著者

徐 興慶

出版者

二松學舎大学

雑誌

日本漢文学研究 (ISSN:18805914)

巻号頁・発行日

vol.3, pp.356-313, 2008-03

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In the course of modern Sino-Japanese cultural exchanges, the historical background for the Japan adventure of Buddhist Master Toukou Shinetu of the Caodong sect (1939-1695) was the same as that of Buddhist Master Ingen Ryouki of the Oubaku sect (1592-1673) and Confucian scholar Zhu Shun-shui (1600-1682). Zhu Shun-sui was appointed as a government advisor to impart practical knowledge and theories, and he had far-reaching influence on the development of Mitogaku (Mito School) in Japan. All three scholars were once involved in the anti-Q'ing activities back home in China. But Master Shinetu was little known in Japanese academic circles and he was barely mentioned in academic papers from Taiwan and Mainland China. Toukoushinetu was invited by Abbot Chou Ichi of Koufukuji to visit Japan in 1677. He traveled to Kyoto in 1680 and was recruited by the second Duke of Mito, Tokugawa Mitsukuni (16281700), following in the footsteps of Zhu Shun-shui. Master Shinetu immersed himself in the study of Buddhism. In arts and crafts, he specialized in seal cutting and mastered in calligraphy and guqin (a seven-stringed plucked instrument). He also liked writing poetry. As the guqin instructor to Hitomi Chikudou (16211688), a shogunate official, he made friends with quite a few Japanese scholars both in academic circles and in government, and he caused significant reverberations in Japan's cultural circles. He was considered another important personage following Zhu Shun-shui engaged by Tokugawa Mitsukuni to make up for the inadequacy of Han teaching in Mito. This paper purports to explore how during the middle stage of Tokugawa shogunate Master Shinetu and Japan's intellectual and cultural communities influenced each other. The study focuses on three issues: 1. What was Shinetu's thinking on national identity before and after he traveled to Japan? 2. Based on the materials obtained from public libraries in Nagasaki, Uji-shi, Mito and other towns, as well as historical materials newly discovered from Buddhist temples associated with Shinetu, what were the subjective and objective evaluations of Shinetu in the eyes of Japanese scholars and political figures who had had contact with him? 3. What doctrines did Master Shinetu impart on Japan's intellectual and cultural communities during his stay in Japan and what was his influence? By answering such questions, this paper will clarify the truth about the intellectual evolvement of Master Shinetu and propose new viewpoints.

著者

濱口 富士雄

出版者

二松學舎大学

雑誌

日本漢文学研究 (ISSN:18805914)

巻号頁・発行日

vol.1, pp.93-119, 2006-03

著者

清水 信子

雑誌

日本漢文学研究

巻号頁・発行日

no.14, pp.165-212, 2019-03-29

著者

佐川 繭子

雑誌

日本漢文学研究

巻号頁・発行日

no.14, pp.45-62, 2019-03-29

著者

神田 邦彦

出版者

二松學舎大学

雑誌

日本漢文学研究 (ISSN:18805914)

巻号頁・発行日

no.2, pp.105-129, 2007-03

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Fujiwara Michinori is famous as a close retainer of the former Emperors Toba and Goshirakawa during the Heian Inseiki, the period ruled by the former emperor. Until now, although aspects of his life as a politician have been studied, there has not been any discussion about him as a musician. His musical activities were extremely varied, and he knew the Biwa, Sou, Sho, Mai, and Imayou.This paper focuses on Michinori's Biwa performances as a part of his musical activities. First, I examine the relationship between Michinori and his teacher Fujiwara Takahiro and his students, Minamoto Hironori and Nakahara Ariyasu. Michinori had an extremely close relationship with Ariyasu. In Ariyasu's work "Kokinkyoroku," he discusses his relationship with Michinori. Ariyasu also discusses Michinori as a Biwa performer. In those days there were two schools of Biwa, the Katura School and the Nishi School. Although Michinori studied the Biwa at the Nishi School under Fujiwara Takahiro, he chose not to success Takahiro at the Nishi School and instead developed his own original style of performing on the Biwa. Music was considered an indispensable cultural activity for bureaucrats in those days. Michinori's various musical activities showed his passion for music. No doubt, he was influenced by his surroundings, and especially the former Emperors Toba and Goshirakawa whom Michinori attended to. Both emperors were devoted to music, and they had an influence on Michinori. During the Hogen period, Michinori altered his activities to concentrate on music such as the Uchinoen and Sumaiseche. He also revised the dances of girl musicians, breaking off with ancient instruments. Michinori's musical activities are worthy of evaluation not only in terms of musical history, but also from the vantage point of cultural history.

著者

尾崎 勤

出版者

二松學舎大学

雑誌

日本漢文学研究 (ISSN:18805914)

巻号頁・発行日

vol.2, pp.59-81, 2007-03

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In 660 A.D. Admiral Abe no Hirafu 阿倍比羅夫 and his fleet crossed the Sea of Japan and arrived at what is most likely Hokkaido 北海道. After a violent battle, Hirafu defeated an unknown ethnic group there. He captured the survivors and took them to the capital. The Nihon Shoki <<日本書紀>> describes the group using the name "Sushen" 粛愼 The Sushen are a legendary tribe appearing in ancient Chinese literature. When the Duke of Zhou (Zhou-gong Dan 周公旦) ruled as regent, the Sushen offered tribute to the Zhou 周 dynasty. Establishers of new dynasties followed the precedent of the Duke of Zhou, and legitimized their kingships in accordance with the right of revolution (geming 革命). In.660 A.D. when Prince Naka no Oe (Naka no Oe no Miko 中大兄皇子), son of Empress Saimei (Saimei Tenno 齊明天皇), siezed power, he used the same ideology - right of revolution - to validate his kingship. Prince Naka no Oe arbitrarily identified the tribe brought to the court by Hirafu as the legendary Sushen people.

著者

金子 正孝

出版者

二松學舎大学

雑誌

日本漢文学研究 (ISSN:18805914)

巻号頁・発行日

no.2, pp.83-103, 2007-03

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This paper shows how to distinguish between two kinds of phonograms. The kanji, 无 and 無, are used in the record entitled Shousouin komonjo. While these letters have the same meanings and the same pronunciation "mu," they are used in different ways. The study of kanji did not progress for a long time because the original was kept behind closed doors. However, recently the number of publications with pictures of Shousouin komonjo has increased. Therefore, I studied the phonograms in the record and singled out the charcters, 无 and 無. As a result, I found that there was a tendency to express the differences between them by using certain forms. In this article, there are some cases taken from Shousouin komonjo, mokkan (a board used instead of paper) and kinsekibun (lettering on metals or stones) for my research.

著者

アンシン アナトーリー Anatoliy Anshin

雑誌

日本漢文学研究

巻号頁・発行日

vol.2, pp.305-317, 2007-03

著者

小嶋 明紀子 コジマ アキコ Akiko Kojima

雑誌

日本漢文学研究

巻号頁・発行日

vol.2, pp.161-195, 2007-03

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Kokanshiren is one of the representative poets among the Gozan Buddist monk poets. He is noted for his six Fu prose. Although Fu prose is an important style in Chinese literature, Japanese poets find it difficult to compose. Kokanshiren's Fu prose is particularly interesting if we consider his knowledge of Chinese literature and theory. Kokanshiren's writing method was influenced by Chinese Fu prose written in different Chinese eras. He changes his style depending on the themes. Kokanshiren insisted that if a person is open to new ideas, he can excel. A person must have a sense of self and appreciate the law of nature. This way of Buddhist thinking is written in an easy to understand way. Kokanshiren was not only influenced by Buddhism, but also had a strong comprehension of Confucianism and Taoism.

著者

李 銘敬

出版者

二松學舎大学

雑誌

日本漢文学研究 (ISSN:18805914)

巻号頁・発行日

vol.3, pp.312-278, 2008-03

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This paper deals with three issues: the influence of the original Chinese classics on the Nihon-Ryouiki, problems in the original work of Nihon-Ryouiki, and the difficulties in sorting out the original work and Kundoku. First, stories written in Chinese like Nihon-Ryouiki are inevitably influenced by the original Chinese classics. However, when examining comparative studies of Nihon-Ryouiki and the related Chinese classics, there is a tendency for researchers to ignore studies of the original works. Moreover, most studies up to now have been concerned with the influence of the original Chinese classics on the Nihon-Ryouiki and focus primarily on the origin or common motif found in the stories. Seen from this vantage point, I want to make an appeal for conducting further studies on features that deal with the influence of verbal expressions by making comparisons with the original works. Second, both standard and non-standard Chinese exist in Nihon-Ryouiki. This paper also examines the features of such nonstandard Chinese. The usage of such words or expressions appearing in the original as You 有,Zai 在,Wei〜Suo z〜所,Bei 被,Jian (a) are discussed in detail. In addition, repetition in the expression and misuse of words and expressions resulting from the influence of the mother tongue or kundoku are illustrated. Third, this paper looks at the punctuation added to the original Nihon-Ryouiki because only a deep understanding of the original can lead to correct punctuation. I also attempt to deal with misreadings resulting from kundoku or by the misinterpretation of such words as Yan 淹, He 盍, and Zhe 者. In summary, concerning studies of Nihon-Ryouiki and sorting out the original and kundoku, many problems remain to be resolved. In regards to elementary research on Nihon-Ryouiki, this paper aims to show the importance of studying the original work.

著者

佐藤 進

出版者

二松學舎大学

雑誌

日本漢文学研究 (ISSN:18805914)

巻号頁・発行日

vol.2, pp.31-57, 2007-03

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In this paper I pointed out that Seika Fujiwara had applied the phonetic harmony in Collected Commends on the Odes(詩集伝) to the Japanese readings. And Seika did not use an original version of Collected Commends on the Odes as his source book, but he used a revised version in Complete Books of Five Classics(五経大全) by Hu Guang(胡広) in Ming dynasty.

著者

Tollini Aldo

出版者

二松学舎大学日本漢文教育研究プログラム

雑誌

日本漢文学研究 (ISSN:18805914)

巻号頁・発行日

no.5, pp.294-276, 2010-03

著者

川邉 雄大 町 泉寿郎

出版者

二松學舎大学

雑誌

日本漢文学研究 (ISSN:18805914)

巻号頁・発行日

vol.2, pp.265-285, 2007-03

著者

高橋 俊和

出版者

二松學舎大学

雑誌

日本漢文学研究 (ISSN:18805914)

巻号頁・発行日

vol.3, pp.119-141, 2008-03

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Clearly, we can witness a major shift in the principles for annotation with subscripts 訓点 on original texts from pronunciation-based annotations to semantics-based annotations. A piece of significant evidence emerges from Keizan's 堀景山 revised subscripts on Norinaga's 本居宣長 annotated work Shunju Keiden Shikkai 春秋経伝集解, which was the third version of annotations on Norinaga's work. Keizan's annotations differ markedly from those annotations: He wrote the subscripts focusing attention on how the original lexical meanings and connotations should be read. Approximately one hundred years have elapsed since the method of reading the Chinese texts gradually changed. The representative works on reading the texts include Kaibara Ekiken's 貝原益軒 Tenrei, 点例 and Dazai Shundai's 太宰春台 Wadoku Youryou 倭読要領, both of which emphasize what the Chinese letters, words and sentences convey to readers. Annotations by Toyo 杜預 are the ones that were significantly influenced by the shift in the principles of annotation. It is assumed that Keizan probably adopted the interpretation from his ascendant and predecessor Kyouan 堀杏庵. However, the trend of the new method of annotation may have been strong enough to move Keizan to write the third annotated interpretation on the texts, where we observe two other types of annotations that are pronunciation-based.