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The Narrow Road to Oku

為了解決Hana no Uta的問題，作者Basho, Matsuo/ Keene, Donald (TRN)/ Masayuki, Miyata (ILT) 這樣論述：

In the account which he named "The Narrow Road to Oku," Basho makes a journey lasting 150 days, in which he travels, on foot, a distance of 600 ri.This was three hundred years ago, when the average distance covered by travelers was apparently 9 ri per day, so it is clear that Basho, who was forty ye

ars old at the time, possessed a remarkably sturdy pair of walking legs. Nowadays with the development of all sorts of means of transportation, travel is guaranteed to be pleasant and convenient in every respect, so it's almost impossible for us to imagine the kind of journey Basho undertook, "drift

ing with the clouds and streams," and "lodging under trees and on bare rocks."During my countless re-readings of "The Narrow Road to Oku," I would bear that in mind, and the short text, which takes up less than 50 pages even in the pocket-book edition, would strike me as much longer than that, and I

would feel truly awed by Basho's 2,450-kilometer journey.I chose "The Narrow Road to Oku" as the theme of the exhibition marking the thirtieth anniversary of my career as an artist. As somebody who has been illustrating works from Japanese literature for many years, the subject naturally attracted

and interested me. But once I'd embarked on the project, it wasn't long before I realized I'd chosen a more difficult and delicate task than I ever imagined, and I wanted to reprove myself for my naivete.Last year, to mark the centenary of Tanizaki Jun'ichiro's birth, I produced a set of 54 pictures

for his translation of "The Tale of Genji." This was a formidable undertaking, as I had to grapple with the achievement of a literary genius whom I had personally known. But if producing a single picture to represent each chapter in "The Tale of Genji" was a matter of selecting a particular "face,"

or "plane" to represent the whole, producing a picture to represent each haiku in "The Narrow Road to Oku" was without a doubt a matter of having to select one tiny "point"--a mere "dot." One misjudgment in my reading, and the picture would lose touch with the spirit of Basho's work, and end up sim

ply as an illustration that happened to be accompanied by a haiku. I had to meticulously consider every word in those brief 17-syllable poems. Then, if I was fortunate, from the vast gaps and the densely packed phrases a numinous power would gather and inspire me: at times I felt as if I was experie

ncing what ancient people called the "kotadama," the miraculous power residing in words.A self-styled "beggar of winds and madness," Basho originated and refined a unique genre of fictional travel literature, which used poetry that enabled one to render, empty-handedly, all of creation. I believe th

at I could ask for no greater favor from my painter's brush than that I too be able to glean the merest fragment of what the saint of haiku Basho saw, and be able to reproduce it in my work. -- Miyata Masayuki Translation: DONALD KEENE U.S. scholar, and translator of Japanese literature, Donald K

eene was born in New York City and graduated from Columbia University, where he received a PhD in 1949. He studied Japanese literature at Cambridge University, in England and Kyoto University. Keene’s scholarly works include The Japanese Discovery of Europe (1952; revised edition, 1969) and a series

of volumes on the history of Japanese literature which began with World Within Walls (1976) and continued with Dawn to the West (2 vols, 1984). His translations of Japanese literary works include The Tale of the Bamboo Cutter (Taketori monogatari; tr. 1956), Essays in Idleness (Tsurezure- gusa; tr.

1967), The Treasury of Loyal Retainers (Kanadehon chushingura; tr. 1971), and fiction by Mishima Yukio and Dazai Osamu. Keene became a member of the American Academy of Arts and Letters in 1986. The Donald Keene Center for Japanese Culture was established at Columbia University in the same year.Ill

ustrations: MASAYUKI MIYATA (1926-1997)Masayuki Miyata was born in Akasaka, Tokyo in 1926. He was discovered by the distinguished writer Tanizaki Jun’ichiro, and he went on to create his own distinct realm in kiri-e (cut-out illustrations). His cut-out pictures, made with mere sheets of paper and a

cutting blade, and their exceptional accessibility to people from all countries, have won admiration. In 1981, his work Japanese Pieta was selected for the modem religious art collection in the Vatican Museum--he is only the fourth Japanese artist so honored this century. In 1995, the bi-centennial

anniversary of the UN, Miyata was selected from contemporary artists worldwide to be the UN’s official artist, the first Japanese to hold the post. His masterpiece, Red Fuji, was reproduced in special limited edition in 184 countries around the globe. Miyata continued to be actively engaged in inter

national art circles as the most prominent kiri-e artist in Japan until his death in 1997.His representative works include illustrations for Oku no Hosomichi (The Narrow Road to Oku), Taketori monogatari (Tale of a Bamboo-Cutter), Man’yo koi-uta (Poems of Love from the Man’yoshu), and Hana no Ran (P

assion in Disarray).

Hana no Uta進入發燒排行的影片

實現與研究以飽和蒸氣輔助結晶法製作鈣鈦礦奈米線陣列及其於雷射之應用

為了解決Hana no Uta的問題，作者楊富婷 這樣論述：

本研究實現以簡單、低成本的「飽和蒸氣輔助結晶法」製作出大面積、有序、高品質全無機鈣鈦礦奈米線陣列，突破原本飽和蒸氣輔助結晶法只能製作出無序且鈣鈦礦奈米線與鈣鈦礦微米板混合的產物。飽和蒸氣輔助結晶法是利用反溶劑蒸氣的擴散與其飽和蒸氣壓，來誘導鈣鈦礦成核並生長。此法可以製作出高品質(指雷射應用)之鈣鈦礦奈米線、微米板，但是奈米線、微米板為無序、隨機分佈。為突破此限制，我們提出使用具有奈米溝槽的基板，結合微通道的毛細現象，製作出具有大面積、方向一致性的鈣鈦礦奈米線陣列，使原本分布無序的鈣鈦礦奈米線規則排列。我們也進一步研究、分析鈣鈦礦於具奈米溝槽的基板的生長機制。本研究合成的鈣鈦礦奈米線具有光滑且

平整的表面，且其寬度與奈米溝槽等寬。將其應用於鈣鈦礦雷射，得到一個高的品質因子(quality factor，Q)，其值達3000。