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.13, pp.325-336, 2020-03-31

Wei Juxian believes Fengshen Yanyi was influenced by Shenxian Tongjian. I agree with this view. However, Shenxian Tongjian was published after Fengshen Yanyi. Many Studies think Fengshen Yanyi is not affected by Shenxian Tongjian. But in terms of content, Shenxian Tongjian has no influence from Fengshen Yanyi. But on the one hand, Shenxian Tongjian was influenced by Xiyouji. The legend of Jesus Christ and Muhammad is recorded in Shenxian Tongjian. But the author thinks that Jesus Christ is an immortal.
著者
稲垣 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 = Journal of East Asian Cultural Interaction Studies (ISSN:18827748)
巻号頁・発行日
vol.3, pp.279-299, 2010-03-31

Many Japanese suffixes, such as 的 “-teki” were created in the early Meiji period in order to translate Western languages with inflection, and they were also introduced to China. To date, those suffixes have been used in both Chinese and Japanese as they can be found in modern Chinese and Japanese lexicons. While the Japanese suffix, 的 “–teki” is used to add an adjective meaning to a noun, whereas the Chinese 的 “de” is not . By comparing the usage of the suffix 的,this paper examines how differently Western languages with inflection were understood by Chinese and Japanese people, as well as, how the usage and meaning of the suffix have changed over time.
著者
田野村 忠温
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.61-79, 2020-03-31

The country name '独逸', which reads 'doitsu' and denotes Germany, is an exceptional instance among the large inventory of Kanji transliterated foreign names and terms in Japanese. It is partly because '独逸', unlike many of the other Kanji transliterated place names, was not borrowed from China, but created in Japan, and partly because dozens of different Kanji transliterations were attempted before '独逸' was finally selected as the standard. This article will analyze and clarify the background and process of the establishment of '独逸'. The exceptional nature of '独逸' will be argued to result from the historical social condition of Japan, which was under self-imposed national isolation since the seventeenth century, as well as from the peculiarity of Kanji transliterations in Japanese in general as compared with those in Chinese.
著者
グエン テイ テゥエット ニュン
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.277-288, 2020-03-31

In Vietnam, many stories tell about the marriage of the snake and the human where the snakes appeared as grooms. These stories developed in various patterns, but most of them end with a happy ending where the snake and the human woman have a happy life. These marriages represent the Vietnamese dreams of an ideal marriage and their view of animals and nature. Snakes symbolize perfect marriage partners, and the marriage with snakes represents a dream of getting closer to nature so that the Vietnamese can live a better life. These stories also reflect the Vietnamese idea that bad people learn a lesson for themselves, contrary to the fact that good people can always have a good ending.
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
no.10, pp.279-297, 2017-03

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松浦章教授古稀記念号[東アジアの言語と表象]"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
馬 成芬
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.573-592, 2017-03-31

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松浦章教授古稀記念号[東アジアの歴史と動態]There were 151 kinds of Chinese calligraphy rubbings, totally 3797 volumes, being imported to Japan in Edo period. But all these rubbings could not be considered to be authentic works, and some of them couldn't be distinguished if they were authentic works or not. In that case, how about the condition of those counterfeited rubbings which were imported to Japan? In this paper, I will focus on these counterfeited rubbings of being imported to Japan, then explored the condition of it and the influence to the area of calligraphy of Japan.
著者
董 科
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.489-509, 2010-03-31

The epidemics had been prevalent during the Nara period in Japan. Among these infectious diseases, some types were originated from Japan and some new ones were imported from the Asian continents. This thesis is a research which based on the records of epidemics written in Shoku-Nihongi. According to epidemiological analysis, the time and space distributions of epidemics during the Nara period are made clear. Based on these distributions, the contagious patterns of the diseases came from the Asian continents, and the prevalent space of the inherent infections is demonstrated.
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
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.749-762, 2017-03-31

This work looks at a relation of ancient Japan's and China's ideas of ritual centering on rei. The etiquette that was inseparable from law should have been transmitted with Chinese legal codes, but the expression wasn't always limited to the legal codes text. Especially in the case of the ideas of ritual, It was considered that fixed change occurred due to the difference in the consept of ghost and god between the two countries. And after examinating of records about rei, it was found that there were rei of the spirit who brought an epidemic and rei of the ghost who had no heir in the ancient China. New development of beliefs to rei in the late of Han Dynasty and the Six Dynasty was a result that these two kinds of rei were connected under the condition of the deaths in hatred. That's the customs which worship the vindictive spirit who was a concrete person to a god. These customs can be considered to have an impact on Japan. In addition, This work also looked at the first Goryō ceremony and subsequent Goryō ceremony and pointed out that the origins of both were different, and speculated that the former possibly imitated Chinese ritual of rei for political purposes.
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
vol.13, pp.31-57, 2020-03-31

The Portrait of Kimura Kenkado (owned by Osaka Prefectural Board of Education) was painted by TANI Buncho (1763-1841) in 1802. The grinning expression of KIMURA Kenkado (1736-1802) in the painting is unusual among East Asian portraits before the nineteenth century. The main questions addressed in this paper are : 1) the issue of the forgery of Kenkado's paintings, especially of his mid-career works, 2) the influence of ITO Jakuchu on the shifting style of Kenkado, and 3) the question of why Kenkado's later paintings adopted a more realistic mode of representation. Lastly, this paper will suggest the possibility that Kenkado's bereaved family specifically requested Buncho to paint the portrait of Kenkado with a smile. It is also argued that Buncho, as a close acquaintance and admirer of Kenkado, painted the portrait with a similar intent to his family.
著者
田野村 忠温
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.11, pp.3-26, 2018-03

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]
著者
黒田 舞子
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
no.10, pp.783-802, 2017-03

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松浦章教授古稀記念号[研究ノート]In the relationship between Tang and Tibet, you can see that the principal offender was the basis of important diplomatic relations. About the Tang and Tibet in the 7th century - the first half of the 8th century, the whole history of Tibet has been revealed by many previous studies. Therefore, in this paper, in the history of Tibet, which mainly includes Chinese historical documents such as "Old Tang Book" and "New Tang Book", the relationship between Tang and Tibet in the history of Tibet, ~ The relationship between Tang and Tibet in the first half of the 8th century, the historical background of the lord's principal, will clarify the meaning that the principal owner of bride's wife married to Tibet and the impact on current.
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
no.12, pp.81-101, 2019-03-31

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]

2 1 1 0 OA 二眼の二郎神

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

Well known as three eyed God Erlangshen 二郎神, but who had only two eyes in Ming dynasty. There are no portrait of threee yed Erlangshen in Fengshen Bang 封神榜 and Xiyouji 西遊記. Perhaps this effect from another three eyes of God Huaguang 華光. And briefing of the Erwangmiao 二王廟 in Dujiangyan Sichuan.
著者
高橋 誠一
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.2, pp.121-144, 2009-03-31

Mazu is known as the Voyage Goddess among the common people in East Asia and Southeast Asia today. Though the Mazu belief was initially confined to the coastal areas in Southern China, especially in Fujian Province or Guangdong Province due to the strong association with voyages, the sphere of the belief expanded since it was gradually thought to be beneficial to other things but voyage. Mazu was embraced by Tenpi in the Qing Era and Tengo in the Yuan Era, and “Tenpi Temples” and “Tengo Temples” honoring Mazu were widespread and diffused not only to the coastal areas in southern China but also to East Asia and Southeast Asia. When the Mazu belief was introduced to modern Japan, it was connected with the belief of Funatama (the guardian deity of ships) and spread. In this report, the Mazu (Tenpi) belief, which gradually changed with the development, diffusion and spread of the belief, is considered from the viewpoint of historical geography.
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
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

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 ofthe god’s origin that remain unclear. Most of the research is in linguistics, anthropology, literature and other fields; 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
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

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

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

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
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

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