cite the testimony of scholars such as Rene de Costa and Cedmil Goic, as well as the above-mentioned writers and poets, concerning Huidobro's stay in Madrid and the publication of his book and in light of this evidence, propose a reevaluation of creationist poetry.

著者

西本 昌弘

出版者

関西大学東西学術研究所

雑誌

関西大学東西学術研究所紀要 (ISSN:02878151)

巻号頁・発行日

vol.38, pp.A1-A23, 2005-04-01

---

The original Portraits of the Five Patriarchs of the Shingon Buddhism that Kukai brought back from Tang have been handed down in Toji Temple. With the portraits of Ryumo and Ryuchi newly added in Japan in the 12th year of Konin (821), the portraits of the seven patriarchs were completed. It is generally believed that the inscriptions on the seven portraits were handwritten by Kukai, but there were some doubts about it in the old days. In this paper, based on the study of the historical research works, we support the opinion that the biographies on the four patriarchs (Ryumo, Ryuchi, Zenmui, and Ichigyo) out of the seven were not written by Kukai. On the other hand, in the collection of Kukai's letters, 'the Koya Collection of Letters', is the letter concerning the restoration of the Portraits of the Five Patriarchs. The letter addressed to the Left Chief of the Guards (Fujiwara no Fuyutsugu) is the one. It has been believed that the letter was written around the 6th year of Konin (815), but based on our study, it has been made clear that it was written around the 12th year of Konin. In this letter, Kukai requested Emperor Saga to restore the Portraits of the Five Patriarchs, and at the same time, he requested the emperor to write the biographies on the Portraits of the Five Patriarchs following the historical fact about the Emperor of Tang Dynasty. It is highly possible that the Emperor wrote them to reply to Kukai's request. So it can be considered that the inscriptions on the fourpatriarchs, in a different handwriting from Kukai's, should have been written by Emperor Saga.

著者

辜 承堯

出版者

関西大学東西学術研究所

雑誌

関西大学東西学術研究所紀要 (ISSN:02878151)

巻号頁・発行日

no.49, pp.333-352, 2016-04

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Japanese scholars began their studies of Chinese drama in the Meiji period. After the Meiji Restoration, Japanese academia was significantly influenced by Western academic methods, and as result of this aspects of folk culture such as drama became an important object of study in the field of Chinese-literature studies. Masaru Aoki(1887‒1964) was a famous researcher of Chinese drama during Japan's modern period. Through Aoki's writings and the recollections of his family and close friends, this paper will attempt to outline the contours of his Chinese-drama research. Through an analysis of Aoki's major works(Shina Kinsei Gikyoku shi ,Genjin Zatsugeki Jyosetsu), this paper will clarify the approach and problems that are characteristic of Aoki's drama research.

著者

二階堂 善弘

出版者

関西大学東西学術研究所

雑誌

関西大学東西学術研究所紀要 = Bulletin of the Institute of Oriental and Occidental Studies, Kansai University (ISSN:02878151)

巻号頁・発行日

no.54, pp.27-42, 2021-04

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This article explores the gods of plague and medicine in the Ming and Qing dynasties. With regard to the gods of plague, many are known throughout China, including Wangye (王爺) in Fujian and Taiwan, Yanguang Niangniang (眼光娘娘) in the north, as well as Banchen Niangniang (斑疹娘娘), Tainhua Niangniang (天花娘娘), and other niangniang who drive disease. The numerous Yaowang temples across mainland China attest to the belief in these gods. Concerning rituals, the sending off of the royal ship (送王船) is performed to expel epidemics. With regard to the gods of medicine, the kings of medicine (藥王) include famous doctors such as Bian Que (扁鵲), Sun Simiao (孫思邈), Wei Cicang (韋慈藏), and Hua Tuo (華陀). Emperor Baosheng of Fujian was, for example, a well-known doctor who later became a god of medicine. Fictional characters also display traits of gods, such as Lu Yue (呂岳), who appears in the novel Fengshen Yanyi [封神演義] and resembles a plague god, as well as Marshal Gao (高元帥) and Marshal Zhang (張元帥) of Marshal God, who resemble the gods of medicine.

著者

宮嶋 純子

出版者

関西大学東西学術研究所

雑誌

関西大学東西学術研究所紀要 = Bulletin of the Institute of Oriental and Occidental Studies, Kansai University (ISSN:02878151)

巻号頁・発行日

no.53, pp.155-172, 2020-04

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本報告は、JSPS科研費「ベトナム北部地域における仏教典籍流通の史的研究」 (課題番号:JP17K18251) の助成を受けて行った研究成果の一部である。

著者

松浦 章

出版者

関西大学東西学術研究所

雑誌

関西大学東西学術研究所紀要 (ISSN:02878151)

巻号頁・発行日

no.37, pp.15-48, 2004-04

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The Sino-Japanese steamship lines were started by the foreign steamship companies that came to Japan in the last days of Tokugawa regime. The leading character in Jules Verne's 'Le Tour du Monde en Quatre-Vingts Jours', published in 1873, crossed the Pacific between Yokohama and San Francisco on a steamship run by Pacific Mail Steam Company. This company also had a line extending further from Yokohama to Shanghai. The steamship lines between Japan and other countries were monopolized by American and other forign companies before 1875. But in 1875 a Japanese company entered the scene.. The first one was the steamship line between Japan and Shanghai, China as the first overseas line in Japan. Under the instructions of the Japanese Government, M. B. S. S. Co, opened a line from Yokohama to Shanghai via Kobe, Shimonoseki, and Nagasaki on February 3.1875. It was a regular service leaving Yokohama for Shanghai every Wednesday, and Shanghai for Yokohama every Sunday. The line was succeeded by N. Y. S. S. Co. that was newly founded on October 1, 1885. This paper discusses the use of the steamship lines by the Chinese and the Japanese people in the 30 and some years from the opening of the regular line between China and Japan by the Japanese steamship company to the fall of the Qing Dynasty.

著者

松浦 章

出版者

関西大学東西学術研究所

雑誌

関西大学東西学術研究所紀要 (ISSN:02878151)

巻号頁・発行日

vol.37, pp.A15-A48, 2004-04-01

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The Sino-Japanese steamship lines were started by the foreign steamship companies that came to Japan in the last days of Tokugawa regime. The leading character in Jules Verne's 'Le Tour du Monde en Quatre-Vingts Jours', published in 1873, crossed the Pacific between Yokohama and San Francisco on a steamship run by Pacific Mail Steam Company. This company also had a line extending further from Yokohama to Shanghai. The steamship lines between Japan and other countries were monopolized by American and other forign companies before 1875. But in 1875 a Japanese company entered the scene.. The first one was the steamship line between Japan and Shanghai, China as the first overseas line in Japan. Under the instructions of the Japanese Government, M. B. S. S. Co, opened a line from Yokohama to Shanghai via Kobe, Shimonoseki, and Nagasaki on February 3.1875. It was a regular service leaving Yokohama for Shanghai every Wednesday, and Shanghai for Yokohama every Sunday. The line was succeeded by N. Y. S. S. Co. that was newly founded on October 1, 1885. This paper discusses the use of the steamship lines by the Chinese and the Japanese people in the 30 and some years from the opening of the regular line between China and Japan by the Japanese steamship company to the fall of the Qing Dynasty.

著者

彭 强

出版者

関西大学東西学術研究所

雑誌

関西大学東西学術研究所紀要 = Bulletin of the Institute of Oriental and Occidental Studies, Kansai University (ISSN:02878151)

巻号頁・発行日

no.53, pp.83-106, 2020-04

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Based on the current research on Instruction pour les visites de Mandarins and from the angle of the historical studies on the early Jesuits in China, no matter 李毓中 or 張鎧, it is clear that the book was written during the Ming Dynasty and was completed by several writers. Their research is mostly based on the analysis of the section of <拜客問答>, which is a conjecture of facts rather than a conclusion of their studies on factual evidence. In fact, the book clearly highlights the period within which it was completed and even its authors. When it comes to its completion time, the most obvious evidence is a list of members of the early Society of Jesus in China. Consequently, this article explores the time period within which Instruction pour les visites de Mandarins was written and completed based on the list of the probable authors and the nature of the book. To achieve this objective, this article combines the goods and products with the stories in <買辦的事> with a detailed analysis of the meaning of mentioning Hangzhou and Peking (「宮裏」). It also explores the activities of the members of the early Jesuits in China, as mentioned in the book <拜客問答>.

著者

黄 逸

出版者

関西大学東西学術研究所

雑誌

関西大学東西学術研究所紀要 = Bulletin of the Institute of Oriental and Occidental Studies, Kansai University (ISSN:02878151)

巻号頁・発行日

no.53, pp.121-138, 2020-04

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The embassy of the Chinese Empire under the direction of Mr.Anson Burlingame, the former U.S. Minister to Beijing (1862-1867), visited the United States of America in 1868. Four years later in 1872, the Japanese Imperial Minister Tomomi Iwakura led his embassy to America, too. As the first official Mission from China and Japan respectively, they received warm attention from the American newspapers. The media's reports and comments on the two embassies were generally full of goodwill, reflecting the kind of special amicable relationship between the post-Civil War United States who was engaging in the Reconstruction and its remote partners who were promoting modern reforms in East Asia after their respective civil wars. This paper intends to examine the two questions : why the U.S. newspapers around 1870 made such favorable reports, and what were the expectations of the reporters on the future U.S.-China and U.S.-Japan relations.

著者

横田 健一

出版者

関西大学東西学術研究所

雑誌

関西大学東西学術研究所紀要 (ISSN:02878151)

巻号頁・発行日

vol.6, pp.41-57, 1973-03-30

著者

横田 健一

出版者

関西大学東西学術研究所

雑誌

関西大学東西学術研究所紀要 (ISSN:02878151)

巻号頁・発行日

no.6, pp.41-57, 1973-03

著者

大庭 脩

出版者

関西大学東西学術研究所

雑誌

関西大学東西学術研究所紀要 (ISSN:02878151)

巻号頁・発行日

vol.4, pp.29-77, 1971-03-30