論六如上人在漢詩上的繼承與開拓──以季節景物描寫為中心

On Succession and Deployment of Rikunyo in Chinese Poetry–mainly describing the rural landscape in changing seasons

京都的六如上仁（1734-1801）是江戶後期詩風轉為宗宋後最先嶄露頭角的詩人，與南畫家池大雅．儒家那波魯堂．歌人伴嵩蹊等當時一流的文人雅士多有往來酬唱，提攜後進不遺餘力，對關西詩壇產生極大的影響。一般認為六如作品多師法南宋三大家范成大．楊萬里．陸游，在一千多首詩中確實有不少宋詩的痕跡，但是除此之外六如隻所以成為新詩風之先驅應該還有其他的要素，輯吸收了中國南宋詩之後如何突破創新，變化成自家特色是本文討論的重點。六如詩以四季為題者頗多，明顯受范成大「田園四時雜興六十首」影響，進一步仔細分析其中描寫之景物，例如：雉聲、土筆、老茄、榴殼等均非中國所常見，但是這類素材和詩趣卻可以在日本的和歌、俳句中找到先蹤，可見除了繼承南宋詩的傳統外，六如詩中有許多日本和歌、俳句的要素，江戶後期漢詩史上開日本化之先河。

六如上人(1734-1801)in Kyoto was the first poet to show his talents after the poem style turned into imitating the style of Sung Dynasty in the late Edo Period. He had friendly relations with his contemporaneous literati and refined scholars, such as the southern painter池大雅,the Confucian scholar那波魯堂, and the singer of ballads伴嵩蹊. He spared no efforts to assist the journey, and involved the Kansai(關西) poetry circles immensely. It is generally thought that六如modeled most of his poems on the three great poets, Fan Cheng-Ta, Yang Wan-Li, and Lu You in Southern Sung. Many traces of Sung poetry definitely can be seen among more than one thousand poems of his. Besides, there were other elements which made六如 the predecessor of the new style of poetry, This thesis is mainly about absorbing the poetry of Southern Sung, China. The theme of a large number of 六如's poems is related to the four seasons. This is obviously influenced by Fan Cheng-Ta's “The Sixty Poems of Idyllic Fun.” By carefully analyzing the scene and objects depicted in the poems, for example, the sound of the pheasant, earth pen, mature eggplants, the shell of the pomegranate, and deserted calendar, those ere not commonly seen in China. However these elements.