특집 : 세계문학의 패러다임과 한국고전시가의 보편적 가치 ; 고대 동아시아 문학 속의 향가 -향가와 『만엽집(萬葉集)』의 표기법과 가론(歌論)비교를 중심으로-

이연숙 ( Yeon Suk Lee ) 한국시가학회 2011 韓國 詩歌硏究 Vol.30 No.-

이 논문에서는 한국과 일본이, 동아시아 한자문화권 속에서 중국문화를 수용하고 변용한 방식과 특성을 밝히고자 향가와 일본의 『萬葉集』 작품의 한자 차용 표기, 歌論을 중심으로 하여 논하였다. 향가와 『萬葉集』 작품은 중국의 한자의 음훈을 차용한 향찰과 萬葉假名표기방식을 사용하였다는 점에서 공통성을 보이지만 萬葉假名에는 戱書가 있음에 비해 향가에는 이러한 표기가 없다는 점, 또 향가작품에는 1자 1음표기의 향찰 작품이 없고 우리말 어순에 충실한 표기를 하고 있고 音節末에 자음첨기를 하고 있으며, 소리에 사용되는 한자가 기능상 확연하게 구분되는 경우가 보이지 않음에 비해, 『萬葉集』에는 1자 1음 표기에 의한 작품이 많고, 한문식 표기도 하고 있으며 한자의 상형적 특징을 활용하여 시각적 효과도 중시하기도 했으며 같은 소리라 하더라도 구분되어 甲類, 乙類로 나뉘어 표기되고 있다는 점에서 차이가 있음을 논하였다. 한국과 일본은 중국의 『모시』 序등과 같은 중국의 시론을 언급하고 있지만 그대로의 수용이 아니라 자국의 노래에 대한 인식의 바탕 위에서 歌論을 말하고 있으며 향가의 경우는 천지귀신을 감동시키는 기능을 강조하면서 六義중에서 頌과 비교하여 언급하고 있는데 이것은 향가가 불교적 성격의 작품이 많아 종교성이 강할 뿐만 아니라 몽고 지배기였으므로 일연으로서는 그렇게 생각할 수밖에 없었던 것이겠지만 신라시대에는 향가의 교화적인 측면도 중시되었던 것임을 논하였다. 일본 『萬葉集』은 相聞·挽歌·雜歌라는 部立이나, 『시경』에서 사용된 단어의 사용 등으로 미루어 『시경』의 영향이 있었음을 알 수 있으며,『萬葉集』의 경우는 六義중에서 賦의 영향이 강하였는데 이는 천황제 등의 특성 때문이며 長歌와 反歌의 결합이라는 형식도 賦의 영향임을 논하였다. This paper discussed descriptive method and theory of poem of Hyang-ga focused on the comparison with Japanese 『Manyoshu(萬葉集)』 the in context of ancient east Asian literature. Main findings are as follow. First, Hyang-ga and works in Manyoshu have in common in that they used descriptive method of a pseudonym, borrowing the pronunciation and the meaning of Chinese character and then arranging the order to suit for their own word(i.e., Hyangchal and Manyogana). paper argued that Chinese character and Hyangchal-like descriptive method were transmitted from Baikje and Silla of Korea to Japan and that descriptive method of Hyang-ga affected Manyoshu`s pseudonym of Japan. The argument is based on the ground that doctors and technicians of Baikje transmitted Hyangchal-like descriptive method to Japan in mid-fifth century, Japanese monks studied in Silla, and that many of phonetical letter used in Hyang-ga coincide with pseudonymous use of Manyoshu`s works. Second, differences between Hyangchal and Manyogana are also found. Manyogana contains comic books since Manyoshu has a comic nature, while Hyang-ga does not. Hyang-ga does not have any Hyangchal work of one-letter-one-sound description, while Manyoshu have many such works. Hyang-ga works describe orderly to Korean words, while Manyoshu works use Chinese description jointly. Manyoshu utilized pictographic nature of Chinese letter and regarded visual effect in case of using Chinese sound. Hyang-ga adds a consonant at the end of a syllable, while Manyoshu does not. Third, aspects of theory of poem in Hyang-ga and Manyoshu are examined. Although both Korean and Japanese studies refer to Chinese literary theory like the book of 『Mosi』, Chinese affects are modified. In Korean case, Hyang-ga is referred to in comparison with a panegyric(頌). Monk Il-yeon inevitably thought this way because of that Hyang-ga, many of them are works of Buddhistic nature, has a strong religious nature and that the time was Mongolian dominative period. There is no reference on theory of poem in Manyoshu. A pseudonym of 『 Gokinwakashu(古今和歌集)』is affected from 『Book of Odes詩經』and 『Selection of Literary Works文選』. Use of words in Manyoshu and 『Book of Odes』 shows effects of 『Book of Odes』 on Manyoshu. It is therefore estimated that theory of poem in 『Book of Odes』 and 『Selection of Literary Works』 had influenced Manyoshu. Manyoshu contains many works of stressing both poetical prose and human relations between the ruler and the ruled, man and wife, and lovers. In formal aspect, Manyoshu affected to the form of the combination of Japanese Chouka and Hanka. These differences are attributed to the Japanese system of the Emperor.

향가와『萬葉集』작품의 표현 비교 연구 - 돈호법과 감탄사를 중심으로

이연숙 한국비교문학회 2009 比較文學 Vol.0 No.47

This paper examined the concept of god and characteristics of Korea and Japan poems in that an exclamation is significant point in Korean ancient poems like Hyang-ga while it is not treated significantly in Japan's Manyoshu. The findings are summarized as follow. First, Hyang-ga is classified into three categories: poems beginning with apostrophe, poems beginning with apostrophe and an exclamation, and poems beginning with an exclamation. Poems beginning with apostrophe are affected from incantatory structure of ancient poems. Second, apostrophe in Manyoshu are mostly used to praise or explain god. Commanding or incantatory contents are not found in Manyoshu. Third, an exclamation in Manyoshu is different from that in Hyang-ga not only in its location but also its usage of modifying following noun or of descriptive nature. Fourth, differences in apostrophe in Hyang-ga and Manyoshu are explained in terms of differences in the concept of god in Korea and Japan. Differences in exclamation are as follow: religious nature was strong in Korean poems. After religious contents disappear from the literature, lyricism rather than naturalistic description took the place of an exclamation dominantly and exclamation is used continuously in Korea. Japanese poems have the characteristics of dominance of naturalistic description, explanatory nature, development of makuragotoba and jogotoba, and separation of long and short poems. This paper examined the concept of god and characteristics of Korea and Japan poems in that an exclamation is significant point in Korean ancient poems like Hyang-ga while it is not treated significantly in Japan's Manyoshu. The findings are summarized as follow. First, Hyang-ga is classified into three categories: poems beginning with apostrophe, poems beginning with apostrophe and an exclamation, and poems beginning with an exclamation. Poems beginning with apostrophe are affected from incantatory structure of ancient poems. Second, apostrophe in Manyoshu are mostly used to praise or explain god. Commanding or incantatory contents are not found in Manyoshu. Third, an exclamation in Manyoshu is different from that in Hyang-ga not only in its location but also its usage of modifying following noun or of descriptive nature. Fourth, differences in apostrophe in Hyang-ga and Manyoshu are explained in terms of differences in the concept of god in Korea and Japan. Differences in exclamation are as follow: religious nature was strong in Korean poems. After religious contents disappear from the literature, lyricism rather than naturalistic description took the place of an exclamation dominantly and exclamation is used continuously in Korea. Japanese poems have the characteristics of dominance of naturalistic description, explanatory nature, development of makuragotoba and jogotoba, and separation of long and short poems.

『신센만요슈(新撰万葉集)』에 있어서 계절 표현의 방법- 『만요슈(万葉集)』의 계승과 선구적 양식화 -

박일호 한양대학교(ERICA캠퍼스) 일본학국제비교연구소 2023 비교일본학 Vol.58 No.-

『고킨와카슈』 이후의 가집 편찬의 규범적 형식이 된 사계절 분류는 바로 『신센만요슈』에 의해 정제된 형식으로 시도되고 그 양식적 기초를 갖추게 되었다. 사계의 시간적・미적 경계를 의식하며 이에 근거하여 와카 분류와 배치를 명확히 하는 ‘문예적 계절 분류 방법’의 선구적 양식화는 『신센만요슈』에 의해 이루어진다. 그리고 『신센만요슈』는 『만요슈』 이래의 전통적 계절어와 서경 표현을 이어받으면서, 이를 하나의 유형으로서 고정화하는 길을 열어 헤이안시대의 와카의 유형적 가어와 이지적 표현의 방법에 대한 선험적 길잡이가 되었다고 할 수 있다. 또한 전통적인 수사법인 마쿠라코토바의 시학적 종언이면서 동시에 변화의 시발점이 된 가집이 『신센만요슈』이며, 언어의 중층성에 근거하는 가케코토바는 『신센만요슈』에서는 이미 중심적 수사법으로서의 위상을 정립하고 있다. 물상과 심상 사이의 새로운 관계성을 발견하게 하며 그 이미지의 선명성을 강화하고 공감의 깊이를 더하는 미타테 또한 『신센만요슈』에 서는 가케코토바와 함께 중추적 수사법으로 활용되고 있다. 이와 같은 중층적 수사법과 의인화를 통해 구상성과 실재성을 넘어서는 관념적 음영을 만들어 내는 관념화의 방향은 헤이안 시대 와카의 방법적 중심이 되는데, 그 선구적 위상을 가지는 가집이 『신센만요슈』라고 할 수 있다. Seasonal classification has been a standardized form in compiling a collection of poems since Kokinwakashu. Also, its refined style contributes to building the base of stylization, which is attempted by Sinsen Manyoshu. In other words, the leading stylization in the literary seasonal classification methods is made by Sinsen Manyoshu. It helps to clarify the classification and arrangement of Waka, based on time and aesthetic boundary of four seasons. Furthermore, Sinsen Manyoshu has inherited traditional seasonal and scenery expressions in describing the poems since Manyoshu and it has also served as a leading guide to how the similar lyrics and intelligent expressions were made in Heian period. Sinsen Manyoshu is the origin of the change as well as the poetic closure of traditional rhetoric, Makurakotoba and also Kakekotoba, based on the semantic duplicity of language, is standing as a central rhetoric in Sinsen Manyoshu. Mitate makes us find the new relationship between physical and mental imagery in the poem, going further to enhance the vivid imagery and deepen the empathic understanding. Thus, It is also being used as a crucial rhetoric along with Kakekotoba in Sinsen Manyoshu. For such a reason, the direction of ideation, which became a methodical center of Waka during Heian period, creates ideological shadowy image beyond concreteness and reality through the reduplicated rhetoric and personification. Therefore, Waka has played a leading role in a collection of poems. This is what we call Sinsen Manyoshu.

萬葉集 七夕歌의 硏究

尹永水 동아시아고대학회 2003 동아시아고대학 Vol.8 No.-

This study takes as the subject 132 poems of the Seventh Day of the Seventh Moon in the Manyoshu and discusses the following: the characteristics of the poems of the Seventh Day of the Seventh Moon in the Manyoshu; the characteristics of the poems of the Seventh Day of the Seventh Moon in The Hitomaro's poetry; the transmission of the legend of the Seventh Day of the Seventh Moon to Japan; and the relationship between the poems and the Korean people moved to Japan in Ancient Korea. The following is the conclusion. The characteristics of the poems of the Seventh Day of the Seventh Moon are, first of all they are the only work in the Manyoshu with stars in a night sky as the theme, and the fact that all the authors are the intellectuals with noble bureaucratic background and males. Also, unlike the Chinese legend of the Seventh Day of the Seventh Moon or the Chinese poems of the Seventh Day of the Seventh Moon, other characteristics of the poems in terms of the story are: it is Gyeon Woo who crosses the Milky Way on the night of the Seventh Day of the Seventh Moon; Gyeon Woo and Jik Nyeo accept as their fate their heartbreaking love which only allows them to meet each other once a year; and there are many instances of expressions fused with Japanese myths. Thus, even though the poems of the Seventh Day of the Seventh Moon in the Manyoshu have been influenced by the Chinese legend of the Seventh Day of the Seventh Moon, there are significant differences from China. Therefore, it can be stated as Japanese transform or characteristics of the legend of the Seventh Day of the Seventh Moon. The status of the 38 poems of the Seventh Day of the Seventh Moon in The Hitomaro's poetry draw attention since they were written in the earliest period among the poems of the Seventh Day of the Seventh Moon in the Manyoshu. They are presumed to have been written after A.D. 680 or in the TenmuㆍJito Dynasty (A.D. 672~696), and the author to be Hitomaro himself. The characteristics of the poems of the Seventh Day of the Seventh Moon in The Hitomaro's poetry are that the poems are superb than other poets' work in terms of originality, and that they sing a celestial sad love story as a humanly love story on earth closely connected to the realities of life. According to the literature, the period in which the Chinese legend of the Seventh Day of the Seventh Moon was introduced in Japan is presumed to be much earlier than the TenmuㆍJito Dynasty and by the people who moved from Korea. This paper concludes that in the Omi Dynasty's (A.D. 667~672) rigorous literary pursuit, the Chinese poems of the Seventh Day of the Seventh Moon were widely introduced by the intellectual exiles from Baekje, who were competent in Chinese literature, and in this process the poems of the Seventh Day of the Seventh Moon of the Manyoshu were began to be written. Through this research it was possible to confirm that the influence of the people moved from Ancient Korea is revealed also in a Japanese ancient collection of poems, the poems of the Seventh Day of the Seventh Moon of the Manyoshu.

近江朝 以前의 文學과 政治

尹永水(Yoon Young-Soo) 한일관계사학회 2009 한일관계사연구 Vol.32 No.-

近江朝(A.D. 667~972년) 以前의 문학과 정치가 어떠한 양상을 띠고 전개해 왔는가 하는 문제를 문학을 중심으로 한국인 연구자의 관점에서 살펴보았다. 즉, 일본문학의 黎明期라 볼 수 있는 仁德朝의 문학과 역사에 대한 고찰을 비롯하여 和歌기원의 문제, 記紀歌謠와 萬葉歌와의 관련성, 그리고 初期萬葉歌의 세계에 나타난 정치적 상황을 고찰해 본 결과, 다음과 같은 결론을 얻을 수 있었다. 近江朝 이전의 문학과 정치를 역사사회학적인 관점에서 살펴보았을 때, 고대한국에서 일본열도로 진출한 渡倭人들의 역할에는 지대한 면이 있었다. 즉, 일본고대문학이나 萬葉歌(和歌)의 탄생에 있어서 일본에 한자를 전해주고, 漢學에 뛰어나며, 고대일본에 있어서 문필과 기록을 주로 담당했던 한국에서 건너간 도왜인들의 역할은 참으로 컸던 것이다. 그들은 대륙과의 오랜 접촉과 창조적인 역사 속에서 형성된 선진의 문학관과 높은 정치적인 교양을 지니고, 서정시로서의 和歌의 발달을 촉진시켜 왔을 뿐만 아니라, 萬葉歌의 탄생과 발전에도 중심적인 역할을 담당해 왔고, 정치적인면에 있어서도 두드러진 역할을 하고 있음을 알 수 있었다. 또한 구승적·서사적·집단적인 성격의 고대가요(記紀가요)가 기록적·서정적·개인적인 성격의 和歌로 발전해 가는 初期萬葉시대에 있어서 천황 주위에서 궁정과 밀접한 관계를 맺고 궁정을 대표하여 노래를 지어 바치기도 하고, 때로는 타인을 위해 代作도 하면서 和歌의 筆錄이나 傳承의 역할까지 담당한 사람들이 전통적으로 한문학과 문필에 뛰어난 도왜인이었다는 사실도 확인하였다. 이상과 같이, 일본문학의 형성초기부터 萬葉歌를 비롯한 和歌가 한문학과 문필에 뛰어난 고대한국으로부터의 도왜인들의 주도적인 역할에 의해 탄생·발전·제작·代作·필록·전승·편찬이 거의 이루어졌다는 사실과, 정치적인 면에 있어서도 천황이나 궁정 주변에 머물러 있으면서 지배계층과 밀접한 관계를 맺고 있다고 볼 때, 近江朝 이전의 문학과 정치에 있어서 도왜인들의 역할이 얼마나 컸던가를 단적으로 나타내줄 뿐만 아니라, 도왜인들을 제외하고는 일본문학의 역사나 고대정치를 논할 수 없음을 말해 주는 것이라고도 볼 수 있는 것이다. The Writer has pursued this study on aspects of literature and politics before the omi Dynasty (A.D. 667~672)through the sociological viewpoint. The research findings have derived the following conclusions after examining literature and history of Nintoku Dynasty regarded as the dawning of the Japanese literature, relation between Kikipoems and Manyoshu"s poems, and historical circumstances revealed in earlier Manyoshu"s poems. Korean people moved to Japan in Ancient Korea played an important role from historical sociologic point a view on literature and politics before the Omi Dynasty. The emigrants form ancient Korea were experts in Chinese literature and they transferred Chinese characters to Japan. The emigrants especially played an active part in scholarship and literature in ancient Japan. The emigrants had sophisticated viewpoint on literature which is obtained from the continuous contact with a continent. They contributed to creation and development of Manyoshu"s poems, expedited the progress of Waka regarded as a lyric poem, and performed a primary role in politics. In addition, the study shows that it was these emigrants who had talent in Chinese literature and writing that recorded Waka and transmitted it to descendants during the earlier Manyoshu"s poems when oral, descriptive, and common poems were developed into documentary, lyric, and personal poems. Moreover, the emigrants had close relevance to the court, wrote poems on behalf of the court, and sometimes wrote poems for other people. As a result, from the fact that creation, development, and transmission of poems including the Manyoshu"s poems were almost accomplished by the emigrants from Ancient Korea who were excellent in Chinese literature and writing, as well as the fact that the emigrants closely related to the court, the study clearly shows that the emigrants had great influence on literature and politics before the Omni Dynasty and examining Japan literature and politics without the emigrants" contributions isn"t reasonable.

일본의 새 연호 ‘레이와(令和)’ 연구 - 아베 수상과 관련하여 -

박상현 한양대학교 일본학국제비교연구소 2019 비교일본학 Vol.45 No.-

중국 고전인 『문선(文選)』과 일본 고전인 『만엽집(万葉集)』의 용례를 고려할 때, 일본의 새 연호 ‘레이와(令和)’의 ‘레이(令)’는 ‘명령하다’가 아니라 ‘좋다’는 의미다. 또한 ‘레이와’를 일 본에서 가장 오래된 시가집인 『만엽집』에서 차용했다는 것과 아베 수상의 국수주의적 가치관 을 곧바로 연결시키는 데에는 다소 무리가 있다. 게다가 ‘레이와’라는 용어의 초출은 『만엽집』 이 아니라 『문선』이다. 하지만 아베 수상에게서 국수주의적 가치관이 보이지 않는 것은 아니 다. 사실 그의 『만엽집』관(觀)에서 잘 드러난다. 즉, 그는 『만엽집』은 일본에서 가장 오래된 시가집이기에 거기에 담겨 있는 것은 모두 일본 고유의 것이라고 생각하고 있다. 그의 이런 『만엽집』관에 그의 국수주의적 가치관이 반영되어 있다. Considering the use of Chinese classics Monzen (文選) and Japanese classics Manyoshu (万葉集), the ‘Rei (令)’ of ‘Reiwa (令和)’ means ‘good’ rather than ‘commanding’. And it is seen reasonable to borrow ‘Reiwa’ from the oldest classical poetry collection ‘Manyoshu’ in Japan, and to directly connect Abe's nationalistic values. In addition, the term ‘Reiwa’ was first seen as Monzen rather than Manyoshu. However, it does not mean Prime Minister Abe distancing himself from nationalistic values. It is evident from how he looks at Manyoshu. In other words, he believes that Manyoshu is Japan's oldest classical poetry collection, so everything contained in it is unique to Japan. Here, his nationalistic values are reflected.

일반논문 : 한국과 일본의 고대문헌에 나타난 흰색 비교 연구

이연숙 ( Yeon Suk Lee ) 한국비교문학회 2013 比較文學 Vol.0 No.59

This study examined comparatively the color ``white`` in Ancient Korean Literature and Manyoshu. Findings are as follow. First, in Hyang-ga white cloud is shown only in Changiparang-ga. It is argued that the white cloud is used in spiritual rather than scenic sense since it indicates noble personality of giparang. Second, white is the color of darkness. White virtue·white rainbow in Samguksagi reminded of white silk. It is therefore argued that the white color is identified as omen implying bad accidence such as a death of king or a national crisis Third, the white horse and white chicken in Samguksagi and Samgukyusa reflect sun-worship thinking. The white wolf and white dog show the sign of king`s death or national crisis. The white horse is used as sacrifice for god`s rites and its blood is used for a vow. Thus it is estimated that the white color is related to the meaning of pledging to the heavens. Fourth, the white color is shown frequently in Japan`s Manyoshu. ``Sirotae(白고)``, in linkage with other words, is used in the sense of daily clothes, affections, or mourning dress. Fifth, ``white waves`` in Manyoshu`s works is mostly either songs of simply scenery or songs of love affairs. Frequent usage of ``white waves`` indicates the characteristic of oceanic culture of the Japanese. Sixth, ``white dew`` in Manyoshu`s works compares to the vanity of love in relation to its attribute that it soon disappears whenever dew drops or sun rises in the morning, together with its seasonal sensation. Seventh, ``white cloud`` in Manyoshu`s works is often used with high mountain. It shows a sense of distance from home, a spatial sense of distance from one`s loved one, a picture of hiding old home deeply, or a scene of hanging on cloudy mountain. From these, it is argued that ``white cloud’ is used with the meaning of thinking the other party always. Eighth, white vigor and white animals are shown in 古事記 and 日本書紀. Unlike Korean cases, they do not have the function of foretelling future events.

사랑과 죽음의 서정성 : 『만요슈』를 중심으로

구정호 韓國外國語大學校 外國學綜合硏究센터 日本硏究所 2014 日本硏究 Vol.0 No.61

This dissertation is about a lyricism of love poets and elegy of Manyoshu. Emotion of love and death is close even though they are seemed to be opposite. In the love poets of Manyoshu, there is almost no poet having pleasure of meeting someone who loves. Almost of them are the poets longing for someone who loves. This emotion can have in common with the elegy. The love poets describe longing for living person. The elegy is expression of longing for someone who is already dead. Although there is just difference about living or dead between them, they commonly have yearning for someone who loves. This study deals with this commonness of emotion from love and death, mainly with the love poets and elegy in Manyoshu.

『만요슈』의 매화가 고찰

구정호 한국일어일문학회 2020 日語日文學硏究 Vol.115 No.-

This study focuses on Waka singing Japanese apricot flowers to understand characteristics of poems of flowers of Japanese apricot in Manyoshu. The Japanese apricot flowers are originally from China and they date back to 8th Century A.D. . and many Many Japanese writers loved it just as Chinese writers did. Historically, poems of Japanese apricot flowers had been influenced by Chinese poems. Japanese writers of the era accepted literature style of Biào you méi’ in the Book of Odes and Méi huā luò in Pozo and developed their own style, with their original Japanese emotions. In Manyoshu, flowers of apricot were used to describe proposal of marriage. Furthermore, the full bloom of this flower was interpreted as the maturity of women, an important element to enhance the meaning of marriage proposal. The eighth and tenth chapter of Manyoshu include the songs of four seasons. Through the study, the researcher discovered the spring songs of Waka. These two chapters mainly includes Xuězhōngméi and full bloom of apricot flowers while the winter songs mainly deals with Méi huā luò. 本稿は『万葉集』に所収された梅を素材とした和歌を分析して『万葉集』における梅花歌の性質を考察した。AD 8世紀初、漢土から流入した梅は日本の文人たちに好まれたものである。日本の梅花歌は中国の梅花詩の影響を受けたもので、『詩経』の「摽有梅」から鮑照の「梅花落」に次いでいく梅花詩のながれは日本においてもそのまま享有され、さらにそれを日本的情緒に変容発展していった。『万葉集』の梅花歌の中でも中国の漢詩に見られるように、梅の実が求婚を象徴するものとして詠まれていてそのうえ、梅花の開花が女性の性的成熟に譬えて詠んでいたことがわかった。それから『万葉集』の巻八と巻十に所収された梅花歌を検討した結果、巻八と巻十の春歌部の梅花は開花を詠んでいて内容的には主に雪中梅をテーマにしている反面、冬歌部に所収された歌の場合は主に梅花落をテーマにする傾向が見えてきた。

나라 · 야마토와 『만요슈』

구정호 중앙대학교 일본연구소 2015 日本 硏究 Vol.0 No.38

This dissertation is an argument between capital between the ancient Japan and Manyoshu from the presentation from Fall International Symposium of Institute of Japanese Studies in Chung Ang University. One of characteristics of Manyoshu is songs(Uta) have many names of region, especially from Nara and Yamato. The ancient Japanese changed their capital around Aska and Nara from the end of 7th to the beginning of AD 8th century. It met with the most important work of Termo. to build a new capital. Therefore, culture of the age was flourished in Nara and Yamato. The capital was settled down in Nara when Heijokyo was founded in AD 710. This dissertation examined transfer of the ancient Japan through the record of Nihonshoki Shoku-nihongi and Manyoshu.