著者

西田 周平

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.12, pp.145-156, 2019-03-31

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In the early modern period, the situation concerning traditional culture in Japan transformed rapidly in the face of the new Meiji era. The tea ceremony, which had barely survived through strong ties with the old powers, temporarily declined and had to wait for the appearance of people called men of refined tastes in order to be revitalized as it is today. In addition to collecting antiques that had been left untouched in the homes of former daimyo families, people called men of refined tastes collected these art items when they were put on sale. When Arakawa Toyozo discovered Shino-yaki pottery pieces at Mino-Okaya in 1930, the excavation of the pottery pieces that had not been focused upon until then facilitated a new interest in Momoyama pottery. But because the interest of the public focused only on antiques, those that were made at that time never sold. Therefore, Arakawa, Kato Tokuro, and others who were the descendants of potters, engaged in the making of pottery in Mino and Seto, and worked vigorously to restore traditional Momoyama pottery in the Showa era. On the other hand, the person who challenged traditional Momoyama pottery for different reasons is Kawakita Handeishi. Handeishi was born in a wealthy house of Mie Prefecture and was involved in various projects, he studied under Hisada Soya who mastered of the tea ceremony of Omote-senke and mastered it. Despite being successful as a businessman and being on a wealthy person, he did not show much interest in collecting antiques. Also, based on the excavated pottery pieces and art objects that had been passed down, Arakawa and others spent their lives creating their own individual style of tea bowls rather than engaging in making copies, to produce tea bowls from which they themselves wanted to drink. This paper examines how Handeishi came to be involved in the making of pottery, his philosophy of pottery creation, and the qualities seen in his works in order to position Handeishi in the history of pottery-making and to identify the role he played as the progenitor of future pottery creations.

著者

村上 敬

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.5, pp.65-82, 2015-11-01

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東アジアの言語と表象Research about Japanese paintings from after the mid-Edo period has recently been criticized as valuing Western culture over and above Chinese culture. At the root of the problem lies a dichotomy between Japan as being leader of Asia and the West in the two-dimensional world view of early modern Japan. Such criticism can be aimed at research about Maruyama Ōkyo, who was one of the most representative painters of Edo period Japan. In this paper I discuss Konoe Iehiro, who was a court noble with indirect ties to Ōkyo and who was also fond of the latest Chinese imports at that time. He imported the latest Chinese paintings from the Ryukyu islands, predating the arrival in Japan of Shen Quran. I elucidate the fact that Ōkyo was supported by Iehiro's salons that recognized the importance of replications of paintings by Sun Yi and others. Just prior to Ōkyo's birth, there was a revival of the Song and Yuan periods' painting style. As a result, Shen Quan came to Japan, creating the foundation upon which the shasei-ga of Ōkyo could be accepted by the art world of that time. In other words, an interest in and understanding of paintings from a variety of regions already existing in Kyoto in the middle of the Edo period does not readily fit within today's accepted framework of Japanese art history.

著者

石田 智子

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.47-59, 2013-12-01

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東アジアの言語と表象This thesis focuses on the blank space in the paintings of Kano Tan'yu, especially "Illustrated Mirror of Chinese Emperors" from the paintings of the Nagoya Castle Jorakuden that are referred as good examples that has the characters of the Kano Tan'yu's style. The paintings of Kano Tan'yu have broad blank space. I argue that they were useful for painters when they produced many paintings and combine figures and scenes on paintings. Moreover, I insist that Tan'yu painted less motifs for his pupils tracing them easily.

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

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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

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 東アジア文化研究科開設記念号 (ISSN:18827748)

巻号頁・発行日

pp.173-180, 2012-03-24

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I would like to investigate the character and the origin of Huaguang (華光), and considered some gods as Wutong (五通) Wuxian (五顕) Ucchusma (烏枢沙摩) influence on Huaguang from the viewpoint of cultural interaction. And research the relationship between the Huaguang and fire gods belief.

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

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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

張 岑

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.5, pp.249-262, 2015-11-01

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研究ノートIn the 17th century, All Men Are Brothers (水滸伝), was introduced to Japan alongside other popular works of Chinese fiction. All Men Are Brothers gained enormous popularity among its Japanese readership. The Japanese even created their own fiction based on the original. All Men Are Brothers is still popular in Japan today. It has been reinvented into various forms in order to match contemporary tastes, and this includes comics. This paper investigates the first Japanese comics based on All Men Are Brothers, known as Suikoden (水滸伝) in Japanese and written by Yokoyama Mitsuteru (横山光輝). The author will focus on the structure and characters of All Men Are Brothers in order to clarify the relationship between Suikoden (水滸伝) and the original text.

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

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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[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

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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[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

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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[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

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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[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

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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[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

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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

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

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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]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.

著者

丁 世絃

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.355-375, 2014-03-31

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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

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.7, pp.41-58, 2017-11-30

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Yosa Buson (1716-1783) was a haiku poet and remarkably talented painter of Bunjinga (Japanese Literati Painting) and Haiga (Haikai paintings) from the Edo period. He made many scrolls and folding screens based on the famous work by Matsuo Basho (1644-1694), Narrow Road to the Deep North. These productions were related to the revival movement of Basho's poetic style during the late 18th century. This article proposes that the context for Buson's extensive output of works inspired by Basho was not so much based only on an inherent respect for Basho's work, rather it was due more to commercial interests, as works based on Basho's writings proved to be lucrative at the time. This paper also looks at whether a difference in Buson's style of haiga can be seen after this period, compared to his earlier works created prior to his work based on Basho.

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

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.3, pp.125-139, 2014-09-30

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東アジアの思想と構造

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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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

鄭 英實

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.237-255, 2013-03

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Hayashi family, which started from Hayashi Razan (林羅山、1583-1657), continuously served as leading delegation of Japanese intellectuals until 1811, the rupture of Japan-Korean relations. Because of being assigned for making the documents on Korean foreign policy, members of Hayashi family were frequently mentioned in Korean documents. Through closely investigating these documents, such as the Envoys travel accounts to the Japan (使行録), we could not only reveal the true state of the recognition of Korean side toward Hayashi family, but also how it changed with the Japan-Korea relations.

著者

日並 彩乃

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.1, pp.91-122, 2013-01-31

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東アジアの言語と表象This work sets out the relationship between Yamato-e in early modern period and Fukko yamato-e.Late Edo period, the painters of a restoration Yamato-e(Fukko yamato-e 復古大和絵) learned directly the Yamato-e masterpieces of the Heian and Kamakura periods in order to revive the past Yamato-e. Fukko yamato-e artist has been considered to be a relation close to the political philosophy and social movement which was made to revitalize an emperor's(Tennou 天皇) power.However, the relation between Fukko yamato-e and reverence for the Emperor and expulsion of the barbarians is not deep in fact. Fukko Yamato-e was worked based on Yamato-e in early modern period. Fukko yamato-ecomposed in a perpendicularly long screen follows a precedent.In this paper, I hope to reveal a part of a Yamato-e in early modern period through consideration of Fukko Yamato-e composed in a perpendicularly long screen. Furthermore, I contemplate the influence from the China pictures, comparing it with a Chinese hanging scroll. And, I would like to clarify the transition and genealogy of Yamato-e in early modern period.