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1

„Smutek rzeczy” czy melancholijny uśmiech. O odczytywaniu nastrojów i walorów estetycznych w dalekowschodnich utworach poetyckich oraz ich współczesnych imitacjach

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Wielgosz M., Dzielnicowy Dom Kultury SM „Czechów” w Lublinie, Małgorzata Wielgosz – dr a. U. M. C.-S. d. w. L., mawiel@wp.pl

Czytanie Literatury. Łódzkie Studia Literaturoznawcze

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2014

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vol. 03

EN

The article aims to describe how reading aesthetic qualities and artist’s moods in the Far East poetry looks from the perspective of a Western scholar, how they are imitated in European works. The publication concerns the analysis of these aspects in haiku and waka. For works of such type the characteristic trait is the sense of melancholy, arising from awareness that the world and the subject that is learning it are both elusive. The impression of constantly changing environment and the transience of time characteristic of haiku and waka has its roots in the Buddhist belief in the impermanence of things that contributed to the formation of a specific type of perception: experiencing beauty with pain. It is from the Buddhism that the term mujōkan derives from, later used to describe the emotional perception of real- ity. The Japanese expanded this experience even more, adding to the awareness of impermanence the feeling of painful beauty. The author argues that the inhabitants of the Land of the Rising Sun understand the concept of beauty completely differ- ently from us, that they have different aesthetic categories, and yet European artists attempt to imitate them.

PL

Artykuł ma na celu przedstawienie w jaki sposób z perspektywy zachodniego badacza wygląda odczytywanie walorów estetycznych, nastrojów twórcy w dalekowschodniej poezji, w jaki sposób są one imitowane w utworach europejskich. Publikacja dotyczy analizy tych aspektów w haiku i waka. Dla tego typu utworów charakterystyczne jest m. in. uczucie melancholii, wynikające ze świadomości, że świat oraz poznający go podmiot ma charakter ulotny. Charakterystyczne dla haiku i waka wrażenie ciągłej zmienności otoczenia i ulotności chwili ma korzenie w buddyjskim przekonaniu o nietrwałości rzeczy, które przyczyniło się do ukształtowania specyficznego rodzaju percepcji: doznawania piękna wraz z bólem. Z buddyzmu zaczerpnięto termin mujōkan i zaczęto go stosować na określenie emocjonalnego odbioru rzeczywistości. Japończycy jeszcze bardziej rozbudowali to doznanie, dodając do świadomości nietrwałości odczucie bolesnego piękna. Autorka artykułu dowodzi, że mieszkańcy Kraju Kwitnącej Wiśni zupełnie inaczej od nas rozumieją pojęcie piękna, posiadają inne kategorie estetyczne, a mimo to europejscy twórcy podejmują próby ich imitacji.

2

Ancient Japanese Poetry in Early Medieval Poetic Discourse Appropriation of the Manyôshû in Selected Poems of Princess Shikishi

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Citko M.

Acta Asiatica Varsoviensia

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2014

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issue 27

55-83

EN

The paper analyzes several poems by the Princess Shikishi (11491200) from the viewpoint of Manyôshû appropriation. Despite relative scarcity of allusions to Manyôshû, some features in her appropriation style are found in the poetry of other contemporary poets, e.g. frequent appropriation of volumes XXI and well-known Manyôshû lines, utilization of secondary sources rather than Manyôshû manuscripts, etc. This demonstrates complexity of channels through which Manyôshû was appropriated. Simultaneously, there are features of her Manyôshû appropriation that distinguished her from other contemporary poets, which evidences that Princess Shikishi was not only a participant in but also a significant contributor to early medieval poetic discourse.

3

宮廷社会における教養としての和歌と書

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Sonoyama S.

Analecta Nipponica

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2016

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issue 6

35-50

EN

It is a known fact that taking an interest in waka poetry, and calligraphy, as well as the art of music was an obligatory part of the education of the Heian Period. The author of the article focuses on waka composition and calligraphy as parts of the educational system and through the study of works of the time, like monogatari tales, analyzes the background that such an attitude towards education created. Her analysis progresses from an outline of the Heian Period educational system, Daigakuryō, to a description of Hikaru Genji’s views on Yūgiri’s education expressed in “The Maidens” chapter of the Genji Monogatari. In the Heian Period, being proficient in waka or calligraphy was for the most part a female matter. The education in the form of waka composition, calligraphy and the art of music was naturally important for the male aristocrats as well, but in the context of female involvement such education was indispensable and had to be intentionally mastered in order to function in the very unique environment of the court. The author shares her views on what the meaning of the composition of waka and calligraphy was amongst the aristocratic society.

4

Expressing the Essence of the Way of Tea: Tanka Poems used by Tea Masters

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Zalewska A.

Analecta Nipponica

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2015

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issue 5

43-56

EN

The Way of Tea, called chadō or chanoyu in Japanese, is a comprehensive art and philosophy, uniting a rich material culture with a spiritual tradition. Some of the teachings of chadō masters can be found in treatises like Nampōroku, or The Southern Records (17th century, ascribed to Nambō Sōkei, supposedly – a disciple of Sen no Rikyū) or in anecdote collections, like Chawa shigetsushū, or The Collection of Tea Stories Pointing to the Moon (1683). Most of the chadō masters did not leave their respective collected writings or teachings put into treatises, but many of them made the effort to express the essence of the Way of Tea in the much shorter form of tanka poems. First of all, Rikyū hyakushu, or One hundred verses of Rikyū (called also Rikyū dōka – Rikyū’s poems of the way) must be mentioned. This is a collection of one hundred tanka poems, traditionally ascribed to Rikyū himself, although most of them were known since before Rikyū’s times and attributed to Takeno Jōō. The final collection of Rikyū hyakushu, as we know it now, was assembled probably by the eleventh head of the Urasenke school of tea, Gengensai (1810–1877). Among the poems we can find some very detailed instructions on how to use tea utensils or how to understand some parts of the tea making procedures, but there are also poems endeavouring to express the very essence of the Way of Tea philosphy. Apart from poems created especially to show the understanding of tea art, many tea masters used pre-existing poems, written originally without any connection to chanoyu. One of the most famous examples is a short exchange of poems recorded in Nampōroku: to illustrate the essence of the Way of Tea Takeno Jōō used a poem by famous poet, Fujiwara Teika (1162–1241), to which Rikyū answered with a poem by Fujiwara Ietaka (1158–1237). Later, the alleged author of Nampōroku, Nambō Sōkei, continued this poetic dialogue with a tanka of his own. The aim of this article is to introduce the poems used by the tea masters and to analyse the ways of expressing the essence of the way.

5

古典解釈における「近代」と「前近代」―「古今和歌集序」の“和歌発生論”の理解をめぐって―

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Watanabe H.

Analecta Nipponica

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2012

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issue 2

11-20

EN

In the interpretations of classical Japanese poetry there are explicit differences in approach between the early modern times and those previous. For there does exist a large discrepancy between the then, contemporary, and the now, modern values, a discrepancy that takes origin in different ways of thinking, different ideological stances. The effects of all those differences and divergences are often unclear and sometimes even misguided interpretations. The purpose of this article is to present some of the widely known and therefore undoubtedly accepted contemporary Japanese poetry theories and compare them with the explanations and interpretations originated in the Middle Ages and the early modern period. The main source of the analysis is the first imperial anthology of poetry, Kokinwakashū (Collection of Poems of Ancient and Modern Times, 905), and in particular the two poetry treaties – Kanajo (Introduction) written in Japanese and Manajo (Introduction) writen in Chinese.

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3 Analecta Nipponica

1 Acta Asiatica Varsoviensia

1 Czytanie Literatury. Łódzkie Studia Literaturoznawcze

1 Citko M.

1 Dzielnicowy Dom Kultury SM „Czechów” w Lublinie

1 Małgorzata Wielgosz – dr a. U. M. C.-S. d. w. L.

1 Sonoyama S.

1 Watanabe H.

1 Wielgosz M.

1 Zalewska A.

1 mawiel@wp.pl

1 2016

1 2015

2 2014

1 2012

„Smutek rzeczy” czy melancholijny uśmiech. O odczytywaniu nastrojów i walorów estetycznych w dalekowschodnich utworach poetyckich oraz ich współczesnych imitacjach

Ancient Japanese Poetry in Early Medieval Poetic Discourse Appropriation of the Manyôshû in Selected Poems of Princess Shikishi

宮廷社会における教養としての和歌と書

Expressing the Essence of the Way of Tea: Tanka Poems used by Tea Masters

古典解釈における「近代」と「前近代」―「古今和歌集序」の“和歌発生論”の理解をめぐって―