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

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.11, pp.3-26, 2018-03-31

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The etymology and history of the Japanese/Chinese name Eigo/Yingyu for the English language has remained barely examined. This article will demonstrate that Eigo/Yingyu became the conventional name for English as late as in the second half of the nineteenth century, and that thitherto there were various names for English both in Japanese and in Chinese. It will also be discussed whether or not one of the two languages exerted influence on the other with respect to the creation and/or spread of Eigo/Yingyu.

著者

市村 茉梨

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.161-179, 2014-03-31

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It was from the First Sino-Japanese war that a news photograh began to be taken in Japan. The soldier and citizen photographed the battlefront then. This study, I compared these War photographs which a person different in a situation and the nationality photographed each and inspected it. The photographs by the Sino-Japanese War brought new war expression in a picture and other sight media including the drawing. The photograph played an important role. Furthermore, not only the photographer considered it as a tool to record a photograph,but also found a new meaning. Other graphics did not have the look turned to the people who lived in the battle front.

著者

ファン ハイ・リン

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.7, pp.413-422, 2014-03-31

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Elephants live in close proximity to humans in Vietnam and are a familiar sight.They have been portrayed in many artworks and in historical documents but have not yet been the subject of scholarly study. Recently, elephant faces extinction crisis in deforestation due to modernization. It can be said the fact that the elephant, which was the pride of Vietnamese nation, is no longer survive, has warned us the disharmony between human and nature,and the loss of traditional values in the globalization. In 2010,in the paper entitled "Elephants image through Vietnamese historical materials and the event of Vietnamese elephants coming to Japan in 1728" the author has sketched out an overall picture of elephants in Vietnam, the context and reason why Vietnamese elephants was taken to Japan in 1728.This paper focuses on the trade of elephants from the center of Vietnam to Japan in 16-18 centuries, especially the process of request, buying and the role of Vietnamese elephants in Japan.

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.11, pp.585-592, 2018-03-31

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I reseached influences of Fengshen yanyi on Chinese temples in Southeast Asia. In Singapore, I researched to fieldwork for Geok Hong Tian, Chee Seng Temple, Lian Huay Temple, Tian Teck Keng, Tian Ci Gong, Fung Huo Yuan. In Malaysia, I researched Thean Kong Thnuah, Klang Li Fu Erh Tau Tze. Some temples worships are very interesting.

著者

田中 梓都美

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.4, pp.467-482, 2011-03-31

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In 1639, the Edo bakufu prohibited Portuguese ships from entering Japaneseports and also prohibited any Japanese from travelling overseas. After this, informationin the form of written rumours entered Nagasaki. Naturally, much of this informationconcerned Taiwan; however, as of yet, there is no research that focuses upon the uniquegeography and customs of Taiwan. During the Edo period, the Japanese awareness ofTaiwan was formed by Tei Seikō’s [Zhèng Chénggōng 鄭成功] accounts; however, for thisargument, it is necessary make a distinction between governmental awareness andpopular awareness. This paper attempts to determine the accuracy of information inmaterials compiled by the Edo bakufu and how faithfully they represent the actualcondition of Taiwan. This will then be contrasted with Chinese records. Also, acomparison and investigation of the information on Taiwan contained in Edo-periodpublications and the information on Taiwan in the materials compiled by the Edo bakufuwill provide insights into the formation of the Edo-period populace’s awareness ofTaiwan.

著者

田邉 咲智

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.81-102, 2020-03-31

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Hishida Shunsō (1874-1911) is a Japanese painter who pushed forward the reform of modern Japanese-style painting alongside Yokoyama Taikan (1868-1958), among others, at the Nihon Bijutsuin (Japan Art Institute), which was led by Okakura Tenshin 〔Kakuzō〕 (1862-1913). The first experiment they tried for the reform of Japanese painting was the style called "morotai" (the obscure style) . This style is a method of painting that uses shades of color without using outlines to express air and rays of light, etc. However, morotai failed to receive recognition inside Japan as it was criticized for its murky colors, unclear expression, and especially the elimination of traditional ink lines. While the style continued to attract criticism in Japan, Shunsō and Taikan joined Tenshin to travel to various parts of Europe and the United States between 1904 and 1905. They held exhibitions in the United States, Britain, and France and presented their style directly to Western audiences. Surprisingly, these audiences gave the morotai style the same recognition as that given to the style of James McNeill Whistler (1834-1903). Against this background, this paper will examine the travels Shunsō and Taikan made to study in the West, and examine their works while considering the influences acting between their works and Western painting. The paper will also examine why the style of morotai achieved the same recognition in the West as that of Whistler.

著者

朱 琳

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.4, pp.193-212, 2011-03-31

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This essay focuses on Liang Qichao( 1873-1929) and the significance of his role in the use of the word “civilization” 文明, a term that entered China from Japan and reflects Meiji-period modernity and values. Pursuing his cognizance of “civilization” as well as the changes in his understanding of this term, this research is the first in-depth investigation and explanation of Liang’s entire view of “civilization”. The first to be considered is Liang’s theories of environmental determinism and ethnography, both of which reflect Liang’s reception of “civilization” and the influence of Meiji Japan. This is followed with an analysis of Liang’s speech and conduct in the East- West Cultural Debate, something in which he threw himself whole-heartedly after seeing the scars of war during a tour of the West. Finally, this author touches upon his unstable personality and appeal of his opinions

著者

朱 琳

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.115-129, 2012-02-01

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This essay focuses on Liang Qichao (1873-1929), an important figure in modern Chinese history, and explores his discussion and views of “revolution”. There are many who point to Kang and Liang as being the “reformation school”, but at the beginning of the 20th century, Liang Qichao experienced internal conflict over “reform” and “revolution”, and faced a watershed in his thinking. I have therefore turned to the concept of “revolution” as a suggestion or hint to analyse the interior and exterior background that led to the changes in Liang’s theory of “revolution” as well as the changes in his ideology in an attempt to portray Liang’s “change” and his “stability”.After providing a basic background for Liang’s activities, I focus on an historical setting for 1902, and open with a discussion of Liang’s political novel Xinzhongguo weilaiji, in which I consider the psychological conflict of “reform” and “revolution” in this work. I trace the changes in his ideology through an interpretation of Liang’s choice of terms for translation of “revolution” – geming [Jp. kakumei] – and the implications of this choice. I end with an analysis of his record of a tour of the United States in 1903 as part of my search to identify the catalyst that lead to the change in his ideology.Given that the Xinhai Revolution occurred one hundred years ago, I believe there is great significance in returning once more to the era in which the term geming, or“revolution”, first appeared.

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

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.8, pp.451-475, 2015-03-31

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This paper discusses a tendency to diversify of abstractions of Long(龍)in the Han dynasty(漢代). Before that time, Long was considered to be a symbol of one village like a totem. By the unification of ancient China in Qin(秦)and Han dynasty, Long was elevated to be a god with sacred power and started to be diversified in its attributes according to the books of that time. It was believe to have a ability of making rain or control water, and because of that power, a soil image of Long(土龍)was used as a sacrifice to pray for rain when it was in a drought. And Long was also believed to have a function as to be a transportation between the human world and the immortal world. And it turned out that, in Han dynasty, all those abstractions of Long could once be seen in a representative sample called Qing Long(青龍), which is a constellation in ancientastronomy of China. Almost all of the attributes of Long have been passed to until now, but some of them also had been changed their appearances when new trends of thoughts such as buddy coming to be known in the land of ancient China.

著者

陳 贇

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.347-363, 2008-03-31

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The Kango (kanji-based) loanword “Eiei” was a word that, in the original Chinese, had a negative connotation and meant “continuously coming and going”. But when it was accepted into Japanese, it became a term with the positive connotation in its use chiefly as an adverb. At that time, it can be thought that the change in the usage and style from “Eiei to shite” to “Eiei to” also played a role. It can be thought that the meaning of “continually” that is generated in that meaning of the word was also behind such a semantic change. Moreover, it can be considered that, as a result of Eiei (営々) acquiring the meaning of “continually”, it became synonymous with its homonym, the “eiei” (永々) used from old, and, consequently, “eiei” (永々) became subsumed and absorbed into Eiei (営々), thus resulting in a substitution of those words.

著者

宮嶋 純子

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

巻号頁・発行日

vol.5, pp.239-252, 2012-02-01

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Of the different translations of the Chang’a Han shiji-jing 長阿含世記経 "The Longer Āgama Sūtra" – the Daloutan-jing 大楼炭経, the Qishi-jing 起世経 and the Qishi yinben-jing 起世因本経, which explain the Buddhist world view – the Qishi-jing and the Qishi yinben-jing were translated during the same dynasty. Despite the remarkable similarities between the two translations, as of yet, they have never been subjected to comparative research. This essay addresses the question as to why two translations were made during the same dynasty and turns to sutra catalogues and the biographies of different monks as primary sources. The first translation was undertaken primarily by Juanaguputa 闍那崛多; however, after losing his standing, he was released from his responsibilities. The next figure to undertake the business of sutra translation in the Sui Dynasty was Dharmagupta 達摩笈多, who undertook a new translation of theQishi yinben-jing. This accounts for the presence of two simultaneous translations ofthe same sutra.

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.7, pp.305-326, 2014-03-31

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This paper takes a Jusha in Hakuen Shoin. Tada Kaian was one of the leading students in Hakuen Shoin. He was active as a practical person in many spheres at the end of Edo period. This paper analyzes what characteristics he had in those days and his proposals-especially the coastal defense. He made his suggestions actively to Edo Shogunate, the Imperial court and Izushi clan. He tried to promote the industries in the border area from the motives of defense against the powerful Western nations. He was clearly different from previous ordinary Jusha and loyalists to the Emperor. His proposals shows he was not only scholar but also an engineer.

著者

鄒 双双

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.89-101, 2012-02-01

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This paper discusses how Qian Daosun, famous for his translation of the Man’yōshū,was described in Japanese materials. Despite Qian Daosun’s contributing greatly to the translation of Japanese literaryworks into Chinese, he is a poorly understood fi gure in China as he was sentenced and sent to jail as a traitor by the Kuomintang government, which discouraged later research.There are, however, materials about Qian in Japan, written by Yoshikawa Kojiro and others, through which it is possible to understand Qian’s public image in Japan and develop some idea of what he was like as an individual. Qian was regarded as a serious teacher and a kind-hearted scholar, taking care of Japanese overseas’ students in Beijing. Some articles depict Qian as experiencing psychological confl ict owing to his ambivalence on the tense relations between China and Japan, and that he showed indomitable courage in protecting Chinese culture from destruction by the Japanese army during the Second Sino-Japanese War.

著者

篠原 啓方

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.359-370, 2012-02-01

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The Taesil Gabong Monument is the symbol of the Womb (Umbilical Cord) Belief in Korea (Joseon) and is of immense importance. In this essay, I present a preliminaryconsideration of the monument, which I have actually seen, and pursue a synopsis of afuture research topic.

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

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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

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 = Journal of East Asian Cultural Interaction Studies (ISSN:18827748)

巻号頁・発行日

vol.5, pp.225-237, 2012-02-01

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At the end of the Qing period, there was a boom in the translation of mystery novels; however, the writing of mystery novels by Chinese authors did not become popular until the 1920s. Beginning in the late 1910s, mystery-writing contests were announced in the newspaper readers’ columns, and many of the submissions resemble the earlier translated works all being set in overseas locations. At the same time, Chinesenewspapers were overfl owing with reader submissions, known as “black curtain” articles, that disclosed the darker side of society, that were extremely popular. With the appearance of mystery novels, it was believed that imagination was necessary for the appreciation of the newspaper article as a form of entertainment. In the 1910s, however, the writing of mysteries and “black curtain” articles had yet to fuse, but in analyzing the works of the 1920s, it is possible to discern that they were written based on the imagination used for the “black curtain” articles. From this point, “black curtain” article and mysteries fuse, and mystery novels that problematise China begin to be produced.

著者

馮 軍南

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.12, pp.331-344, 2019-03-31

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In the Meiji era, the Japanese rushed into the Pacific Ocean islands for the sake of economic resources. The initiative has expanded to South China Sea in the end of Taisho period. The Rasa Island Phosphate a limited Partnership was founded by agriculture Dr. Noritaka Tsunetō. The Rasa Island Phosphate Ore, Ltd advanced to the Nansha Islands to mine mineral phosphate. The economic activities of the Rasa Island Phosphate Ore, Ltd lasted for eight years. Because of the economic downturn, they withdrew from the islands. The economic activities of the Rasa Island Phosphate Ore, Ltd was an example of the Japanese development in South China Sea, which unlike the national policy companies of the 1930s. It presents a side of Japan's economic southward development.