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Basho jittetsu 芭蕉十哲 (ばしょうじってつ)
shoomon jittetsu 蕉門十哲
The 10 most important disciples of Matsuo Basho
source : gyokueido.jimbou.ne
Painting by Toyoaki 豊秋舎亀泉
始に｢神無月のはじめ空さだめなきけしき身は風葉の行末なき心地して｣、各句
｢旅人と 我名よばれん はつ時雨 芭蕉｣
｢笠捨てて 塚をめぐるや夕しぐれ 北枝｣
｢うらやましおもひきるとき猫の恋 越人｣
｢葉かくれてみても蕣の浮世かな 野坡｣
｢山吹も巴も出田植かな 許六｣
｢春の夜は誰かはつ瀬の堂こもり 曾良｣
｢雪曇り身の上をなく嘉羅寿かな 丈草｣
｢蒲団着て寝たるすがたや東山 嵐雪｣
｢歌書よりも軍書に悲しよしの山 支考｣
｢須磨の浦うしろに何を閑古鳥 其角｣
｢魂棚の奥なつかしや親の顔 去来｣
Enomoto Kikaku 榎本其角
Hattori Ransetsu 服部嵐雪
Mukai Kyorai 向井去来
Morikawa Kyoroku 森川許六
Kagami Shiko (Kagami Shikoo) 名務支考
Naito Joso (Naitoo Joosoo) 内藤丈草
Ochi Etsujin 越智越人
Shida Yaba 志田野坡
Sugiyama Sanpuu 杉山杉風 Sanpu, Sampu.
Sora, Kawai Sora 河合曾良
Tachibana Hokushi 立花北枝
They all have an entry in their own name in the WKD:
. WKD : Introducing Japanese Haiku Poets .
. Iga Shoomon 伊賀蕉門 Basho students of Iga province.
Haiseiden 俳聖殿 Haisei-Den Hall of the Haiku Saint
near Iga Ueno Castle, with a life-size statue of Basho
The Haisei-den, the great haiku poet's hall,
was built inside Ueno-koen Park in 1942 to commemorate the 300th anniversary of his birth. The building itself is shaped like the figure of Basho attired in a traveling clothes. The round roof symbolizes his sedge hat, the octagonal eaves his surplice, the pillar is his cane, and the frame of the Haisei-den is in the shape of his face. Other Basho-related facilities include the Minomushi-an, or bagworm hermitage, and the venerable Basho Memorial Hall, Basho Kinen-kan Museum.
source : www.jnto.go.jp
shoomon 蕉門 Shomon, Basho students, Basho's school
shoofuu 蕉風 Shofu, Basho-style haiku
.- Disciples from Kanazawa 金沢 - .
Karumi occupies a very important position in the development of what is known as Shofu, or the style of the Basho School.
Karumi
Matsuo Basho's Ultimate Poetical Value, Or was it?
. WKD : Essay by Susumu Takiguchi .
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俳句αあるふぁ:２０１２年１２−２０１３年１月号
source : mainichi.jp/feature
There are the 10 most important disciples
and then there are 70 more to come.
under construction
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Some concepts that Basho introduced to his disciples:
bonga ichinyo 梵我一如 (Aham Brahma Asmi, I am Brahman)
as written in the Bhagavad Gita
butsuga ichinyo 仏我一如 "the Buddha and I are one"
butsuga ichinyo 物我一如 'object and self are one'
- Read Haruo Shirane -
fueki ryuukoo, fueki ryûkô 不易流行 Fueki ryuko - permanent values and change, the unchanging and the fluid
fuukyoo 風狂 Fukyo - poetic eccentricity, arbiter of taste, connoisseur
fuuryuu 風流 Furyu - 'wind and stream', 'in the way of the wind and stream'. elegant, accomplished
fuu 諷 allegoric reference
..... fuuei 諷詠 poetic composition
..... soeuta 諷歌, soeku 諷句 suasive poem
guugen 寓言 parable, "imputed words"
guugensetsu 寓言説 parabolical phraseology
koogo kizoku 高悟帰俗 Kogo kizoku - "obtaining high enlightenment but coming back to the populace", awakening to the lofty and coming back to the common
mujoo 無常 (mujo) heartless, without feeling. Impermanence.
Implies detachment and distance between object and poet. the mujo (transience) of life
sanshi kyuushi 三思九思 think three times, then thing nine times, before uttering something important.
shizen mu-i 自然無為 Shizen Mui - Mui Shizen 無為自然 abandoning artifice and just being oneself, naturalness and non-interference
(The concept of SELF in Zen Buddhism : jibun 自分 "myself" is short for -
shizen no bunshin 自然の分身 -I am the same as nature - nature is the same as me. In an extended interpretation
"I am part of the zooka, zooka 造化 is a part of myself, the human being in its cultural environment."
shigen しげん goblet words
shooyooyuu 逍遥遊 Shoyoyu - carefree wandering
. zooka, zōka 造化 Zoka - Creation (and transformation) .
the marvels of nature
quote
- - - Kyorai records:
The Master said that some haikai styles remain unchanging for thousands of years while others are fluid with the passing of time. Although these two are spoken of as opposite sides, they are one at the base.
“They are one at the base” means that both are based on the sincerity of poetry (fûga no makoto). If one does not understand the unchanging, his poetry has no base; if one does not learn the fluid, his poetry has no novelty. He who truly understands the fluid will never stop moving forward. He who excels at a transitory fashion can only have his verse meet a momentary taste; once the fashion changes, he becomes stagnated.
- - - Hattori Dohô records:
The Master’s poetry has both the unchanging (fueki) that remains for thousands of years and the ever-changing (henka) that lasts only momentarily. These two, in the final analysis, are one at the base. This “one at the base” is the sincerity of poetry (fûga no makoto).
If one does not understand what the unchanging is, one cannot understand the sincerity of poetry. The unchanging does not depend on the old or the new, nor is it affected by changes and fashions; it is firmly rooted in the sincerity of poetry. Looking at the poetry of poets from different generations, one finds it changes with each generation. Yet, there are many poems that stay beyond the old and the new, many poems that are as deeply touching to us as they were in the eyes of ancients. These belong to the unchanging poetry one should understand.
On the other hand, it is the rule of the Natural (ji’nen 自然) that everything undergoes countless changes and transformations. If haikai does not go through changes, it cannot be renewed. If one does not seek change, one can only gain popularity in a transitory fashion, but never reach the sincerity of poetry.
Those who are not determined to pursue the sincerity of poetry cannot grasp the change rooted in it. They can only follow behind the footsteps of others. Those who pursue sincerity never stop at where they have arrived and naturally step forward. No matter how many changes and varieties haikai may have in the future, if it is change rooted in sincerity, it belongs to the Master’s poetic tradition.
The Master said:
“Don’t ever lick the dregs of the ancients. All things constantly renew themselves as the shifts of four seasons, and this is true of haikai.”
“The Master said:
‘The changes of Heaven and earth are the seeds of poetry.’
What is still is the stance of unchanging (fuhen). What is in motion is change (hen).” Kyorai compares fueki and ryûkô to inaction and movement; Dohô defines fuhen and hen as “what is still” and “what is in motion.”
Both pairs of terms find their parallels in the Zhuangzi.
Fueki and ryûkô represent the dialectic aspects of Bashô’s poetics of the Natural, which constitutes the substance of the “sincerity of poetry.” The ambiguous terms Kyorai and Dohô use, in this context, are logically meaningful: “inaction” and “stillness” designate the constant principle of the Natural and the noninterference with its expression in poetic creation, and “movement” and “motion” the adherence to the ever-changing nature of the universe and to its novel manifestations in poetry.
MORE
source : Basho-and-the-Dao - Peipei-Qiu
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Basho taught his disciples:
"The poetic mind must always remain detached (mujo) and eccentric (kyoken).
The thematic materials must be chosen from ordinary life.
The diction must be entirely from everyday language."
source : Peipei Qiu: Basho and the Dao
". . . behold the clouds over the east bank of the Yangzi River
when you are looking at the moon above the Kasai shore. "
The "East Bank of the Yangzi River" refers to Huiji, where Li Bo spent time composing poetry.
. Chinese roots of Japanese kigo .
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On composing haiku the Master once commented:
“If you get a flash of insight into an object,
put it into words before it fades away in your mind.”
He also said: “
Toss out the feeling to the surface of your poem.”
These teachings mean that one should set his poetic feeling into form instantly after he gets into the realm, before the feeling cools off.
In composing haiku there are two ways: “becoming” and “making”.
When a poet who has always been assiduous in pursuit of his aim applies himself to an external object, the color of his mind naturally becomes a poem. In the case of a poet who has not done so, nothing in him will become a poem; he, consequently, has to make out a poem through the act of his personal will.8
source : terebess.hu
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MUJO
The basic tenet of Buddhism, that of mujo, or impermanence, is naturally reflected in most haiku, Chiyo-ni's as well. This follows Basho's edict on the importance of becoming one with nature and capturing its fleeting quality. Althought every culture have an awareness of the mutability of life, in Japanese culture there is language for it that is both artistic and religious.
Mujo embodies people's thinking and is an aesthetic term pervarding the poetry as well. Perhaps the cataclysmic naature of Japanese archipelago - with its head quarters, tidal waves, and volcanic eruptions - made people more acutely aware of the passing of things. This awareness became a natural part of haiku, in a poignant way. Haiku, which usually refers to nature, depicts it not as "fallen", as in the West, but transient; there is an acceptance and appreciation of its evanescence.
In Japanese aesthetics this is called "aware", or sad beauty.
source : Julia Manach -
. WKD : Japanese aesthetics .
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俳人百家撰 - 100 Haikai Poets
Click the image for more !
Genroku (元禄) was a Japanese era name after Jōkyō and before Hōei.
This period spanned the years from 1688 through 1704.
Matsuo Basho died in 1694 - Genroku 7 元禄7.
. Genroku Haikai Poets 元禄俳諧.
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. Ishikawa Senten 石川山店 .
dates unknown
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External LINKS
蕉門十哲 with more names considered to be
the IMPORTANT disciples
Amano Toorin 天野桃隣（あまの とうりん）
Hirose Inen 広瀬惟然（ひろせ いねん）
Hattori Tohoo 服部土芳（はっとり とほう）
or
以下のような説もある。
俳人百家撰（与謝蕪村・編）:
其角、嵐雪、去来、丈草、支考、北枝、許六、曾良、野坡、越人
芭蕉と蕉門十哲図（對雲・筆）:
其角、嵐雪、去来、丈草、支考、北枝、許六、曾良、野坡、杉風
芭蕉と蕉門十哲図（南峯・筆）:
其角、嵐雪、去来、丈草、支考、北枝、許六、曾良、越人、杉風
© More in the Japanese WIKIPEDIA !
山口素堂と松尾芭蕉の俳論 Yamaguchi Sodo
source : haikaisi basyou
. - Yamaguchi Sodoo 山口素堂 Yamaguchi Sodo - (1642 - 1716) .
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蕉風俳諧の成立 Shoofuu Haikai no Seiritsu
俳諧は、江戸時代の始めに、遊びや滑稽を旨として、ことば遊びとして普及しました。
先の人の作った上の句(発句といった)に、次の人が下の句を付ける連歌から始まり、発句だけを独立して作るようになります。
俳諧はやがて経済的実力を高めた上層の町人や農民にも広まってゆきました。
16世紀の終わり頃、松尾芭蕉は、滑稽の俳諧から離れて、さび、しおり、ほそみ、などの考え方を取り入れ、幽玄閑寂な風を作りだしました。これによって、発句は文学に高められました。
芭蕉の「蕉風の俳諧」は、急速に全国に広まりました。
立花北枝と加賀俳壇
千代女以前の松任俳壇
千代女のおいたち
千代女の師 北潟屋大睡
加賀俳壇と女流俳人
- - - - - and more
source : haikukan.city.hakusan.ishikawa.jp
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Yosa Buson 与謝蕪村 wrote
"Basho once gone,
we have no master to teach us,
whether the year begins or ends."
芭蕉去てその後 いまだ年暮れず
Basho satte sono nochi imada toshi kurezu - Basho sarite
Since Basho left the world,
Not yet has
"The year drawn to its close."
"Rushing along in the road to fame and riches, drowning in the sea of desire, people torture their ephemeral selves. Especially on New Year's Eve their behavior is unspeakable. Despicably walking about knocking at doors, treating everyone with contempt unnecessarily, insanely vulgar behavior, and so on, is not decent. Even so, we foolish mortals can hardly escape from this world of dust and sin.
The year draws to its close;
I am still wearing
My kasa and straw sandals.
Reading this poem quietly in a corner of the room, my mind becomes clear; were I living Basho's life, how good it would be! The verse is uplifting to me, and it may be called a Great Rest-and-Enlightenment as far as I am concerned.
Basho once gone,
we have no master to teach us,
whether the year begins or ends."
Basho, the traveller :
. Matsuo Basho 松尾芭蕉 - Archives of the WKD .
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. Matsubaya Fuubaku 松葉屋風瀑 Fubaku - Ise 伊勢 .
and 伊勢屋 Iseya in Edo
. Edo Haikai 江戸俳諧 Basho disciples in Edo .
Bokuseki 卜尺
Fukaku 不角
Ikeda Rigyuu 池田利牛 Rigyu
Kikaku, Enomoto Kikaku (1661-1707) Takarai Kikaku
Koizumi Kooku 小泉孤屋
Kusakabe Kyohaku 草壁挙白
Murata Toorin 村田桃隣 Torin
Ogawa Haritsu 小川破笠
Ooshuu 奥州 Oshu
Ranran 嵐蘭
Ransetsu, Hattori Ransetsu (1654-1707)
Senbo せんぼ ？
Shisan 子冊 ?
Shiyoo 子葉
Sora, Kawai Sora 河合曾良 (1649 - 1710)
Sooha 宗波
Sugiyama Sanpu 杉山杉風 (Sampu) （1647 - 1732）
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under construction
. WKD : Tachibana Hokushi .
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[ . BACK to WORLDKIGO . TOP . ]
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