江戶學藝與明清漢籍──以松齋‧庭鐘‧秋成為例

Edo art and Chinese books in Ming and Ching Dynasties in terms of Shosai, Teisho and Akinari

十八世紀中期至十九世紀初，時值江戶中期的「上方」（大阪及京都）乃當時最為盛行文學、學藝及藝能之地。舉凡懷德堂、混沌社、木村兼葭堂、和刻本《康熙字典》、《仮名手本忠臣藏》、《雨月物語》、池大雅、與謝蕪村、小澤蘆庵等等均聞名遐邇。而關於當時文化發展之所以如此成熟，已有多位研究先進們指出其背後實則蘊含著許多來自中國明清兩代學藝之影響。那麼，究竟當時「上方」的文學家、學者、畫師們讀的是哪些漢籍呢？本次將參考當時兩位大阪漢學學者的閱讀筆記（奧田松齋《拙古堂日篡》、都賀庭鐘《過目抄》），介紹當時實際傳入日本且被廣泛閱讀的漢籍，並藉此了解當時「上方」人文社會的喜好與主流之特色。此外，同時也將從以尖銳評論而聞名的上田秋成《膽大小心錄》一書中，擷取與作者自身、周遭人們相關，或是明清文人們的軼事，進而探討當時對中國之憧憬以及文化上受到的影響。

In the mid-18 and early 19 centuries, the boom of literature, art and craft in the Uptown (Osaka and Kyoto) in the mid-Edo Period exerted famous publications and publishers, including Kaitokudo, Kontonshia and Kimura-Kenkado, block-printed edition of Kangxi Dictionary, Kanadehon Chushingura and the Tales of Moonlight and Rain (Ugetsu), and Ike no Taiga, Yosa no Buson and Ozawa Roan. Previous studies imply that the maturity of the cultural development in Japan was the fruit of art from China in Ming and Ching Dynasties. Which Chinese books used to be read by the authors, scholars and painters in the Uptown? In terms of the reading remarks from 2 researchers specialized in Chinese classics in Osaka (Sekkodonissan by Okuda Shosai and Kamokusyo by Tsuga Teisho), I present some Chinese books introduced and read widely in Japan and let you understand the cultural and artistic preferences and mainstream of the Uptown back then. Also, in terms of Tandaishoshinroku by Ueda Akinari known for his sharp criticism, I would inquire the longing for China and cultural impacts at that time by the episodes of the author and those around him and anecdotes of literati in Ming and Ching Dynasties.