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

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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]

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

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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 Therefore, in this paper, in the history of Tibet, which mainly includes Chinese historical documents such as "Old Tang Book" and "New Tang Book", the relationship between Tang and Tibet in the history of Tibet, ~ The relationship between Tang and Tibet in the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

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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]

著者

末吉 佐久子

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.119-136, 2020-03-31

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During the history of ceramics in Japan, the group of tea potteries that developed from the Azuchi-Momoyama period to the early Edo period was called Momoyama tea potteries. These primarily consisted of Shino ware, Seto ware, Oribe ware, Bizen ware, Iga ware, Shigaraki ware, Karatsu ware, and Raku ware. One of the characteristics of the Momoyama tea potteries was "imperfection." Momoyama tea potteries have been studied in various ways, including from the perspectives of the history of ceramics and the history of the tea ceremony. However, there have not been many studies that have focused on the form of imperfection to consider its aesthetic elements. This paper will examine why imperfection, which is considered a negative element in design terms, can be an aesthetic. In particular, this paper will focus on two Momoyama tea potteries characterized by imperfection that have been handed down through generations : the Gray Shino Tea Bowl called "Mine no Momiji" (or "Maple on the Peak"), Mino ware (16th–17th c.), the Gotoh Museum; and the Freshwater Jar called "Yaburebukuro" ("Torn pouch"), Iga ware, natural ash-glazed stoneware (17th c.), the Gotoh Museum. The design elements of line, surface, volume, texture, dynamics, and balance will be analyzed to highlight the aesthetic character of imperfection.

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

no.8, pp.451-475, 2015-03

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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.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研究ノート

著者

修 斌 劉 嘯虎

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.359-373, 2015-03-31

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Narrative of the expedition of an American squadron to the Cina seas and Japan is an official report being submitted after the USS East lndia squadron (Perry,s squadron) returned back to America, which is a precious record in research Ryukyu Kingdom of the second half of the nineteenth Centuly. In Narrative of the expedition of an American squadron to the China seas and Japan records, Ryukyu Kingdom tried to keeping the identity of a vassal state of East Asian tributary system,keeping in touchwith China in terms of tribute trade and accepting canonization,and maintained the identity with the inheritance of Chinese culture. At the same time, Ryukyu Kingdom had to endure the press and control from Satsuma domain of Japan,while Ryukyu must maintain its image of "independent country" to foreign countries. Visibly, the Ryukyu was in an embarrassing state of foreign relations. The "sovereignty" of Ryukyu kingdom belongs to China, the "governance" of which belongs to Japan. However, this "sovereignty" of China is a unique right which is a symbol of a vassal state and suzerain in the East Asian tributary system. The "governance" of Japan was enfborced in Ryukyu through "consul" and "garrison" of direct controlled by Satsuma domain in Bakuhan Taisei. The national consciousness and the self localization of Ryukyu is that Ryukyu is a vassal state of China and Japan is a neighbor of Ryukyu. However,the former is a conscious identity to culture and value, and the latter is a helpless and false cognation. So, the embarrassing relationships between Ryukyu and China, Ryukyu and Japan were the legal position of Ryukyu, but the two relationships are widely different. Theconfusion and puzzle that Perry and his staff showed about the position of Ryukyu comes not only from the policy of control which had been subtle by Satsuma domain, but also from the lack of awareness of Westerners to the special tribute system of East Asia World.

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.6, pp.27-41, 2013-03-27

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This paper discusses artistic modification and the cultural relationship of the traditional Japanese style of paintings compared with those of the East Asian world including China by presenting, as an example, some humorous pictures (called "Giga" in Japanese) drawn by Nicyosai, who was known as one of the leading caricature artists during the Edo period. China, however, has hardly any humorous paintings such as caricatures, and no comparison of Giga with Chinese paintings can be given here. In other words, this study sheds light on a new aspect of arts reflecting the characteristics of Japanese paintings within the framework of East Asian arts, and the author discusses some specific problems of art history entailing a two-way approach of works-oriented and method-oriented approaches. The author also reviews works by Nicyosai and evaluates such works to examine if the caricatures drawn by Nicyosai are truly the traditional Japanese style of paintings.

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.14, pp.535-541, 2021-03-31

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There are many types of Myoken statue in Japan. Including Boy type, Sonjouou type, Nose type, Zhenwu type and so on. Among them, the Zhenwu type was influenced by the god Xuantian Shangdi. The God Myoken was influenced by the God Xuantian Shangdi, probably during the Kamakura period. I investigated the Myoken statues in a place and found that Yasushiro, Hoshida, Souma, Chichibu, Chiba and other Myoken belong to Zhenwu type Myoken.

著者

石田 智子

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.407-423, 2012-02-01

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This thrust of this essay is to consider the changes and the relationship of the various influences in Hōgai’s works through a comparison of two works, Kannon with Hibo Kannon, and an analysis of Niōsokki. From an analysis of these works, the newness of Hōgai’s later works can be seen in his technical use of ink painting and colour painting. Two other examples unrelated to motif are the uniformity of his brushstrokes and an expressive “smearing”. Hōgai’s late works reflect a wide range of elements: designs inherited from the early Edo period, the influence of techniques that appeared at the end of the Edo period and early Meiji period, techniques from Western painting, and Fenollosa’s theories. The relationship between Hōgai and Fenellosa cannot be reduced to the simplistic statement that “Japanese culture had changed after the acceptance of Western culture”. It should, I suggest, be seen as a mutual exchange. Hōgai’s late works can only be understood as the product of a cultural exchange of multiple periods, places and people

著者

二階堂 善弘

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.179-186, 2008-03-31

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This short essay takes up Huaguang Dadi and Zhaobao Qilang, known as temple guardians, and chiefly examines the idea that the form of some gods has been influenced by others. Huaguang Dadi is also known as Ma Lingguan. During the Ming Dynasty, he was shown with a third eye, he had no beard, and he was known for holding a gold brick in his hand. Wang Lingguan, on the other hand, is enshrined as the Taoist guardian deity, to the extent that it can be considered to “always” exist in Taoist temples, especially those of Quanzhen Jiao’s sect. Both of these gods have a number of common features, including three eyes. For a number of reasons, it can be thought that Wang Lingguan and Guangong respectively succeeded the function of Huaguang (the remaining demon) as temple guardian. Zhaobao Qilang is also given the character of a sea god, and his appearance includes the feature of raising one hand and looking into the distance. Another sea god that similarly looks off into the distance is Qianli Yan. However, that wasn’t the original form of Qianli Yan and his appearance of looking off into the distance might have been due to the influence of Zhaobao Qilang. There is a god named Daxi Sikong in the Nanhai Shenmiao temple of the South Sea God of Guangzhou Province whose image takes on the appearance of looking into the distance as well. Thus, there is the possibility that the form of sea gods looking off into the distance was influenced by other gods that had the same look.

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

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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

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.9, pp.305-317, 2016-03-31

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In this paper, I consider about the thought and business of Honda Masazane who founded the silk industry in Kanazawa, in order to understand the personality of businessmen from Hakuen-Shoin. I take up his biography named "Danshaku-Honda-Masazane-Den". As a result of this study, I found that he was inclined toward Buddhism after he graduated from Hakuen-Shoin. But, I think that he upheld the practical aspects of Confucianism. Also, I noticed that Sumitomo's managers participated in the Zen group to which he belonged at that time.

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

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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

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

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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

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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

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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

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

vol.11, pp.467-482, 2018-03-31

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The reign of the Edo period was established by Tokugawa Ieyasu. In this period, the policy of culture and education was put into force, and during the rise of innovation of calligraphy, two different styles which were Karayou and Wayou were appeared. The seal script calligraphy was a part of Karayou calligraphy, and it began to develop in the real sense from Edo period. The theory of Karayou calligraphy was influenced by the theory of China, and naturally the theory of the seal script calligraphy was influenced by the theory of the seal script calligraphy of China. In this paper, it would take an example of Ichigawa Beiann who was one of the member of Bakumatsu Sannpitsu, and choose his theory of calligraphy, Beiann Bokudann. Then analyzed the content of the seal script calligraphy and compared it with the theory of Chinese in the same period. Consequently we can see the relationship and degree of exchange study between Edo Japan and China in Qing dynasty.

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

vol.10, pp.279-297, 2017-03-31

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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

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

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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

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

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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