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.9, pp.17-35, 2016-03

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東アジアの言語と表象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The paintinggs by Rin Ryoen, a painter in Osaka painting school (Osaka gadan), were influenced by the Kano school, the Shijo school, the literati paintings, the Nanbin school, and Western paintings, as well as Ming and Qing paintings. The range of his paintings is so diverse it is hard to encapsulate his entire collection in one phrase. Ryoen's multi-faceted collection typifies works by Osaka painters, who had the liberty of making art without worrying about the constraint of the relationship between a master and an apprentice. Unlike Edo and Kyoto art circles, which enforced strict master-apprentice relationship, Osaka painting school allowed painters to adopt painting styles beyond the boundaries of schools under more flexible master-apprentice relationship. Osaka painting school thus provided the ground for a broad spectrum of paintings like Ryoen's. If I were to choose a word that characterizes Ryoen's painting style that is consistent throughout his diverse collection, it would be "eccentric."

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.9, pp.357-381, 2016-03

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東アジアの歴史と動態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This paper discusses the methods of identification of the icon of animals. The problem that how to identify the icons in the pictures precisely has come up to us, as the importance of images and pictures in study of history being claimed in latest years. And the icons of animals, especially those were created by people as fictions, are facing a serious situation of hard to be identified. Usually, to identify an icon of a fiction animal, we depend on our experience built of books and historical materials. But that could cause a problem as we always tend to ignore the time and place that the images or pictures were created. This paper will take the icon of Long (龍)on the Stone Relief of the Handynasty as an attempt to find out a more practical method to identify the icons ofanimals.

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.9, pp.357-381, 2016-03

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This paper discusses the methods of identification of the icon of animals. The problem that how to identify the icons in the pictures precisely has come up to us, as the importance of images and pictures in study of history being claimed in latest years. And the icons of animals, especially those were created by people as fictions, are facing a serious situation of hard to be identified. Usually, to identify an icon of a fiction animal, we depend on our experience built of books and historical materials. But that could cause a problem as we always tend to ignore the time and place that the images or pictures were created. This paper will take the icon of Long (龍)on the Stone Relief of the Handynasty as an attempt to find out a more practical method to identify the icons ofanimals.東アジアの歴史と動態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

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 literary works 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.4, pp.33-39, 2011-03-31

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While only twelve characters were engraved on the surface of a small copper bell from the Goguryeo period that was discovered in the Taewang imperial tomb in Jian City, the inclusion of three characters, 好太王 hotaewang, make this bell a document of great historical importance. There are various suggestions for one of the characters in this inscription. This author argues that one of the characters is 教 from its similarity with the 漢簡 han wooden strips script style.

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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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

亀井 拓

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.381-402, 2013-03

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Modernization in East Asia was triggered by Western impact. The traditional world view of East Asia was significantly challenged and altered by the West. There was no alternative for East Asian countries but to concede to Western might. China was one of those countries who recognized a more civilized West, both politically and economically, and thus started its journey of modernization. Chen Duxiu is widely regarded one of China's radicalism favor of communism out of many Western political theories and co-founded the Chinese Communist Party in 1921. However, this paper argues, a different approach to Chen isn't only possible but also necessary as he was not born for establishing the Communist Party for China. As a matter of fact, he held different views of the world at different stages of his life which had his personal originality, and with the passage of the time his world view experienced many changes and finally crystallized.

著者

亀井 拓

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.381-402, 2013-03

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Modernization in East Asia was triggered by Western impact. The traditional world view of East Asia was significantly challenged and altered by the West. There was no alternative for East Asian countries but to concede to Western might. China was one of those countries who recognized a more civilized West, both politically and economically, and thus started its journey of modernization. Chen Duxiu is widely regarded one of China's radicalism favor of communism out of many Western political theories and co-founded the Chinese Communist Party in 1921. However, this paper argues, a different approach to Chen isn't only possible but also necessary as he was not born for establishing the Communist Party for China. As a matter of fact, he held different views of the world at different stages of his life which had his personal originality, and with the passage of the time his world view experienced many changes and finally crystallized.

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

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 infl uences 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 refl ect a wide range of elements: designs inherited from the early Edo period, the infl uence 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

NISHIMURA Masanari

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.433-457, 2010-03-31

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中部ベトナムの後期チャンパ王国(約10世紀以降)で用いられた瓦(尖状平瓦)について、クアンナム省とビンディン省を中心に資料紹介を行い、形態分類と編年的見通しを提示した。そして、周辺地域の資料を提示し、東南アジア大陸部を中心に類似例が存在するものの、チャンパの当該期の瓦は、その祖形がマレー半島西岸のThung Tuk遺跡などに存在し、さらにはインド方面へ遡源していく必要があることを指摘した。またチャンパの瓦がホアルー時代以降の北部ベトナムにも伝播して、変容していることも指摘し、こうした建築材の伝播・変容には建築文化自体の伝播・変容が関わっていると考える。

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

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.1, pp.79-104, 2008-03-31

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This paper adds consideration to the issue of the burial systems, funeral services, the erecting of family mausoleums, and ancestral rituals, etc., that are based on the practice of Confucian rituals – especially those related to funerals and festivals – by Mitsumasa Ikeda (1609‒1682) in Bizen Okayama clan. The funeral and ancestral rituals that Ikeda implemented were based on Zhu Xi’s Family Rituals (家礼), they also referenced Qiu Jun’s Wengong Jiali Yijie (文公家礼儀節) and adopted Jigu Dingzhi (稽古定制), both Ming Dynasty writings, in order to suit his position as a daimyo (大名) feudal lord. Attention is also brought to the fact that when the shinshoku-uke (神職請) Shinto priest system was implemented in place of the tera-uke (寺請) temple certifi cate system due to the strong critique on Buddhism at the time, Ikeda distributed a funeral and ancestral manual based on Family Rituals to the people of his fi efdom and promoted Confucian rituals. What is also important here when taking into account the actual circumstances of the acceptance of Confucian rituals in Japan is the fact that the Yangming School, including Kumazawa Banzan, supported these resolute actions by Ikeda, emphasized the necessity for practice of Family Rituals, so the differences between the study of Zhu Xi’s writings and the ideas of the Yangming School sects did not become an issue.

著者

馮 赫陽

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.447-465, 2011-03-31

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The damp and mild climate of East Asia provides the ideal environment for varnish trees, and it is no surprise that the art of lacquer originated in this region. Chinese and Japanese lacquer work represent the highest level of this art; however, when focusing on the interaction of lacquer technique between China and Japan, the role varnish played should not be ignored. Japan is famous for its lacquer work. From the Edo period, the Japanese varnish merchants actively sought Chinese varnish from the Chinese merchants trading in Nagasaki. With the expansion of the Japanese lacquer industry during Meiji period, the demand for varnish became increasingly urgent, a result of which was the importance attached to the importation of Chinese varnish by the Japanese lacquer industry.

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 preliminary consideration of the monument, which I have actually seen, and pursue a synopsis of a future research topic.