从文言、小文到国字解:《欧苏手简》在日本的受容与变容

The Reception and Variations of Letters of Ouyang Xiu and Su Shi in Japan

《欧苏手简》于国内传藏极少,在日本却有广泛的传播,且具有重刻本、续编本、笺注本及国字解本等多种样态。早期的正保本与天明本,与古籍在中国内部的递传轨迹带有同步性,传刻与变异局限于文献学层面,更深层的文化交涉未及展开。之后竺常根据手简的文体与功能,揭发了《欧苏手简》的过渡性受容特征,提出了日本文章学中特有的“小文”范畴,使之成为化约经典的典型作品。与此同步,日人文化本土意识兴起,汉籍和化倾向加强,《欧苏手简》也因训读法的使用而使普及层面得以下移,大槻东阳与西川执的注释本由此应运而生。当汉籍中的异质文化要素进一步剥离,文言最终以国字解的形式呈现时,《欧苏手简》也就完成了受容的最重要步骤,从而融入日本文化当中。《欧苏手简》从中华文化的客观传达,进而转为日人的好尚择取,最后则融入其本土文化,鲜明地呈现了日本汉学的发展流向。《手简》以其完备的版本与传播样态,成为汉籍汉学化的生动面相。

Letters of Ouyang Xiu and Su Shi is rarely seen in China, but widely spread in Japan with various forms, such as reprinted edition, continued edition, annotated edition and Japanese-character interpretation edition. The transmission of early versions, Shōhō and Tenmei editions, paralleled that of ancient books in China, without intensive intercultural exchanges. Later, Jikujo resorted to the literary style and function of Letters to put forward a unique concept of essay in Japanese prose theory, making Letters a typical reduction of classics. At the same time, with the rising consciousness of Japanese culture and Nipponization of Chinese classics, the popularity of Letters increased, and the annotated versions by ōtsuki Seishi and Nishikawa Bunchū emerged. When the heterogeneous cultural elements in Letters were further stripped away and classical Chinese was replaced by Japanese-character interpretation, it was finally integrated into Japanese culture. The versions and dissemination of Letters exemplifies how Chinese classics participated in the development of sinology in Japan.