Abstract: “Washū” refers to expressions in Japanese Chinese-style poetry and prose that exhibit Japanese characteristics. The discourse on “Washū” in the Edo period originated with Ogyū Sorai. Subsequently, scholars such as Yamamoto Hokuzan, Amamori Gyūnan, Amamori Hōshū and Nakai Chikuzan engaged in debates from their respective perspectives, building upon Sorai's ideas. Hatanaka Taichū enriched the connotation of “Washū” by proposing the idea of “aesthetic-oriented Washū.” In contrast, Kiyota Tansō and Miura Baien expressed a rejection of both the term “Washū” and the critical mindset associated with it. From the 19th century onward, the criticism of “Washū” in Edo-period Sinographic literary discourse gradually diminished, shifting toward an equal comparison of Chinese and Japanese literature and culture. The evolution of the concept of “Washū” reflects the increasing cultural subjectivity of Japanese literati, and mirrors broader intellectual and cultural changes in Edo society as seen within the domain of Sinographic literary studies.

Key words: Washū, Edo-period Chinese literature, self-other cognition, cultural subjectivity

摘要： “和习”是日本人创作汉诗文时受日本文化影响产生的特殊表达。江户“和习”论肇始于荻生徂徕,此后山本北山、雨森牛南、雨森芳洲、中井竹山诸家基于徂徕的和习论,从各自立场展开辩驳。畑中太冲则以“趣向之和习”丰富了“和习”的内涵。清田儋叟和三浦梅园则对“倭习”称谓及“和习”批判思维表现出拒斥。19世纪以降,江户汉文学批评中的和习批判逐渐淡化,转向对中日两国文学与文化的平等比较。江户“和习”观的嬗变既反映了日本文人文化主体意识的逐渐增强,也是江户社会思想文化变迁在汉文学领域的映射。

关键词: 和习, 江户汉文学, 自他认识, 文化主体意识