The Reception Of Qing Poetry In The Fields Of Edo And Meiji Poetry In Japan

The main research object of this thesis is collections of Qing poetry published in Japan,which consists of five chapters.This paper focuses on the process of contacting,recognizing,selecting and learning Qing poetry in the field of Japanese Edo and Meiji poetry,and discusses the active selection and aesthetic characteristics of Japan in the process of acceptance.The first chapter mainly uses the bibliographical materials collected by O-ba Osamu and Nakazumi Yoko as the source of literature.On the basis of introducing the basic information about the import of Chinese books in the Edo period,this chapter sorted out the records of the Qing poetry anthologies and collections of Qing poems in the existing catalogue books.The collected data can help us to know the scale,form and characteristics of the import of Qing poetry books in this period.In addition,with the help of Dayishu and Gongneitingshulingbucangbozaishumu,the two bibliographic books with explanatory information,combined with existing catalog books and network collection resources,the chapter investigates the rare works of Qing poetry,in order to supplement the information about the missing catalog and edition.The second chapter based on the investigation of the catalogue and collection status of the collection of poems of the Qing dynasty,supplements the related information of 8kinds of collections of poems of the Qing dynasty published in Japan,and supplements the catalogue information of 7 kinds of collections of poems of the Qing dynasty published in Japan(5 of which have only the catalogue information,2 of which are left for visit).According to the degree of participation of editors in Japan,the collections of Qing poems published in Japan can be divided into five types,and analyzed one by one to discuss Japanese people’s participation in different types of collections and their aesthetic characteristics.In the process of the publication of the collection of Qing poetry in Japan,the Japanese people’s acceptance process of the collection of Qing poetry from utilitarian utilization to ontological cognition and then to exemplary learning.The third chapter takes Niansijiaxuanqingniansijiashi as the research object to discuss the classical sequence of Qing poetry constructed by the Japanese through this collection.By analyzing the status and poetics of the Japanese poets who participated in the compilation and selection,and combining with the acceptance of the 24 Qing dynasty poets in the field of Japanese poetry,the reliability of this classical sequence is determined.This sequence shows the Japanese people’s preference for two kinds of Qing poetry,one is the Qing poetry with poetry of Song dynasty as the model,the other is the Qing poetry with a fresh and dynamic style.This chapter analyzes the causes of this phenomenon and reveals the continuity and inheritance of Japanese poets in the process of accepting poems of Song and Qing dynasty.The above analysis emphasizes the aesthetic autonomy of Japanese poetry and its development path is not just passive.In addition,this chapter also makes a brief analysis of the imitation works of 24 Qing dynasty poets,which proves the actual influence of classical Qing poetry on Japanese poetry.Chapter four makes a case study of two visions of Zhexiliujiashichao published in Japan and reviewed by famous writers,at first affirms their importance to the wide dissemination of the poems of six poets in Japan.Then through the classification study of the comments of Rai San’yō and Kondou Gensui,two famous poets of Edo and Meiji,we can understand their acceptance of Qing poetry according to their true evaluation of Qing poetry.In addition,based on the analysis of their comments,this chapter gives an overall overview and specific analysis of the acceptance of the poems of the six poets,focusing on the aesthetic differences between the Japanese and Qing poets on the poems of the six poets.The fifth chapter focuses on the influence of Qing dynasty’s object-chanting poetry in the field of Japanese poetry,and explores the internal relationship between the import of the large collection of object-chanting collections compiled in the Qing dynasty and the fashion of object-chanting poetry in the field of Japanese Edo and Meiji poetry.This chapter analyzes the pattern of the Qing dynasty poetry constructed by the Japanese through the collection,and the Japanese’s reference and learning from Qing dynasty’s object-chanting poetry in the creation level.Then the chapter further analyzes the differences between Chinese and Japanese views on object-chanting poetry,and proves that the new changes of Qing poets’ views on objectchanting poetry happen to coincide with the traditional aesthetics of Japanese views of object-chanting poetry.