A Study On Chinese Ci Fu In Ancient Japan

The creation of Chinese Ci Fu in ancient Japan had lasted from the early Nara Period(710-794),through the Heian Period(794-1192),Gozan Period(1192-1602),to the Edo Period(1603-1868),with 95 extant works(4 fragments,2 extant).These Ci Fu were not only deeply influenced by the Chinese Ci Fu,But also had the unique features of Yamato Nation in the long-term development process.The introduction of Chinese Ci Fu into Japan can be traced back to before the seventh century,and the early Chinese literature in Japan and the Japanese literature were also influenced by Ci Fu.However,it was not until the period of Nara that the complete form of Chinese Ci Fu such as Zao Fu and Xiao Shan Fu really appeared in Japan.The early Chinese Ci Fu in Japan had obvious traces of imitation of the Chinese Ci Fu,from sentence pattern to structure,rhetoric,classics and other aspects of direct borrowing.The creation of Ci Fu was mainly carried out by borrowing the type book,which belongs to the primary stage of simulation.This method was also known as the type clustering method,which was the main method adopted by Japan to learn Chinese culture at that time.The early Heian Period(794-848)was the heyday of Japanese Chinese literature,with three imperial edited Chinese poetry collections,and known as the "era of praise of the Tang style".The creators of Chinese Ci Fu were represented by Emperor Saga and Kukai.The status of the creators determined the subject matter and style of Ci Fu were relatively simple.The Ci Fu of the noble writers with the Emperor of Saga as the core were mainly composed of ode to things,and the theme was praise.It had the style of imperial literature,and integrated the sentiment of Mononoaware in Japan,showing its own characteristics different from Chinese Ci Fu when expressing "sorrow".The creation of Buddhist Ci Fu,represented by Kukai,was centered on the interpretation of Buddhism,in which the doctrine of impermanence resides.During this period,the Japanese especially admired Zhaoming’s Wen Xuan,and the Ci Fu in Wen Xuan was often imitated.The style of Ci Fu was mainly Parrel Fu,which paid attention to the sentence pattern duality and rhyme,and some Ci Fu showed poetic characteristics.After the middle Heian Period(848-1192),Japan’s attitude toward Chinese culture changed greatly,and the dominant position of Chinese literature was replaced by the more Japanese national characteristics of Yamato literature,and Chinese Ci Fu also changed from prosperity turned to decline.At this time,under the dual influence of the imperial examination system of Tang Dynasty and Rhymed Fu,the Chinese Ci Fu in Japan took the form of Rhymed Fu as the main body.The creation group changed from emperor,nobility and monks to academic families,and the respected Chinese classics changed from Wen Xuan to Yuan Bai works.The subject matter of Ci Fu was rich and diverse,extending to "living" and "marriage",such as Heyuan Yuan Fu and Men and Women Marriage Fu.The subject matter changed from pure imitation of Chinese Ci Fu to local subject matter,which was a concrete manifestation of the localization of Chinese Ci Fu in Japan.The writing technique of Ci Fu was more sophisticated,and there appeared "double jade" in the history of Japanese Ci Fu--Tu Qiu Fu and Wei Dan Qiu Yi Fu,which represented the highest artistic level of Chinese Ci Fu in Japan and were comparable with Chinese Ci Fu.In the middle of Heian Period,the representative Ci Fu writer was Sugawara Michizane.As a political minister and poet,he often expressed the Confucian political idea of "Remembering the King and Compassionate People" in his Ci Fu works.Oe-no-masafusa,a representative Ci Fu writer at the end of the Heian Period,supported the creation of Chinese literature during the decline of the Heian period by himself,and his Ci Fu works were mainly concerned with the expression of Confucianism,Buddhism,and Taoism.During the Gozan Period(1192-1602),Chinese literature was at a low ebb.At this time,Zen Buddhism culture was the core,and the creators of Ci Fu were all monks,so the works often had Zen meaning and Zen interest.The style was mainly composed of Song’s prose Fu and Chu Ci.The style of the Ci Fu works of Toraseki Ishiren and his disciples were mainly Song’s prose Fu,whose works were good at talking about Zen theory,often from small to large,focusing on revelation and metaphorical image,and unfolding the narrative mode of using objects as metaphors for Zen.Yumeiwasooo and Gidousyuushin mainly created works in the style of Chu Ci.These works not only directly simulated Chu Ci in terms of form structure,image emotion,language and rhetoric,but also imitated derivative works of Chu Ci.For example,Yumeiwasooo’s Ti Shan borrowed Liu Zongyuan’s Zhao Hai Jia Wen,which showed the dynamic development pattern of Japan’s acceptance of Chinese Chu Ci in this period.At this time,Fu writers mostly followed the ancient writers of Tang and Song dynasties,and advocated the style of "Han and Liu".The Edo Period(1603-1868)was another prosperous period for Japanese Chinese literature.At this time,the official school was the Zhuzi school,and the literature view of Confucian classics and moral worship was the mainstream.Some Confucists thought that poetry and Fu was only a superfluous skill of Confucianists,and there was a negator of Ci Fu,Dzaisyundai.He criticized and negated Ci Fu from two aspects: the form of "elaborate language" and the function of "no supplement to the world".The period of Chinese Ci Fu had a variety of stylistic forms,basically including Sao Style Fu,Han Style Fu,Rhymed Fu,Song’s prose Fu and other styles,which was the summing up of Chinese Ci Fu in Japan.Ci Fu works often showed the national spirit and the awakening of national consciousness,and the love for the country and the praise of the nation were often contained in the works.Chinese Ci Fu in ancient Japan showed different characteristics in different stages,which was related to the learning and reference of Chinese Ci Fu in different periods,as well as the cultural characteristics and aesthetic style of the Japanese nation in different periods.It was the product of the integration of Chinese and Japanese cultures.Its study of Chinese literature and Ci Fu had evolved from simple imitation at the beginning to new changes later gradually,which not only had the origin relationship with Chinese Ci Fu,but also had its own uniqueness and heterogeneity.