Dialogue to the Future: Interviews with a New Generation of Researchers in the AJI

Seventh Interview

Interview with Dr. JIN Chunyu

Interviewer: Thank you, Dr. Jin Chunyu, for allowing us time for this interview. Let me start with the first question: Could you tell me what led you to decide on a career as a researcher?

Jin Chunyu: Thank you for your question. First of all, in Japan, there are not many researchers of Ci poetry, so we cannot say there are many previous studies. Furthermore, conducting systematic preliminary research to categorize basic materials is crucial for further research development. For me, pioneering research on Ci poetry in China and Japan is challenging but quite rewarding. During my time in graduate school, I gained valuable skills that were crucial for my research, including the ability to conduct thorough literature reviews and accurately interpret primary sources. These achievements encouraged me to pursue a Ph.D. and ultimately led me to my current position as a university researcher at the Asia-Japan Research Institute of Ritsumeikan University. I am fortunate that this institute not only enhances researcher abilities, but also engages in international academic exchange beyond my field. Being a part of this international environment has allowed me the opportunity to work together with experienced researchers in various fields at the Institute. This is a privileged space, I’d say, to gain new ideas and findings. These experiences have further motivated me to pursue a career in research.

―― Thank you very much. I think you are right. Indeed, having a suitable environment and network to continue researching after completing a Ph.D. is very important. Next, could you tell us about your research focus. You specialize in Chinese literature, particularly in the Song Dynasty. I am curious about what Ci (詞) Poetry is. And what attracts you to it?

Jin Chunyu: Thank you for asking that. Well, Ci was originally described as lyrics written specifically for a melody, usually intended for singers to perform. And Ci is also called various names such as shi-yu (詩余), qu-zi-ci (曲子詞), chang-duan-ju (長短句), or gafu (楽府). Imagine a Japanese traditional performance like kabuki (歌舞伎) or maiko (舞子). When these performers dance, songs like hauta (端唄) or nagauta (長唄) are played and sung for dances. Specifically speaking, in China, literary history is often periodized like “chu ci (楚辞), han fu (漢賦), liu chao pian wen (六朝駢文), Tang shi (唐詩), Song ci (宋詞), yuan qu (元曲), and Ming Qing xiaoshuo (明清小説).” And among them, I chose the Ci, which flourished during the Song dynasty, as my main subject. Additionally, Emperor Saga created Ci as early as the early Heian period (794-1185) in Japan, which is called “tenshi (填詞).” As for the attraction of Ci, well, I think it lies in the diversity of its forms. For instance, Tang poetry follows a consistent structure of either five or seven syllables per line, whereas Ci poetry varies more freely. Moreover, literary figures such as Su Dongpo (蘇東坡, 1037-1101), Li Qingzhao (李清照, 1084-1155), and Lu You (陸游, 1125-1210) have left timeless masterpieces that are still read, recited, and even reinterpreted to music by modern people. The allure of Ci poetry lies in its time-tested ability to endure for over a thousand years without losing its appeal.

――Wow, it must have an amazing quality to have retained its charm for such a long time! But, what lead you to this research about Ci? Could you explain more about it?

Jin Chunyu: During my high school years, I developed an interest in the poetry of Su Dongpo and Lu You. After studying in Japan, I became fascinated with questions such as how the Japanese literary community received Ci, and what sorts of Ci records were available. To explore the best of Ci poetry in Japan, I enrolled in Ritsumeikan University’s Graduate School of Letters to conduct in-depth research on these questions. During my academic path, I had the privilege of receiving guidance from two renowned professors - Professor Hiromichi YOSHIMURA, an expert in bibliography, and Professor Masaki HAGIWARA, a specialist in Ci poetry. Their instructions were really meticulous and detailed, as they taught me about the poetic records in China and Japan, the Chinese classics, the research methodology, and literature search methods. My interest in Ci poetry dates back to high school, and it continued to grow under the guidance and influence of my professors. This is why I chose this theme as my primary research topic.

―― How fortunate to have the opportunity to immerse yourself in research interests that you have held since high school and to have such excellent mentors! Now, you mentioned studying at Ritsumeikan University after coming from China. Can you share your experiences of research and studying in Japan?

Jin Chunyu: Well, although I am busy every day, I am really enjoying my life researching in Japan. Here, there are many cases when I cannot finish my thesis and have to meet deadlines. During my first semester in graduate school, I specialized in Chinese literature in the Japanese language department. My readings included books like Analects of Confucius, Shi ji (史記, The Records of the Grand Historian), “Jiminggoudao” in Mengchangjun lieyun (孟嘗君列伝; A Memoir of an Emperor Meng), and “Shang shan si hao” (商山四皓) in Japanese kun-yomi (訓読み) style. However, I had no prior knowledge of this style, and I still remember getting numbed from confusion, when I heard others reading it aloud. I never learned to read Chinese characters in kun-yomi at a Chinese university, so I worked hard to learn the Japanese style in graduate school. Later, during graduate school, I took the first steps towards my research career by focusing on problem awareness, research methods, and material research. But my real journey as a researcher began after I joined my current workplace, AJI. Here, I gained an understanding of the importance of reviewing my research from a broader perspective, beyond the limitations of my own area of expertise. I also learned how to consolidate my accumulated knowledge in my field of expertise. Looking back to my research path, “dedicating 99% effort and 1% inspiration” is crucial, I believe.

―― Thank you for sharing your experience. I appreciate your hard work and dedication towards your early research interests in Japan. Well, if you were to meet an international student who has recently arrived from China, what advice would you give them regarding their life, university studies, or graduate research?

Jin Chunyu: Well, let me see…I’d say, “When in Japan, do as the Japanese do.” I can understand that it is difficult to balance living and studying, but it is also a good opportunity. Living in a country with different customs and languages can be a source of personal growth. However, you cannot forget that it is essential to maintain good health while experiencing this growth. Also, it is also important to have effective communication with your supervisor regarding your graduate research. While improving research skills through personal effort is crucial, communication with your supervisor is equally important. In my personal experience, I have learned that it is important to acknowledge my ignorance and weaknesses, while focusing on utilizing my strengths in research. This approach helps me to overcome my weaknesses and improve my research skills.

―― I appreciate that you mentioned that important point, because in addition to concentrating on the development of your research skills, valuing your social skills, including the way you conduct your daily life and interact with your supervisors, is quite a crucial factor not only for international students but for all graduate students. Now, I would like to ask you about the Sinographic culture in East Asia, as you also conduct research about the spread of Chinese classics to Korea. As you speak Korean as well as Japanese, what do you think about the commonalities and differences between Chinese, Korean, and Japanese?

Jin Chunyu: First and foremost, we need to know the historical fact that the Sinographic culture in East Asia has developed thanks to the mediation of Chinese characters and Chinese books since ancient times. And in this process, intellectuals in Japan and Korea in the past used the methods such as kundoku (訓読) and Ǒnmun (언문, 諺文), respectively, to decipher the original Chinese books. Interestingly, composed texts with those methods includes a mixture of Chinese Sinographic culture and the vernacular culture. If you look at those languages, you can easily find quite similar pronunciations of words to Chinese ones, and Korean also has something similar to Japanese kunyomi (訓読).　Also, Japanese and Korean use a pretty similar word order. However, while Japan uses a lot of kanji characters, in Korea, when I visited there, Hangeul was everywhere, and you hardly see any kanji. But still, there are plenty of words that sound similar to kanji characters. In a nutshell, even after thousands of years and in today’s globalized world where we are absorbing foreign cultures, the influence of the kanji culture is still going strong in the background of the region.

――The history of the Sinographic culture is truly fascinating due to its coexistence with the uniqueness of each culture. This intrigues me very much, too. Could you tell me about your specific focus in your current research?

Jin Chunyu: Certainly. I am researching the importation of representative works by Chinese literati from the Jin, Yuan, and Ming dynasties, primarily their poetry collections, to Japan, and I am also investigating the publication of Japanese prints and the process of reception by Japanese Sinologists. During this research, I came across something fascinating. I mean, I discovered that the renowned Confucian scholar who once served as an official at the Shōheizaka Gakumonjo as a teacher of Confucianism, Sato Issai (佐藤一斎), had written six poetic compositions! Why is it an exciting finding? Because, in a book that I’ve read and enjoyed many times, written by Professor Kanda Kiichiro (神田喜一郎) titled Chinese Literature in Japan: A History of Chinese Poetry in Japan (I/II) (1965-1967, Nigen-sha), Sato Issai is referred to as a “stiff Confucian scholar.” I found it very interesting to discover that this apparently conservative Confucian scholar had connections with what could be considered an “unorthodox” form of poetry. When I analyzed the Chinese texts and the catalysts for his poetic compositions that Sato Issai referred to, I was able to reveal a more relaxed aspect of this “stiff Confucian scholar.”

——I can see your excitement! Examining the process of how Ci poetry was received in Japan allows us to cast a light on a particular individual beyond the confines of a “Japanese” intellectual and within the broader framework of the rich “Sinographic culture.” It is very intriguing. Now, can you tell us which part of your research do you find the most interesting at present?

Jin Chunyu: My research focuses on the “transmission of culture.” I am intrigued by how Chinese culture is being transmitted, and as a Chinese person, I find it fascinating to conduct this research in Japan. Moreover, classical Chinese literature in Japan has developed in unique ways, which is very interesting as well. Lately, I have been studying scholars of classical Chinese literature in Japan during the Edo and Meiji periods, examining the Japanese publication of prints of Chinese classics and their works. These Japanese-translated Chinese texts, accepted and annotated by Japanese scholars from ancient Chinese literature, are neither purely Chinese nor entirely Japanese in terms of culture. I think that is what makes it interesting.

―― Neither Chinese nor Japanese…rather it forms something “in-between.” That is so interesting. Indeed, I think the transmission of culture is not just about culture passing from one side to the other, as you mentioned.
OK. This is the last question. What plans do you have for the future?

Jin Chunyu: Well, currently, my plan is to clarify the connections in culture, mainly in Japan, China, and Korea, through the exchange of Chinese texts and literature in the Chinese cultural sphere. Through this, I aim to reevaluate the Sinographic cultural sphere with a broader perspective on the transmission and development of culture, and establish an objective historical and literary perspective. To do this, I am focusing on Chinese literature and dedicating efforts to studying Japanese and Korean classical Chinese literature.
In addition, I have actively presented at many academic conferences in recent years. I am conducting detailed research to further develop the content presented at these conferences and hope to turn the results into articles for a broader audience to read.

——Thank you. In March 2023, you published Chinese and Japanese Poetry and Ci: A Study of the “Yan Xi Ci” and the Reception of Chinese Ci Poetries by the Japanese (Hōyū Shoten), and furthermore, you have been quite active, even recently having The Reception of Ya Ci: The Expectations of Chinese and Japanese Literati for Song Ci translated into Chinese from Japanese. We look forward to your continued success! Thank you very much for your time today.