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The man who put forth this philosophy of literature was a prince of the Wei dynasty, Cao Pi (187-226 A.D.). Cao Pi is renown as a poet from “Bunshou Keikokuron”, and his ideal for poetry was “Bringing together the sovereign and his people”. For this reason he gathered the Seven Masters of Jian ‘an (Ken ‘an Shichi Shi), famous poets of the time, and spent night and day at the Crown Prince’s Residence surrounding himself with “poetry and banquets”. Most likely, this is where the origins of Japanese Kanshi can be found during the Oumi dynasty (662-672). Chinese literature was widespread during the time of the emperor Tenchi, and it is said that everyone competed fiercely to present their poems in Chinese during poetry gatherings.\nDuring the time of the emperor Daigo, poetry gatherings were held and the attendants competed with their works. There are stories about those who caught the emperor’s favor being rewarded with a “royal garment”. Perhaps the one story of this sort that most recall immediately is that of the “cloth of grace” Sugawara no Michizane, god of learning, was bestowed with. The story often goes that someone of high rank, like the emperor, bestows the garment he is wearing as a reward to someone of lower rank. At the time this was of course one of the highest honors to receive in noble society, but influence from China can be pointed out. The story can be traced back to Song Zhi-wen’s stealing back of his “brocaded garment” in the Tang dynasty. Outings and travel in the court had become places for the creation of “requested poetry (ousei shi )”, and when banquets were held at the homes of nobles or high-ranking officials, many of the attendants were poets who then composed lavish poetry depicting the occasion. Everyone present composed, and, at times, a collection of the poems was made later as a memento. The practice of competing through poetry for the “brocaded garment” can be seen in one form in the work of Du Fu. What is of interest is that a story similar to the anecdote of Song Zhi-wen’s “brocaded garment” can be seen in one record concerning Li Bo.\n“Brocaded garment” refers to either a brocade surcoat, or a brocade garment made in the imperial court. From the time of the Han dynasty, those who made the long journey to Zhang’an were presented with a “brocaded garment”, and likewise military and civilian administrators were given them as rewards. For poets, receipt of a “brocaded garment” was a metaphor for the gateway to success. After having their poetic abilities recognized as exceptional by those near them, the appreciation of the emperor had to be earned. Even as such, from the Tang dynasty\u0027s Song Zhi-wen, to Li Bo, to Japan’s Sugawara no Michizane, that each of these were met in the end with a dark and tragic fate is nothing less than irony. According to historical materials, after Li Bo was expelled from the court, on a moonlit night, he set out on a boat for entertainment, and, even outdoors, wore the “brocaded garment” without reservation, acting like he had not a care in the world. The story winds up with him, in a state of utter drunkenness, trying to pick the moon out of the water and drowning, but for one reason or another poets of later generations always depict Li Bo in this last seen as donning the “brocaded garment”. In other words, this “brocaded garment” had become Li Bo\u0027s trademark. In the same way, the suddenly exiled Michizane wrote in his poetry that from his post in the west he brought up the memory the sky of the now far off capitol and his days of glory in the court, taking out the “cloth of grace” bestowed upon him, and took in the fragrance still within the cloth with the same attitude as though he were appearing before the emperor. Later, this poem became known to many as Michizane\u0027s representative work, but the image of Sugawara no Michizane as someone who, despite feelings of resentment for having been put into exile, was still torn by his feelings of loyalty to his sovereign is vastly different from the unrestrained, extravagant spirit of Li Bo.\nDuring the Taishou period, Satou Haruo and Tanizaki Junichirou, as part of the “Sinophile trend” seen in Japanese writers of the time, used this anecdote in their works. 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研究発表 「宮錦袍」をまとった李白と「恩賜の御衣」をしのぶ菅原道真
https://doi.org/10.24619/00002662
https://doi.org/10.24619/00002662eba2322e-7047-4937-9707-6d7bba18a536
名前 / ファイル | ライセンス | アクション |
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研究発表 「宮錦袍」をまとった李白と「恩賜の御衣」をしのぶ菅原道真 (20.2 MB)
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Item type | 会議発表論文 / Conference Paper(1) | |||||
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公開日 | 2016-10-07 | |||||
タイトル | ||||||
タイトル | 研究発表 「宮錦袍」をまとった李白と「恩賜の御衣」をしのぶ菅原道真 | |||||
タイトル | ||||||
言語 | en | |||||
タイトル | The "Court's Brocaded Garment (Kyuukinpou)" worn by Li Bo and the "Cloth of Grace (Onshi No Gyoi)" reflected on by Sugawara no Michizane | |||||
言語 | ||||||
言語 | jpn | |||||
資源タイプ | ||||||
資源タイプ識別子 | http://purl.org/coar/resource_type/c_5794 | |||||
資源タイプ | conference paper | |||||
ID登録 | ||||||
ID登録 | 10.24619/00002662 | |||||
ID登録タイプ | JaLC | |||||
著者 |
黄, 幼欣
× 黄, 幼欣× HWANG, You-hsin |
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抄録 | ||||||
内容記述タイプ | Abstract | |||||
内容記述 | At the imperial court in China, “poetry” and “banquets” were important tools for bringing the sovereign and his ministers together in harmony. The man who put forth this philosophy of literature was a prince of the Wei dynasty, Cao Pi (187-226 A.D.). Cao Pi is renown as a poet from “Bunshou Keikokuron”, and his ideal for poetry was “Bringing together the sovereign and his people”. For this reason he gathered the Seven Masters of Jian ‘an (Ken ‘an Shichi Shi), famous poets of the time, and spent night and day at the Crown Prince’s Residence surrounding himself with “poetry and banquets”. Most likely, this is where the origins of Japanese Kanshi can be found during the Oumi dynasty (662-672). Chinese literature was widespread during the time of the emperor Tenchi, and it is said that everyone competed fiercely to present their poems in Chinese during poetry gatherings. During the time of the emperor Daigo, poetry gatherings were held and the attendants competed with their works. There are stories about those who caught the emperor’s favor being rewarded with a “royal garment”. Perhaps the one story of this sort that most recall immediately is that of the “cloth of grace” Sugawara no Michizane, god of learning, was bestowed with. The story often goes that someone of high rank, like the emperor, bestows the garment he is wearing as a reward to someone of lower rank. At the time this was of course one of the highest honors to receive in noble society, but influence from China can be pointed out. The story can be traced back to Song Zhi-wen’s stealing back of his “brocaded garment” in the Tang dynasty. Outings and travel in the court had become places for the creation of “requested poetry (ousei shi )”, and when banquets were held at the homes of nobles or high-ranking officials, many of the attendants were poets who then composed lavish poetry depicting the occasion. Everyone present composed, and, at times, a collection of the poems was made later as a memento. The practice of competing through poetry for the “brocaded garment” can be seen in one form in the work of Du Fu. What is of interest is that a story similar to the anecdote of Song Zhi-wen’s “brocaded garment” can be seen in one record concerning Li Bo. “Brocaded garment” refers to either a brocade surcoat, or a brocade garment made in the imperial court. From the time of the Han dynasty, those who made the long journey to Zhang’an were presented with a “brocaded garment”, and likewise military and civilian administrators were given them as rewards. For poets, receipt of a “brocaded garment” was a metaphor for the gateway to success. After having their poetic abilities recognized as exceptional by those near them, the appreciation of the emperor had to be earned. Even as such, from the Tang dynasty's Song Zhi-wen, to Li Bo, to Japan’s Sugawara no Michizane, that each of these were met in the end with a dark and tragic fate is nothing less than irony. According to historical materials, after Li Bo was expelled from the court, on a moonlit night, he set out on a boat for entertainment, and, even outdoors, wore the “brocaded garment” without reservation, acting like he had not a care in the world. The story winds up with him, in a state of utter drunkenness, trying to pick the moon out of the water and drowning, but for one reason or another poets of later generations always depict Li Bo in this last seen as donning the “brocaded garment”. In other words, this “brocaded garment” had become Li Bo's trademark. In the same way, the suddenly exiled Michizane wrote in his poetry that from his post in the west he brought up the memory the sky of the now far off capitol and his days of glory in the court, taking out the “cloth of grace” bestowed upon him, and took in the fragrance still within the cloth with the same attitude as though he were appearing before the emperor. Later, this poem became known to many as Michizane's representative work, but the image of Sugawara no Michizane as someone who, despite feelings of resentment for having been put into exile, was still torn by his feelings of loyalty to his sovereign is vastly different from the unrestrained, extravagant spirit of Li Bo. During the Taishou period, Satou Haruo and Tanizaki Junichirou, as part of the “Sinophile trend” seen in Japanese writers of the time, used this anecdote in their works. This presentation will explore these themes through examining related resources and references. |
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書誌情報 |
国際日本文学研究集会会議録 en : PROCEEDINGS OF INTERNATIONAL CONFERENCE ON JAPANESE LITERATURE 号 26, p. 45-70, 発行日 2003-03-01 |
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出版者 | ||||||
出版者 | 国文学研究資料館 | |||||
ISSN | ||||||
収録物識別子タイプ | ISSN | |||||
収録物識別子 | 0387-7280 | |||||
フォーマット | ||||||
内容記述タイプ | Other | |||||
内容記述 |