著者

高田 時雄

出版者

関西大学東西学術研究所

雑誌

関西大学東西学術研究所紀要 (ISSN:02878151)

巻号頁・発行日

vol.50, pp.367-377, 2017-04-01

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When Naito Torajiro (Konan) went to Europe, from late summer of 1924 until January 1925, to examine the Dunhuang manuscripts preserved in London and Paris, Paul Pelliot presented him four pieces of Uighur wooden movable types. These movable types were a part of Pelliot's finds from one of the Mogao caves in Dunhuang in 1908. These pieces, long left unattended, were recently found in the Naito collection of the Kansai University Library by the present author. This essay explains the current state of these movable types and their history. Pelliot also donated Uighur movable types, on occasion, to institutions such as the Metropolitan Museum of Art in New York and Toyo Bunko in Tokyo. Subsequently, the second Russian expedition, led by Oldenburg, also acquired Uighur movable types in 1914. More pieces were discovered at Dunhuang by the Dunhuang Institute of Arts between 1944 and 1949, and more recently, by Dunhuang Academy between 1988 and 1995, during the course of a systematic excavation. Based on the different types of defects noted on them, it appears that the Uighur movable types discovered so far were not used. However, they are worthy of attention as evidence of the Uighur people attempting to adapt the technique of movable type to printing Uighur books despite difficulties presented by linguistic peculiarities.

著者

白館 戒雲 ツルティム ケサン

出版者

関西大学東西学術研究所

雑誌

関西大学東西学術研究所紀要 (ISSN:02878151)

巻号頁・発行日

no.26, pp.p13-50, 1993-03

著者

鼓 宗

出版者

関西大学東西学術研究所

雑誌

関西大学東西学術研究所紀要 (ISSN:02878151)

巻号頁・発行日

vol.45, pp.179-189, 2012-04

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Ecuatorial (equatorial) is a long poem typical of the period when it was released in 1918 by Vicente Huidobro, the Chilean poet famous for his vanguard poem in Spanish, "Altazor." After he went to Europe in 1916 Huidobro wrote poems in French and aggressively pursued 'creacionismo' (creationism) – in other words, cubism in poems, at least at that time – in progressive works such as "Horizon carré" (square horizon). But with 'Ecuatorial' he returned to using Spanish. This work, which occasioned all kinds of praise and censure because of their experimentation, is heavily tinged with the anxiety people felt due to by World War I. This paper discusses the meaning of the title of the poem and then clarifies what "Ecuatorial" intends to say based on the hint derived from the image that the word "airplane" bears in this poem.

著者

孫 知慧

出版者

関西大学東西学術研究所

雑誌

関西大学東西学術研究所紀要 (ISSN:02878151)

巻号頁・発行日

no.48, pp.281-305, 2015-04

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Timothy Richard (1845–1919) was a Welsh Baptist missionary who spent 45 years in China, where he was deeply involved in political and intellectual circles. Among his diverse range of activities, this paper investigates his understanding of Buddhism and his translations from the Buddhist canon. Richard drew attention to "the Mahayana Buddhism of East Asia" in contrast to the Theravadan tradition that had been the focus of most previous Western scholars and missionaries, and was immensely interested in the historical relationship between Buddhism and Nestorian Christianity. In addition, he translated the Buddhist concept of tathata and tathagata as "Incarnate God" or "True Model," depicting the Buddha as a transcendent anthropomorphic deity and stressing the doctrinal similarities between Mahayana Buddhism and Christianity. It is difficult to deny that Richard's missionary activity and other literary activity probably distorted his understanding of Buddhism and his researches into the Buddhist canon. Yet at the same time, when viewed from the perspective of the history of Buddhism, his activities are clear evidence of the East-West encounter that has taken place in modern Buddhism, and this is the aspect which this paper focuses upon.

著者

榧木 亨

出版者

関西大学東西学術研究所

雑誌

関西大学東西学術研究所紀要 (ISSN:02878151)

巻号頁・発行日

no.49, pp.453-470, 2016-04-01

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Japanese study of Ritsuryo shinsho (C. Lulu xinshu, a Song-dynasty treatise on music) is thought to have developed primarily around the figure of Nakamura Tekisai (1629‒1702), a Kyoto-based Neo-Confucian scholar. Yet when we look at the earliest research on this book, we find that Hayashi Gaho (1618‒1680), second-generation head of the Hayashi family, who served as the chief academician of the Tokugawa shogunate, was aware of Ritsuryo shinsho even before Nakamura, and left us a treatise on it entitled Ritsuryo shinsho genkai (1677). However, this latter work went largely unnoticed at the time and is almost never cited in other early modern works on Ritsuryo shinsho. Thus, Ritsuryo shinsho genkai has been overlooked until now, along with the contribution of the Hayashi family to research on the original text. This paper investigates the research on Ritsuryo shinsho conducted by the Hayashi family, the process of writing Ritsuryo shinsho genkai, and the kinds of music practiced within the Hayashi family, concluding with an elucidation of the purposes for which Ritsuryo shinsho genkai was written, and its value as a treatise in its own right.

著者

山寺 美紀子

出版者

関西大学東西学術研究所

雑誌

関西大学東西学術研究所紀要 (ISSN:02878151)

巻号頁・発行日

no.49, pp.139-165, 2016-04-01

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Fujisawa Togai (1794‒1864) -founder of the Chinese studies academy Hakuen Shoin and responsible for the revival of the Confucian school of Ogyu Sorai-loved the music of the seven-stringed Chinese qin, as Sorai had before him, and was also known during his day as a master of playing the instrument. This paper reports the following research and analysis in an effort to clarify the historical facts surrounding Togai's relationship with the qin. In the first section, there is a brief discussion of the lineage of qin-playing to which Togai belonged, and of Sorai's study of the qin, which probably influenced Togai. The second section traces Togai's connections, through the qin, with contemporaries such as Chokai Setsudo, Abe Kenshu, Sogo Setsudo, Nomura Kosetsu, Kogaku Yushin, and Mega Yusho. The third section uses qin scores and books on the qin in the collection of Hakuen Shoin to specify the pieces that Togai probably studied and played (about thirty in all) and to speculate on what he might have learned from the literature on the qin that he read and consulted (including Ogyu Sorai's writings on the qin). Finally, in the fourth section, Togai's essays, "Kogetsu kinki" and "Kinkai ki", are scrutinized for what they reveal about the events and gatherings related to the qin that Togai engaged in with his teacher and fellow players, giving us a glimpse of Togai's frame of mind and the nature of his friendships mediated through his musical activity.

著者

熊野 弘子

出版者

関西大学東西学術研究所

雑誌

関西大学東西学術研究所紀要 (ISSN:02878151)

巻号頁・発行日

vol.50, pp.163-187, 2017-04-01

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TCM (Traditional Chinese Medicine) features the bianzheng lunzhi system, a term that refers to diagnosis and treatment based on a general analysis of symptoms and signs. Manase Dosan (1507-1594) accepted this set of theories, which came to be called satsusho benchi in Japan. This paper considers the satsusho benchi of lumbago by taking a concrete look at medical books associated with Dosan's school (Dosan, Dosan's teachers, and disciples). The books quote Yuji Weiyi and others, emphasizing differential diagnosis, pulse examination, prescription drugs by Bianzheng (identifying cause of disease), and the Jingluo (meridians)

著者

木岡 伸夫

出版者

関西大学東西学術研究所

雑誌

関西大学東西学術研究所紀要 (ISSN:02878151)

巻号頁・発行日

vol.41, pp.63-75, 2008-04-01

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Le problème de la «rencontre avec le monde moderne» se réduit à deux questions : «Comment les hommes européens ont-ils rencontré les autres 'inconnus' jusqu'alors ?» et «Quelles réflexions ont-ils eu sur eux-mêmes à travers cette expérience de rencontre ?». On doit presque nécessairement vivre entre «décentralisation» et «recentralisation» lorsqu'on sort de son propre monde afin d'entrer dans un nouveau monde qui nous est étranger. C'est justement le cas d'Augustin Berque qui s'est mis en relation extrêmement cordiale avec le Japon.La rencontre avec le Japon n'était pour lui pas autre chose qu'un processus d'établissement de la mésologie (fûdogaku) en tant que discipline. Comme le sens des milieux (fûdo) s'exprime en paysages dans la théorie mésologique, Berque ne put s'empêcher de s'accoutumer, dans ses études sur la culture japonaise, à ces paysages très différents de ceux dans son pays. La diversité des expressions paysagères se fond sur la pluralité des «types» de culture. Il devait donc «décentraliser» en comparant la culture japonaise avec celles de l'Europe, ce qui constitua une étape nécessaire à sa réflexion sur lui-même.Il n'en est pas de même des recherches urbaines, parce qu'on n'aperçoit dans toutes les villes qu'un seul prototype : l'union de la substance physique (astu ; ville ; town) et de la communauté spirituelle(polis ; cité ; city), laquelle est typique des villes historiques à l'Occident. Pour ce qui est de l'unité complète de la «structure» et du «sens», on ne l'a trouvé nulle part ailleursque dans les villes européennes de tout temps historiques. C'est pourquoi Berque leur accorde une position de modèle idéal.Il nous marque son attitude de «recentralisation» en ce qu'il fait de la ville occidentale son cadre de référence. Pourtant ce n'est pas de l'ethnocentrisme, car il fait aussi du Japon une sorte de miroir réfléchissant sur lui-même et il fait par cela même le trajet entre «décentralisation» et «recentralisation», c'est-àdire qu'il accomplit une dialectique proprement mésologique. Et ce qui y joue un rôle de médiateur n'est pas le Japon, ni l'Europe, mais l'Amérique. Une triade «Japon-Amérique-Europe» apparaîtra ainsi avec l'intérêt de se situer dans une structure multipolaire internationale.Le Japon fonctionne alors comme miroir en ces sens : il reflète avant tout l'image positive ou idéale de la France(ou de l'Europe) et puis celle de l'Amérique avec sa réalité négative. Il reflète enfin l'image négative de l'Europe qui se laisse ronger par son double ennuyeux, l'Amérique. Tout cela signifie qu'il y a toujours, dans la pratique de la mésologie, un processus circulaire de «décentralisation- recentralisation». C'est ainsi que le «centre» se prépare à échanger sa place avec la «périphérie».

著者

橋本 征治

出版者

関西大学東西学術研究所

雑誌

関西大学東西学術研究所紀要 (ISSN:02878151)

巻号頁・発行日

vol.40, pp.55-77, 2007-04-01

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It is essential to investigate the cultural exchange with surrounding areas in analizing the formation and developing process of Japanese prehistoric agriculture. The study on the 'Southern Route' is especially important because it is assumed that the 'Southern Route' had influenced deeply on the formation of farming culture of vegetative root crops which had been the staple crops in the Japanese fundamendal agriculture. In general speaking, the 'Southern Route' consists of the continental route and the islands route. I have mainly studied the islands route, especially the route of the Kuroshio Current, which has Nansei Islands, Formosa, the Philippines along the Kuroshio Current. Comparing similarities of the traditional farming culture, language, rituals, archaeological ruins and remains between the regions along the Kuroshio Current, we can find spatial continuity and discontinuity of the similarities. This discontinuity, however, is not the absolute discontinuity, but is a partial one, and it is considered to be a phenomenon appeared on the outer layer of culture when you see it in time series. Therefore, it is important to investigate what really exists in the depth of such discontinuity, or to find out why it looks discontinued on the outer layer. This paper, as a process of investigating such depth under discontinuity, studied Lanyu (Botel Tobago), the small island in the southeast of Formosa, and recorded and investigated the farming styles, land ownership, and land usage, based on the field study of the farming system of root crops in Lanyu. Then, we compare them with those of Japanese Nansei Islands, Northern Philippines, and Fiji. As the result, Fiji and Nansei Islands showed the distinct contrast. Fiji people have developed the most rich and active farming culture of root crops, but Nansei Islanders have grown a few varieties with dedicated care. The root crops farming culture of Lanyu and Northern Philippines, which basically position between Fiji and Nansei Islands, showed similarity of something in-between concerning their characteristics. With close look, we found less variety in Lanyu which resembles the Nansei Islands, and ample variety in Northern Philippines which resemble Fiji. These positioning of similarity agrees with the idea that Lanyu belongs to the cultural diffusion area of the farming culture of vegetative root crops, following the Kuroshio Current from the Philippines, Formosa, and to the Nansei Islands.

著者

北川 勝彦

出版者

関西大学東西学術研究所

雑誌

関西大学東西学術研究所紀要 (ISSN:02878151)

巻号頁・発行日

vol.41, pp.51-64, 2008-04-01

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This study is a part of wider research in which this author has been so far investigating into various aspects of liberation struggles in Southern Africa. In particular, discussions have been focused on the relations between guerrillas war and peasant society and legacies of liberation struggles in the post-independent Zimbabwe. It is also intended to research on decolonization of imaginations which had been constructed under the European colonial rule in Africa. Visual images invented under colonialism have played significant roles in disseminating political landscape of Southern Africa. This means that the study is not only about visuality but also cultural contacts and political encompassment engendered by European expansion in Africa. Specific attention is paid upon the Matopos Hills south of Bulawayo in colonial Zimbabwe. In the process of colonization, European settlers explored, exploited and conquered the new lands and converted landscapes of the Matopos to their own one. In other words, Europeans tried to make colonial landscapes fit with their concept of what they had learned in Europe. To begin with, the word pictures by Thomas Baines, the main producer of visual images of the nineteenth century Rhodesian landscape is analyzed. To the next, the meaning of Rhodes' interment in the Matopos is considered as one of the most significant rituals of colonization of landscape. After his funeral on April 10th 1902 nothing was spared in installing Rhodes as the "spirit" of the land. Finally African view of the Matopos is taken not merely as the site of struggle but the deeply rooted imaginations of their landscape in the late 1970s liberation struggles. For African people the cave is the nucleus of a living and active landscape and Mwali cult and shrines of the Matopos does all things to the landscape of the hills. There is no doubt that combination of stone and water is central to their imagination of the landscape of the Matopos. This had been shaped by an interaction with hunter gatherers, cultivators and cattle-keepers for thousands of years although it seemed to nineteenth century European travelers so wild.

著者

和田 葉子

出版者

関西大学東西学術研究所

雑誌

関西大学東西学術研究所紀要 (ISSN:02878151)

巻号頁・発行日

vol.29, pp.A53-A70, 1996-03-31

著者

小野 文

出版者

関西大学東西学術研究所

雑誌

関西大学東西学術研究所紀要 (ISSN:02878151)

巻号頁・発行日

no.40, pp.157-178, 2007-04

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The present article examines the process of how Hieroglyphics and Chinese characters have been studied in parallel. The article includes the author's examination of how the perspective on relationships between Hieroglyphics Studies and Chinese Writing Studies was modified in the 19th century. To begin, we are going to outline several ideas of Sinologists on Egypt-China relation, that are formulated from the 17th century to the 19th century. Secondly, we will examine epistemological obstacles that prevented European Chinese Studies from facing the phonographical aspect of Chinese Writing. Lastly, we are going to analyze the development of Phonological Studies in the 19th century, and remark a similar tendency in Chinese Writing Studies in Europe.

著者

高橋 誠一

出版者

関西大学東西学術研究所

雑誌

関西大学東西学術研究所紀要 (ISSN:02878151)

巻号頁・発行日

vol.34, pp.A1-A39, 2001-03-31

著者

朴 賛弼

出版者

関西大学東西学術研究所

雑誌

関西大学東西学術研究所紀要 (ISSN:02878151)

巻号頁・発行日

vol.46, pp.57-69, 2013-04-01

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Five palaces were in Seoul. It is Kyongbok Palace Changdok Palace, Changgyung Palace, Doksu Palace, Kyonhee Palace. A purpose of this study is that current Seoul clarifies what kind of plan space has been built under in the past. It is to make the positioning clear how a palace was planned in Seoul castle wall. I analyzed the north and south of the palace in the Seoul castle wall, East-West axis constitution as a study method. I compared the axial constitution in each palace and analyzed it. And I made each characteristic clear. Kyongbok Palace became clear in being the place that fulfilled each seeing from a geography mark of the Feng Shui. In addition, it was revealed that five palaces were constructed equally with the mountains of four directions. In Changdok Palace, Changgyung Palace, a scale becomes small to some extent from Kyongbok Palace. Kyongbok Palace becomes straight from the gate to politics, life space in the north and south. In Changdok Palace, Changgyung Palace, north and south key is not decided clearly.

著者

村木 桂子

出版者

関西大学東西学術研究所

雑誌

関西大学東西学術研究所紀要 (ISSN:02878151)

巻号頁・発行日

vol.51, pp.A295-A324, 2018-04-01

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This painting shows not only views of the Kitano Shrine in Kyoto after it was repaired by order of Hideyori Toyotomi but also the lively scene around the temporary theater erected near the shrine, where the play of Okuni-Kabuki is being performed. It used to form a pair of six-fold screens with another painting representing ome of the noted spots of the Higashi-yama (the Gion Shrine) in Kyoto. The purpose of this paper is to consider the art historical significance of "the itano Shrine and Okuni-Kabuki Screen" while focusing on the image of the staffage person. Through analysis, this painting shows numerous pious people visiting the Kitano Shrine and it seems that the painting as depicted is filled with a religious atmosphere rather than one of a pleasure trip.

著者

北川 勝彦

出版者

関西大学東西学術研究所

雑誌

関西大学東西学術研究所紀要 (ISSN:02878151)

巻号頁・発行日

vol.41, pp.51-64, 2008-04-01

---

This study is a part of wider research in which this author has been so far investigating into various aspects of liberation struggles in Southern Africa. In particular, discussions have been focused on the relations between guerrillas war and peasant society and legacies of liberation struggles in the post-independent Zimbabwe. It is also intended to research on decolonization of imaginations which had been constructed under the European colonial rule in Africa. Visual images invented under colonialism have played significant roles in disseminating political landscape of Southern Africa. This means that the study is not only about visuality but also cultural contacts and political encompassment engendered by European expansion in Africa. Specific attention is paid upon the Matopos Hills south of Bulawayo in colonial Zimbabwe. In the process of colonization, European settlers explored, exploited and conquered the new lands and converted landscapes of the Matopos to their own one. In other words, Europeans tried to make colonial landscapes fit with their concept of what they had learned in Europe. To begin with, the word pictures by Thomas Baines, the main producer of visual images of the nineteenth century Rhodesian landscape is analyzed. To the next, the meaning of Rhodes' interment in the Matopos is considered as one of the most significant rituals of colonization of landscape. After his funeral on April 10th 1902 nothing was spared in installing Rhodes as the "spirit" of the land. Finally African view of the Matopos is taken not merely as the site of struggle but the deeply rooted imaginations of their landscape in the late 1970s liberation struggles. For African people the cave is the nucleus of a living and active landscape and Mwali cult and shrines of the Matopos does all things to the landscape of the hills. There is no doubt that combination of stone and water is central to their imagination of the landscape of the Matopos. This had been shaped by an interaction with hunter gatherers, cultivators and cattle-keepers for thousands of years although it seemed to nineteenth century European travelers so wild.

著者

中田 美絵

出版者

関西大学東西学術研究所

雑誌

関西大学東西学術研究所紀要 (ISSN:02878151)

巻号頁・発行日

no.44, pp.153-189, 2011-04

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Central Asians from such areas as Sogdiana, Tokharistan and Kapisi started to move to the East due to the oppression by Islamic power which had gradually approached Eastern countries,and they finally came into the Tang China at the middle of the eighth century. Eunuchs who grasped political initiative in the Tang empire merged these immigrants from the Central Asia as well as non-Han people in Hebei,Hexi and Shuofang into the Imperial Guards which they controlled over in order to strengthen their military influence. In addition, there were non-Han people merged into the Buddhist circle in Chang'an, which had connected with eunuchs and the Imperial Guards. Under these circumstances, the eunuchs, the Imperial Guards and the Buddhism had been the receiver for non-Han people in Chang'an city,since the An Shi Rebellion. The translation of fan-ben 梵 本 Liu Boluomiduo Jing was operated by this group of people. In order to compete Tibet, Buddhist circle endeavored to outfit itself the newest Buddhist principle under the supports from eunuchs and the Imperial Guards. By so doing, it tried to offer the protection over the nation through magical power of the Buddhism in addition to that by the army through physical military force. Moreover, the group of eunuchs and the Imperial Guards had won many Nestorians over to their sides since the An Shi Rebellion. The translation of hu-ben 胡 本 Liu Boluomiduo Jing which had operated before that of fan-ben reflected such religious situations within the group of eunuchs and the Imperial Guards. With Luo Haoxin 羅 好 心 who was the representative of non-Han people in the Imperial Guards acted as the sponsor, they made Jinging 景浄 from Nestorianism and Banruo 般若 work together for the translation. By so doing,they attemped to unify Nestorians and Buddhists under the Buddhism.

著者

オニール パトリック 和田 葉子

出版者

関西大学東西学術研究所

雑誌

関西大学東西学術研究所紀要 (ISSN:02878151)

巻号頁・発行日

pp.26-31, 2012-04

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本発表では7世紀の古英語のアルファベットの起源について考察する。まず、見本になった、あるいは、影響を与えた可能性があると思われる様々な国や地域のアルファベット、つまり、ルーン文字、フランク語、ブリトン語(ウェールズ語)、アイルランド語のアルファベットを概観する。そして、アイルランド語とそのアルファベットが古英語のアルファベットとその文字の形成に果たした役割について論じる。

著者

蜷川 順子

出版者

関西大学東西学術研究所

雑誌

関西大学東西学術研究所紀要 (ISSN:02878151)

巻号頁・発行日

vol.41, pp.3-22, 2008-04-01

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A View of Delft preserved at the Mauritshuis in The Hague is well known as a rare cityscape by Johannes Vermeer (1632-1675), who otherwise depicted mostly interior everyday life. Kenneth Clark, the English art historian who published the Landscape into Art in 1949, described it as "like a postcard" to underline its property as the truth of the total view, commenting that no particular part would catch beholders' eyes. On the other hand, Marcel Proust, the French novelist who inserted a scene of Bergotte's death in front of the painting into A la Recherche du Temps Perdu (1913-27), emphasized the beauty of a particular part of yellow wall in the composition. It makes us notice that the very source of light exists out of the painting and then that the tower of the New Church of Delft is also illuminated by the light in the center of the city. As the tomb of Willem of Orange the Silence is located in the church, some scholars indicate that the connection between the city and the house of Orange is herewith intentionally underlined. Therefore, we may infer that there is a twofold aspect of the modern for the Europeans: the uniform or scientific view and the particularized or intentional view on the surroundings. The author is to compare the modern imagery with the medieval one in order to make the former clearer. Concerning the uniform or scientific view, the history of the cityscape of Jerusalem is most worth noticing. Jerusalem became the prototype of European or Christian cities since the publication of De Civitate Dei by Augustine in the 5th century. It gave an ideal imagery of city, which should be constructed from artificial matters by the efforts of devotional people. It contrasts to that of nature, including the nature in the human being, which had only negative meaning for the early medieval Christians. The images of medieval city were filled with buildings, or churches, within the city wall, while surrounding nature of the city had gotten to be depicted or appropriated little by little in diverse images towards the era of Renaissance. The landscape, the original meaning of which is considered to be the issue of property, was depicted as scenery of nature where people were laboring, enjoying, observing etc., viewed from the city or the owner’s house. The cityscape of Jerusalem was changed in the fifteenth century from the older type to the new one, which became surrounded by nature or filled with greens. When both the city and the nature of surroundings were viewed with the same appropriation, people obtained the germ of the linier perspective, the system of scientific view, namely the uniform view over the world. The linier perspective, on the other hand, proscribed the position of a viewer, which could in its turn related to the particularized or intentional view on the surroundings. In the sixteenth century, for example, when God was far less visualized in the way with similitude, the bird's-eye perspective found among the so-called world landscape seems to indicate the very place of the invisible God. It was also the age of discovery for the Europeans and both the geography and the topography were rapidly developed with map- and landscape-making relating each other. In the seventeenth century, lots of landscapes of non-European regions were made on the model of drawings made by VOC people etc., reflecting diverse intentions of image makers. These images aroused the concerns of beholders toward the depicted imagery of foreign places.

著者

新谷 英治

出版者

関西大学東西学術研究所

雑誌

関西大学東西学術研究所紀要 (ISSN:02878151)

巻号頁・発行日

no.49, pp.127-161, 2016-04