Influence and transformation of Aesop's Fables in Japan

在欧洲文艺复兴文化中，《伊索寓言》在欧洲文艺复兴文化中被广泛接受，主要是通过施泰因哈维尔的版本（1447）及其之后的许多版本。他们在耶稣会的教育体系中扮演了重要的角色。他们于16世纪末被引入日本，并敦促出版日文《Isopo no fabulas》和《Isopomonogatari》。它们的来源不仅是西班牙语版的施泰因哈维尔的《伊索寓言》，还包括多罗皮乌斯的《伊索寓言》和其他道德故事。江户时代，西洋画家柴柴可庵受荷兰《伊索寓言》的影响，以徽书的形式进行创作。

In the culture of European Renaissance, Aesop's Fables were largely accepted in the culture of European Renaissance, mainly through Schteinhavel's edition (1447) and its following many editions. And they played an important role in the educational system of the Jesuits. They were introduced into Japan in the end of 16th century and urged to publish "Isopo no fabulas" and "Isopomonogatari" in Japanese. Their sources were not only the Spanish versions of Schteinhavel's Aesop, but also Doropius'Aesop and other moral stories. In the Edo period, Shiba Kokan, a western-typed painter, worked under the influence of the Dutch Aesop's Fables of Joost van Vondel in the form of emblem book.