Мещеряков А.Н. (отв. ред.) История и культура Японии. Выпуск 12 (Orientalia et classica). 2020

КУДРЯШОВА Анастасия Вячеславовна— доцент кафедры японской филологии Института стран Азии и Африки Московского государственного универ-

ситета им. М.В. Ломоносова, Москва. E-mail: nasubi.kalavinka@gmail.com

СПИЦЫНА Ксения Андреевна— кандидат экономических наук, независи-

мый исследователь, Москва. E-mail: ksenia_phd@mail.ru

АНДРЕЕВА Дина Владимировна — кандидат ветеринарных наук, ветеринарный врач Московского цирка Никулина на Цветном бульваре, Москва.

ШИМАНСКАЯ Анна Сергеевна — кандидат философских наук; доцент кафедры лингвистики и профессиональной коммуникации в области политических наук Института международных отношений и социально-политических наук Московского государственного лингвистического университета, Москва. E-mail: gladkina@mail.ru

Abstracts

Lists and Catalogs in Japanese Literature

Liudmila M. Ermakova

Kobe City University of Foreign Studies, Kobe, Japan; Ritsumeikan University,

Kyoto, Japan.

E-mail: lermakova@gmail.com

The subject of the article is various kinds of lists and catalogs in the Japanese literary texts and in poetic theory. A. K. Zholkovsky calls the “catalog discourse” the first literary tool of mankind. A vivid example of such texts-lists is pangrams, a kind of “world alphabets”. Their beginning in Japan, apparently, is connected with the appearance of the Chinese text Qian Zi Wen, jap. Senjimon, “Thousand Characters”. This is a cosmological text, and at the same time a kind of encyclopedia explaining the basic concepts and moral principles. The text also performed purely technical tasks, denoting the same as a, b, c, d in the enumeration. The same functions in culture are endowed with the famous Japanese song Irohauta, which appeared around 1079. These two texts represented two types of worldview, that is, Chinese natural philosophy and Buddhism, and these two types soon begin to compete in the sphere, so to speak, of modeling the world. In 1720, wanting to create a counterbalance to Irohauta, calligrapher and poet Hosoi Kōtaku composed Kunshin-no uta, also a pangram-song, representing the third type of worldview according to Confucus. In this song, the pyramid of Chinese cosmology is turned upside down: it begins not with the usual “Heaven-Earth”, but with the pair kimi-mak- ura, “sovereign — vassal”, and only by the end of the text we find a pair of “Heaven-Earth”, and it is flowering (sakayu) due to the proper social order and behavior. The magical power of catalogs and enumerations while shifting from mythological narrative to literature undergoes transformation into an aesthetic one. The poetics of catalog is presented, for example, in Manyōshū. The Yamanoue-no Okura’s verse (sedōka) No. 1538 is composed only of plant names, becoming a kind of a brief fundamental lexicon of the plants which all are considered to be the emblems of autumn. Another kind of catalogs is represented by the lists of seasonal words kigo (kiyose, saijiki), — from the Heian period up to the present time the compilation of kigo lists seems to be similar to constructing and renewing the models of human’s world and life, based on the chosen words and notions. In the article the author represents various manifestations of the literary and philosophical energy connected with lists and catalogs, demonstrating its organizing and creative abilities.

KEY WORDS: list, catalog, pangram, Senjimon, Irohauta, Heian Era dictionaries, Yamanoue Okura, seasonal words kigo.

Interpretation of the Chinese story “Wang Ziyou visits Dai” in Japanese literature of the 12th–13th centuries

Maria V. Toropygina

Institute of Oriental Studies RAS, Moscow; Institute for Oriental and Classical Studies, National Research University Higher School of Economics, Moscow.

E-mail: mtoropygina@hse.ru

The article traces the history of the perception of one of the plots of Chinese historical anecdotes in texts created in Japan in the 12th–13th cc. in Japanese. The story of how Wang Ziyou went to his friend Dai Andao on a snowy moonlit night, but returned home without seeing him, is known from several Chinese sources, including Shi sho xin yu (5th c.) and Jin shu (dynastic history compiled in the 7th c.). The popularity of this story in Japan depended primarily on the fact that the story was put into a textbook used to teach boys to read Chinese, a collection of biographies of Chinese historical figures Meng qiu. In the 12th–13th cc. references to this story are to be found in the texts of various genres of Japanese literature. Among those genres are: waka poetry, including poems by the most authoritative poets of the time (Minamoto no Toshiyori, Fujiwara no Shunzei, Fujiwara no Teika) published in significant poetic collections, including Horikawa Hyakushu and the Roppyakuban Utaavase; the texts, which are conditionally included into the setsuwa genre, but represent a special group of works, where the history dedicated to China is accompanied by waka poems (Kara monogatari, Mōgyūwaka); Mumyōzōshi, which is a composition discussing monogatari literature. A set of motifs referring to the plot of Wang Ziyou story created by the Japanese texts and commentaries to them, was significantly narrowed in comparison with the original story. The lonely contemplation of the moon is becoming the main element of history in Japanese sources.

KEY WORDS: historical anecdote, waka poetry, Heian, Kamakura, setsuwa, Sesetsu Shingo,

Mōgyū waka, Kara monogatari.

“Tales about Old Matters” in Didactic Tales Tradition

Maria S. Kolyada

School for Advanced Studies in the Humanities, Russian Presidential Academy of National Economy and Public Administration, Moscow.

E-mail: kolyada-ms@ranepa.ru

The paper is devoted to the collection of didactic tales Kojidan (“Tales about Old Matters”, early 13th c.) and role this writing played in evolution of setsuwa tradition. The collection has been compiled by Minamoto-no Akikane, and scholars often give it estimate as insignificant for tradition of setsuwa-shu because of its recapitulating and laconism. As for author’s point of view, it is considered to be absent or scantily expressed. Meanwhile there were a plenty of various texts of different genres that had been used by Akikane as primary sources for his compendium, and some of the 13th century setsuwa collections may had been under influence of Kojidan, including the most important ones, which means that “Tales about Old Matters” had not been starved of affection by readers and writers of the time. Besides there is an Аnother opinion on Kojidan matter: compiler of the collection in his work with primary

sources not only selected certain fragments to manipulate the reader’s opinion. Not only was inequitable in this selection, but used some special means for creating required reader’s impression. In particular he took advantage of the tales composition’s potentialities. Especially one is able to see that in comparing of Kojidan and Zokukojidan. Taking this into consideration, Kojidan is more than simply conspectus and the author’s view is represented in this collection, where Akikane fulfilled potential of setsuwa-shu genre, engaging reader in an intellectual game.

KEY WORDS: Kojidan, setsuwa, Minamoto Akikane.

The travel records in the diary of the nun Abutsu Izayoi nikki and the literary tradition

Anna S. Oskina

School of Asian Studies, National Research University Higher School of Economics, Moscow.

E-mail: annaoskina@gmail.com

The article is dedicated to the travel records in the diary of Izayoi nikki written by the nun Abutsu (1222?–1283), which reflected the great literary era. Abutsu describes his journey in dark colors, a drizzling rain, a traveling dress that does not dry out of tears, and endless fear for the future of poetry, for the lives of children and her own are the leitmotifs of the diary. By this diary, Abutsu declares her readiness to become an adherent of the poetic tradition of the house of Mikohidari after the death of her husband, the famous poet Fujiwara-no Tameie, and transfer this knowledge to their son Tamesuke. The travel records are the central part of the diary, small in volume, but containing an impressive number of quotations and allusions to the most significant works of predecessors. The diary is written in the travel diary paradigm, which formed by the second half of the Kamakura period, and is similar in composition to the diaries Kaidōki and Tōkan kikō written in the same 13th century. For 14 days, Abutsu takes notes on her forced journey from Heian to Kamakura: short prose sketches frame 55 poems of tankа that she composes while visiting or passing by famous places on the way Tōkaidō. Abutsu’s poems are very technical: she uses all sorts of poetic techniques, being an example of not only a skilled poet, but an expert on the waka tradition. In the majority of poems, Abutsu uses toponyms as utamakura, playing with its nominal meaning, due to which the poem acquires an additional meaning and refers to the centu- ries-old poetic heritage. A prepared reader could find out in the diary quotes from Bai Juyi, allusions to Ise monogatari, references to poems from the anthologies Kokinshū, Shinkokinsū, or representatives of the house of Mikohidari etc. The article also provides a commented translation of the travel records in Russian.

KEY WORDS: Abutsu, Izayoi nikki, travel diary, Mikohidari, Tōkaidō, utamakura.

The interaction of dramatic genres and “The Chronicle of Yoshitsune” on the example of plots about the pacification

of nature forces and the crossing of barrier

Anna I. Kovalevskaya

Russian Presidential Academy of National Economy and Public Administration,

Moscow.

E-mail: lavokynna@gmail.com

The tale-types on the pacification of nature forces and the crossing of barrier, which presented in “The Chronicle of Yoshitsune” (around the 15th century) and some dramatical pieces (Noh plays, ballad drama kowaka-mai), are analyze in the present article. There are the available variants of these tale-types sufficiently differ from each other, which consider in the article, as well as the mediate variant that incorporates both of it to some extent. As part of study it’s found out that both of these tale-types arose on the basis of the similar tale-types, which has already existed in the Japanese tradition: for example, the tale-type on the pacification of nature forces parallels (or even adopts some motives) the earlier legends on the suppression of evil spirit by shooting an arrow; and the tale-type on the crossing of barrier supposedly has Chinese origin. The main motives of these tale-types are identified during the analysis as well as their possible influence on each other. Although it is rather difficult to determine, which of the variants arise before another, it all comes down to the fact that the tale-types of “The Chronicle of Yoshitsune” are the earliest in relation to all of the available variants. But besides the problem of the tale-types’ circulation in the Japanese tradition, it is also interesting exactly what kind of variants are preserved. Firstly, there are not so many variants of these tale-types, in contrast to other tale-types concerned with Yoshitsune in general. Secondly, these variants are better represented in dramatic genres, which leads some researchers to think whether these genres could had become the main source including its’ appearance in “The Chronicle of Yoshitsune”? All these problems will be revealed in the article, and what is more important, we will understand what place the “The Chronicle of Yoshitsune” holds in all these “movements”.

KEY WORDS: Minamoto no Yoshitsune, “Tale of Yoshitsune”, “Funa Benke”, “Ataka”, gun- ki-monogatari, war tales, written folklore, Japanese literature.

Jippensha Ikku and Shikitei Sanba — the Eclecticism of the Writer’s Personality in Gesaku Literature

Anastasia Yu. Borkina

Department of Asian and African studies, National Research University Higher School of Economics, Saint Petersburg.

E-mail: an_borkina@mail.ru

The article presents biographies of two prominent authors of kokkeibon (“funny books”) genre, namely, Jippensha Ikku and Shikitei Sanba. The famous writers of their epoch, they are notable for their unusual fates and eccentric behavior, which was depicted in their personal memoirs as well as in the works of their contemporaries. Their well-known colleague,

Kyokutei Bakin, in his work “Modern Fiction: A Classification of Edo Authors” gave one of the most detailed characteristics of their lives and literary careers. In his review gesakusha writers are represented in all the varieties of their appearances — as successful authors of fiction and poetry, talented storytellers, artists, calligraphists and even businessmen. Jippensha Ikku, the author of one of the biggest gesaku bestsellers, “Shank’s Mare”, started as a bureaucrat in Osaka, and then soon he began to write fiction, alongside with making prints, calligraphy and storytelling. Shikitei Sanba was involved in bookselling business for quite a long time, and then his own literary career started. At the same time he opened a pharmacy, which turned out to be very successful. Therefore, both Jippensha Ikku and Shikitei Sanba embodied a typical image of a gesakusha writer, being active in different spheres and creating a special type of behavior. This mindset can as well be found in their literary works, made of various humorous, theatrical and poetic elements.

KEY WORDS: gesaku, kokkeibon, humorous fiction, Jippensha Ikku, Shikitei Sanba.

Genre originality of Shiga Naoya prose

Olga A. Zaberezhnaya

School of Asian Studies, National Research University Higher School of Economics, Moscow.

E-mail: kluginda@gmail.com

The present paper article deals with two problems regarding the genre affiliation of works by the Japanese writer Shiga Naoya (1883–1971). The first problem concerns the distinction between the essay zuihitsu and fiction shōsetsu (in the case of Shiga, shishōsetsu or ego-prose). Using the story “In Kinosaki” as an example, we show the close intertwining of these genres in Shiga’s prose and note that the presence of a second context in the interpretation of the author’s “I” distinguishes it from zuihitsu. The second problem is related to the characterization of Shiga’s texts as “poetic”. The most prominent example of such a characteristic is the literary criticism of Akutagawa Ryunosuke, in which he notes the presence of Shiga’s prose of the “poetic spirit”. We clarify the definition of “poetic spirit” and explain the reasons why Shiga’s texts carry a lyrical element. It is possible to assume that it is precisely because of its lyrical nature that the prose of this writer is in demand among modern Japanese readers.

KEY WORDS: Japanese literature, Shiga Naoya, genre, prose, poetry, zuihitsu, Akutagawa, rhythm.

The largest earthquakes of ancient and early medieval Japan and their interpretation at the imperial court

Daria V. Trukhan

Institute of Asian and African Studies, Lomonosov Moscow State University,

Moscow.

E-mail: dafna1551@yandex.ru

Natural disasters, such us earthquakes, in ancient and early medieval Japan, as well as in any traditional culture, were understood as something out of the natural order of things and included in the sphere of responsibility of the emperor. The central government had an obligation not only to minimize the damage after such events, but it was also responsible for predicting, «controlling» and preventing cataclysms. The aim of this article is a review the descriptions of earthquakes and their interpretation at the imperial court as exemplified by the events of 734 and 868–869.

KEY WORDS: natural disasters, earthquakes, imperial court.

Bodhisattva Kannon skillful means in Aki-no-yo-naga-monogatari

Nadezhda N. Trubnikova

School for Advanced Studies in the Humanities, Russian Presidential Academy of National Economy and Public Administration, Moscow; Department of Japanese History and Culture, Institute of Asian and African Studies, Lomonosov Moscow State University, Moscow.

E-mail: trubnikovann@mail.ru

In Japanese Buddhist literature, the topic of skillful means (hōben, Skt. upāya) takes the most important place: buddhas, bodhisattvas and deities in various ways convey to the person the truth of Buddhist teachings and induce them to a righteous life. Many examples of hōben are found in setsuwa tales and in other popular genres. I will consider one of these subjects: having assumed a human form, bodhisattva meets a human, he falls in love, and then love, happy or unhappy, helps him to follow the Path of the Buddha. Often the protagonist is a monk who has not yet outlived his passions, is unable to resist the charm of a beautiful young man or girl. In different forms, this story is found in the Konjaku monogatari-shū and in other setsuwa collections. It was also developed in a text entitled A Long Tale on an Autumn Night, Aki-no yo-no naga-monogatari (late 14th century). In this case, the hōben of the bodhisattva Kannon is not simply described, but also shown in the text itself, intended not for the protagonist but for the reader; I will try to follow by what means the narrator achieves this.

KEY WORDS: Japanese Buddhism, Tendai School, Japanese literature, setsuva stories, oto- gi-dzosi stories, bodhisattva Kannon.

From the supernatural creature to Inari deity: picture of a kitsune fox in medieval Japan

Anastasiia A. Mukhamedova

Institute of Asian and African Studies, Lomonosov Moscow State University,

Moscow.

E-mail: anastasia_m97@mail.ru

There are a lot of supernatural creatures in Japanese demonology, but the fox-kitsune is one of the key demonic creatures. Beliefs in the magical abilities of kitsune originates outside Japan, but the cult of the fox successfully incorporates in Japanese folklore. Over the centuries, ideas about supernatural abilities and unusual “talents” of kitsune have been regularly rethought adapting to Japanese realities. The fox has become not only a favorite character of Japanese folklore but has become associated with the deity Inari. The purpose of our research is to examine the relationship between the fox-kitsune and the deity Inari, as well as to study the emergence and development of the association of the fox with the deity-kami. During the research a lot of historical works on this theme were examined, and nevertheless there are a great amount of works on the fox, only few of them analyzes the relationship between the fox-kitsune and the Inari deity, especially in Russia. The sources of this study were not only materials of Japanese folklore, such as, for example, the collection of Japanese tales “The field of enchanted chrysanthemums”, but also other written sources of various genres. In the end we came to the conclusion that foxes-kitsune can be divided into two types: demonic creatures that can be a source of danger and cause trouble to people, and divine foxes that help people.

KEY WORDS: fox, Inari, god, supernatural creature.

Binbōgami: God of Poverty, or God of Wealth?

Anastasiya R. Sadokova

Institute of Asian and African Studies, Lomonosov Moscow State University,

Moscow.

E-mail: sadokova@list.ru

In the enormous pantheon of the Japanese Shinto gods, there are not only gods with a ‘plus’ sign but also gods with a ‘minus’ sign, some of whom are even perceived more as heroes of folk demonology. At the same time, they remain equal gods in the Shinto pantheon; their names contain the kami component (“deity”), Shinto temples are dedicated to them, and people turn to them with their pleas, just like any other gods. However, their cult has a number of specific features. This is well illustrated by the example of Binbōgami, the God of Poverty in the Japanese Shinto religion. The scope of the existence of this folklore is very wide: from folk tales to talisman culture and beyond, right up to new religious trends. At the same time, there is clear ambivalence in how the image of the God of Poverty is perceived. Fairy tales regard him almost as a comic character whom you could even have as a friend. In the ritual culture, such a “lightness” is completely absent, because the main action is to place a barrier or to find a talisman. Hence the magic items at the entrance to the village, at the crossroads, and at the borders of the temples. And when the fairy tale solves the problem of how to get rid of him, the rituals are aimed at not letting him in or not letting him infiltrate. Thus, there is a clear separation in terms of perception: a fairy tale and a ritual. However, it should be remembered that in folklore texts, there is often a hidden fear behind the deliberate ease in which they interact with the God of Poverty. The idea is to “defeat” this fear with humor in the hope that the God of Poverty is not so cunning and may even become the God of Wealth if dealt with in the right way. In this case, the fairy tale also gives people hope.

KEY WORDS: God of Poverty, Japanese folk tales, folk rites, talismans, Shinto shrines to the God of Poverty.

The Testament of Lord Hōjō Ujitsuna (1486–1541)

Vadim Yu. Klimov

Institute of Oriental Manuscripts RAS, Saint Petersburg.

E-mail: klimovvadim26@gmail.com

The Testament of Lord Hōjō Ujitsuna» refers to the genre of family precepts (kakun). His father Hōjō Soun remained him spiritual instructions, consisted of 21 articles. Ujitsuna two months before the death composed for Ujiyasu, his son and heir at law, last will of five articles. It begins from urgent request to consider carefully towards all what tell him farther. The Testament ends by preposition, that only strict compliance with its ensures continuation and prosperity of the family. Preamble and concluding part are distinct markers, which are peculiar to the family precepts. More than a half of the text is devoted to tax-assessment of poll-tax paying population, struggle against bribes and glut of samurai and commanders, and also, finally, is devoted to commodity-money relations.

KEY WORDS: HōjōUjitsuna, HōjōSoun, testament, family precepts, tax assessment, commod- ity-money relations, kammon.

The Concept of “Path” in the Bushi Education System in Sekiun Kenjutsu School (17th c.)

Alexey M. Gorbylev

Department of History and Culture of Japan, Institute of Asian and African Studies, Lomonosov Moscow State University, Moscow.

Е-mail: shigetsu@mail.ru

This article discusses the theory and methodology of the Sekiun-ryu school of traditional Japanese sword fencing kenjutsu. The main attention is paid to the concept of the “Path” (Do) proposed by the founder of the school Harigaya Sekiun (circa 1590–1662) as a “way” to educate the bushi which synthesized martial art with the ideas and practices of Zen Buddhism and the Confucian school of Wang Yang-ming in accordance with values and actual needs of samurai of the middle — the second half of the 17th century.

KEY WORDS: Japanese martial arts, budo, bujutsu, bushi, samurai, Sekiun-ryu, Mujushink- en-ryu, Harigaya Sekiun, Ichiun.

“Ten Essays on National Character” by Haga Yaichi

Alexander N. Meshcheryakov

Institute for Oriental and Classical Studies, National Research University Higher School of Economics, Moscow.

E-mail: meshtorop@yahoo.com

In the late 19th — early 20th centuries we see active search for the national characteristics of the Japanese. This article analyzes the book of the famous expert of Japanese literature Haga Yaichi (1867–1927) Ten Essays on National Character (1907). This book was controversial with regard to the work of Kishimoto Nobuta Five Features of the Japanese (1902) who was a Christian. A number of similarities are observed in these works (they value highly cleanliness of the Japanese, their cheerfulness and activity, ability to adapt borrowings, the sense of beauty, politeness and etiquette behavior). However, there are radical differences, too. For Kishimoto “The Japanese” was an independent entity, and Haga viewed the Japanese in its relation to the state and as its function. Kishimoto talked about the character of the peaceful Japanese, and Haga Yaichi interpreted the peculiarities of the national character primarily from the point of the readiness for war and death for the emperor and the motherland. Kishimoto’s writing was not popular and was well forgotten. As for the views of Haga Yaichi, they were adopted by propaganda institutions and became one of the main sources for Kokutai no Hongi, the fundamental text of Japanese totalitarianism.

KEY WORDS: Japan, Haga Yaichi, Kokuminsei Jūron, Japanese national character, Kishimoto Nobuta, Nihonjin no gotokushitsu, Hisamatsu Sen’ichi, Kokutai no Hongi.

Female beauty in the Tanizaki Jun’ichirō interpretation, based on the essay “Love and sensuality”

Mazay G. Selimov

Russian State University for the Humanities, Moscow.

E-mail: mazay_sv@yahoo.com

This article is about the subject of female beauty in Tanizaki Jun’ichirō’s interpretation based on his essay “Love and sensuality” ( ) that shows how Tanizaki’s views on aesthetics changed from the late 1920s. The essay was published in parts in women’s magazine Fujin kōron ( ) from April to June 1931. It was a kind of Tanizaki Jun’ictirō’s manifesto on the difference in aesthetic norms between East and West, the aim of which was to rid Japanese women of their physiological inferiority complex, the habits of copying Western women and to compare themselves with them. Tanizaki considered that there should be other rules for Japanese women: he introduced new standards for assessing their beauty, such as smoothness of skin, its color and iroke ( ). One condition for the appearance of the essay can be the rise of anti-Western sentiment in Japan in the 1930s, which was in part caused by xenophobia and discrimination of the Japanese by Western people on a racial basis. Tanizaki Jun’ichirō directed his efforts at overcoming the complex of female physiological inferiority, stating that Japanese women have a number of significant advantages over the European.

KEY WORDS: Tanizaki Jun’ichirō, essay “Love and sensuality”, female beauty in Japan, iroke.