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

梁 紫蘇

出版者

関西大学大学院東アジア文化研究科

雑誌

文化交渉 : Journal of the Graduate School of East Asian Cultures : 東アジア文化研究科院生論集 (ISSN:21874395)

巻号頁・発行日

vol.1, pp.379-389, 2013-01-31

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Shibusawa Eiichi (1840-1931), arguably the most famous entrepreneur of modern Japan, lived through four epochal periods of Japanese history: the end of the Tokugawa, the Meiji, Taisho, and first years of the Showa eras. Shibusawa played a decisive role in a number of fields in the modernization of Japan, including politics, economics, culture, and social welfare. In the wave of modernization that swept Asia in the early nineteenth century, Shibusawa served as retainer during the bakumatsu, as official in the Meiji government, businessman, philanthropist, and non-official diplomat. This paper examines the germination of Shibusawa’s view of Japan’s foreign affairs.

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

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

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

文化交渉 : Journal of the Graduate School of East Asian Cultures : 東アジア文化研究科院生論集 (ISSN:21874395)

巻号頁・発行日

vol.8, pp.3-19, 2018-11-30

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東アジアの言語と表象 (East Asian languages and Representations)This paper looks at the artistic 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, which were inspired by the famous prose and verse collection by Matsuo Basho (1644-1694), The Narrow Road to the Deep North, in the late 18th century, when a revival movement of Basho's poetic style was flourishing. There has unfortunately been a dearth of serious or detailed academic discussion on the relationship between Buson's paintings and his accompanying calligraphy. This research paper puts forward the proposition that these works differ from other artists' output, with particular emphasis being placed on his "The Trio of Poetry Calligraphy Drawing" in the Edo Era. Through a painstaking examination of each work, this paper seeks to clarify how the composition of the paintings and the calligraphy help form a harmonious whole.

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

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

裵 洙淨

出版者

関西大学大学院東アジア文化研究科

雑誌

文化交渉 東アジア文化研究科院生論集 (ISSN:21874395)

巻号頁・発行日

vol.5, pp.21-42, 2015-11-01

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東アジアの言語と表象Hamada Shoji (1894−1978) was a representative potter in Japan. He is usually regarded as a member of the mingei society together with Yanagi Muneyoshi(1889−1961), who was also the founder of the mingei (folk crafts) movement. Because of this, Hamada is often called a mingei artist. However Hamada preferred to be called a 'potter' rather than an artist. In other words, Hamada thought of himself as an individual potter influenced by the philosophy of the mingei movement. The aim of this study is to reveal the aesthetic sense of Korean ceramics through the point of view of mingei (folk crafts) and also by looking at a number of works by Hamada Shoji. Hamada often said "I found my way in Kyoto, started in Britain, learned in Okinawa, and grew up in Mashiko." However he also studied many of the forms and techniques of Korean ceramics, especially Punchong ware with its iron-painted on brushed white slip (hakeme), and the faceted jar (mentori). Furthermore, Hamada thought that Korean ceramics were composed of crafts, potters, and lives. As a result of his study of Korean ceramics, Hamada found an aesthetic of freedom and developed his own sense of modern beauty. In conclusion, Korean ceramics contain the ultimate aesthetic, with which Hamada, Yanagi and the mingei society shared.

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

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

亀井 拓

出版者

関西大学大学院東アジア文化研究科

雑誌

文化交渉 : Journal of the Graduate School of East Asian Cultures : 東アジア文化研究科院生論集 (ISSN:21874395)

巻号頁・発行日

vol.2, pp.299-320, 2013-12-01

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This short paper delves into one of the sources that reveal Chen Duxiu’s(1879‒1942) world view. Xiaoxue Wanguo Dili Xinbian was published as a geographical textbook used in elementary schools, and it was also one of Chen’s earliest writings, finished in 1902. For Chen, geography, especially human geography (political geography) in Japan and China, meant not only knowledge of foreign countries and of the relationships between human beings and nature, but also as a means to teach native people about national crises and Westerninvasion. Since this book is written rather than translated by Chen Duxiu, many of his own ideas are visible therein. What kind of geographical knowledge did Chen choose to accept? Where did it come from? How did he delineate the world with the knowledge? These questions are important and, arguably, serve as the key to Chen Duxiu’s later thought.

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

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

楊 雪

出版者

関西大学大学院東アジア文化研究科

雑誌

文化交渉 : 東アジア文化研究科院生論集 : journal of the Graduate School of East Asian Cultures (ISSN:21874395)

巻号頁・発行日

vol.11, pp.171-185, 2021-11-30

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From 1895 to 1945, Japan established colonies in Taiwan and Korea. Japan adopted colonial assimilation policies in these colonies that were different from those of Western colonial powers. Japan's management of the colonies was not limited to the economy or politics but focused on assimilation policies based on language and culture. Through these policies, Taiwanese and Koreans were to become Japanese. This form of colonization is very special. Why did Japan choose to adopt this assimilation policy? The author analyzes this issue based on three aspects : possibility of realization, necessity of realization, and legitimacy of realization. A homogeneous race and culture make it possible to realize an assimilation policy. The important geographical locations of Taiwan and Korea also made it necessary for Japan to try to assimilate Taiwanese and Koreans, respectively, while political philosophies prevalent in Japan at the time provided the legitimacy for assimilation.

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.