著者

二階堂 善弘

出版者

関西大学大学院東アジア文化研究科

雑誌

東アジア文化交渉研究 = Journal of East Asian cultural interaction studies (ISSN:18827748)

巻号頁・発行日

vol.14, pp.535-541, 2021-03-31

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There are many types of Myoken statue in Japan. Including Boy type, Sonjouou type, Nose type, Zhenwu type and so on. Among them, the Zhenwu type was influenced by the god Xuantian Shangdi. The God Myoken was influenced by the God Xuantian Shangdi, probably during the Kamakura period. I investigated the Myoken statues in a place and found that Yasushiro, Hoshida, Souma, Chichibu, Chiba and other Myoken belong to Zhenwu type Myoken.

著者

二階堂 善弘

出版者

関西大学文化交渉学教育研究拠点

雑誌

東アジア文化交渉研究 = Journal of East Asian Cultural Interaction Studies (ISSN:18827748)

巻号頁・発行日

vol.1, pp.179-186, 2008-03-31

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This short essay takes up Huaguang Dadi and Zhaobao Qilang, known as temple guardians, and chiefly examines the idea that the form of some gods has been influenced by others. Huaguang Dadi is also known as Ma Lingguan. During the Ming Dynasty, he was shown with a third eye, he had no beard, and he was known for holding a gold brick in his hand. Wang Lingguan, on the other hand, is enshrined as the Taoist guardian deity, to the extent that it can be considered to “always” exist in Taoist temples, especially those of Quanzhen Jiao’s sect. Both of these gods have a number of common features, including three eyes. For a number of reasons, it can be thought that Wang Lingguan and Guangong respectively succeeded the function of Huaguang (the remaining demon) as temple guardian. Zhaobao Qilang is also given the character of a sea god, and his appearance includes the feature of raising one hand and looking into the distance. Another sea god that similarly looks off into the distance is Qianli Yan. However, that wasn’t the original form of Qianli Yan and his appearance of looking off into the distance might have been due to the influence of Zhaobao Qilang. There is a god named Daxi Sikong in the Nanhai Shenmiao temple of the South Sea God of Guangzhou Province whose image takes on the appearance of looking into the distance as well. Thus, there is the possibility that the form of sea gods looking off into the distance was influenced by other gods that had the same look.

著者

松浦 章

出版者

関西大学

雑誌

東アジア文化交渉研究 (ISSN:18827748)

巻号頁・発行日

vol.1, pp.143-157, 2008-03-31

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The relationship between Qing Dynasty China and Japan continued over an extended period of time through Chinese ships sailing to Nagasaki. Representative of the ports of departure for these Chinese sailing ships was, in the early stages, Ningbo in Zhejiang Province, with Zhapu, also in Zhejiang Province, also focused on from around the end of the 17th century to the beginning of the 18th century. Later, from the end of the first half of the 18th century to the 1860s, Zhapu can in fact be considered the Chinese port that was the main base of trade with Japan. The function of Zhapu as a port of trade with Japan in this way is emphasized in conventional research, but its important function as a port for coastal trade within China has been overlooked. Therefore, this paper begins the discussion of the relation between Zhapu and Japan starting from the Middle Age era of the Japanese pirates. It describes the fact of Zhapu not only functioning as a trade port with Japan during the Qing Dynasty but also that it was an important port for coastal trade in China, and, as one example of this, illustrates the relation between Zhapu and Chinese coastal trade as a method of clarifying why typical China-made sugar exported to Japan was stockpiled in Zhapu.

著者

二階堂 善弘

出版者

関西大学大学院東アジア文化研究科

雑誌

東アジア文化交渉研究 (ISSN:18827748)

巻号頁・発行日

vol.7, pp.217-228, 2014-03-31

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文部科学省グローバルCOEプログラム 関西大学文化交渉学教育研究拠点

著者

松浦 章

出版者

関西大学

雑誌

東アジア文化交渉研究 (ISSN:18827748)

巻号頁・発行日

vol.3, pp.335-357, 2010-03-31

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During the Edo period (1603–1868), Japan steadfastly maintained its national seclusion policy. Japan's constant cultural interaction with foreign countries, therefore, took place mainly in the following ways: direct contacts with China and the Netherlands, centering on trade in Nagasaki; contacts with Korea through the So clan on Tsushima Island; and indirect contacts with China via the Kingdom of Ryukyu under the control of the Satsuma clan. Quantitatively, the largest number of direct contacts were made through trade by Chinese junks, called karafune in the Edo period, sailing to Nagasaki almost every year. Japan imported sugar made in China in large quantities through trade by Chinese junks almost annually. Much of the sugar imported from China was produced in coastal areas, such as Chaozhou in the eastern part of Guangdong Province, Xiamen and Quanzhou in southern Fujian Province, as well as in Taiwan. In the early part of the Edo period, China-made sugar was imported by Chinese junks sailing directly from these production areas to Japan. In the mid- and late-Edo period, however, sugar produced in China was not directly transported to Japan; it was first carried by coastal merchant vessels to Zhapu in Zhejiang Province, where the sugar was loaded onto Chinese junks sailing from Zhapu to Japan, and then transported to Nagasaki. Most of the sugar landing in Nagasaki was transported by domestic routes, mainly by Japanese-style wooden ships to Osaka, and then distributed nationwide. Meanwhile, in the early 18th century after the Kyoho era (1716–1736), cane sugar production was encouraged in Japan, following the instruction of the then shogun, Tokugawa Yoshimune( 1684–1751). This enabled Japan to increase its number of sugarproducing districts and amount of sugar production, also improving the quality of the sugar. In an attempt to determine how to establish cultural interaction studies as a field of historical research, this paper reports on sugar imports through Sino-Japan trade and on the expansion of domestic sugar consumption in the Edo period, as a way of considering the issue of cultural interaction from the perspective of physical distribution in East Asia.

著者

松浦 章

出版者

関西大学文化交渉学教育研究拠点(ICIS)

雑誌

東アジア文化交渉研究 = Journal of East Asian Cultural Interaction Studies (ISSN:18827748)

巻号頁・発行日

vol.3, pp.335-357, 2010-03-31

---

During the Edo period (1603–1868), Japan steadfastly maintained its national seclusion policy. Japan’s constant cultural interaction with foreign countries, therefore, took place mainly in the following ways: direct contacts with China and the Netherlands, centering on trade in Nagasaki; contacts with Korea through the So clan on Tsushima Island; and indirect contacts with China via the Kingdom of Ryukyu under the control of the Satsuma clan. Quantitatively, the largest number of direct contacts were made through trade by Chinese junks, called karafune in the Edo period, sailing to Nagasaki almost every year. Japan imported sugar made in China in large quantities through trade by Chinese junks almost annually. Much of the sugar imported from China was produced in coastal areas, such as Chaozhou in the eastern part of Guangdong Province, Xiamen and Quanzhou in southern Fujian Province, as well as in Taiwan. In the early part of the Edo period, China-made sugar was imported by Chinese junks sailing directly from these production areas to Japan. In the mid- and late-Edo period, however, sugar produced in China was not directly transported to Japan; it was first carried by coastal merchant vessels to Zhapu in Zhejiang Province, where the sugar was loaded onto Chinese junks sailing from Zhapu to Japan, and then transported to Nagasaki. Most of the sugar landing in Nagasaki was transported by domestic routes, mainly by Japanese-style wooden ships to Osaka, and then distributed nationwide. Meanwhile, in the early 18th century after the Kyoho era (1716–1736), cane sugar production was encouraged in Japan, following the instruction of the then shogun, Tokugawa Yoshimune( 1684–1751). This enabled Japan to increase its number of sugarproducing districts and amount of sugar production, also improving the quality of the sugar. In an attempt to determine how to establish cultural interaction studies as a field of historical research, this paper reports on sugar imports through Sino-Japan trade and on the expansion of domestic sugar consumption in the Edo period, as a way of considering the issue of cultural interaction from the perspective of physical distribution in East Asia.

著者

横山 俊一郎

出版者

関西大学大学院東アジア文化研究科

雑誌

東アジア文化交渉研究 = Journal of East Asian cultural interaction studies (ISSN:18827748)

巻号頁・発行日

vol.9, pp.305-317, 2016-03-31

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In this paper, I consider about the thought and business of Honda Masazane who founded the silk industry in Kanazawa, in order to understand the personality of businessmen from Hakuen-Shoin. I take up his biography named "Danshaku-Honda-Masazane-Den". As a result of this study, I found that he was inclined toward Buddhism after he graduated from Hakuen-Shoin. But, I think that he upheld the practical aspects of Confucianism. Also, I noticed that Sumitomo's managers participated in the Zen group to which he belonged at that time.

著者

横山 俊一郎

出版者

関西大学大学院東アジア文化研究科

雑誌

東アジア文化交渉研究 = Journal of East Asian cultural interaction studies (ISSN:18827748)

巻号頁・発行日

no.7, pp.305-326, 2014-03

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文部科学省グローバルCOEプログラム 関西大学文化交渉学教育研究拠点東アジアの思想と構造

著者

石川 哲子

出版者

関西大学大学院東アジア文化研究科

雑誌

東アジア文化交渉研究 = Journal of East Asian cultural interaction studies (ISSN:18827748)

巻号頁・発行日

vol.13, pp.137-151, 2020-03-31

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After the Meiji Restoration, and the introduction of modeling techniques from Europe, traditional wooden sculpture transformed greatly in Japan. While most sculptors moved to modeling, and the end of the Meiji Period and the introduction of the sculptures of Auguste Rodin, this trend intensified, and wooden sculptors fell into decline. Nevertheless, there were still many sculptors who concentrated on wood sculptures, though not as many as before, with a few exceptions. This paper looks at Nakatani Ganko (1868-1937), an active sculptor, who considered sculpture not as ornaments for display but as a work of fine art from as early as the Meiji to Taisho periods. This was a transition period when ornaments began to be valued as fine art. Nakatani came from the countryside to Tokyo, where he was appreciated, yet today few of his works seem to be extant and there is still little known about his life and activities. He is an artist who has been neglected. This paper focuses on the activities and works of representative artist of the time, Hirakushi Denchu, and his early profound interaction with Nakatani to bring into relief the actual image and characteristics of Nakatani's works as one aspect of the history of early modern sculpture in Japan.

著者

孔 穎

出版者

関西大学大学院東アジア文化研究科

雑誌

東アジア文化交渉研究 = Journal of East Asian cultural interaction studies (ISSN:18827748)

巻号頁・発行日

no.6, pp.493-504, 2013-03

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The Chinese term "Wo Nu" (倭奴), literary meaning "Japanese Slaves", was used to refer to the Japanese Nation before Yuan Dynasty, and had grown into an equivalent of "Wo Kou", or "Japanese pirates", by the time of Yuan and Ming Dynasties. However, the term became more complicated in the context of Macao during Ming Dynasty: it included some half-merchant-half-pirate "Wo Kou" and more Japanese Christian exiles fleeing the crackdown of Catholicism back home; in addition, there were large numbers of slaves in the true sense of the word, purchased by the Portuguese from Kyushu, Japan. It is this last group of "Wo Nu" that draws the attention of the present essay, which seeks to clarify the meaning of the term by using Chinese, Japanese and Western materials and to justify the Ming Cantonese Government's judgments of the nature of the Wo Nu in Macao and its policies toward them.

著者

中山 創太

出版者

関西大学文化交渉学教育研究拠点(ICIS)

雑誌

東アジア文化交渉研究 = Journal of East Asian Cultural Interaction Studies (ISSN:18827748)

巻号頁・発行日

vol.5, pp.389-405, 2012-02-01

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In the mid-Edo period, the edehon produced by Tachibana Morikuni and Ōoka Shunboku were used in amateur painting education to research the technique of professionals. It is believed that the edehon provided professional illustrators with theopportunity to study the techniques used in conservative Kanō school tradition, classicalpainting, and Chinese painting, to which they would have had little access, andincorporate these techniques into their own works. This essay focuses on ukiyoe, a representative print art of Edo-period massculture, particularly the works of the Utagawa school of the late Edo period, in anattempt to present those pieces that suggest a reliance upon edehon. With this, it ispossible to suggest the diffusion of Kanō school painting techniques through edehon, and in particular, to discover the transmission through ukiyoe prints.

著者

曹 悦

出版者

関西大学大学院東アジア文化研究科

雑誌

東アジア文化交渉研究 = Journal of East Asian cultural interaction studies (ISSN:18827748)

巻号頁・発行日

vol.11, pp.467-482, 2018-03-31

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The reign of the Edo period was established by Tokugawa Ieyasu. In this period, the policy of culture and education was put into force, and during the rise of innovation of calligraphy, two different styles which were Karayou and Wayou were appeared. The seal script calligraphy was a part of Karayou calligraphy, and it began to develop in the real sense from Edo period. The theory of Karayou calligraphy was influenced by the theory of China, and naturally the theory of the seal script calligraphy was influenced by the theory of the seal script calligraphy of China. In this paper, it would take an example of Ichigawa Beiann who was one of the member of Bakumatsu Sannpitsu, and choose his theory of calligraphy, Beiann Bokudann. Then analyzed the content of the seal script calligraphy and compared it with the theory of Chinese in the same period. Consequently we can see the relationship and degree of exchange study between Edo Japan and China in Qing dynasty.

著者

岡部 美沙子

出版者

関西大学大学院東アジア文化研究科

雑誌

東アジア文化交渉研究 = Journal of East Asian cultural interaction studies (ISSN:18827748)

巻号頁・発行日

vol.10, pp.279-297, 2017-03-31

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Hakutaku (Baize 白澤) is a divine animal that appears in ancient Chinese mythology. In China, Hakutaku's icon has been expressed like "tiger's head and dragon’s body" or "dragon's head and animal body". This icon spreaded from China to Korea. And it has been handed down. In contrast, Hakutaku icon is expressed like "human face and ox body" in both Japan and Ryukyu (琉球). Xian (西安) Huxian (戸県)'s Hakutaku statue show us two kinds of possibility. The one can provide the evidence for the ox body Hakutaku, which appears in China, the other can show the possibility Hakutaku and Kirin (Qilin 麒麟) that is made up a pair.

著者

中山 創太

出版者

関西大学文化交渉学教育研究拠点(ICIS)

雑誌

東アジア文化交渉研究 = Journal of East Asian Cultural Interaction Studies (ISSN:18827748)

巻号頁・発行日

vol.5, pp.389-405, 2012-02-01

---

In the mid-Edo period, the edehon produced by Tachibana Morikuni and Ōoka Shunboku were used in amateur painting education to research the technique of professionals. It is believed that the edehon provided professional illustrators with the opportunity to study the techniques used in conservative Kanō school tradition, classical painting, and Chinese painting, to which they would have had little access, and incorporate these techniques into their own works. This essay focuses on ukiyoe, a representative print art of Edo-period mass culture, particularly the works of the Utagawa school of the late Edo period, in an attempt to present those pieces that suggest a reliance upon edehon. With this, it is possible to suggest the diffusion of Kanō school painting techniques through edehon, and in particular, to discover the transmission through ukiyoe prints.

著者

鄭 潔西

出版者

関西大学

雑誌

東アジア文化交渉研究 (ISSN:18827748)

巻号頁・発行日

vol.2, pp.339-351, 2009-03-31

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Many Chinese people moved to and lived in Japan during the Wan Li Era of Ming. Their reasons for going to Japan differed and they were involved in the Great War in East Asia regardless of their own attitudes at the mercy of the special period of Hideyoshi's invasions of Korea. Many Chinese people in Japan were incorporated as Japanese troops invading Korea and went into the battle against Korea and Ming as "Chinese troops of Japan." In this report, I'd like to consider the Chinese people who came to Japan during the Wan Li Era of Ming, especially those living in Japan on the eve of Hideyoshi's invasions of Korea and those incorporated as Japanese troops invading Korea after the war started.

著者

索南 卓瑪

出版者

関西大学大学院東アジア文化研究科

雑誌

東アジア文化交渉研究 = Journal of East Asian cultural interaction studies (ISSN:18827748)

巻号頁・発行日

vol.10, pp.455-473, 2017-03-31

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文部科学省グローバルCOEプログラム 関西大学文化交渉学教育研究拠点

著者

中谷 伸生

出版者

関西大学大学院東アジア文化研究科

雑誌

東アジア文化交渉研究 = Journal of East Asian cultural interaction studies (ISSN:18827748)

巻号頁・発行日

no.7, pp.37-51, 2014-03

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文部科学省グローバルCOEプログラム 関西大学文化交渉学教育研究拠点東アジアの言語と表象The "Orchid Pavilion(Lanting 蘭亭)" is a beautiful landscape garden in China where a historically famous gathering called the "Lantei no Utage(蘭亭の宴)" (making-poetly banquet at the stream in a garden) was held by Wang Xizhi(王義之), the great Chinese calligrapher. The Chinese theme of Lanting associated with the creation of calligraphy became one of the most popular painting themes in Japan during the Edo period. The gathering took place on the third day of the third month, the Ninth Year of the Everlasting Harmony(永和)Period of the Eastern Jin(東晋)Dynasty(i.e.,353 CE). A Chinese painting of the "Orchid Pavilion Paintings"(蘭亭曲水図)refers to this gathering in a pictorial form. According to Chronicles of Japan(日本書紀巻2: Nihon Shoki in the 2nd Volume), certain documents describe "Kyokusui no Utage"(曲水の宴: literally, riverside banquet as a court ceremony), which was held on March 3rd, Joshi(上巳), when Emperor Kenzo was in the first year of his accession. However, this historical fact has not been verified. Eventually, in the Heian period, the "Kyokusui no Utage" was held as an annual event of poetry festivals in the lmperial Court sponsored by the Emperor. This paper discusses the major works of the "Orchid Pavilion Paintings" (蘭亭図)by Uragami Shunkin(浦上春琴), who was a Japanese painter of the late Edo period, and the painting theme of Orchid Pavilion is also considered for discussion. Furthermore, this paper analyzes how the distinct iconography of "Lanting" originated in China was introduced to Japan and accepted by Japanese painters throughout artistic changes or cultural transfbrmation over the years. Last but not least,the Wang Xizhi's spirit seen in his "Preface to the Orchid Pavilion Poems" (蘭亭序)should be worthy of special attention, although his preface was totally inappropriate on pleasant occasions such as a banquet. His immortal preface goes: Although the span of men's life may be longer or shorter, the sad thing is that all must end in death. People are moved with Shunkin's paintings entitled "Orchid Pavilion Paintings", which reveal beauty in transforming things instead of eternal beings.

著者

前原 あやの

出版者

関西大学大学院東アジア文化研究科

雑誌

東アジア文化交渉研究 = Journal of East Asian cultural interaction studies (ISSN:18827748)

巻号頁・発行日

no.8, pp.295-311, 2015-03

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文部科学省グローバルCOEプログラム 関西大学文化交渉学教育研究拠点東アジアの思想と構造Formation of a classification system of Sanjia (三家) is one of constellation classification methods in China. In this paper I considered how was Formation of a classification system of Sanjia (三家) formed out and whether it developed. There is little documents in China, but "Sanka bosan" (三家簿讃) of Kyoto Prefectural Libraly and Archives (京都府立総合資料館), and "Temmon yoroku" (天文要録) of Maedaikutokukai Sonkeikaku library (前田育徳会尊経閣文庫) etc. exist in Japan. While the way to color-coded constellation in three colors was also lost from early times in China, it was used by "Temmon seisho" (天文成象) etc. in the Edo Period in Japan. Formation of a classification system of Sanjia (三家) that has lost meaning in early in China, it will be said that a feature of Japan that was left in the form close to the prototype.

著者

張 麗山

出版者

関西大学文化交渉学教育研究拠点(ICIS)

雑誌

東アジア文化交渉研究 = Journal of East Asian Cultural Interaction Studies (ISSN:18827748)

巻号頁・発行日

vol.5, pp.103-113, 2012-02-01

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Sarutahiko is well known god from Japanese mythology. An indication of his popularity with the populace can be seen in the more than ten other names the god also has been given. Moto’ori Norinaga discusses Sarutahiko in his Kojikiden and argues for the multiplicity of the god’s personalities. Nevertheless, there are numerous aspects of the god’s origin that remain unclear. Most of the research is in linguistics, anthropology, literature and other fi elds; however, there is very little that examines the god from the larger vantage of East Asia. This essay turns to documents related to the mythology of the Kojiki and the Nihongi and compares this myth with similar myths found throughout East Asia to re-evaluate Sarutahiko’s traits. In particular, the essay focuses on the function of the god through pursuing one of his names, Chimata-no-kami.

著者

池田 智恵

出版者

関西大学文化交渉学教育研究拠点(ICIS)

雑誌

東アジア文化交渉研究 (ISSN:18827748)

巻号頁・発行日

no.4, pp.253-271, 2011-03

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From the Sino-Japanese perspective, the mystery novel is an import, and something that arrived from the West. In both countries, with translation, the mystery novel became extremely popular, and in the 1920s, attempts were made at creating indigenous mysteries. Periodicals devoted to mysteries began to be published: in China, Zhentan shijie 偵探世界, Banyue 半月, and Ziluolan 紫羅蘭, and in Japan, Shinseinen 新青年. This paper explores the reception phases of the mystery novel through an examination of the readers' submissions published in these various magazines. In comparing the creative conditions of the two countries, Japan succeeded in developing younger writers through literary awards, while in China, the authors never succeeded in mastering the structure of the mystery novel, and were troubled with the production of this new literary genre. The authors who never conquered the "modern novel" become distinct.