National Institute of Japanese Literature Repository / 国文学研究資料館学術情報リポジトリ
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The Charm of Japanese Old Books: Focusing on ownership stamp
Get PDFpdf本テキストは、「第16回日本古典籍講習会（平成30(2018)年度）」（2019.1.22-25：国文学研究資料館、国立国会図書館共催）で使用された資料の一部です。conference objec
Fourth Report of the Nakanoshō Nigawa Library Research Group: A Facsimile Reproduction and Introduction to "Kinoji Goyūran-nikki"
Get PDFpdf本稿は国文学研究資料館の大阪府貝塚市の願泉寺及び中庄新川家の文献調査に関わる調査研究報告の一環である。願泉寺と新川家は深い関係にあり、両者は江戸時代を通して大阪府南部の、泉南地域の文化の中心的存在であった。領主的存在であった願泉寺住職ト半一族の『紀の路御遊覧日記』を翻刻して近世文化の一端を窺うことができる。departmental bulletin pape
A Facsimile Reproduction and Introduction to Kasen Held by the Hishikawa Moronobu Memorial Museum
Get PDFpdf菱川師宣記念館に『歌仙』という作品が所蔵されている。同館発行『菱川師宣作品集』で「刊年・版元とも不詳だが、師宣画と思われる」と紹介される刊本だが、わずかな掲載図版では、その全容を把握することが叶わなかった。
この度、実地に調査させていただいたところ、挿絵には、確かに師宣風の雰囲気があり、師宣作品として確実な、『百人一首像讃抄』『女歌仙新抄』『藤川和歌百首』の挿絵などと比較してもそれほど遜色ないようである。本稿は、絵入りの名所歌集とでも言うべき本作品を、簡単な解題とともに、影印、翻刻紹介しようとするものである。departmental bulletin pape
Intended Misreading――Contradiction of "Preface of Mizutari's collection of poems（水足氏父子詩巻序）” written by Ogyu-Sorai（荻生徂徠）, And Chosen（朝鮮）――
Get PDFpdfOgyu-Sorai（荻生徂徠） is well known as a great scholar who brought a big influence in Tokugawa Japan’s literature and thought. However, his foreign awareness, especially the awareness of Korea, has not been taken up so far. Sorai’s thought has been mainly studied in the history of Japanese political thought, but it did not receive much attention on the East Asian meaning that it has.
Sorai seems to have made it possible to become widely well known in the whole area of Japan in a very short time by making harsh criticism against the Chosen emissaries（朝鮮通信使）. There are many examples that have become widely well known by getting recognition to a Chosen emissaries, in the case of Arai Hakuseki （新井白石） who lived in the same era with Sorai, he was highly placed in the Bakufu（幕府） after getting recognition to a Chosen emissary. Sorai seems to have hoped to establish the status of Sorai school（徂徠学派） by criticizing the Chosen emissaries who had been respected by Japanese scholars. And despite the disturbance of Hayashi’s（林家）, Hakuseki and Jinsai school（仁斎学派）, he finally published a “Monsakisyo（問槎畸賞）” which is a collection of brush conversation（筆談） between his own students and Chosen emissaries. As a result, the awareness of Japanese scholars against Chosen emissaries begun to change.
The “Preface of Mizutari’s collection of poems” is a work that shows very well Sorai’s awareness of the Chosen emissaries. This work is an introduction written in a collection of brush conversations and poetries which was exchanged when the father and son of the Mizutari family（水足氏父子） met the Chosen emissaries who visited Japan in the 4th year of Kyōhō（享保）. In this preface, Sorai raised the castle gate that Katō Kiyomasa（加藤清正） who wielded power as a former leader of the Jinshin War （壬辰戦争: Bunroku·Keichonoeki 文禄・慶長の役） was detached as a trophy. And Sorai compared the collection of poems to the castle gate which had been the trophy of Imjin war. Sorai regarded cultural exchange as a war. He said this Mizutari’s collection of poems is truly like a trophy. The interesting thing is that the contents of “Mizutari’s collection of poems” is quite the opposite of the preface. Why did such misreading occur? What does this mean to build up a Sorai school? I would like to clarify these problems through this presentation.conference pape
The study of illustrations in Ehontsuzokusangokushi published by Shimizuitijirou
Get PDFpdfChinese historical novel The Romance of the three kingdoms (Ming Dynasty-Ruoguanzhong) was spread to Japan in Edo period. The first Japanese translation Tsuzokusangokushi (preface by Konanbunzan) was published in Genroku 2nd year (1689). Ehontsuzokusangokushi (author-Ikedatouri/illustrator-Katsushikahokusai) was published in Tenpō 7th year (1836), and was based on the story of Tsuzokusangokushi with illustrations attached. The illustrations in Ehontsuzokusangokushi were over 400 pieces and the amount were the most of “Sangokushi stories” in Edo period. Until Meiji era, there had been over 30 versions of Ehontsuzokusangokushi, and at that time, the movable-type printing was available, so the relationship among booksellers was changed from cooperation to free competition.
In many publications, some were imitations of Hokusai (second generation)’s works, and some were original. Ehontsuzokusangokushi (published by Shimizuichijirou) was an original one. The title page was painted by Taiso Yoshitoshi, the illustrations in books were painted by Kobayashitoshimitsu and Mizunotoshikata. No matter the choices of setting or compositions, these were totally different from Hokusai’s works. Thus, we can see that the publisher wanted to make some differences from the classical and create an original work. In the highly-competitive publishing industry, Shimizuitijirou tried something new, such as using regular subscription for promotion or adopting original illustrations and these ways were fruitful. This study will focus on the Ehontsuzokusangokushi published by Shimizuichijirou and analyze the illustrations from the illustrators a Drawing styles. Also thinking about the meaning that original illustrations bring to classical lecture.conference pape
About the authenticity of the Kokin-Mochitame-chū
Get PDFpdf『古今持為注』などと呼ばれる室町期『古今和歌集』注釈書は、その奥書から下冷泉持為（１４０１～１４５４）の講釈の聞書であると考えられている。本当に持為の注であると認められるならば、中世成立の汎冷泉流『古今集』注釈書のうち、素性の明確なものとしてはほぼ唯一のものであり、冷泉家に伝えられた古今学を考えるための重要な資料となる。しかし先行研究を見ると、仮託説も存在し、現在通説となっている真作説の論拠にも不審な点が見受けられる。そこで本稿では、真作説及び仮託説の論拠として挙げられている諸事項を具体的に検討し、真偽の問題について改めて考察を加えた。その結果、真作説の論拠として諸論考が挙げているものは、いずれも決定的なものとはいえないものである一方、仮託説の論拠として挙げられているものは、いずれもそれなりの説得力を有するものであることが確認出来た。通説に反して、『古今持為注』は持為仮託の注釈書であると考えるべきであり、室町時代後期頃（文明十年以降か）に宗祇流などの汎二条流に対抗しようとする人々の手によって成立した注釈書とみるべきである、というのが本稿の結論である。そしてその結論を受けて、奥書の問題にも再考を加え、さらに『伊勢物語』注釈における持為説の問題にも言及した。
According to the colophon, the annotated edition of the Kokin Wakashū of the Muromachi period, called Kokin-mochitame-chū, is thought to be a reproduction of a record of a Reizei Mochitame's lecture. If this one was truly annotated by Mochitame, it would be the only one clearly identified among the annotated edition of Kokin-shū in broadly spanned of Reizei-ha appeared in the Middle Ages. Then, it would be an important material to learn Kokin-gaku passed down in Reizei-family. However, preceding research consider the text as mistakenly attributed to Mochitame. In the theory supporting its authenticity, which is currently the common theory, suspicious points are also seen. Therefore, in this article, we specifically examined the items listed as the basis of both the theory supporting the authenticity and the inauthenticity and then added a second consideration on the problem of genuineness. As a result, it was confirmed that anything cited as the basis of the inauthenticity theory is reasonable and persuasive while any of items cited as the basis of the theory supporting the authenticity was found not decisive at all. Contrary to the commonly adopted theory, we concluded that the Kokin-Mochitame-chū was not including Mochitame’s notion. It must have been produced by people who tried to compete with the Nijō-ryū such as Sōgi-ha in the late Muromachi period (after the year 10 of the Bunmei era).
Additionally, based on that conclusion, we reconsidered the problem of the colophon and further mentioned the problem of the theory suggesting that the Ise Monogatari annotation was advocated by Mochitame.departmental bulletin pape
Tetsushinsai-Bunko total catalog draft
Get PDF○本目録稿は国文学研究資料館共同研究「鉄心斎文庫伊勢物語資料の基礎的研究」（研究代表者：小林健二）の成果報告である。pdfresearch repor
About publishing-culture in the late Edo and Meiji period
Get PDFpdf本テキストは、「第17回日本古典籍講習会（令和元(2019)年度）」（2019.7.2-5：国文学研究資料館、国立国会図書館共催）で使用された資料の一部です。conference objec
Project to build an international collaborative research network for premodern Japanese texts
Get PDFpdf本テキストは、「第17回日本古典籍講習会（令和元(2019)年度）」（2019.7.2-5：国文学研究資料館、国立国会図書館共催）で使用された資料の一部です。learning objec