A Comparative Study of the Relationship between Literature and Pictures in China, Korea, and Japan

从图像学的角度来看，Hayashi教授、Hikita教授、Higo教授和Watari副教授研究了佛教叙事文学。同样，德田教授和池泽讲师研究儒家叙事文学，分析文人画(中国式山水画)林教授和渡里副教授访问中国的大足、崇陵，并考察了宝顶山、北山等几个著名的石窟。他们都参加了大足石窟博物馆馆长郭翔先生的讲座。这促使林教授写了一篇关于Goshushoshirir的论文。Goshushoshirir是一幅五角形的佛教图画，画在一个圆圈里，展示着zther五界。Hinata教授在韩国学者和中国学者之间交流关于Jodoism的意见时，考察了Nigabyakudo(Jodoism绘画模式之一)的发展，并将日本和韩国的萨满教进行了比较。他研究了天眼水(天蜂衰老的五种症状)的叙事对《源氏物语》的影响。渡里副教授指出，塞诺川(儿童的边缘)显示了日本人对另一个世界的特殊思考，他说。德田从比较文学的角度考察了《二十四个孝道》，并从中日两个角度对其进行了分析。他还研究了这些插图。池泽讲师在中国拜访了杨州，那里曾住着那些被称为杨州八快的文人画家，他收集了文人画的材料进行研究。他研究中国诗歌、文人画和文艺工作者的精神，将三者之间的关系淋漓尽致。

From point of view of iconology Prof. Hayashi, Hikita, Higo, and Associate Prof.Watari tudied Buddhist narrative literature. Similarly Prof. Tokuda and Lecturer Ikezawa studied Confucian narrative literature, and analyzed the literary paintings (Chinese style landscape paintings)Prof. Hayashi and Associate Prof. Watari visited Dazu, Chongging in China, and surveyed several famous stone caves as Bao ding shan, Bei shan, etc.. They both attended a lecture by Mr. Guo Xiang Ying of the curator of the Dazu Caved Stone Museum. That led Prof.Hayashi to write a paper on Goshushoshirir (a five-cornered Buddhist picture in a circle showing the zther five worlds). Prof. Hinata investigated the development of Nigabyakudo (one of the patterns of Jodoism paintings) and compared the Shamanism of Japan with that of Korea as he exchanging views on Jodoism among Korean scholars and Chinise scholars. He investigated how the narrative of Tenningosui (the five symptoms of aging for heavenly beeings) influenced on The Tale of Genji.Associate Prof. Watari pointed it out that Sainokawara (the Children's Limbo) shows the paticular thought of the other world among the Japanese people, and heProf. Tokuda considered Nijyushiko (twenty-four stories of filial duty) from the point of view of the comparative literature and analyzed that from both Japanese and Chinese angles. He also studied those illustrations.Lecturer Ikezawa visited Yang zhou in China, where those literary painters who were called Yang zhou Ba quai used to live, and he collected materials of the literary paintings for study. He studied Chinese poetry, the literary paintings and the spirit of the literary artists, and he brought the tripartite relation among them into sharp relief.