著者

原田 正俊

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.46, pp.17-31, 2013-04

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In medieval Japan, the eight kenmitsu (exoteric-esoteric) Buddhism sects: the six sects of the Southern capital, the Tendai sect, and the Shingon sect, established orthodox Buddhism and became the mainstream of the Buddhist rituals. In the Kamakura period, however, Zen monks introduced Chinese Buddhist services and ascetic rules from Southern Sou and Yuan, from which point on the new Chinese-style Buddhist services spread into the Japanese society. During the Muromachi period, the zen Buddhist services started to incorporate Japanese elements, which was a new turn Japanese Buddhism took. Mannen-san Shokoku Jotenzen-ji ekou narabini sho, a document brought to one of the five great Zen temples in Kyoto, Shokoku-ji, provides important information on Zen Buddhist services during the Muromachi period and shows extensive practice of Zen services during that time. This paper analyses the structure and the content of this historical document, which has not been fully examined. The Shokoku temple was built by Ashikaga Yoshimitsu, who united the court nobles and samurai warriors. Yoshimitsu constantly performed big Buddhist services in this temple, through which the Muromachi shogunate promoted Buddhist policies to the public.

著者

毛利 英介

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.49, pp.549-567, 2016-04-01

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研究ノートTwo treaties were concluded between the Khitai and the Northern Song, in 1004 and 1042 respectively. The first is famous as the Treaty of Shanyuan; the second, the subject of the present paper, is referred to as "the revised treaty." A set of documents, known as the Guannan Oath, was exchanged between the Khitai and the Northern Song when the revised treaty was signed in 1042. The present paper specifically addresses the following:▪ A translation of the Guannan Oath into modern Japanese, and an analysis of itscomposition as a text.▪ A comparison of the provisions of the Guannan Oath with those of the Shanyuan Oath.▪ An evaluation of the historiographic value of the text of the Guannan Oath as contained in Sanchao beimeng huibian, which up to now has been overlooked.

著者

周 振鶴 紅粉 芳惠 陳 娟

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.3-12, 2012-04

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.48, pp.127-136, 2015-04-01

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London, British Library, MS Harley 913, dated to around 1330, contains Lollai, a poem of six stanzas, thought to be the earliest lullaby in English. Although the Latin version of this work is found on a different folio of the same manuscript, it consists of only two stanzas which correspond to the first two in the English. This paper discusses the relationship between the two versions, investigating which was the original, and attempts to explain why the Latin version has no more than two stanzas.

著者

角山 幸洋

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.23, pp.A83-A140, 1990-03-31

著者

吾妻 重二 井上 克人 丹治 昭義

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.33, pp.1-26, 2000-03-31

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神秘主義研究班

著者

吾妻 重二 井上 克人 丹治 昭義

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.36, pp.115-132, 2003-03-31

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神秘主義研究班

著者

吾妻 重二 井上 克人 丹治 昭義

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.63-79, 2001-03-31

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神秘主義研究班

著者

井上 克人 薗田 香融 川﨑 幸夫 丹治 昭義 吾妻 重二 木村 宣彰

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.31, pp.51-77, 1998-03-31

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神秘主義研究班

著者

吾妻 重二 井上 克人 丹治 昭義

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.38, pp.31-52, 2005-04-01

著者

藤本 勝次

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.1, pp.A25-A43, 1968-03-30

著者

齊藤 茂雄

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.48, pp.77-99, 2015-04-01

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This paper investigates the process by which regional commanders were selected during the early period of Tang Chinese "loose-rein" rule over Turkic tribes following the defeat of the First Türk Qaghanate 突厥第一可汗国 in 630. On the basis of this investigation, it demonstrates that the even before Li Shimin ascended the throne as Emperor Taizong 太宗, the second Tang emperor, these commanders had been selected from among the men who had rallied to his support in his campaigns to pacify northern China (Shi Shanying 史善應, Shi Danai 史大奈), or from Türks who had become his allies or formed other personal relationships with him (Ashina Shibobi 阿史那什鉢苾, Ashina Zhong 阿史那忠, Ashina Shimo 阿史那思摩, and Ashina Sunishi 阿史那蘇尼失). Only one among them, Kang Sumi 康蘇密, remains a mystery due to inadequate historical source materials. This research has confirmed that the loose-rein policy of control of the Türks throughout Taizong's reign was conducted principally by these commanders selected at the beginning. But, since a number of these individuals had been of low rank or status during the First Türk Qaghanate, they were unable to gain the support of the Turkic people, and this system of rule collapsed for a time. However, from the reign of Gaozong 高宗onward, a more realistic system of control was initiated, and the loose-reign policy attained its most perfected state.

著者

中谷 伸生

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.48, pp.1-29, 2015-04-01

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Nichosai was a painter of giga (humorous pictures) probably born before 1751 (Horeki 1), active during the Annei (1772–81) and the Kyowa (1801–04)periods, and thought to have died in either 1802 (Kyowa 2) or 1803 (Kyowa 3). His artistry had matured by the Kansei period (1789–1801). The hanpon (woodblock-printed illustrated books) Nichosai was involved with have been the subject of previous research by Hida Kozo, yet his research was comparatively brief. In this paper, the author discusses the illustrations Nichosai made for these books, a topic that has as yet received little attention from scholars, focusing on the unique characteristics of his style. Nichosai published four works of hanpon while he was alive, and two more were published immediately after his death. In addition, he drew occasional illustrations for various other books, and with Hida's introduction to work as a guide, this paper will touch briefly on the development of Nichosai's book illustrations. This will help elucidate the development of Nichosai's style as a book illustrator, and deepen our understanding of its relationship to his giga.

著者

陳 贇

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.42, pp.113-131, 2009-04

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Consisting of four chapters, this paper discusses the development of the phonetic term hassō (発想). The first chapter traces the root of the term and reveals that it was initially used as a musicological term. It can be found in classical Chinese to intend "to think a way for a purpose". However, it is difficult to find similarity between the original meaning of hassō in Chinese and that in Japanese. For another thing, the paper traces the changing process of hassō in which this initially musicological term was transformed into the literary term, promoted by writers in the end stage of Meiji era; such as Iwano Hōmei (岩野泡鳴). Moreover, the paper analyses the transition of its meaning from "representation" to "idea", then to "way of thinking". In the final chapter, the actual utilization of hassō in Meiji Japanese and modern Chinese is observed. Furthermore, the transmission and adaptation of the vocabulary is evaluated through this particular term.

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

no.41, pp.3-22, 2008-04

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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

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

呂 超

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.49, pp.353-376, 2016-04-01

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As is well known, Miyazaki Ichisada (1901‒1995) is one of the preeminent Japanese postwar scholars in the field of Chinese history, but his research interests did not stop there; he left a scholarly legacy that includes wide-ranging research on East-West relations and the history of Asia. Moreover, Miyazaki grasped history with the long view of a generalist, and argued that Chinese history should be studied from a world-historical perspective rather than being confined to the framework of a single nation. On the other hand, Miyazaki is well known for having been the first in Japanese academic circles to emphasize the existence of the historical phenomenon of the city-state in ancient China. This paper investigates a number of papers by Miyazaki which treat of his theory of city-states, and after examining the view of ancient Chinese history which he constructed, clarifies the relationship between his concept of world history and his theoretical approach to China’s ancient city-states. It also traces the formative process of Miyazaki's conception of world history, analyzing its structure in the context of the social ideologies of the time, and elucidating the nature and characteristics of his philosophy of world history.

著者

長谷部 剛

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.49, pp.589-594, 2016-04-01

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資料紹介Hayashi Kenzo's unpublished manuscript, "Musical Scores for the Dunhuang Pipa and their Relation to Songs," looks at restored musical scores for the Dunhuang pipa (a type of Chinese lute from the Dunhuang area) to investigate what kinds of lyrical songs were sung in the actual performance of such music. While the manuscript is both undated and incomplete, significant insights can be gleaned about the process of Hayashi's investigations and the traces of evidence they provide.

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

vol.40, pp.157-178, 2007-04-01

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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

許 海華

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.44, pp.297-318, 2011-04

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While Japan at the end of the Edo period revised their national seclusion system and started to set forward with internationally opening policy, it was the training of translators to communicate at practical negotiations with foreign countries that was most urgently required. In the case of To tsuji 唐通事, Chinese translators at Nagasaki during the Edo period, some of the youths transferred themselves to be in charge of two languages, from solo translation for Chinese to translation for both Chinese and English. They later became very active in the frontlines for diplomacy, education and translation because of their English abilities during the periods from the end of the Edo to Meiji era. One of the typical examples was Ga Noriyuki. Ga Noriyuki was the person who flourished as a liege of Tokugawa Shogunate, a bureaucrat, an educator as well as a translator, who had been working as a Chinese translator at Nagasaki. It was his mastering English which brought him a great turning point for his life. This paper examines historical backgrouds and progress for Ga Noriyuki's mastering English from the view point of the alteration of To tsuji at Nagasaki during the periods from the end of the Edo to Meiji era, through full survey on articles on his carrers.