فوجي وارا نو تيكا

بيانات شخصية
الميلاد	1162; اليابان
الوفاة	26 سبتمبر 1241 (78/79 سنة) كيوتو
مكان الدفن	Shōkoku-ji (en)
بلد المواطنة	اليابان
اللغة المستعملة	اليابانية
الاسم الديني	明静
الأبناء	Fujiwara no Tameie (en)
المهن	القائمة ... لغوي ; كاتب ; خطاط ; شاعر تانكا ; روائي
عمل عند	Kujō family (en)
أهم الأعمال	( القرن 13) Hyakunin Isshu (en) ;
أعمال في مجموعة	Reizei Family Shiguretei Library (en) ;

فوجي وارا نو سيدي، معروف أكثر باسم فوجي وارا نو تيكا^[3] (1241 -26 سبتمبر 1162)^[4] باحث ياباني وخطاط وناقد أدبي وروائي^[5] وشاعر وكاتب،^[6]^[7] عاش خلال أواخر فترة هييان وأوائل فترة كاماكورا. كان تأثيره هائلًا ويعتبر من أعظم الشعراء اليابانيين وربما السيد الأعظم لشعر الواكا،^[8] وهو نمط شعري قديم يتكون من خمسة أسطر و31 مقطعًا بالمجمل.

كانت أفكار تيكا النقدية حول تأليف الشعر مؤثرة للغاية ودرّست حتى أواخر فترة مييجي. ولد تيكا ليكون عضوًا ضمن قبيلة شعرية، فوالده الشاعر المعروف فوجي وارا نو شونزي. بعدما لفت تيكا نظر الإمبراطور المتقاعد غو-توبا (1198- 1183، 1239-1180)، بدأ مسيرته الطويلة المميزة متوسعًا في مجالات متعددة من المساعي الجمالية. كانت علاقة تيكا مع الإمبراطور غو-توبا علاقة ودية، الأمر الذي ساعد بداية في حصوله على عمولات لقاء تجميع مختارات أدبية، لكنه قاد لاحقًا إلى إبعاده عن بلاط الإمبراطور المتقاعد. ستسيطر موروثات تيكا وأفكاره على الشعر الياباني قرونًا بعد ذلك.^[9]

سيرة ذاتية

الولادة

ولد تيكا لفرع صغير وبعيد من فروع عشيرة أرستقراطية تابعة للبلاط، هي عشيرة فوجي وارا في عام 1162، وذلك بعد وقت من خسارة أوصياء فوجي وارا لأفضليتهم السياسية في البلاط الإمبراطوري خلال تمرد هوغين. سعى أفراد عشيرة فوجي خلف الرفعة والسلطة ضمن البلاط من خلال موالاتهم لعائلة ميكو هيداري، وعبر تخصصهم بالمساعي الفنية وخاصة الشعر. لم تكن تلك الأنواع من التخصصات أمرًا غير اعتياديًا، وذلك لأن فروع من العشائر الممتدة لم تكن في موقع يسمح لها بالتنافس مباشرة ضمن قطاع السياسة مع الفرع الرئيس للعشيرة (أو بالأحرى مع عشائر أخرى، وذلك بسبب مكانتها الأدنى)، لكن كان بإمكانها أن تنافس ضمن مجالات جمالية أكثر تقييدًا. (عائلة ميكو هيداري، معروفة أيضًا باسم ميكو، هي فرع أصغر من فروع فوجي وارا، من خلال الابن السادس لفوجي وارا نو ميشيناغا، وفوجي وارا نو نيغي (1064-1005)، تحالفت هذه العائلة نفسها مع فرع كوجو الأكبر المنحدر من فرع فوجي وارا الأصلي، الذي عارض عائلة روكوجو).^[10]

كان الشاعر الموقر فوجي وارا نو توشيتادا جدًا لتيكا. أما والده فهو الشاعر المعروف والمحترم إلى حد كبير فوجي وارا نو شونزي (1204-1114)، الذي جمع المختارات الأدبية الإمبراطورية السابعة من شعر واكا (سينزاي واكاشو). ستصبح ابنة أخته أيضًا شاعرة مرموقة لشعر الواكا والرانغا، تعرف باسم ابنة كانغوسين أو ابنة شونزي، ولقد سعت أحيانًا للحصول على نصائح شعرية. أما شقيقه الأكبر فوجي وارا نو ناريي (أحيانًا يلفظ الاسم رومانيًا «ناري») سيصبح ناجحًا إلى حد ما في هذا المجال ولكن ليس بقدر ابنة أخته. والقس جاكورين أو «ساداناغا» نحو (1202-1139) وهو أخ تيكا بالتبني، سينجح في مجال الشعر أيضًا على الرغم من أن مسيرته كانت قصيرة بشكل مأساوي، وكان والد تيكا شونزي قد تبنى جاكورين بعد أن اعتزل شقيقه الأصغر الحياة ليصبح ناسكًا.^[11]

المهنة

كانت أهداف تيكا بوصفه الذكر الأكبر ضمن فرع العائلة أن يرث ويعزز موقع والده في مجال الشعر، وأن ينمي ويطور سمعته الخاصة (وبالتالي تحسين الثروات السياسية للعشيرة في البلاط الملكي). في الوقت الذي اتسمت فيه حياة تيكا بالمرض المتكرر والانتقال الكبير للثروات بشكل جزئي فقط وذلك بسبب تأثير والده طويل الأمد في البلاط الملكي (سيعيش شونزي إلى سن 90)، إلا أن رعاية الإمبراطور المتقاعد غو-توبا الشاب والميال للشعر، قادت إلى بعض أعظم نجاحات تيكا.^[12]

رعاية غو-توبا

أعلن الإمبراطور المتقاعد غو-توبا في العام الثاني من تنازله عن الحكم (1200، العام الثاني من فترة شوجي) عن إقامته لمسابقة شعرية. غالبًا ما أصبح الأباطرة المتقاعدون أكثر نفوذًا بعد تقاعدهم من المكتب الإمبراطوري، من الإمبراطور نفسه، وذلك لأنهم تحرروا من المتطلبات الاحتفالية المقيدة للغاية ومن سياسات البلاط الملكي. كان جو-توبا في العشرين من عمره عندما اعتزل الحكم، وكان هاويًا من الطراز الأول وماهرًا في عزف العود، واعتبر مرجع ثقة في التعلم التقليدي وسابقة في هذا المجال. تميز أيضًا في لعبة غو، وكان من هواة مساعي الفروسية مثل جماعة الرماة من على ظهور الخيل وإطلاق النار على الكلاب الجارية والمبارزة.^[13]

نظر غو-توبا إلى كل هذه المساعي على أنها هوايات، يمارس أحدها أحيانًا ويدع الأخرى. واحدة من هذه الاهتمامات كانت دعمه للشعر وخصوصًا شعر الواكا. صرح غو-توبا مباشرة بعد اعتزاله الحكم عن إقامة مسابقتي شعر، تتطلب كل واحدة منهما عددًا من الشعراء البارزين ليؤلفوا نحو 100 بيت من شعر الواكا في سياق تقدمي موضوعي خاص يعرف بأسلوب هياكوشو من تسلسل القصائد. اعتبرت المسابقة الأولى (غو-توبا إن شودو هياكوشو، «سلسلة أول مئة قصيدة للإمبراطور السابق غو-توبا») سلسلة سياسية هامة، فإذا أثارت قصيدة العشيرة إعجاب الإمبراطور غو-توبا القوي و(الشاب)، ستنال العشيرة بذلك حظوة معتبرة.^[14]

المراجع

^ مذكور في: الموسوعة الروسية العظمى. مُعرِّف الموسوعة الروسية العظمى (GREO): 4724988. باسم: ФУДЗИВА́РА ТЭ́ЙКА. الوصول: 17 يناير 2021. الناشر: الموسوعة الروسية العظمى، جسك. لغة العمل أو لغة الاسم: الروسية. تاريخ النشر: لا قيمة.
^ ^ا ^ب مذكور في: موسوعة بريتانيكا على الإنترنت. مُعرِّف موسوعة بريتانيكا على الإنترنت (EBID): biography/Fujiwara-Sadaie. باسم: Fujiwara Sadaie. الوصول: 17 يناير 2021. لغة العمل أو لغة الاسم: الإنجليزية.
^ "Sadaie" and "Teika" are both possible readings of 定家; "...there is the further problem, the rendition of the name in romanized form. Teika probably referred to himself as Sadaie, and his father probably called himself Toshinari, but the Sino-Japanese versions of their names were used by their contemporaries, and this practice is still observed." pg 681–692, note 2 of Seeds in the Heart: Japanese Literature from Earliest Times to the Late Sixteenth Century, دونالد كين. 1999, Columbia University Press, (ردمك 0-231-11441-9)
^ Fujiwara Sadaie على موسوعة بريتانيكا
^ "During his last years Teika seems to have composed little poetry, but he was otherwise engaged in copying manuscripts, especially of the major works of Heian literature. It is not much of an exaggeration to say that what we know of the literature of Teika's day and earlier is mainly what he thought was worthy of preservation" pg 673–674 of Seeds in the Heart.
^ "The high quality of poetic theory (karon) in this age depends chiefly upon the poetic writings of Fujiwara Shunzei and his son Teika. The other theorists of tanka writing, stimulated by father and son either to agreement or disagreement, contributed also toward the high level of poetic theory, but we may say that Shunzei and Teika were most representative of the age." This quote is sourced to Odagiri Hideo in pg 10 of his "Nihon ni okeru bungei hyōron no seiritsu" (The Rise of Art Criticism in Japan), pub. by Geijutsuron-shū ("Collection of Discussions of Art"), Tokyo 1962; see Shun'ichi H. Takayanagi's review of Japanese Court Poetry by Robert H. Brower and Earl Miner in Monumenta Nipponica, Vol. 18, No. 1/4. (1963), pp. 352–364. [1] نسخة محفوظة 2023-04-09 على موقع واي باك مشين.
^ It is generally believed that Teika wrote the Tale of Matsura
^
"The single most influential figure in the history of Japanese classical poetry, Fujiwara no Teika (or Sadaie) 1162–1241, was the supreme arbiter of poetry in his day, and for centuries after his death was held in religious veneration by waka and renga poets alike." Robert H. Brower. Monumenta Nipponica, Vol. 40, No. 4. (Winter, 1985), pp. 399–425. [2]).
- Charles Murray, in his Human Accomplishment, ranks Teika as the 17th most influential figure in all of Japanese literature based on his analysis of academic research on Japanese literature. "Fujiwara no Teika....is one of the four greatest Japanese poets. The son of Shunzei, Teika lived to an advanced age constantly plagued by both recurring illness and reverses and advances in his family's fortunes. Similarly, his poetry and critical writings also underwent a series of changes in the course of his life, leaving behind the most substantial and intense poetic legacy by a single poet in Japanese history."[3] نسخة محفوظة 24 سبتمبر 2015 على موقع واي باك مشين.
- "Teika's unique reputation rested in part upon his accomplishment as the leading figure among the many fine poets of the Shinkokin Jidai, the period of fifty-odd years in the late twelfth and early thirteenth centuries when revival and innovation in the native poetry were exemplified in Shin Kokinshū, c. 1204, the eighth, and in many respects the greatest, of the imperially sponsored anthologies of classical verse. As one of the six compilers of the anthology, and with forty-six of his poems included in it, Teika stood at the forefront of the younger and more innovative poets of his day, and his various experiments with diction, rhetoric, and figurative language, as well as with new styles, modes, and aesthetic effects, were widely imitated by his contemporaries. After his death, his quarreling descendants were recognized as the ultimate authorities on all poetic matters, and through them Teika's influence pervaded six hundred years of Japanese poetic history." Extract from "Fujiwara Teika's Maigetsusho" by Robert H. Brower, Monumenta Nipponica, Vol. 40, No. 4. (Winter, 1985), pp. 399–425.
- دونالد كين writes, "...is the diary of Fujiwara Teika (1162–1241), a man equally celebrated as poet, critic, and editor." pg 95, Keene 1989
^ pg 7 of Brower 1972
^ pg 410, Keene 1989
^ pg 27 and 47 of Brower 1972
^ "The decision was vital to the position and future status of Teika in particular, affording an opportunity to establish contact and ingratiate himself with the powerful ex-sovereign and to demonstrate his poetic prowess to the discomfiture of his enemies. One hesitates to make such a sweeping statement as that the course of Japanese classical poetry would have been forever altered had Teika been shunted aside at this juncture to eke out the remainder of his days in wretched obscurity...[but] one may be excused for thinking his inclusion in the Shoji sequences more than a mere ripple on the surface of literary history." pg 10 of Fujiwara Teika's Superior Poems of Our Time, trans. Robert H. Brower, Earl Miner. 1967, Stanford University Press, L.C. 67-17300, (ردمك 0-8047-0171-7)
^
Minamoto Ienaga also writes:
«Letting the radiance of his power and majesty shine forth unobscured, at the same time he amused himself with every variety of art and accomplishment. In all of these he was second to none, so that people wondered when and how he had gained such proficiency....For his part, the ex-sovereign showed an interest in every accomplishment, even those which seemed of the most trivial and insignificant kind, so that all sorts of people who had any claim to knowledge of these matters were summoned to his presence, where, it appears, they could petition freely for his favor.»
- pg 9 of Brower 1972
- See also pg 14: "Go-Toba, on the other hand, while appreciating the need for discipline and practice, remained throughout his life the grand dilettante – man who in his own way appreciated and loved poetry, but who never ceased to regard it as a kind of elegant pastime. Such an attitude is implicit in the ex-emperor's flitting from hobby to hobby, and it is, as his poetic treatise illustrates, at the heart of his critical differences with Teika."
^ pg 16 of Brower 1972

[ddfdc5d95c29304b3be1ea415950c7cfc69c1d66-1] مذكور في: الموسوعة الروسية العظمى. مُعرِّف الموسوعة الروسية العظمى (GREO): 4724988. باسم: ФУДЗИВА́РА ТЭ́ЙКА. الوصول: 17 يناير 2021. الناشر: الموسوعة الروسية العظمى، جسك. لغة العمل أو لغة الاسم: الروسية. تاريخ النشر: لا قيمة.

[1815fa31b1b6286fe973d68eef3818eaa162f263-2] ا ^ب مذكور في: موسوعة بريتانيكا على الإنترنت. مُعرِّف موسوعة بريتانيكا على الإنترنت (EBID): biography/Fujiwara-Sadaie. باسم: Fujiwara Sadaie. الوصول: 17 يناير 2021. لغة العمل أو لغة الاسم: الإنجليزية.

[teika-real-name-3] "Sadaie" and "Teika" are both possible readings of 定家; "...there is the further problem, the rendition of the name in romanized form. Teika probably referred to himself as Sadaie, and his father probably called himself Toshinari, but the Sino-Japanese versions of their names were used by their contemporaries, and this practice is still observed." pg 681–692, note 2 of Seeds in the Heart: Japanese Literature from Earliest Times to the Late Sixteenth Century, دونالد كين. 1999, Columbia University Press, (ردمك 0-231-11441-9)

[4] Fujiwara Sadaie على موسوعة بريتانيكا

[copyist-5] "During his last years Teika seems to have composed little poetry, but he was otherwise engaged in copying manuscripts, especially of the major works of Heian literature. It is not much of an exaggeration to say that what we know of the literature of Teika's day and earlier is mainly what he thought was worthy of preservation" pg 673–674 of Seeds in the Heart.

[teika-as-critic-6] "The high quality of poetic theory (karon) in this age depends chiefly upon the poetic writings of Fujiwara Shunzei and his son Teika. The other theorists of tanka writing, stimulated by father and son either to agreement or disagreement, contributed also toward the high level of poetic theory, but we may say that Shunzei and Teika were most representative of the age." This quote is sourced to Odagiri Hideo in pg 10 of his "Nihon ni okeru bungei hyōron no seiritsu" (The Rise of Art Criticism in Japan), pub. by Geijutsuron-shū ("Collection of Discussions of Art"), Tokyo 1962; see Shun'ichi H. Takayanagi's review of Japanese Court Poetry by Robert H. Brower and Earl Miner in Monumenta Nipponica, Vol. 18, No. 1/4. (1963), pp. 352–364. [1] نسخة محفوظة 2023-04-09 على موقع واي باك مشين.

[tale-7] It is generally believed that Teika wrote the Tale of Matsura

[greatness-8] "The single most influential figure in the history of Japanese classical poetry, Fujiwara no Teika (or Sadaie) 1162–1241, was the supreme arbiter of poetry in his day, and for centuries after his death was held in religious veneration by waka and renga poets alike." Robert H. Brower. Monumenta Nipponica, Vol. 40, No. 4. (Winter, 1985), pp. 399–425. [2]).
Charles Murray, in his Human Accomplishment, ranks Teika as the 17th most influential figure in all of Japanese literature based on his analysis of academic research on Japanese literature. "Fujiwara no Teika....is one of the four greatest Japanese poets. The son of Shunzei, Teika lived to an advanced age constantly plagued by both recurring illness and reverses and advances in his family's fortunes. Similarly, his poetry and critical writings also underwent a series of changes in the course of his life, leaving behind the most substantial and intense poetic legacy by a single poet in Japanese history."[3] نسخة محفوظة 24 سبتمبر 2015 على موقع واي باك مشين.

"Teika's unique reputation rested in part upon his accomplishment as the leading figure among the many fine poets of the Shinkokin Jidai, the period of fifty-odd years in the late twelfth and early thirteenth centuries when revival and innovation in the native poetry were exemplified in Shin Kokinshū, c. 1204, the eighth, and in many respects the greatest, of the imperially sponsored anthologies of classical verse. As one of the six compilers of the anthology, and with forty-six of his poems included in it, Teika stood at the forefront of the younger and more innovative poets of his day, and his various experiments with diction, rhetoric, and figurative language, as well as with new styles, modes, and aesthetic effects, were widely imitated by his contemporaries. After his death, his quarreling descendants were recognized as the ultimate authorities on all poetic matters, and through them Teika's influence pervaded six hundred years of Japanese poetic history." Extract from "Fujiwara Teika's Maigetsusho" by Robert H. Brower, Monumenta Nipponica, Vol. 40, No. 4. (Winter, 1985), pp. 399–425.

دونالد كين writes, "...is the diary of Fujiwara Teika (1162–1241), a man equally celebrated as poet, critic, and editor." pg 95, Keene 1989

[9] Charles Murray, in his Human Accomplishment, ranks Teika as the 17th most influential figure in all of Japanese literature based on his analysis of academic research on Japanese literature. "Fujiwara no Teika....is one of the four greatest Japanese poets. The son of Shunzei, Teika lived to an advanced age constantly plagued by both recurring illness and reverses and advances in his family's fortunes. Similarly, his poetry and critical writings also underwent a series of changes in the course of his life, leaving behind the most substantial and intense poetic legacy by a single poet in Japanese history."[3] نسخة محفوظة 24 سبتمبر 2015 على موقع واي باك مشين.

[10] "Teika's unique reputation rested in part upon his accomplishment as the leading figure among the many fine poets of the Shinkokin Jidai, the period of fifty-odd years in the late twelfth and early thirteenth centuries when revival and innovation in the native poetry were exemplified in Shin Kokinshū, c. 1204, the eighth, and in many respects the greatest, of the imperially sponsored anthologies of classical verse. As one of the six compilers of the anthology, and with forty-six of his poems included in it, Teika stood at the forefront of the younger and more innovative poets of his day, and his various experiments with diction, rhetoric, and figurative language, as well as with new styles, modes, and aesthetic effects, were widely imitated by his contemporaries. After his death, his quarreling descendants were recognized as the ultimate authorities on all poetic matters, and through them Teika's influence pervaded six hundred years of Japanese poetic history." Extract from "Fujiwara Teika's Maigetsusho" by Robert H. Brower, Monumenta Nipponica, Vol. 40, No. 4. (Winter, 1985), pp. 399–425.

[11] دونالد كين writes, "...is the diary of Fujiwara Teika (1162–1241), a man equally celebrated as poet, critic, and editor." pg 95, Keene 1989

[go-toba-reign-9] 7 of Brower 1972

[sister-10] 410, Keene 1989

[foster-brother-11] 27 and 47 of Brower 1972

[gotoba-crucial-12] "The decision was vital to the position and future status of Teika in particular, affording an opportunity to establish contact and ingratiate himself with the powerful ex-sovereign and to demonstrate his poetic prowess to the discomfiture of his enemies. One hesitates to make such a sweeping statement as that the course of Japanese classical poetry would have been forever altered had Teika been shunted aside at this juncture to eke out the remainder of his days in wretched obscurity...[but] one may be excused for thinking his inclusion in the Shoji sequences more than a mere ripple on the surface of literary history." pg 10 of Fujiwara Teika's Superior Poems of Our Time, trans. Robert H. Brower, Earl Miner. 1967, Stanford University Press, L.C. 67-17300, (ردمك 0-8047-0171-7)

[amateur-13] Minamoto Ienaga also writes:
«Letting the radiance of his power and majesty shine forth unobscured, at the same time he amused himself with every variety of art and accomplishment. In all of these he was second to none, so that people wondered when and how he had gained such proficiency....For his part, the ex-sovereign showed an interest in every accomplishment, even those which seemed of the most trivial and insignificant kind, so that all sorts of people who had any claim to knowledge of these matters were summoned to his presence, where, it appears, they could petition freely for his favor.»

pg 9 of Brower 1972

See also pg 14: "Go-Toba, on the other hand, while appreciating the need for discipline and practice, remained throughout his life the grand dilettante – man who in his own way appreciated and loved poetry, but who never ceased to regard it as a kind of elegant pastime. Such an attitude is implicit in the ex-emperor's flitting from hobby to hobby, and it is, as his poetic treatise illustrates, at the heart of his critical differences with Teika."

[17] 9 of Brower 1972

[18] See also pg 14: "Go-Toba, on the other hand, while appreciating the need for discipline and practice, remained throughout his life the grand dilettante – man who in his own way appreciated and loved poetry, but who never ceased to regard it as a kind of elegant pastime. Such an attitude is implicit in the ex-emperor's flitting from hobby to hobby, and it is, as his poetic treatise illustrates, at the heart of his critical differences with Teika."

[and-god-hardened-his-heart-14] 16 of Brower 1972

[1]

[2]

[3]

[4]

[5]

[6]

[7]

[8]

[9]

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[14]

ضبط استنادي
دولية	المُعرِّف مُتعدِّد الأوجه (FAST) الاسم المعياري الدولي (ISNI) ملف الضبط الاستنادي الافتراضي الدَّولي (VIAF) مركز المكتبة الرقمية على الإنترنت (WC Entities)
وطنية	نظام الضبط الاستنادي النرويجي (BIBSYS) المكتبة القومية الإسبانية (BNE) المكتبة الوطنية الفرنسية (BnF) الملف الاستنادي المتكامِل (GND) المكتبة القومية الإسرائيلية (J9U) مكتبة الكونغرس (LCNAF) مكتبة البرلمان القومي الياباني (NDL) قاعدة البيانات الوطنية التشيكية (NLCR AUT) المكتبة القومية الأسترالية (NLA) المكتبة القومية الكوريَّة (NLK) المكتبة الوطنية في زغرب (NSK) المَكنز الوطني للمؤلِّفين (NTA) المكتبة القومية في بولندا (NLP)
بحثية	مُتصفِّح المعلومات الأكاديمية "سيني" (CiNii)
فنية	موسوعة ميوزيك برينز (MBA) قائمة الاتحاد لأسماء الفنانين (ULAN)
تراجم	الفهارس الألمانية (DtBio) نفائس المكتبة القومية الأسترالية (NLA Trove)
أخرى	الشبكات الاجتماعية ونظام المحتوى المؤرشف (SNAC Ark) النظام الجامعي للتوثيق (IdRef)