The first collection of Japanese Chinese poems, Huaifengzao (written at 75 1), has been published from Nara to the poetry collections of contemporary Japanese Han poets. Focus on the study of Han poets, such as Jianchashan, Lai,.
As early as the Nara Dynasty, Ye Wan Ji, Volume V, Preface to Plum Blossom Songs wrote: "On the 13th day of the first month of the second year, I received Yu Shuai's former residence and applied for a banquet. Beginning of spring, the moon and the wind set each other off, plum powder in front of the mirror, orchid incense. Shuling moves the clouds, loosening the radish and covering it obliquely; It was foggy in the evening and the birds were trapped in the forest. Dancing new butterflies in the court, returning geese in the air. So I sat on the ground and made a fuss. I forgot to mention that in a room, it is foggy outside. Be calm and self-sufficient. If it weren't for Hanyuan, how could I feel? What's the difference between ancient and modern husbands in Luo Ji Mei's article? It is advisable to give a plum garden and talk about it in short poems. " [2] It can be seen that the aristocratic society at that time had attached great importance to the activities of singing songs in combination with seasons. The same is true for singing Japanese peace song, and the same is true for reciting Japanese Chinese poems. Among the 1 17 Chinese poems included in Nara Dynasty's poetry collection "Huaifengzao", there are not a few Chinese poems chanting flowers and birds and romantic moons in four seasons. In China and heian period's poems, the description of holiday sequence landscape has greatly increased. The contents of Han Lang Fu are arranged directly in the order of four seasons, namely, spring, summer, autumn and winter, among which the objects of Spring and Autumn Fu are particularly rich, which are formed according to the characteristics of Japanese seasonal climate and natural landscape.
After entering the Edo period (equivalent to China's mid-Ming Dynasty to the late Qing Dynasty in time), seasonal praise in Japanese Chinese poetry became more and more popular, and excellent works fully demonstrated the unique personality of Japanese Chinese poetry. This paper shows the unique landscape features and lyrical features of Japanese Chinese poetry by analyzing the representative poems about singing and appreciating spring in Japanese Chinese poetry, and then reveals the unique mystery of Japanese poets' hearts and the communication between Chinese and Japanese poetry.
The rise of Japanese Han poetry began in the near-river era in the middle of the 7th century and declined in the Meiji Restoration era, with a history of about 1200 years.
Emperors of all dynasties were masters of China's poetry.
In Nara, Japan (AD 7 10 ~ 784), that is, during the Sui and Tang Dynasties in China, before the invention of Japanese pseudonyms, Chinese characters were widely used in Japan and a large number of China classics were introduced, so China's poems were greatly welcomed by the Japanese. Especially in the early Tang Dynasty and the prosperous Tang Dynasty, the envoys represented by Yang Zhengdeng brought splendid Tang Wenhua to Japan in a planned way, which induced the great development of Japanese culture. China's poetry is also one of many brilliant "exotic". Japanese scholar Tetsuhiko Murakami wrote in Japanese-Chinese Poetry: "Poetry of the Tang Dynasty, like the most beautiful sky, can only be looked up."
The Japanese not only highly admire China's poems, but also practice and create a lot. China's earliest poetry anthology Huai Feng Zao, written at 75 1, is the representative of this stage. Because culture is monopolized by the upper class, almost all poets come from the upper class. There are 1 17 poems in Huaifengzao, and almost 62 authors are emperors, royalty, officials and monks. China's earliest poem Shu Huai was written by the Prince of Judah. During this period, Chao Heng, a Japanese poet who made deep friendship with Li Bai and Wang Wei, finally died in Chang 'an, emerged. The poets in Nara era all spoke Chinese, and their poetic style imitated the Six Dynasties in China. The form is mainly in five words, and there are some excellent works, such as Fujiwara Yu He's "Serving the West Sea Road Our Times" ("Last year, I played Dongshan, and this year I traveled to the West Sea; In the life of pedestrians, they are tired of the border guards several times. ") and so on can be compared with Tang poetry.
In 794, Japan moved its capital to peace, which is called the Heian period in history. Because the Emperor took the lead in advocating Chinese studies and advocating Confucianism, several generations of emperors were great masters of Chinese poetry, and personally participated in editing three collections of Chinese poetry, Ling, Li Wenhua Collection and Guo Jingji, and Japanese Chinese poetry reached its heyday. Bai Juyi was the most famous poet in China in this era, and almost every poet claimed to be influenced by him. For example, Sugawara no michizane's famous phrase "Fallen leaves return to their roots and rain hits them" is directly used in Bai Juyi's Song of Eternal Sorrow. Today, there are still many Bai Juyi shrine sites in Japan.
You can write Chinese poems without Chinese characters.
The spread of Tang poetry in Japan has its own characteristics. Among China's ancient poems circulating in Japan, Li Bai, Du Fu, Bai Juyi and others are naturally sought after. Some poems with a long artistic conception, full of thinking about life and a certain temperament beyond the dust are also very popular in Japan, such as Wang Wei and Meng Haoran's pastoral poems. In addition, some of China's ancient poems, which the Japanese like, have little influence in China, such as Zhang's Fishing Rod, which has great influence in Japan.
It turns out that in the Japanese shogunate era, Tang poetry was mainly popular among monks, and a large number of poets and monks emerged, including a rest in peace which was popular in China because of cartoons. Because of their special identities and experiences, the tastes and artistic conception of these monks are naturally quite different from those of ordinary people. In China, poetry is an important part of the imperial examination. If a poem is well written, there is great hope of being an official, and "expressing ambition with poetry" has become an important evaluation criterion. However, in Japan, for a long time, official positions were obtained by inheritance or martial arts. No matter how well poetry is written, it can only be a hobby. Therefore, the style of Tang poetry favored by the Japanese naturally has its own characteristics.
Interestingly, many Japanese who love reading Tang poems and even writing their own Chinese poems don't understand Chinese. It turns out that Japan has long invented the "training and reading method". Through this method, Chinese notional words remain intact in Japanese, while function words correspond to Japanese classic auxiliary words and auxiliary verbs one by one, so even Japanese who don't know Chinese can freely master the reading, understanding and writing of Chinese poems. Of course, the Japanese can't understand the level and rhyme, so they can only learn by rote. This also reflects the Japanese love for Tang poetry from another angle.
China's poetic activities have formed a tradition.
In modern Japanese society, Tang poetry still has a lofty position. In the traditional Japanese entrepreneurs' offices, restaurants, teahouses, or some intellectuals' study rooms, one or two poems of Tang poetry written in ink and with beautiful calligraphy can often be seen, such as "The moon is on the side, frost and snow are on the wrist" (Wei Zhuang), which makes people forget the customs. Even the cake boxes in Osaka are printed with the words "Frost leaves are redder than February flowers".
Tang poetry is also an elegance. During the Japanese New Year, there is a traditional game called "Hundred Poems Card". A hundred poems are written on a card like a playing card, and the judges begin to read poems. Game participants grab the corresponding cards, and the more they grab, the more they win. Of course, there are real Tang poems on playing cards and Chinese poems written by the Japanese themselves.
Since modern times, the popularity of China's poems has greatly declined because of Japanese learning from the West, leaving Asia and entering Europe. Although great writers like Natsume Sasaki still love and can write Chinese poems themselves, the popularity of Chinese poems among the people has greatly declined. Some Japanese people of insight are worried about this, running around calling for attention to China's poems. From 65438 to 0997, at the Japanese National Culture Festival held in Kagawa Prefecture, China's poems were listed as official items for the first time. There are still some Japanese who stubbornly insist on studying and writing China's poems. There are also some young people who advocate the fashion of Tang poetry and learn to read and write China's poems.