The Publication of DAITEN Kenjo's (大典顕常) Ko Unsei kō 小雲栖稿

I am glad to receive a gift copy of the newly annotated anthology of the Edo literary monk Daiten Kenjo's 大典顕常 Ko Unsei kō 小雲栖稿. Daiten (1719-1801) was an important figure in the mid-Edo period and had extensive ties with Obaku monks such as Daichō Genkō 大潮元皓 (1678-1768). He was first ordained as an Obaku monk and later became a Rinzai monk. Thanks to Ms. Liu Jiaxing's work, it has been made available for further studies.

日本.大典顯常<<小雲棲稿>>校注 /

Ri ben.da dian xian chang<<xiao yun qi gao>> jiao zhu /

劉家幸

Jiaxing Liu

佛光大學佛教研究中心近世東亞佛教文獻與研究叢刊 ; 5. 近世東亞佛教叢刊 ; 5

For a Japanese reference, see 

僧門 : 独菴玄光, 売茶翁, 大潮元皓, 大典顕常 /

Sōmon :

Dokuan Genkō, Baisa-ō, Daichō Genkō, Daiten Kenjō /

Author(s):

末木文美士. 堀川貴司.

Sueki, Fumihiko. 

Horikawa, Takashi. 

Publication:

東京 : 岩波書店, 1996.

Tōkyō : Iwanami Shoten.

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New Article on Donggao Xinyue's 东皋心越 Music Notes 东皋琴谱

I am glad to see this new article on Donggao Xinyue. Here is the abstract and citation.

"In the late seventeenth century, a Chinese Buddhist priest named Donggao Xinyue [phrase omitted] (1639-1695) introduced a selection of qin [phrase omitted] songs (songs accompanied on the qin zither) to Japan. Over the following centuries, Japanese qin players continued to sing these songs in Chinese. This paper looks into this cross-cultural interaction from both Donggao's and the Japanese perspectives, against the historical background of the Ming-Qing dynastic transition and the breakdown of the Sinocentric world order in East Asia. I argue that Donggao and Japanese literati understood the significance of these songs differently as they both connected the songs to their own cultural past. Nonetheless, they were brought together by the shared belief that the performance of qin songs would bridge the past and the present and hence realize their vision of the ideal civilization. Meanwhile, neither Donggao nor the Japanese literati regarded the qin--as well as the ideal society it symbolized--to be exclusively Chinese or Japanese. My analysis shows how the idea of being Chinese/Japanese was intertwined with the changing understandings of the hua-yilka-i [phrase omitted] worldview during this period, and how it was negotiated through the cultural memories that shaped and reshaped the past. This particular case also explains how qin songs as a medium for cultural memory differed from other musical and non-musical forms."

Wu, Zeyuan. "Remembering the Past through Music: The Transmission of Chinese Qin Songs in Seventeenthto Nineteenth-Century Japan." The Journal of the American Oriental Society, vol. 140, no. 2, 2020, p. 345+. Gale Academic OneFile, https://link-gale-com.ezproxy4.library.arizona.edu/apps/doc/A630409904/AONE?u=uarizona_main&sid=AONE&xid=e7908d2c. Accessed 5 Aug. 2020.