Summaries from Number 50
国際基督教大学キリスト教と文化研究所発行
国際基督教大学学報 IV-B
『人文科学研究（キリスト教と文化）』
International Christian University Publication IV-B
Humanities: Christianity and Culture
初期バトラーの思想形成:自然哲学から道徳哲学へ . . . . . . 矢嶋 直規
[The Formation of Butler's Early Philosophy: From Natural Theology to Moral Philosophy. . . . . . Naoki Yajima]
本稿はヒュームに代表される近代英国哲学の道徳哲学がニュートン派の自然神学をめぐる論争から成立した過程を解明することを目的とする。自然神学論争の中心人物にはクラークとバトラーが含まれる。ニュートン派の自然神学を擁護するクラークは、ホッブズ、スピノザ、ライプニッツ、 トーランドを批判する論陣を張っていた。またバトラーの経験論的方法による神学と道徳哲学はヒュームやリードにも影響を与えた。本稿の主たる考察対象は初期バトラーの思想形成の舞台となったバトラー = クラーク書簡である。同書簡では神の存在証明における神の遍在と、神の必然的存在についてのクラークの主張へのバトラーの批判が展開されている。神の遍在は空間・時間論を主題とし、神の必然的存在は因果論を主題とする。バトラーは空間・時間を事物の原因とするクラークの議論を批判し、因果を人間の経験に即したものとして扱う可能性を提示している。また神の存在が必然的であるというクラークの主張を批判することで、形而上学的必然性に基づく対象理解を蓋然的信念の問題へと転換している。こうした議論は後期バトラーの経験主義的道徳論及び宗教論に結実するとともに、 ヒュームやリードをはじめとするスコットランド啓蒙思想の経験主義的道徳論を準備する思想となった。こうして本稿はバトラーのクラーク批判に用いられる必然性、蓋然性、思惟可能性などの概念が経験的道徳論の基礎概念とされた次第を解明しようとするものである。
A Greek Bibliography of Lafcadio Hearn. . . . . .Constantinos Vassis
Lafcadio Hearn's bibliography, practically unknown outside Greece, is quite limited in comparison to those in other languages (primarily English, French and German); I. D. Perkins' authoritative Hearn's bibliography lists only 3 Greek items. Yet Hearn's Greek bibliography is of particular interest due to his half-Greek decent through his mother. The contents of the bibliography have been classified in 3 Sections: A: Translations of Hearn, B: Articles on Hearn, C: Miscellanea. Section A has been subdivided in I: Selected Writings published in books, II: Separate Writings published mainly in reviews. The bibliography aspires to be exhaustive, but it may not be so. It starts in 1905 and ends in 2014, comprising 73 items, out of which 37 are of translations, 30 of articles, and 5 of miscellanea. Most translations have been made from Hearn's books Kwaidan, Stray leaves from strange literature, Glimpses from unfamiliar Japan, Kotto, little or nothing from other books. Only 3 books have been translated in their totality: Kotto, Kwaidan, A Japanese miscellany. The translations were initially done from French and German translations of Hearn's books, owing to the fact that Greece's elites studying abroad preferred France and Germany before World War II, but slowly afterwards they were done from the English original. Among the translators has been, with 8 items, the renowned writer Nikos Kazantzakis. The bibliography owes much to late Rokuro Nishimura, former JAL's General Manager in Greece, who compiled a valuable typewritten and mimeographed anthology, in which he reproduced most translations and articles published until 1987.
Lafcadio Hearn: An Important Link between Greece and Japan . . . . . . Constantinos Vassis
Lafcadio Hearn was born in 1850, on Lefkas island of Greece, by an Irish father and a Greek mother. After the couple quickly split, he was raised by an aunt in Ireland, but later emigrated to the USA, where he started a writing career. In 1890 he travelled to Japan as a correspondent for an American magazine. Charmed by the country, he stayed there for fourteen years until his death, having made a family with a Japanese girl and adopted a Japanese name (Yakumo Koizumi). At the same time he wrote twelve books, in which he portrayed in an idealized way various aspects of Japan, such as folklore, nature, poetry, religion, mores and usages, and strange stories. The books were intended for the American reader, but they were soon translated in other languages, making the author world-famous. Hearn also taught English literature at the Tokyo Imperial University, his published lectures establishing him as an accomplished scholar and critic. Of particular interest are the numerous references to Greece found throughout his writings, which reflect the fondness he felt for his mother throughout his life. (References to Ireland, on the other hand, are extremely rare.) All these elements make Hearn an important link between Greece and Japan..
En s'intéressant aux œuvres de Sophie de Roumanie, cet article entend porter un regard critique et théorique sur la question du paysage en photographie, en montrant en quoi ce genre, jusqu'à présent plutôt négligé, n'a rien d'un plat « exercice de style » pour photographe amateur, ni d'un simple succédané de la peinture de paysage qui dominait avant l'apparition de l'appareil photographique. S'il est établi depuis plusieurs décennies maintenant que la photographie représente bien un art en soi, il convient maintenant de regarder le genre paysager au plus près, afin d'en analyser les tenants esthétiques et poétiques.
尾形乾山 書・画作品と関係文書 . . . . . . リチャード・L・ウィルソン 小笠原 佐江子
[Calligraphy and Painting in the Art of Ogata Kenzan, and Related Documents. . . . . . .Richard L. Wilson Saeko Ogasawara]
As the Japanese term shoga suggests, calligraphy and painting were seen as allied arts until Meiji-era internationalization forced their separation. It is not uncommon to see inscriptions, chiefly poetic ones, on all kinds of premodern painting. In the first half of the Edo period inscriptions on paintings were carefully planned, and in any single painting the two arts were compartmentalized in the sense that the writers and painters were usually different, the writing and painting were carried out in separate stages, and the writing and painting occupied discrete spaces on the picture surface. In the mid-18th century, however, under the influence of Chinese literati aesthetics, this distance was breached by Nanga and other painters, bringing a great deal of spontaneity into the pictorial arts. The art of Ogata Kenzan (1663-1743) occupies an interstitial place in this trend. In order to fully characterize Kenzan's shoga and its multifold background, this article will survey writings, inscribed paintings, seals and ciphers, and related documents (specifically the Konishi archive of Ogata family documents).
Calligraphy: Ogata Kenzan developed his calligraphic skills as a pastime, but they became integral to his success as a ceramic designer. Eschewing the manner of Hon'ami Koetsu (1558-1637), which was followed by his father and brothers, Kenzan pursued the Song style of Zhang Jizhi (1186-1286) and the indigenous style of Fujiwara Teika (1162-1241). Both of these modes were popular in the tea ceremony from the 16th century. However by the end of his first decade as a pottery designer, Kenzan demonstrated less interest in imitating classical calligraphy style and more concern about maintaining a lucid script appropriate to writing on ceramic surfaces. As attested to in a draft manuscript in the Konishi archive, Kenzan also planned inscriptions for his brother Korin's (1658-1716) painting, but such works, if they indeed were made, do not survive. Then, at the end of his life, Kenzan's writing and painting became intermingled and considerably less fettered, anticipating the literati mode--where the work is experienced as an act rather than as a thing.
Painting: Despite the attestations of later Edo-period painting treatises, there is no convincing evidence that Kenzan ever studied painting under a teacher. Trained painters or artisan-decorators carried out most of the painting on his Kyoto ceramics. However, Kenzan encounted new expectations and opportunities upon his move to Edo in about 1731. There he was hailed as a "second-generation Korin", encouraging him to essay a colorful Korinesque style of flowers-and- grasses subjects, notably his Hollyhocks (1742; coll. Cernuschi Museum). This new sense of entitlement is also manifested in efforts to transmit the Korin style to a follower, Tatebayashi Kagei (act. mid-18th c.). At the same time Kenzan seems to have been warmly received in Edo haikai salons, which inspired a more impromptu "painting on the spot" or sekiga, chiefly in monochrome. An example is Willow in Spring of 1739 (coll. Yamato Bunkakan). Further research is necessary to assess this latter mode; the disciples of Hanabusa Itcho (1652-1724), who can be linked to those salons and obliquely to Kenzan's late-life milieu though a patron, Sakamoto Beishu (1705-1777), may offer some models.
Seals and ciphers: Seals (insho) appear on Kenzan's calligraphy, ceramics and painting, and ciphers (kao) appear on his ceramics and on a few documents. To the extent possible the authors have grouped similar seals and ciphers to serve as a resource in distinguishing original Kenzan works and derivatives. Early in his career Kenzan signed and sealed his ceramics using names like Shoko (Antiquity Lover) and Toin (Pottery Hermit), conjuring up the kind of literati persona that late seventeenth-century townspeople had come to admire. Kenzan's late-life painting uses other seals, notably Reikai (Sea Spirit), the Zen name he received from his teacher Dokusho Shoen (1617-94), Tozen (Escape from Zen), and Furiku (Tutor of the Prince). Furiku must refer to Kenzan's relationship with Prince Kokan (1697-1738), a late-life patron in Edo. Regarding ciphers, Kenzan's Narutaki ceramics occasionally display a mark in the shape of a moneybag (kinchaku), and from around 1712 this is replaced with one resembling the character ji 爾. The latter is also commonly used by Kenzan's adopted son and heir Ogata Ihachi (act. mid-18h c.).
Related documents: The Ogata family papers were preserved by Korin's heir Juchiro (b. 1700), adopted into the Konishi family of government mint officials shortly before Korin's death. These papers, called Konishi-ke monjo (Konishi archive; coll. Kyoto National Museum and the Osaka Municipal Museum of Art), include documents from the hand of Kenzan, spanning 1687 to the year of his death. In addition to trustworthy biographical details they provide evidence for changes in Kenzan's calligraphy.
Considering Kenzan's painting as a whole, works like the aforementioned Hollyhocks and Willow in Spring may be considered as standards in distinguishing authentic works. Kenzan's untutored manner opened up the field to imitators, but taken up by Kagei and other still-unknown late 18th-century painters, it formed one of the foundations for Edo Rinpa, which was ultimately inherited and transformed into a sharp, Korin-retro style by Sakai Hoitsu (1761-1828).
This article is the final installment in a series of seven articles (2013-2019) aimed at assembling a comprehehensive resource base for the life and work of Kenzan. It would not have been possible without the past and present achievements of scholars of literature, art history and archaeology, and the unstinting support of curators and librarians. For this the authors are profoundly grateful. We also extend our deepest appreciation to the past and present directors of ICU's Institute for Christianity and Culture, and our sincere thanks to the Institute's editorial staff for their untiring efforts in the editing and publishing stages.
Keywords: Edo-period Japanese ceramics; Ogata Kenzan; Ogata Korin; Kenzan ware; Rinpa; Early Modern Japanese calligraphy, Early modern Japanese painting 近世日本の陶磁、尾形乾山、尾形光琳、乾山焼、琳派、近世日本の書、近世日本 の絵画、乾山の印章と花押、小西家文書