泉鏡花と近世絵画の意匠

―文様的想像力の形成と展開―

抄録

　As often suggested, but not clearly shown, the designs and imagery of the Edo period had much influence on Izumi Kyôka’s literature. The purpose of this study is to investigate the influence of Edo ornamental patterns (monyô) on his works and to examine the role of ornamental motifs found in his literary imagination.

　First, I analyze his novel Kusa meikyû (The Grassy Labyrinth), in its historical context, and trace the formation of his ornamental imagination. Against realistic naturalist trends in the 1900’s, he tried to establish another naturalist style which would not eliminate what he saw as the ornamental symbolism found in nature. As my analysis shows, his “ornamental imagination” introduced two Edo botanical patterns into this work, creating Kyôka’s own ornamental naturalist style.

　I describe the development of this ornamental naturalist style in his novels, Sirobana no asagao (The White Morning Glories) and Kiku awase (The Chrysanthemum Contest). In these works, Kyôka uses white spherical images. These ornamental images become metaphors for woman’s breasts, a full moon, and chrysanthemum patterns designed by Ogata Kôrin (1658-1716).

　In the course of my argument, it should become clear that Kyôka devoted himself to introducing Edo ornamental patterns into his literature, and that we find this first in Kusa meikyû.