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The Positioning of Nature in Soseki’s Early “Meian” Period Chinese poetry – Influenced by Wang Wei?
No full text夏目漱石自幼崇拜陶淵明、李白、王維等中國文人，小說或隨筆中也常引用到這些詩人的作品，漱石漢詩受中國文人影響可想見一斑。然而，例如大地武雄、加藤二郎、上垣外憲一等漱石漢詩研究學者均偏向陶淵明與漱石之研究，王維與漱石之研究較不受到矚目。提及漱石漢詩中之「自然」，多數人都會同時聯想到晚年的漢詩與漱石之最高思想「則天去私」，不過，此思想並非一次完成的，而是漱石經過多年深思熟慮才領悟出之道理。此思想固然可說反映在漱石晚年的75首漢詩當中，但並非所有晚年漢詩均為此思想之表現，漢詩研究學者中村宏指出大正五年九月五日所作的157號漢詩可視為「一個分界點」，漱石晚年《明暗》時代之漢詩可分成前、後二期。基於以上理由，本搞針對《明暗》時代前期漢詩、也就是134號—156號共23首之漢詩，以詩人對自然之態度、人與自然之關係等為探討之主要問題，並考證這些漢詩中是否受到王維之影響？藉此探討希望能對「則天去私」有一番了解。Since an early age, Natsume Soseki had looked up to Chinese scholars such as Tao Yuan-ming, Li Bai, Wang Wei, and often cited their works in his novels and essays. These Chinese scholars hold a significant impact on Soseki and his kanshi (Chinese poetry). However, academics such as Daichi Takeo, Katou Jiro, and Kamigaito Kenichi mostly focused on the analysis of Tao Yuan-ming’s influence on Soseki; Wang Wei’s influenced is rarely contemplated. Speaking of “Nature” in Soseki’s kanshi, most people would relate to kanshi written in his later years and his ultimate goal of “Sokutenkyoshi”. However, this ideal was not developed in one day, it took Soseki many years of pondering to formulate. It could be said that this ideal was reflected in the seventy five kanshi written in Soseki’s late years, nevertheless, not all of these poems are manifestations of this ideology. Kanshi researcher Nakamura Hiroshi points out that kanshi number 157 written on September 5th in the fifth year of Taisho era (1917) could be seen as a “dividing point”, separating Soseki’s Meian Period kanshi into two intervals. Based on the above deductions, this paper aims to address the poet’s attitude towards nature and the relationship between humanity and nature, focusing on Soseki’s early Meian period kanshi, explicitly the twenty three kanshi from number 134 to 156. Moreover, this paper would also discuss whether these kanshi were influenced by Wang Wei, in hopes of gaining further insight into Soseki’s “Sokutenkyoshi” philosophy
Natsume Soseki’s Literati Paintings ?A Projection of Wang Wei?
No full text明治時期隨著近代化之改革，當時在文藝界亦掀起了一陣新風潮，繪畫當中講求蘊含文學意境、而文學作家追求繪畫理想將繪畫手法融入文學作品中者亦不乏其人，曾幾何時流行於中國文人間之「詩中有畫、畫中有詩」 之文人理想在明治文人社會裡一時蔚為風氣。夏目漱石即為當時一代表性文人。漱石所留下之晚期畫作不乏職業級水準之南畫（文人畫），該南畫中有題詩者、亦有未題詩者，此外還有想像繪畫而作之「題畫詩」??亦即「詩中有畫」者，此種充滿畫意境界之漢詩為數亦不少。翻開中國文人畫史首先不可不提的是文人畫之創始者王維，漱石在手札、小說中多次提及王維，並對其詩作讚賞有加。本稿以漱石之晚期南畫為研究對象，探討這些畫作受王維影響之處。Along with the reform of Meiji Period, there started a new current of thought in Japanese literary and art circles. The mood of a literary work appeared in paintings, and the technique of painting was mixed into literary works. “There is painting in poetry, and poetry in painting.” The ideal of Chinese literati became the order of the day. And Natsume Soseki was a typical representative. There is no lack of first-rate literati paintings in Soseki’s later works. Some of these paintings were written poems on them. And he also wrote poems full of the flavor of painting. As we know, Wang Wei is the initiator of Chinese literati painting. Soseki mentioned Wang’s name many times in his letters and novels, and highly praised his poems. So we are going to do the research from Soseki’s later literati paintings. We try to make a survey if these paintings were influenced by Wang Wei
A Study on the Pictures in Toson Shimazaki’s ?tranger: Focusing on the Machenism of Chevannes’s The Poor Fisherman
No full text眾所周知，島崎藤村在妻子過世後，與來家裡幫忙家務的姪女駒子(二哥的第二個女兒)發生不倫關係，為了要擺脫不倫關係伴隨的苦惱，於大正二(1913)年4月留下駒子及小孩們，隻身遠渡法國。之後，於大正五(1916)年4月終於在海外生活劃下句點返回日本，為要找出一條生路，跟駒子的關係做一個了斷，決定透過寫成小說而將這層叔姪不可告人的關係公諸於世。
這個〈新生事件〉公開後執筆的『異鄉人』由離開日本寫起，內容包括三年的法國生活及其心境。換言之，『異鄉人』所描寫的內容可以視為是藤村由叔姪不倫關係的苦惱逃離，進而找出一條生路的時間與空間。
藤村旅居之法國，在當時是畫家們憧憬之地，可以說是到處洋溢著藝術氣氛的國家，『異鄉人』裡的主人翁岸本(作者藤村)跟許多畫家往來頻繁，其中，夏凡諾的名字以及主人翁多次去觀賞他作品的描寫頗富涵意。拙稿中將探討畫家名字的出現的意義、夏凡諾最為有名的〈貧窮的漁夫〉如何發揮效應解決〈新生事件〉，藉此釐清主人翁岸本的心境、如何找出生路。As most people knows, Toson Shimazaki committed adultery with his niece（the second daughter of his second brother）, Komako, who helped him with housework after his wife passed away. To escape from confrontations, he left Komako and his children behind, and fled to France along in April 1913. His life abroad ended in April 1916, when Toson went back to Japan, and tried to figure out a solution for the relationship. Afterwards, Toson decided to publish the episode in his new novel, and told publics about his incestuous affair, which is called “the Sinsei event”.
After the Sinsei event went public, Toson started another new work called ?tranger, which is regarding his thoughts and 3-year life in France. In other words, the contents of ?tranger could be deemed as his escape from the incestuous affair, and therefore, bought him some time and space to figure out the final solution.
In Toson’s time, France is a promised land for all artists. The spirits of art could be felt all over the country. The main character of ?tranger, Kishimoto（who actually implies Toson himself）, kept close relationships with many artists. Among those descriptions, the artist Chevannes and the scenes that Kishimoto appreciated his art works are with certain implications. This study focused on the implications of this artist, and expected to figure out how Chevannes’s most famous work, The Poor Fisherman, helped Kishimoto solve the Sinsei event , and eventually find his way home
The East and the West as Portrayed in Natsume Soseki’s Works : Using “Sanshiro” as an Example
No full text日本家?戶曉的作家夏目漱石除涉獵日本古典文學;熟讀漢籍外，大學主修英國文學，畢業時曾將日本中世文學經典《方丈記》譯成英文，之後又於明治33年以文部省公費留學生身分赴英專攻英國文學。擁有如此教育背景之漱石在日後文學創作中如何在東;西方之中取得平衡點？一直是他思索之問題，尤其早期作品中這種色彩更為濃厚。
本文以漱石早期作品《三四郎》為探討文本，針對九州出身之主角三四郎在作品中如何面對大都會之近代化;受到近代化之何種衝擊等問題作一番探討。作品中所呈現之近代化，可由都會建築;交通等硬體方面，與三四郎接觸之人物造型及其思想;青年男女之交往方式等方面進行探討，進而對當時作者內心目之東;西方之地位有所詮釋。Renowned Japanese writer Natsume Soseki was not only well schooled in Japanese and Chinese classics, he also majored in English Literature in university, and had translated the medieval Japanese classic “Houjouki” into English by the time he graduated. Later, in 1900, he went abroad to Britain on government scholarship to continue his study of English Literature. With this educational background, finding the balance between the East and the West in literary creation naturally became one of Soseki’s main concerns. This is especially prominent in his earlier works.
This paper will focus on one of Soseki’s earlier works “Sanshiro,” and discuss questions such as how the protagonist Sanshiro, having been born in Kyushu, came to face the modernization of a major metropolis, and how this modernization impacted the protagonist. Modernization, as portrayed in the novel, can be represented by the architecture and transportation of this new metropolis. However, one can also discuss the portrayal of modernization through the characters of people Sanshiro comes into contact with, their thoughts, and the way young men and women interact. Through this analysis, one can gain insight as to how Soseki viewed the East and the West during this time
The Revelation of Nanga Imagery in Soseki Natsume’s Gubijinso
No full text《虞美人草》之相關研究論文多半將論點重心放在藤尾之角色上，由繪畫角度分析作品中繪畫元素之研究，也幾乎圍繞在藤尾的言行舉止，以及她身上的裝扮，當然所採取的對照素材也不脫離西洋風格以及色彩的範疇。本篇論文設定甲野為研究對象，探討甲野房間擺飾的父親遺像中，是否投入南畫要素？對甲野來說是否可以解釋做是一種南畫的心象？首先釐清南畫特徵、漱石本身對南畫的理解，其次分析作品中主要人物之相互關係、甲野面對父親遺像時的心境、小說中解說者對畫的敘述等。結果顯示，甲野與其他劇中人物有別，不屬於任何一個團體而是孤獨個體。這種孤獨的心理是因為父親不在所引起的，而此父親之肖像重神韻的描繪正符合南畫「傳神」、「寫意」、「氣韻」等之特色，以此原則描繪之父親在甲野心中，正如同「活著」的父親一般。換句話說，也就是父親遺像如同南畫一般映照於甲野心中，透過此肖像甲野得以與他者恢復連結關係，孤獨寂寞之情得以舒展、開懷。Most of the papers on Gubijinso mainly emphasize the protagonist, Fujio. Also, the studies from the perspective of painting put stress on Fujio’s behavior and clothing and are always related to western style and categories of colors.
However, this paper studies on Kono, discussing whether the element of Nanga exists in the portrait of Kono’s father in Kono’s room and, to Kono, whether it could be the imagery of Nanga. First of all, it is necessary to inform what Nanga is and how much Soseki himself knows about it. Then the relationship of the characters will be analyzed. Besides, what is important is what Kono feels when he looks at his father’s portrait and the narration of this portrait.
It shows that Kono is different from the other characters because he is a loner not a member of any group, which results from the absence of his father. The vivid portrait of Kono’s father is accord with the characteristics of Nanga, say, vivid and graphic. To Kono, the vivid portrait gives him the feeling that his father is still alive. Through this portrait, Kono can again connect with others and release his loneliness
"The Land of Peach Blossoms" in Soseki's Eyes: Centering on Kusamakura
No full text夏目漱石於『草枕』執稿時曾表示，該小說係展現漱石「部份藝術觀及人生觀的小說」。誠如漱石所言，『草枕』全篇透過主角畫家的內心旁白、抑或是與女主角那美的對話等，對自己的藝術觀作了一翻透徹的闡述、並表達了其人生觀。大多研究學者也針對這些內容、比較東西方藝術之特質、對『草枕』的架構及主題等作了諸多詮釋。『草枕』的場景與陶淵明的『桃花源記』極?雷同，這點已是不爭之實，然而或許正因?過於明顯除了前田愛、佐佐木充之外鮮?一般研究學者所重視，而這兩位學者也忽略陶淵明的存在，把重點放在『草枕』中畫家的出遊?何是由山路進入、由水路返回的架構？本稿以『草枕』中畫家之出遊地與『桃花源記』之空間、人、物之架構、以及陶淵明之「悠然見南山」一詩等?中心，比較漱石與淵明對「桃花源」詮釋的異同，並以『草枕』中畫家所作的兩篇漢詩（漱石於八年前所作之漢詩）、及『草枕』執筆當時漱石的心境等?佐證資料，進而探討漱石所謂的「人生觀」之實質。Natsume Soseki indicated that Kusamakura was a novel presenting "part of his outlook on art and life". Indeed, through the inner aside of the hero painter and his dialogue with the heroine Nami, Soseki made a systematic and thorough exposition of his outlook on art and life. It's clear that the scenes and story of Kusamakura are very similar to those of Tao Yuan-ming's Peach-Blossom Springs (Tokagenki). But actually no scholars pay attention to this, except Maeda Ai and Sasaki Mitsuru. Even they ignore the existence of Tao. They only focus their discussion on the route of the painter's journey. Centering on the locale of the journey, the space and structure of Tao's Peach-Blossom Springs, and on Tao's famous poem "picking chrysanthemums under the eastern fence, leisurely I look up and see the Southern Mountains", this paper tries to compare the similarities and differences of the interpretations of "the Land of Peach Blossoms" between Tao and Soseki. At the same time, using the two Chinese poems written by the painter in Kusamakura and the mental state of Soseki when he wrote the novel as evidence, we'll discuss "the Land of Peach Blossoms" in Soseki's eyes, and his outlook on life
Natsume S?seki’s Inscription Poetry on Painting and Its Comparison with Wang Wei’s Wang Chuan Ji
No full text中村宏對漱石之題畫詩稱道：「漱石漢詩早期即出現饒富繪畫意境之詩句，這（題畫詩?筆者注）是最明顯的例子，而且以歌詠〝胸中之畫〞為主的要屬題畫詩時期」 ，可見評價甚高。這可說就是文人畫中所謂的「詩中有畫」之藝術境界吧！提到「詩中有畫」，一般人都會聯想到中國文人畫始祖王維，而其中最能表達這種藝術境界的首推王維的《輞川集》了，此詩集中收錄之漢詩都以已至「詩中有畫」之境界而為人知曉。漱石崇拜王維畢生追尋之藝術境界，寫給友人信札中多次提及王維，並在小說中對《輞川集》之漢詩讚賞有加。對王維如此傾心之漱石其所吟詠之題畫詩中展現何等繪畫意境？頗耐人尋思。拙稿分析漱石題畫詩中題材之特色、人與自然界之關係、並與王維之《輞川集》作比較，探討兩者間之相異點、漱石以何種方式承襲了王維的藝術精神?文人畫精神?？或是有以自己的方式重現其精神之處？Nakamura Hiroshi praised S?seki’s inscription poetry, by saying that “Lines that of painting conceptions appeared in early Chinese poems composed by S?seki, and this (inscription poetry) is the most obvious case. Poetic themes on Literati also represent the period of his inscription poetry.” One can see this as the realm “painting in poetry” of Literati painting (Bunjinga).When it comes to “painting in poetry”, one generally thinks of the founding father of Chinese Literati painting, Wang Wei. His literary works can express this realm to the extreme, for example Wang Chuan Ji, a Chinese poetry collection that is famous for depicting “painting in poetry”.S?seki adored the artistic realm that Wang Wei had been seeking all life. He often talked about Wang in his letters to friends and had made several compliments on the Chinese poems in Wang Chuan Ji in his novels. As a huge admirer of Wang, how would S?seki present inscription poems in the painting realm? This study intends to examine the characteristics of elements used in S?seki’s inscription poems, human’s relations with the nature, and the comparison with Wang Chuan Ji—their similarities as well as differences. Last but not least, this study also tries to explore if S?seki used his owned way, or adopted Wang Wei’s Literati conceptions in his works
A Study of "Ichiya" －from the Viewpoint of Painting
No full text江藤淳、陳明順、加藤二郎等研究先進們以禪語、禪宗意境等要素解開〈一夜〉之謎。筆者在本稿中嘗試以繪畫角度，將作品中貌美女子以及『床間』這塊空間視為圖畫，檢視貌美女子之獨特描寫、以『床間』為畫框所構成圖畫之構圖、用色，比較南畫與此兩幅畫之共通點，證實〈一夜〉中之南畫色彩。
筆者檢視結果發現漱石透過「留白」這種南畫之構圖特色、文人畫(亦即南畫)寫意式之描繪表達出了自己的內心世界、追求之思想。
〈一夜〉之南畫手法、寫意式描繪呈現了宇宙之縮圖─小宇宙，暗示了宇宙間之「理」、人與宇宙之關係，透過貌美女子的表情、與兩位男子、蜘蛛、螞蟻等(宇宙)之間所持之態度，漱石在〈一夜〉中做了一個以沉靜、內斂之心觀照宇宙之典範。Using Zen language and the mysterious atmosphere of Zen Buddhism, Jun Ito, Meijun Chin and Jiro Kato solve the riddle of Soseki’s short story “ Ichiya”(One Night). And we are going to discuss this question from the viewpoint of painting.
We find out that Soseki shows his philosophy and his inner world through the framing skill of “leaving a blank”- the characteristic of “ Bunjinga ” (the painting of literati) or “Nanga” (Southern Sung Painting).
As a matter of fact, Soseki demonstrates a condensed universe and suggests the law of nature in this short story by the skills of “Nanga”- emphasizing a few, rapid, rhythmic strokes rather than careful delineation
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