Abstract: As a result of exchanges and cultural marriage between China and Japan, Japanese Chinese poetry has been closely related to the social structure, ideological concepts, customs and habits of the Japanese nation after nearly 1,500 years of training. , cultural and entertainment activities integrated into one. Especially in the third hundred years of the Edo period, the trend of appreciating, commenting on and creating Chinese poetry was extremely popular. Chinese poetry penetrated into all aspects of Japanese social life and became an indispensable and important part of Japanese literature. This book starts from the analysis of representative works in Japanese Chinese poetry that recite the four seasons, flowers, birds, wind and moon. It conducts a wide-angle bird's-eye view of the overall viewing and easy-to-understand artistic analysis of the descriptive content and writing characteristics of Japanese Chinese poetry, and through the connection with Chinese poetry. Through comparison one by one, the unique landscape style and lyrical characteristics of Japanese Chinese poetry are delicately displayed, and the mystery of the essence of Japanese culture is revealed. Different poems are sung according to different seasons, which is one of the unique features of East Asian Chinese poetry. This book collects and systematically analyzes the four seasons songs in Japanese Chinese poetry from many aspects, including the romantic odes of spring, the quiet chants of summer, the sad chants of autumn, and the lonely feelings of winter. These poems show the distinctive characteristics of Japan's mountainous scenery, and also highlight the rich colors of seasonal changes in the Japanese island country. They also delicately display the customs and unique aesthetic consciousness in Japanese national culture, which have high cognitive and aesthetic value. , can be called an artistic treasure in the treasure house of East Asian Chinese poetry. This book is the first time that Chinese scholars have systematically analyzed a large number of four-season poems in Japanese Chinese poetry. It reveals many interesting phenomena in the history of Japanese Chinese poetry and puts forward some interesting insights. Editor's recommendation: Japanese Chinese poetry, as a symbol of exchange and cultural marriage between China and Japan, has been integrated with the social structure, ideological concepts, customs, and literary and entertainment activities of the Japanese nation after nearly 1,500 years of training. . Especially in the third hundred years of the Edo period, the trend of appreciating, commenting on and creating Chinese poetry was extremely popular. Chinese poetry penetrated into all aspects of Japanese social life and became an indispensable and important part of Japanese literature. This book starts with the analysis of representative works in Japanese Chinese poetry that recite the four seasons, flowers, birds, wind, and moon. It conducts a wide-angle bird's-eye view of the overall viewing and easy-to-understand artistic analysis of the descriptive content and writing characteristics of Japanese Chinese poetry, and through the connection with Chinese poetry. Through comparison one by one, the unique landscape style and lyrical characteristics of Japanese Chinese poetry are delicately displayed, and the mystery of the essence of Japanese culture is revealed. Different poems are sung according to different seasons, which is one of the unique features of East Asian Chinese poetry. This book collects and systematically analyzes the four seasons songs in Japanese Chinese poetry from many aspects, including the romantic odes of spring, the quiet chants of summer, the sad chants of autumn, and the lonely feelings of winter. These poems show the distinctive characteristics of Japan's mountainous scenery, and also highlight the rich colors of seasonal changes in the Japanese island country. They also delicately display the customs and unique aesthetic consciousness in Japanese national culture, which have high cognitive and aesthetic value. , can be called an artistic treasure in the treasure house of East Asian Chinese poetry. This book is the first time that Chinese scholars have systematically analyzed a large number of four-season poems in Japanese Chinese poetry. It reveals many interesting phenomena in the history of Japanese Chinese poetry and puts forward some interesting insights. About the author: Yan Ming was born in Suzhou in August 1956. He graduated from the Chinese Department of Beijing Normal University in 1982 and received a doctorate in literature in 1990. He has taught successively at Beijing Normal University, Suzhou Humanities University, Kanagawa University in Japan, Soochow University in Taiwan, and Chutholongkorn University in Thailand. He is currently a professor at the School of Liberal Arts at Shanghai Normal University, a doctoral tutor in ancient literature, a director of the Chinese Comparative Literature Society, and a member of the Ming Dynasty Literature Society. Director of the research association, his research interests include Ming and Qing literature and comparative Chinese poetry in East Asia. The major works published in recent years include "Chinese Poetics and Poetry of the Ming and Qing Dynasties", "A Dream of Red Mansions and Women's Culture in the Qing Dynasty", "Japanese Chinese Poetry Series - Selected Poems of Ito Jinsai", "A Selected Study of East Asian Chinese Poems", etc. Table of Contents: Preface: The Brilliant Ode to Spring, The Love of Cherry Blossoms, the Love of Spring Scenery, the Colors of Cherished Feelings, The Sorrow of Spring, the Brilliance of Spring, the Quiet Singing of Summer, Summer Scenery, Summer Residence, Relaxation, Meditation, Thoughts, Zen Gate, Leisure and Fun, Autumn Ode, Sorrow, Autumn Thoughts, Autumn Ode, and the Gorgeous Autumn Scenery. Allusions are used to make use of the quietness of autumn, the solitary and cold feelings of winter, the winter scenery, the poetic mood, hibernating in the end of the year, the customs of singing, the elegance, the winter chants, the generous elegies, the concluding remarks, the bibliography, the publisher’s words, the book excerpt: The cherry blossoms are the national flower of Japan, the beautiful cherry blossoms and the towering Mount Fuji. It has long become a representative image of Japan and is familiar to the world. Every year from late March to early April, Japan's cherry blossoms bloom from south to north. The main varieties include mountain cherry, Higanzakura, and Uzakura. Motoi Yinaga, a famous scholar in the early Edo period, once praised him as "the king of cherry blossom trees and the best among warriors", and this has been passed down to people for hundreds of years. In particular, the pure white mountain cherry has long become a symbol of purity, patriotism, loyalty, bravery and martyrdom in Japan. There are countless praises of cherry blossoms in Japanese Chinese poetry. For example, in the poem "Sakura" written by Kusaba Ren (1821-1889) in the late Edo period, he wrote: The peonies of the Western soil only boast about themselves, but they don't know that there are famous flowers in the East China Sea. When Xu Sheng went to seek immortality that day, he thought the auspicious clouds were this flower. Xitu refers to China. Peony was originally a flower species introduced from the Western Regions. It was planted in Danzhou, Yanzhou and Yuezhou in China. It became popular from the time of Wu Zetian in the Tang Dynasty. The most famous one is "Luoyang Peony".
The peonies grown in Luoyang have been improved. The flowers have become larger, the petals have become fuller, and the varieties have increased. The famous ones include yellow peony, red peach, Ruilian, thousand-leaf plum, red-leaf plum, etc. They are truly the beauty and fragrance of the country. second to none. "The famous flower of the East China Sea" refers to Japan's cherry blossoms. Legend has it that during the reign of Qin Shihuang, Xu Fu took thousands of boys and girls eastward to Japan in order to find the fairyland where the immortals lived in the sea. They landed near Xiongye Beach and became the founder of Sino-Japanese cultural exchanges and the development of Japan. Xu Fu's tomb is still near Shingu Station in Japan. This poem compares cherry blossoms with China's national flower, and suddenly thinks that the auspicious clouds in the fairyland that Xu Fu saw were cherry blossoms. Judging from the color, shape and momentum of cherry blossoms when they bloom, such a magical imagination can indeed be made. For a long time, cherry blossoms, together with Mount Fuji and Japanese swords, have become symbols of the spiritual culture of the Yamato nation. In today's Japan, every spring cherry blossom viewing season, there will be nationwide viewing activities. Due to the climate, Japan's cherry blossoms bloom sequentially from south to north, so the nationwide cherry blossom viewing activities will also climax one stop after another from south to north, forming a national carnival full of Yamato national cultural characteristics. Activity. There are many excellent poems about cherry blossoms in Edo Chinese poetry. A poem by Jiangyuan Gaorang about "Sakura" goes: "To support the fragrant roots, by the east sea, the flowers are blooming all over the sky. The light clouds cover the noisy day, which is especially good, and the snow falls. The wind is brighter. Thousands of chandeliers are full of dew. If this tree is in the west, it will be described in Zhao Chang's picture. "The four sentences in the middle describe the beauty of the cherry blossoms in full bloom. The pride of Japan’s unique mountain cherry blossoms comes out. Such a sense of pride can often be seen in Edo-Chinese poetry, such as the poem "Sakura" written by Hirose Asahi: A glance at the city is beautiful, and the sky is thin and light. Li Du, Han Su, who knows each other well, pear, peach, plum and apricot always have a false reputation. This flower is colorless in the spring after it flies, but it has feelings when the wind blows.
A message to the orioles...
Please adopt it