YAMAMOTO Yukari (Wako University, Tokyo)　山本ゆかり（和光大学）

This presentation aims to explore the salon culture that developed in Nagasaki, by examining the background context for the creation of a hand-painted shunga (erotic art).

The 'Nagasaki Shunga Painting Album' consists of nine shunga paintings pasted inside. There are prefaces written by two individuals, followed by a shunga painting pasted on the left page of each opening, paired with a poem on the right. While authors of the prefaces and poetic inscriptions are different, it is most probable that the artist of shunga, though unsigned, was a Nagasaki school artist. Inscriptions tell us that this album was produced in the spring of 1811.

A close examination has revealed that the eleven contributors--two preface authors and nine poets-- all were involved with the Chinese ships that called at Nagasaki. Among the eleven, eight were shipowners, and two held the position of 'caifu,' a crucial role responsible for managing cargo, handling trade transactions, and maintaining the ship's log.

This presentation will first investigate the connections via shunga that existed in Nagasaki in 1811, focusing on identifying the contributors of the text. By expanding our scope to include the interpersonal networks facilitated by these individuals, as well as their interactions with Japanese literati, I aim to trace the salon culture that bridged China and Japan.

For instance, Qian Weiji, who wrote one of the prefaces, and Zhang Qiuqin, who contributed a poem in the fifth painting, are known to have had close interactions with Ōta Nanpo (1749-1823). Yang Xiting, who wrote the first preface, was known to have connections with Rai Sanyō (1780-1832); and Liu Peiyuan, who wrote the poem for the first painting, was a friend of Rai Kyōhei (1756-1834). Japanese literati would travel to Nagasaki, visit the Chinese settlement (Tōjin-yashiki), exchange rhymed poetry, engage in brush conversations, and enjoy banquets with their Chinese counterparts. These companions were not officials or high priests but rather well-educated Chinese merchant-sailors who had arrived in Nagasaki for trade.

The concept of 'Qing people coming to Japan by ship (Raihaku-shinjin)' was formed at least by 1777 when the book Gen Min Shin shoga jinmeiroku (An Index of Painters and Calligraphers of Yuan, Ming, and Qing), that Kimura Kenkadō (1736-1802) was involved with, was published with an entry of that category. I aim to shed light on the nature of the salon culture that developed through the encounters between these Chinese intellectuals who came to Nagasaki from Qing China and Japanese artists and literati who journeyed to Nagasaki, meeting each other in the course of their travels.

長崎で描かれた肉筆の春画画帖を手掛かりに、制作の背景を探ることで、長崎を拠点としサロンのありようを検証していく。

「長崎肉筆春画帖」は 9 枚の春画が貼り込まれた画帖である。巻頭に 2 名の序があり、春画が一丁ごとに貼られ、見開きの左に春画、右に詩文という構成をとる。序と詩文の筆者はすべて別々の人物であるが、春画は無款ながら同一の長崎派絵師によるものと考えられる。文の款記から文化８年（1811）春の制作とわかる。

序と詩文の筆者は、序２名と詩文９名、合計 11 名が、すべて長崎に寄港した清の船の関係者であることが判明した。11 名のうち 8 名が船主、2 名が財副という役職にあった。財副とは積荷の管理をはじめとする貿易取引の対処、航海日記を記す重要な役職である。

発表ではまず文化８年の長崎で、春画を介したどのような繋がりがあったのかを、序と詩文の筆者を中心に考証を進める。彼らを介した人的ネットワークの在り方や、日本の文人たちとの交遊に視野を広げ、日清にまたがるサロンの広がりの一端を辿っていきたい。

例えば序を揮毫した銭位吉と春画第 5 図に詩文を寄せた張秋琴は、大田南畝との親密な交遊が

知られる。巻頭の序を記した楊西亭は頼山陽、第 1 図に詩文を寄せた劉培原は頼杏坪との交遊が知られる。日本の文人たちは長崎へ赴き、唐人屋敷を訪ね、韻を踏まえた詩を交わし、筆談し、酒宴を楽しんだ。その相手は、官僚や高僧などではなく、貿易のために長崎に来航した学識高い清の船乗りたちであった。

安永６年（1777）に刊行され、木村蒹葭堂も補訂者として関わった『元明清書画人名録』に「清人来舶」の項目が立てられ、それが「来舶清人」が概念化された早い例であると指摘される。「来舶清人」すなわち清から長崎に来航した学識者と、長崎を目指して旅した日本の文人が、互いに旅するなかで出会い、培ったサロンのありように光をあてたい。

動画　(要パスワード)