Ryōkan (1758−1831)
Waka Poem
Ink on paper, hanging scroll
With box authentication by Soma Gyofu and Yasuda Yukihiko, double boxed
27 x 34.4 cm
109 x 38 cm (overall)
Further images
Play temari ball with village children in such beautiful springtime.
How I wish the day never ends.
Speaking of Ryokan, the impression of his enjoying the temari ball or ohajiki (small marbles) with village children all day and living freely is rather strong. The present waka poem also narrates his friendship with children. Simple words and an unpretentious writing manner convey faithfully a sense of deep happiness.
Ryokan admires the honesty within children. He sees it as a state of shinjin datsuraku, where both body and mind. are liberated to the verge of enlightenment. Learning from children is one of his approaches to achieve the status of muga, or non-self, thus it is natural that Ryokan treasured the time with children.
Meanwhile, in Ryokan’s works, temari is of importance in metaphorical meaning. A waka poem to the nun Teishin-ni, Ryokan’s disciple, roughly said, “Bounce the ball. Count one to ten. Back to one, count again.” The temari here might be associated with the enso (the circle) and the concept of the infinite in Buddhist ideas.
One of the enjoyments of appreciating Ryokan’s work is to comprehend the inherent Buddhists thinking beyond even a poem of everyday life, as this work reveals.
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’yo-shu and his calligraphy manner are so well balanced that it is highly praised.
How I wish the day never ends.
Speaking of Ryokan, the impression of his enjoying the temari ball or ohajiki (small marbles) with village children all day and living freely is rather strong. The present waka poem also narrates his friendship with children. Simple words and an unpretentious writing manner convey faithfully a sense of deep happiness.
Ryokan admires the honesty within children. He sees it as a state of shinjin datsuraku, where both body and mind. are liberated to the verge of enlightenment. Learning from children is one of his approaches to achieve the status of muga, or non-self, thus it is natural that Ryokan treasured the time with children.
Meanwhile, in Ryokan’s works, temari is of importance in metaphorical meaning. A waka poem to the nun Teishin-ni, Ryokan’s disciple, roughly said, “Bounce the ball. Count one to ten. Back to one, count again.” The temari here might be associated with the enso (the circle) and the concept of the infinite in Buddhist ideas.
One of the enjoyments of appreciating Ryokan’s work is to comprehend the inherent Buddhists thinking beyond even a poem of everyday life, as this work reveals.
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’yo-shu and his calligraphy manner are so well balanced that it is highly praised.