The Romance of the Western Chamber, as a classic Yuan dynasty zaju play, reflects the emotions and philosophies of Chinese culture and serves as a significant component of "Chinese culture going global." Research on the dissemination of The Romance of the Western Chamber in Japan includes: 1) an investigation of Japanese library collections of printed editions; 2) studies by Japanese scholars on the work; and 3) an examination of Japanese translations. Domestic research has largely focused on case studies, lacking diachronic analysis. This paper aims to trace the translation and introduction of The Romance of the Western Chamber in Japan since the late 19th century, analyze how translators and scholars interpreted and evaluated the work, and outline its century-long journey in Japan, providing insights into the overseas dissemination and influence of classical Chinese literary texts.

I. Late 19th Century to Mid-20th Century: Initial Translation and Textual Renditions

This section explores the translation and introduction of The Romance of the Western Chamber in Japan from the late 19th century to the mid-20th century. There is disagreement between Chinese and Japanese scholars regarding the earliest translation: Chinese scholars believe it dates back to the late 18th century, while Japanese scholars argue it was 1894. In reality, the earliest translation can be traced to the 1891 issue of Chinese Literature magazine. During this period, translations took various forms, including complete translations, abridged versions, translations without annotations, and annotated editions. Chinese Literature magazine featured translations by Mori Kainan, who delivered Japan’s first lecture on Chinese drama and taught The Romance of the Western Chamber at Tokyo Imperial University, influencing later scholars such as Shionoya On and Kubo Tenzui. Anthology of Chinese Drama, translated by Imazeki Tenpō, presented the text in dialogue form, making it vivid and accessible. The National Translation of Chinese Literature Collection included a full translation by Miyahara Minpei, accompanied by extensive annotations and the original text. Other scholars, including Sasagawa Rinpū, Shionoya On, and Kubo Tokuji, also contributed to its study and translation. During this phase, translations evolved from fragmented excerpts to systematic compilations, shifting from linguistic conversion to cultural interpretation, thereby advancing the canonization of The Romance of the Western Chamber in Japan.

II. Late 20th Century: Translation and Research in Parallel

In the late 20th century, Japan saw parallel progress in translation and research on The Romance of the Western Chamber, with translations focusing on theatrical adaptations and research centering on Manchu editions and textual analysis. Shionoya On’s Lyrical Translation of The Romance of the Western Chamber: A Proposed Version is a representative translation that preserves the original’s lyrical quality while adapting it to Japanese readers’ preferences. Tanaka Kenji’s translation emphasizes artistic fidelity, demonstrating a profound understanding of the original. Research on the Manchu edition of The Romance of the Western Chamber was enriched by Rare Book Collection: Vol. 6 (Manchu Texts), which provided translations and documentation, expanding Manchu literary archives. The Catalog of Ming Dynasty Printed Editions of The Romance of the Western Chamber documented 66 Ming editions, serving as a key reference for later studies. Additionally, research explored diverse dimensions such as authorship, textual characteristics, and cross-textual comparisons, fostering a virtuous cycle of translation and scholarship that deepened the play’s academic and cultural impact in Japan.

III. The 21st Century: In-Depth Research and Multimodal Dissemination

Since the 21st century, the dissemination and study of The Romance of the Western Chamber in Japan have entered a new phase, marked by richer academic inquiry and multimodal adaptations, including picture books, DVDs, and films. Japanese scholarship has systematically examined topics such as rare editions, Li Zhi’s critical commentaries, early modern Chinese vocabulary, the play’s influence in Japan, and theatrical adaptations. Huang Dongbai’s A History of the Evolution of The Romance of the Western Chamber is a seminal monograph. Multimodal dissemination has brought the play to broader audiences: picture books, such as those featuring Wang Shuhui’s illustrations, DVDs, MP3 recordings, and e-books have transcended temporal and spatial constraints. Performances, including the 1927 silent film and the 3D Yue opera adaptation, have further propelled its popularity. This era has seen cross-media, diversified dissemination, enhancing the reception of The Romance of the Western Chamber in Japan and beyond.

IV. Conclusion and Future Prospects

This paper summarizes the century-long journey of The Romance of the Western Chamber in Japan, highlighting the evolution from textual translation to multimodal dissemination, the deepening of research dimensions, and the shift from scholarly efforts to collaborative, multifaceted promotion. Its translation and introduction in Japan have contributed to its canonization as a shared cultural heritage in East Asia, bridging Sino-Japanese cultural exchange. However, limitations in early translations, disciplinary barriers in the late 20th century, and the balance between technological empowerment and content innovation in the 21st century remain challenges. Future research could explore interdisciplinary approaches, bilateral translation collaborations, innovative dissemination formats, and refined audience studies to further the global reach of classical Chinese texts like The Romance of the Western Chamber.