Three Kingdoms And Three Kingdoms In Japan

Being based on the spreading and development of the romance of the Three Kingdoms from China to Japan, this dissertation focuses on the introduction of the original Chinese Three Kingdoms Chronicles and The Romance of the Three Kingdoms to Japan and the emersion of flowing Japanese versions; what’s more, it also illustrates “the Three Kingdom complex” and the transmission in Japanese reedited versions, illustration versions, Yamota-e, and novels. Being combined with traditional operas and dramas, this dissertation demonstrates all the Three-Kingdom elements presented in Japanese Dolls and Kabuki, and the dramatic caricature, cartoons, TV plays, films and videos games as well.Taking the Japanese “Super Kabuki”- New Three Kingdoms Chronicles as a case study, this dissertation highlights the Three Kingdoms in Japanese eyes and its new variations according to the plot designs, characters, stages, and connotations, etc. Through a comparison between Japanese kabuki romances of the Three Kingdoms and the Chinese ones, this dissertation makes a deep research into the Japanese national culture and ethos embodied in its creative works. It also dates back to its origins and some other aspects. For the plot designs, New Three Kingdoms Chronicles I: Guan Yu was organized as the clue of the stories: “Yellow Turbans Uprising”, “Oath of the Peach Garden”, “the War of the Red Cliffs”, “the Yiling Battle”, among which, the biggest difference is that Liu Bei is designed as a female character and has a ridiculous romance with Guan Yu. In New Three Kingdoms Chronicles II: Kong Ming, the whole chapter is designed to be the main story: “Seven Release Meng Huo”, “Empty Castle Stratagem”, “ The Beheadal of Ma Shu in Tears”, “Rising from the Wuzhang Plains”, “Dead Kong Ming Scare Zhong Da to Death”, in which Zhuge Kongming’s love stories are included. The main content in New Three Kingdoms Chronicles III: The End is that after ZhuGe Kongming’s death, the young generation fight for peace and terminate the war. All the stories are unique: the protagonist Marquis of Xia, Ou Ling, was fabled; and there was scenes of love story between Ou Ling and Chun Qin. As for stage, the new characteristics are the modernization in language and music and the globalization in fighting scene and action. When discussing the connotation and main idea, the author of the thesis believes that The Romance of the Three Kingdoms concentrates on battles, military tactics, stratagem and royalty while New Three Kingdoms Chronicles focuses on “peace”, “love” and “dream”. The thesis proves that the significant motivations for Japanese to inherit the culture during Three Kingdom Period are that the various audiences looked for new creation, traditional female images in Japanese culture and the implement in marked innovation.When analyzing the adaptation of foreign culture in Japan, this dissertation gives prominence to “domestication” in re-explanation, re-creation and redevelopment in cultural inheritance.In the end, by analyzing different transmission modes of the tales of Three Kingdoms Period in Japan, the thesis concludes that the Chinese Three Kingdom culture in Japan has been different from the Chinese national culture(the plots and characters and so on have been varied gradually), and it has been adjusted to Japanese asthmatics and consciousness of cultural consumption. As a result, the Three Kingdom culture from China reproduced its Japanese model called Japanese Three Kingdom culture, during which the Chinese historical cultural heritage has engraved with Japanese image deeply. The innovative transmission mode in which Japanese combined new cultural carrier when protecting their own national culture provides a rather valuable reference from international communication and unification. Further more, it is also a unique view for deeper research and development in cross-culture.