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
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
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
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]
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
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
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

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

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

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

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
野間 晴雄 松井 幸一 齋藤 鮎子
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.6, pp.461-475, 2013-03-27

The authors discuss the visualization the Chinese travelogue "Jokakaku-yuki" (徐霞客遊記) written by Jokakaku (徐霞客) in the 17th century. Besides an outstanding traveler, he was an excellent geographer, a botanist and a historian. In Japan his name is not so famous, but his views are not simply categorized into sightseeing records and diaries. Every time he tried to observe objects correctly, and to confirm in situ site/place by his minute academic description. We tied to create the Fujian part of "Jokakaku-yuki"database in a geographical viewpoint. As this database contains text information and maps, users can get them easily. Additionally it can be searched from the text information and/or maps. Since text information and maps are integrated by GIS, we can also process this database by GIS. In this paper Remote Sensing and NDVI analysis are implemented. We believe that such a database will make a great contribution to the development of the historical GIS (HGIS).
著者
吾妻 重二
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.47-66, 2009-03-31

In this paper, education and Gaku Juku of the key persons who dictated the acceptance of Neo-Confucianism in the early Edo period, such as Seika Fujiwara, Sekigo Matsunaga, Kyoan Hori, Razan Hayashi, and Gaho Hayashi, are discussed. Needless to say, it is due to acquired education that wisdom and thoughts are transferred and reproduced and "cultures" are formed. I'd like to consider how they viewed Confucian cultures in China and Korea and how those Confucian cultures were accepted in Japan, especially taking influences from and comparisons between China and Korea. The establishment of Byo-gaku system by Razan Hayashi and development of Gaku Juku organizations and educational rules by Gaho Hayashi are revaluated while the development of their visions of Gaku Juku is traced from the viewpoint of cultural interaction.
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
no.7, pp.161-179, 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言語と表象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
周 艶君
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.637-654, 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[東アジアの歴史と動態]Ryuukei Yano (1850–1931) has journeyed to Europe, especially to the Unitedkingdom from April 1884 to August 1886, 11 years later, he has been appointed the Japanese ambassador to China in the Qing dynasty from June 1897 to November 1899, This twice experience had exerted a significant influence on his formation of cognition of western countries and eastern countries, It is indispensable to research what he had done and what he had experienced during this time for understanding Ryuukei Yano's thought, There has been little researches about Ryuukei Yano's overseas activities until now except his biography and collected works of Ryuukei Yano, This paper discusses Ryuukei Yano's cognition for western countries and eastern countries based on his twice abroad experience, Also,the author will attempt to discuss the reason why he had this kind of cognition by considering his family upbringing.
著者
任 夢渓
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.431-453, 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[東アジアの思想と構造]Nakamura Tekisai (中村惕斎 1629-1702 ) a Confucian Scholar of the early Edo Period, wrote a training manual for girls of over 30 volumes. This manual, called Himekagami(比賣鑑)(meaning literally 'a mirror for young women') was well regarded as a training manual for girls, being highly praised by Fujii Ransai(藤井懶斎,1628-1709) a Confucian scholar and contemporary of Tekisai. Himekagami is unique in the history of girls' education in early modern Japan in that it devotes so many volumes solely to the instruction of young women. In order to understand the overall development of the thinking regarding female education during the Edo Period as well as Tekisai's specific views on the subject, this paper will examine the contents and unique characteristics of Himekagami, and will also analyze theories of female education in relation to Neo-Confucianism more generally.
著者
劉 孟洋
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.371-385, 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]In the early Chinese translation of Manifesto of the Communist Party, a large number of terms were introduced from Japanese. In the translation, terms have been in the process of evolution in both Chinese version and its English counterpart. Take the term "proletarian" as an example, both versions involve the change from "Heimin" to "Musansya", in which "Heimin" originated from ancient Chinese with the meaning of "ordinary people, people". In recent times, however, the term was endowed with a new meaning in Japanese, which was transferred into Chinese and took the place of its early counterpart "Heimin". Hence, the influence of the Japanese translation of "proletarian" on Chinese versions of Manifesto of the Communist Party is worth exploring.
著者
谷口 知子
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.257-277, 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]Three sorts of power ; "the legislative power", "the executive power", and "the judiciary power" were translated in the middle of nineteenth century in Japan, and were imported into China later. These terms were put into Japanese ; "rippōken", "gyōseiken", and "sihōken" (立法權, 行政權, 司法權). But, there had been no concept of three powers at the time in both Japan and China. How were these new concepts and the newly coined expression formed? The first article will discuss the basic terms of three powers which were coined at the beginning of nineteenth century in China. The second, it will also investigate the formative process of three powers in Japan; and will be centered on the words "the legislative power (立法權)", "the executive power (行政權)", and "hō (法)", "maturigoto (政)". The third, it discusses the historical process, how and when China adopted these terms from Japan. This study not only clarifies the point on which the translators and the creators focused when they translated into another language and invented new terms, but also shows plainly some patterns of the spread of the new concept.
著者
年 旭
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.593-617, 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[東アジアの歴史と動態]Ming's main communicative purpose with Japan always attributes to "prohibit Japanese Pirates", but by comparing the imperial edicts of the early Ming period, we can find a new probability that is Ming's main communicative purpose with Japan maybe was to make Japan submitted to Ming Dynasty, "prohibit Japanese Pirates" was only the secondary purpose. Ming took the states' submittal as the external certification of governmental orhtodoxy. In this respect, Japan was a very important state. Because Japanese unyieldingness to Yuan dynasty had been portrayed as a protective attitude about "The Huayi Order". The record about Japanese King kaneyosisinnou's tribute in Hongwu 4th year maybe was a intentional description to satisfy the ertification of Ming's orhtodoxy. Thereafter, the relations between Ming and Japan had developed around submittal question.
著者
肖 珊珊
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.329-341, 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
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
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.127-146, 2018-03-31

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]This study deals with the works of The Narrow Road to the Deep North by Yosa Buson (1716-1783) Three scrolls and one folding screen are extant. Buson completed these works based on the famous work by Matsuo Basho (1644-1694) The Narrow Road to the Deep North, during the late 18th century, when the revival movement of Basho's poetic style was flourishing. It can be surmised that these works were in demand, as several copies exist. In every case, Buson copied the entire The Narrow Road to the Deep North and painted several scenes between the handwritten poems. This research delineates how their style and formats changed, and how Buson painted Basho's expressions by comparing the paintings in each work. The paper also examines how Buson's depictions in his art reflected Basho's haikai. The paintings and haiku are subtly intertwined in a style called nioizuke (a Shofu-style technique) that Buson is generally thought to have established. This paper discusses the interaction in concrete terms and compares Buson's work with those related to The Narrow Road to the Deep North depicted by other artists. In the conclusion, the reasons Buson selected certain screens from Basho's work to illustrate, and how Buson's paintings resonate with Basho's haikai, are clarified.