《诗经名物图解》为细井徇所作。原典纪书局提供的，为日本嘉永元年（1848）刊本。
细井徇，号东阳，曾为僧为医，撰有《四诊借要》等。细井徇有鉴于因时地之异，古今之异，《诗经》名物多所难辨，孔子所云“多识草木鸟兽虫鱼之名”的目的难以达到，而前人所作多有不足，乃与京都一带画工商议共同编撰，由细井徇亲自审定，“加以着色，辨之色相，令童蒙易辨识焉”，遂成此书。
《诗经》博物学起源甚早，就现存文献来看，由陆机《毛诗草木鸟兽虫鱼疏》起，发展至今蔚为大观。中国六经研究向来以阐发义理为主，如此从细节入手，做名物考辨的实属少数。却是一向注重细节的日本人，将他们这种从细节实物入手的踏实精神，发扬在汉学研究中，为我们提供了一个详实的研究新角度。
虽有此传统，但为《诗经》名物绘图，并不止考辨种类、科属、形貌那么简单，还要展现诗句情景，做到形、色、声、情并举。比如“荇菜”，作者便绘了两朵盛开的花，和三个还未长出水面的骨朵，以表“参差”之意，又用明丽的黄色衬托“左右采之”的少女的青春动人。
再如“鹊”，鹊并没有安卧在巢中，而是站在石头上，因为“维鹊有巢，维鸠居之”，无家可归的鹊大张着喙，让人仿佛能听到它的哀鸣声，以此来衬托一个看着旧夫迎娶新人的弃妇形象。

日本自江户时代起，“物哀”的美学观念逐渐一统艺术、文学、美学界。“物哀”是指人心在与外物交接的时候，触景生情后，所生发出的或喜、或怒、或哀的情感。创作于江户时期的《诗经名物图》，很好地贯彻了“物哀”的美学观念，全书笔法简淡而赋予深意，以细致而独特的立意、纯净而隽永的画面，表现出了《诗经》中的名物场景。
“起兴”，即“兴者，先言他物以引起所咏之辞也”（朱熹《诗集传》），与“物哀”有异曲同工之意，是《诗经》重要的写作手法之一。《名物图》中所绘的花鸟虫鱼，在其所属诗章中，多属于起兴之物、之景。
中国古人崇尚一种泛灵论的自然观，认为万物皆有灵。相比于狩猎文明发达的西洋民族在自然中体验到的禁忌，农耕文明发达的中华民族在年复一年的耕种中，在改造自然的体验中，他们感受到的是与万物相通的喜悦。

相信这部《诗经名物图解》，也能让如今的读者体验到这种难能可贵的喜悦之情。
The Illustrated Illustrations of the Book of Songs were written by Hosei Yoshitsu. It was provided by the Gendian Ji Bookstore and was published in the first year of Jiayong (1848) in Japan.

Sei Hosei, also known as Dongyang, once worked as a monk and doctor, and wrote books such as “Borrowing Essentials of Four Diagnosis”. Due to the differences in time and place, as well as the differences between ancient and modern times, it is difficult to distinguish the names of many objects in the Book of Songs. Confucius’ goal of “learning more about the names of plants, birds, beasts, insects, and fish” is difficult to achieve. However, previous works have many shortcomings. They were jointly compiled with the Kyoto area painting industry and commerce conference, and were personally reviewed and approved by Hosei. “They were colored and distinguished to make it easy for children to recognize.

The origin of natural history in the Book of Songs is very early. According to existing literature, it has developed from Lu Ji’s “Mao Shi Cao Mu Bird Animal Insect Fish Shuo” to this day and is still magnificent. The study of the Six Classics in China has always focused on elucidating the principles of meaning, and such a detailed approach to identifying famous objects is actually a rare one. However, the Japanese, who always pay attention to details, carry forward their down-to-earth spirit of starting from details and physical objects in sinology research, providing us with a detailed new perspective for research.

Although there is this tradition, drawing famous objects in the Book of Songs is not only about identifying types, families, and shapes, but also about presenting poetic scenes, achieving a balance of form, color, sound, and emotion. For example, in “Xingcai”, the author drew two blooming flowers and three bone flowers that had not yet grown out of the water to symbolize “unevenness”, while using bright yellow to highlight the youthful and moving beauty of the girl who “left and right picked them”.

Another example is the “magpie”, which does not lie in its nest, but stands on a stone because “the Victoria magpie has a nest, and the Victoria dove lives there.” The homeless magpie opens its beak wide, making people feel as if they can hear its mournful sound, as a foil to the image of an abandoned woman watching her old husband marry a new man.

Since the Edo period in Japan, the aesthetic concept of “material mourning” has gradually unified the fields of art, literature, and aesthetics. ‘Material sadness’ refers to the emotions of joy, anger, or sadness that arise from the human heart when it is in contact with external objects. The “Illustrations of Famous Objects in the Book of Songs”, created during the Edo period, effectively implements the aesthetic concept of “material sorrow”. The strokes of the book are simple and give deep meaning, with a detailed and unique conception, pure and meaningful images, depicting the scenes of famous objects in the Book of Songs.

The term ‘rising’ refers to the phrase ‘those who rise, speak of other things first to evoke the words they sing’ (Zhu Xi’s’ Biography of the Book of Songs’), which has a similar meaning to ‘mourning for things’ and is one of the important writing techniques in the Book of Songs. The flowers, birds, insects, and fish depicted in the “Famous Objects Painting” often belong to the rising objects and scenery in their respective poems.

The ancient Chinese advocated a animistic view of nature, believing that all things have spirits. Compared to the taboos experienced by Western ethnic groups with advanced hunting civilization in nature, the Chinese ethnic group with advanced agricultural civilization experiences the joy of being connected to all things through year after year of cultivation and transformation of nature.

I believe that this “Illustrated Illustrated Works of the Book of Songs” can also allow today’s readers to experience this precious joy.

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