일본 문인화의 선구자 기온 난카이(祇園南海)의 시론 - 『시가쿠호겐(詩学逢原)』(1763)를 중심으로 -

Abstract

This paper focuses on Confucian Nankai Gion (1676-1751), a Confucian scholar who is evaluated as a pioneer of Japanese literary painting, to note that his literary work began with the emphasis on literary works that appeared in the process of learning abroad. Specifically, through the analysis of Nankai's poetic book 『詩学逢原』 published in 1763, I would like to discuss that his poetic theory had a great influence on the background of the realization of the important element of literary painting. . In the early modern Japanese intellectual society in the early 18th century in which Nankai was active, it can be said that the core of intellectual activities of intellectuals was to thoroughly exclude the elements of worldlines that represent everyday things and secular things, and imitate torture and learn elegant. Throughout the entire 『詩学逢原』, the core of Nankai's poetry can be called ‘Shadow(影写)’ and ‘classical and colloquial(雅俗)’. ‘Shadow’ refers to the appearance of the original form by adding a thin piece of paper on top of a text or picture, and while appreciating the poem, it induces a three-dimensional sense of reality as if the image reflected by the poem unfolds before your eyes. Nankai emphasizes the distinction between poetic language(詩語) and common language(常語), and 斷章取義, which takes part of a poem and uses it for the realization of ‘Shadow’. On the other hand, he expresses that “poetry is a container that holds good spirits” and defines it as elegant that expresses one's feelings in relation to things, and elegant is a pursuit of strict and profoundness that is not easily used in everyday life. I saw the mood in plain language that was easy to understand. In order to realize this, he also emphasized the harmony of lightness, solicitation, greatness and smallness, gentleness, and strength in poetry. Nankai saw this as “the most important foundation of poetry,” but it is interesting to note that this poetic theory is applied as it is not only in poetry but also in the view of painting.