平安时代日本王权对外来文化的需求——《宇津保物语》的琴与王权  

The Japanese Imperial Authority's Demand for Foreign Culture in the Heian Period:Qin and Kingship in the Utsuho Monogatari

作　　者：余鸿燕 刘晓芳[2] Yu Hongyan;Liu Xiaofang(Chengdu University of Technology;Tongji University)

机构地区：[1]成都理工大学外国语学院 [2]同济大学外国语学院

出　　处：《日语学习与研究》2024年第5期20-29,共10页Journal of Japanese Language Study and Research

摘　　要：日本平安时代首部长篇物语《宇津保物语》被称为“琴的物语”,物语中的“琴”指的是中国的七弦琴。琴作为儒家礼乐思想中最重要的乐器,自创制之初就与王权有着密切关联,平安物语中亦以琴作为王权的象征。《宇津保物语》中琴在沿袭中国古琴形象的基础上与“孝”“学问”“王权”等要素结合后呈现出新的特点。俊荫一族在琴的传承中与王权的关系从“对抗”走向“和解”的历程亦是彼时唐土文化与日本文化关系的写照,体现了平安时代日本在吸收、内化唐风文化基础上创造国风文化的文化摄取方式,反映了以天皇为核心的日本统治者从全盘吸收唐土文化到本土融合后为己所用的过程及其变化特征。The first full-length story of Japan's Heian period,Utsuho Monogatari,is also known as the"Tale of the Qin",where the term"Qin"refers to the Chinese seven-stringed zither.The"Qin",as the most important musical instrument in Confucian ritual and music philosophy,has been closely associated with kingship since its creation.In Utsuho Monogatari,the"Qin"is also symbolically linked to kingship.The portrayal of"Qin"while inheriting the image of the Chinese ancient zither,takes on new characteristics through the integration of elements such as"filial piety","learning"and"kingship".The relationship between the Jun'in clan and the royal power during the inheritance of the"Qin"undergoes a transformation from"confrontation"to"reconciliation".This process reflects the cultural exchange between Tang China and Japan at that time,illustrating how the culture of Tang China was absorbed and internalized by Japan during the Heian period,leading to the creation of a distinctive national culture.It mirrors the process and its changing characteristics of the Japanese rulers,with the Emperor as the core,from the wholesale absorption of the Tang culture to a local fusion for their own use.

关 键 词：宇津保物语 琴 孝 王权 唐土 

分 类 号：I313.06[文学—其他各国文学]