著者

亀井 拓

出版者

関西大学大学院東アジア文化研究科

雑誌

文化交渉 : Journal of the Graduate School of East Asian Cultures : 東アジア文化研究科院生論集 (ISSN:21874395)

巻号頁・発行日

vol.2, pp.299-320, 2013-12-01

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This short paper delves into one of the sources that reveal Chen Duxiu’s(1879‒1942) world view. Xiaoxue Wanguo Dili Xinbian was published as a geographical textbook used in elementary schools, and it was also one of Chen’s earliest writings, finished in 1902. For Chen, geography, especially human geography (political geography) in Japan and China, meant not only knowledge of foreign countries and of the relationships between human beings and nature, but also as a means to teach native people about national crises and Westerninvasion. Since this book is written rather than translated by Chen Duxiu, many of his own ideas are visible therein. What kind of geographical knowledge did Chen choose to accept? Where did it come from? How did he delineate the world with the knowledge? These questions are important and, arguably, serve as the key to Chen Duxiu’s later thought.

著者

楊 雪

出版者

関西大学大学院東アジア文化研究科

雑誌

文化交渉 : 東アジア文化研究科院生論集 : journal of the Graduate School of East Asian Cultures (ISSN:21874395)

巻号頁・発行日

vol.11, pp.171-185, 2021-11-30

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From 1895 to 1945, Japan established colonies in Taiwan and Korea. Japan adopted colonial assimilation policies in these colonies that were different from those of Western colonial powers. Japan's management of the colonies was not limited to the economy or politics but focused on assimilation policies based on language and culture. Through these policies, Taiwanese and Koreans were to become Japanese. This form of colonization is very special. Why did Japan choose to adopt this assimilation policy? The author analyzes this issue based on three aspects : possibility of realization, necessity of realization, and legitimacy of realization. A homogeneous race and culture make it possible to realize an assimilation policy. The important geographical locations of Taiwan and Korea also made it necessary for Japan to try to assimilate Taiwanese and Koreans, respectively, while political philosophies prevalent in Japan at the time provided the legitimacy for assimilation.

著者

日並 彩乃

出版者

関西大学大学院東アジア文化研究科

雑誌

文化交渉 : Journal of the Graduate School of East Asian Cultures : 東アジア文化研究科院生論集 (ISSN:21874395)

巻号頁・発行日

vol.2, pp.81-105, 2013-12-01

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This work sets out Yamato-e of Kyo Kano. Fukko yamato-e did not appear suddenly at an end of Edo era. They built this movement upon Yamato-e in early modern period. Fukko yamato-e is the restoration Yamato-e painting. Late Edo era, they learned the Yamato-e masterpieces of the Heian and Kamakura era in order to revive the past Yamato-e. This movement was begun by TANAKA Totsugen, was succeeded by his pupil UKITA Ikkei or REIZEI Tamechika. Totsugen and Ikkei learned Yamato-e in Tosa school. And Tamechika learned Yamato-e of Kyo Kano. Edo Kano did work about the Tokugawa Shogunate. On the other hand, Kyo Kano worked about the Toyotomi administration in Kyoto. Kyo Kano was began with Sanraku, was continued by Sansetsu, Einou, Eikei, Eihaku, Eijo, Eiryo, Eishun, Eigaku, Eisho, Eijo, Eisho. In this paper, I reveal the tradition of Yamato-e of Kyo Kano from Sanraku to Eigaku and Eisho, also Tamechika in an end of Edo era.

著者

董 伊莎

出版者

関西大学大学院東アジア文化研究科

雑誌

文化交渉 : 東アジア文化研究科院生論集 : journal of the Graduate School of East Asian Cultures (ISSN:21874395)

巻号頁・発行日

vol.6, pp.67-84, 2016-11-30

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The first Goryō-e ceremony (a ceremony held to appease evil gods and the spirits of the dead) was held during the Heian period in 863. Subsequent Goryō-e ceremonies underwent significant changes, eventually resulting in the spirit that was the focus of ritual appeasement in the original Goryō-e being replaced by a new spirit known as Ekijin. There has been much previous research looking at the origins of this change. This work looks at a possible link between the Chinese deity known as Karakami, mentioned in the Shunki, and the Japanese deity Ekijin. From this link it can be seen that Ekijin was originally a foreign deity. Also, after an examination of records from the Nara to Heian periods, it can be seen that the concept of plagues introduced during the Tenpyō period from foreign sources deeply influenced Japanese beliefs surrounding plague and the Goryō-e ceremony. The new beliefs imported from China share a common concept with that of the original Goryō-e ceremony, namely the idea of rei. This provided a basis for the acceptance of the new foreign beliefs, which eventually resulted in Ekijin becoming the main subject of appeasement. In conclusion, foreign ideas about plague influenced not only ideas about Ekijin, but were also assimilated into the Goryō-e belief system.

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

文化交渉 : Journal of the Graduate School of East Asian Cultures : 東アジア文化研究科院生論集 (ISSN:21874395)

巻号頁・発行日

no.3, pp.125-139, 2014-09-30

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東アジアの思想と構造

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

文化交渉 : Journal of the Graduate School of East Asian Cultures : 東アジア文化研究科院生論集 (ISSN:21874395)

巻号頁・発行日

vol.3, pp.125-139, 2014-09-30

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Yamada Kodo was a graduate of Kaitokudo, a private educational academy in Osaka, Japan. As a politician he became involved in the educational administration of Shikama prefecture during the Meiji Restoration, and as a manager, he made eff orts to promote the local sericulture industry. This paper will focus on the relationship between Kodo and Hakuen-juku, another private educational institution based in Osaka.

著者

当 智

出版者

関西大学大学院東アジア文化研究科

雑誌

文化交渉 : 東アジア文化研究科院生論集 : journal of the Graduate School of East Asian Cultures (ISSN:21874395)

巻号頁・発行日

vol.9, pp.65-82, 2019-11-30

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The first pagodas were erected in India. In Tibet even before the introduction of Buddhism, stone and clay pagodas were evident. Once Buddhism has spread to Tibet two prime religions have united. These were Indian Buddhism and Tibetan Bonnism. Bonnism is one of the primitive religions in Tibet. As a result of this merger Tibetan style pagoda (chorten) has been erected. It can be inferred that Tibetan pagoda is the combination of elements from both Buddhism and Bonnism. It is highly symbolic of Tibetan culture, and is characterized by the unique architectural form of Tibetan Buddhism features. In my opinion the religion and the architecture have a mysterious bearing on research. In other words we need to consider the Tibetan Pagoda together with each element and symbol of its structure. The cultural impact of Tibetan Pagoda will be presented in the final conclusion of this essay.

著者

董 伊莎

出版者

関西大学大学院東アジア文化研究科

雑誌

文化交渉 : Journal of the Graduate School of East Asian Cultures : 東アジア文化研究科院生論集 (ISSN:21874395)

巻号頁・発行日

no.7, pp.167-184, 2017-11-30

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This paper discusses the historical development of the Rei ritual by examining the records dealing with rites. Next, utilizing the theories of religious studies and sociology, the existence of Rei, which was not included in the ancestral worship system nor in the traditional Confucian set of values, shall be analyzed structurally. As a result of this analysis it is shown that Rei rituals were regarded as vulgar folk religion. This view may have resulted in the lack of written records in official histories and manuals of rites. This paper also discusses the interaction between the state and the popular level of religious life. It is shown that Rei rituals were very popular among the common people and sometimes acted as models of governance in local societies. Furthermore Rei rituals included ideas about the salvation of the dead that shares commonalities with other organized religious beliefs. Because this it can be seen that both upper and lower levels of society held similar ideas regarding death.

著者

李 暁辰

出版者

関西大学大学院東アジア文化研究科

雑誌

文化交渉 : Journal of the Graduate School of East Asian Cultures : 東アジア文化研究科院生論集 (ISSN:21874395)

巻号頁・発行日

vol.2, pp.185-201, 2013-12-01

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Keijō Imperial University was Japan’s sixth imperial university and first imperial university to be built outside Japan proper. In 1928 Taipei Imperial University opened with two faculties, the faculty of literature and politics and the faculty of agriculture and science. In this paper I analyze modern Sinology at Keijō Imperial University in Seoul, Korea, and Taihoku Imperial University in Taipei, Taiwan during the Japanese colonial era. First I describe the mission, ideology, and roles of the first presidents of both imperial universities. Next I elucidate the characteristics that distinguish the organization of these imperial universities between 1872 and 1879 from other imperial universities. Finally, I discuss the professors who were in charge of courses on Chinese philosophy at both universities, including the structure of the courses and the human network involved. Using this approach of tracing the flow of modern academic knowledge of Chinese philosophy, I will follow the trends from the imperial universities of Japan to those of Korea and Taiwan.

著者

李 暁辰

出版者

関西大学大学院東アジア文化研究科

雑誌

文化交渉 : Journal of the Graduate School of East Asian Cultures : 東アジア文化研究科院生論集 (ISSN:21874395)

巻号頁・発行日

no.2, pp.185-201, 2013-12-01

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Keijō Imperial University was Japan's sixth imperial university and first imperial university to be built outside Japan proper. In 1928 Taipei Imperial University opened with two faculties, the faculty of literature and politics and the faculty of agriculture and science. In this paper I analyze modern Sinology at Keijō Imperial University in Seoul, Korea, and Taihoku Imperial University in Taipei, Taiwan during the Japanese colonial era. First I describe the mission, ideology, and roles of the first presidents of both imperial universities. Next I elucidate the characteristics that distinguish the organization of these imperial universities between 1872 and 1879 from other imperial universities. Finally, I discuss the professors who were in charge of courses on Chinese philosophy at both universities, including the structure of the courses and the human network involved. Using this approach of tracing the flow of modern academic knowledge of Chinese philosophy, I will follow the trends from the imperial universities of Japan to those of Korea and Taiwan.東アジアの思想と構造

著者

西田 周平

出版者

関西大学大学院東アジア文化研究科

雑誌

文化交渉 : Journal of the Graduate School of East Asian Cultures : 東アジア文化研究科院生論集 (ISSN:21874395)

巻号頁・発行日

no.8, pp.35-50, 2018-11-30

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東アジアの言語と表象 (East Asian languages and Representations)

著者

村上 敬

出版者

関西大学大学院東アジア文化研究科

雑誌

文化交渉 : Journal of the Graduate School of East Asian Cultures : 東アジア文化研究科院生論集 (ISSN:21874395)

巻号頁・発行日

vol.5, pp.65-82, 2015-11-01

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東アジアの言語と表象Research about Japanese paintings from after the mid-Edo period has recently been criticized as valuing Western culture over and above Chinese culture. At the root of the problem lies a dichotomy between Japan as being leader of Asia and the West in the two-dimensional world view of early modern Japan. Such criticism can be aimed at research about Maruyama Ōkyo, who was one of the most representative painters of Edo period Japan. In this paper I discuss Konoe Iehiro, who was a court noble with indirect ties to Ōkyo and who was also fond of the latest Chinese imports at that time. He imported the latest Chinese paintings from the Ryukyu islands, predating the arrival in Japan of Shen Quran. I elucidate the fact that Ōkyo was supported by Iehiro's salons that recognized the importance of replications of paintings by Sun Yi and others. Just prior to Ōkyo's birth, there was a revival of the Song and Yuan periods' painting style. As a result, Shen Quan came to Japan, creating the foundation upon which the shasei-ga of Ōkyo could be accepted by the art world of that time. In other words, an interest in and understanding of paintings from a variety of regions already existing in Kyoto in the middle of the Edo period does not readily fit within today's accepted framework of Japanese art history.

著者

石田 智子

出版者

関西大学大学院東アジア文化研究科

雑誌

文化交渉 : Journal of the Graduate School of East Asian Cultures : 東アジア文化研究科院生論集 (ISSN:21874395)

巻号頁・発行日

vol.2, pp.47-59, 2013-12-01

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東アジアの言語と表象This thesis focuses on the blank space in the paintings of Kano Tan'yu, especially "Illustrated Mirror of Chinese Emperors" from the paintings of the Nagoya Castle Jorakuden that are referred as good examples that has the characters of the Kano Tan'yu's style. The paintings of Kano Tan'yu have broad blank space. I argue that they were useful for painters when they produced many paintings and combine figures and scenes on paintings. Moreover, I insist that Tan'yu painted less motifs for his pupils tracing them easily.

著者

張 岑

出版者

関西大学大学院東アジア文化研究科

雑誌

文化交渉 : Journal of the Graduate School of East Asian Cultures : 東アジア文化研究科院生論集 (ISSN:21874395)

巻号頁・発行日

vol.5, pp.249-262, 2015-11-01

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研究ノートIn the 17th century, All Men Are Brothers (水滸伝), was introduced to Japan alongside other popular works of Chinese fiction. All Men Are Brothers gained enormous popularity among its Japanese readership. The Japanese even created their own fiction based on the original. All Men Are Brothers is still popular in Japan today. It has been reinvented into various forms in order to match contemporary tastes, and this includes comics. This paper investigates the first Japanese comics based on All Men Are Brothers, known as Suikoden (水滸伝) in Japanese and written by Yokoyama Mitsuteru (横山光輝). The author will focus on the structure and characters of All Men Are Brothers in order to clarify the relationship between Suikoden (水滸伝) and the original text.

著者

猪瀬 あゆみ

出版者

関西大学大学院東アジア文化研究科

雑誌

文化交渉 : Journal of the Graduate School of East Asian Cultures : 東アジア文化研究科院生論集 (ISSN:21874395)

巻号頁・発行日

vol.7, pp.41-58, 2017-11-30

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Yosa Buson (1716-1783) was a haiku poet and remarkably talented painter of Bunjinga (Japanese Literati Painting) and Haiga (Haikai paintings) from the Edo period. He made many scrolls and folding screens based on the famous work by Matsuo Basho (1644-1694), Narrow Road to the Deep North. These productions were related to the revival movement of Basho's poetic style during the late 18th century. This article proposes that the context for Buson's extensive output of works inspired by Basho was not so much based only on an inherent respect for Basho's work, rather it was due more to commercial interests, as works based on Basho's writings proved to be lucrative at the time. This paper also looks at whether a difference in Buson's style of haiga can be seen after this period, compared to his earlier works created prior to his work based on Basho.

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

文化交渉 : Journal of the Graduate School of East Asian Cultures : 東アジア文化研究科院生論集 (ISSN:21874395)

巻号頁・発行日

vol.3, pp.125-139, 2014-09-30

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東アジアの思想と構造

著者

日並 彩乃

出版者

関西大学大学院東アジア文化研究科

雑誌

文化交渉 東アジア文化研究科院生論集 (ISSN:21874395)

巻号頁・発行日

vol.1, pp.91-122, 2013-01-31

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東アジアの言語と表象This work sets out the relationship between Yamato-e in early modern period and Fukko yamato-e.Late Edo period, the painters of a restoration Yamato-e(Fukko yamato-e 復古大和絵) learned directly the Yamato-e masterpieces of the Heian and Kamakura periods in order to revive the past Yamato-e. Fukko yamato-e artist has been considered to be a relation close to the political philosophy and social movement which was made to revitalize an emperor's(Tennou 天皇) power.However, the relation between Fukko yamato-e and reverence for the Emperor and expulsion of the barbarians is not deep in fact. Fukko Yamato-e was worked based on Yamato-e in early modern period. Fukko yamato-ecomposed in a perpendicularly long screen follows a precedent.In this paper, I hope to reveal a part of a Yamato-e in early modern period through consideration of Fukko Yamato-e composed in a perpendicularly long screen. Furthermore, I contemplate the influence from the China pictures, comparing it with a Chinese hanging scroll. And, I would like to clarify the transition and genealogy of Yamato-e in early modern period.

著者

周 正律

出版者

関西大学大学院東アジア文化研究科

雑誌

文化交渉 東アジア文化研究科院生論集 (ISSN:21874395)

巻号頁・発行日

vol.4, pp.251-262, 2015-02-28

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研究ノートThis paper focuses on the precedent studies of Chinese Long (龍) and those derivative legends and cultures about it, which spread all over East Asia and even have a global influence nowadays. There are already many researches talking about the origin of Long and its spread, or about those pictures of Long picked up from excavated articles. But of these studies there are still some methodological problems such as a misunderstood starting point of what we think the Long is today, and also the easy means of combining the pictures and the historical texts.This paper shall attempt to discover a new method to find out the originof the recognition of today's Long and those derivative legends and cultures about it.