Ryokan, the Zen monk of the latter half of the Edo period, continues to be admired to this day by many for his artless, unadorned personality and calligraphic works. His calligraphy is considered outstanding for its thin, light lines, distorted yet superb sense of balance, and composition of brushstrokes and blank spaces. The poem here composed by this celebrated monk on a small sheet in block script is no exception. Each carefully brushed stroke was methodically and rhythmically executed with a breeze-like lightness and subtle sway. The spacing between the lines, though unusually narrow for Ryokan, creates an exquisite sense of tension.

In his youth, Ryokan studied the Chinese classics at the school of the Confucian scholar and poet Omori Shiyo in a neighboring village. This poem was written when Ryokan received news of the death of his friend who he had studied with and had not seen for many years.

Ryokan was fond of the eccentric semi-legendary Chinese poet Hanshan and freely composed this poem without fixating on form or technique. While grieving for his friend, the poet describes impermanence matter-of-factly without being overly sentimental. The Zen-like state expressed in the poem and handwriting embodies the essence of Ryokan’s calligraphy, which fascinated and inspired generations of talents from various fields, such as the painter Yasuda Yukihiko (1884–1978) and the novelist Kawabata Yasunari (1899–1972).

Ryokan (Zen priest, poet; 1758−1831)
Echigo-born late Edo-period Zen priest and poet. Became a disciple of Genjo at Kosho-ji temple, and was given the Buddhist name “Taigu Ryokan”. Also studied under Kokusen at Entsu-ji temple in Tamashima, Bicchu. Later traveled to numerous provinces in over twenty years, and led a free life that is full of anecdotes about his eccentric behaviors. His waka (Japanese-style poetry) composition in the style of Man’yoshu and his calligraphy manner are so well balanced that it is highly praised.