自13世纪传入日本之后,朱子学的地位与形象即与“中国形象”本身保持了高度的一致性,毋宁说它成为了日本认识与诠释“中国形象”的一大文化符号。在这一过程之中,朱子学融入到江户时代以来的日本潜心塑造的“自我/他者”的框架之中,成为幕府末期日本构建自身的“华夷思想”的理论工具,成为明治时期日本推动“文明开化”背景下的批判对象,成为明治中期日本谋求“传统回归”思潮下的援用对象,成为明治后期日本基于自身“国民国家”的观念而批判中国、贬斥中国的根源之所在。就在这样的时代转型的过程之中,中国形象与朱子学所走过的为日本人崇尚、批判、援用、贬斥的精神历程一样,也经历了一个被日本推崇敬仰,进而被日本怀疑否定,最后被日本批判抛弃的一大转折。 Since its introduction into Japan in the 13th century, its status and image have remained highly consistent with the “Chinese image” itself, rather it has become a major cultural symbol of Japan’s recognition and interpretation of “the image of China.” In this process, Zhu Xi into Japan since the Edo period with great concentration in the “self / other” framework, as the end of the shogunate Japan to build its own “Huayi Thought” theoretical tool, Became the object of criticism under the background of promoting “civilized culture” in the Meiji era and became the object of reference under the trend of “seeking return to the past” in mid-Meiji Japan and became the critique of Japan in the latter period of Meiji based on its own concept of “national state” China, the root cause of denigrating China. Just as the spiritual course advocated, criticized, aided and denigrated by the Japanese through the process of transformation in such an era, the image of China and Zhu Xi’s school of thought have also undergone a process of being admired by Japan and further being denied by Japan. Finally, A major turning point abandoned by Japan’s criticism.