About this Waka (Poem)

About the Artwork

This waka was first presented on a standard-sized sheet of paper.

Lonely Mountain Pass — A Poetic Calligraphy

#242 As the autumn wind returns to brush...

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2025.11.24

In this new version, however, the same poem has been brushed onto a tall, slender sheet—one of entirely different scale.

It is remarkable how profoundly the presence of a waka can shift simply through a change in the size and proportions of the paper.

On the smaller format, the poem felt close at hand.
The traveler’s intimate emotions, the gesture of brushing his sleeve, and the autumn wind returning toward him all seemed within reach—forming a compact, concentrated world.

By contrast, the long vertical format naturally draws the eye downward, extending both time and distance.
The autumn wind is no longer a fleeting moment, but something that travels at length along the mountain path.
The evening sun ceases to be a single point of light and instead unfolds as a radiance that envelops the entire mountain bridge.

Though the waka itself remains unchanged, its resonance shifts when the vessel that holds it is transformed.
The expansive vertical space of this tall format deepens the poem’s atmosphere, heightening its quiet and austere solitude.

About this Waka (Poem)

Idle Thoughts

As suggested by the opening phrase “With many feelings woven within,” this poem conveys more than a single emotion. It weaves together reflections on the passage of time, the anticipation of autumn deepening, and a quiet sense of both solitude and peace found in communion with nature. These layered sentiments are echoed in the wind moving through the treetops, leaving a gentle trace of melancholy in the viewer’s heart.

To express that resonance visually, I chose a sunset-colored sheet of paper. The sky just before dusk rests between day and night—neither ending nor beginning, but clearly in transition. That fleeting and beautiful moment felt closely connected to the poem’s aesthetic.

In the brushwork, I was careful not to force emotion, but instead let the movement drift like a silent breeze through space. Within the flow of the characters, I hope the stillness of the mountain village and the subtle layers of “aware” in the poem quietly emerge.

About this Waka (Poem)

About the Shin Kokin Wakashū

This waka is included in the Shin Kokin Wakashū.

The Shin Kokin Wakashū (“New Collection of Ancient and Modern Japanese Poetry”) is an imperial anthology compiled by order of Emperor Go-Toba. Fujiwara Teika served as its chief compiler, and Go-Toba himself, known for his deep knowledge of waka, took an active part in the project.

In 1201, a Waka Bureau (Wakadokoro) was established in the Emperor’s palace, and in 1205 a celebratory banquet was held to mark the anthology’s completion. Revisions continued afterward, and the work was not finalized until around 1216.

(For your information: Imperial anthologies were prestigious collections that defined poetic standards for generations. To be included was a great honor for any poet.)

The Fate of Emperor Go-Toba

Only five years after the anthology’s completion, in 1221, Emperor Go-Toba was exiled to the Oki Islands for his role in the Jōkyū Disturbance. Exile at the time was considered harsher than a death sentence, as it severed one completely from social standing, familiar surroundings, and loved ones.

(For your information: Exile meant total isolation on a remote island. It was both a political punishment and a profound emotional rupture.)

A Poem Foreshadowing Solitude

The quiet desolation that flows through this waka feels almost prophetic, as if anticipating the Emperor’s later fate. The image of a traveler standing in the autumn wind, touched by the lonely glow of evening light, carries a poignancy that resonates deeply with the era’s uncertainties.

About the Artwork

To gently counterbalance the poem’s stark, desolate mood, I wrote the calligraphy on warm-toned ryōshi (traditional handmade paper), envisioning an elegant and dignified framing. The softness of the paper’s color brings a subtle warmth to the melancholy scene the poem evokes.

About this Waka (Poem)

While standing alone at the ruins of Komoro Castle in Shinshu (present-day Nagano Prefecture),
Bokusui felt as though the autumn grasses beside him were whispering,
“Those who have passed away are dear to us.”
It is a quiet, nostalgic reflection on impermanence and memory.

A Casual Reflection

The ruins of Komoro Castle are now known as Kaikoen, a historical park loved by many visitors. It is said that this very poem by Bokusui is engraved directly into one of its old stone walls. I once visited Kaikoen myself, yet I completely missed it at the time.

In this poem, Bokusui’s gaze rests gently upon things that have decayed or passed away.

For the calligraphy, I chose decorative paper in the colors of an autumn sunset. On that paper adorned with simple, lovely autumn grasses, moved my brush so that the lines would flow naturally—as if the grasses themselves were gently swaying in the breeze.

Someday, I would like to return to the stone wall of Kaikoen and remember this poem once more—to listen quietly, beside the autumn grasses, to what time itself may have to say.

What kind of verse?

His eyes

When we think of morning glories, we picture delicate and fleeting flowers that bloom in the early hours of summer and wither by noon.

But Buson saw something more—
in a single morning glory, he perceived “the color of a deep pool.”

His gaze captured a quiet depth, a kind of weight that lies beyond the surface of the tiny bloom.
It’s a perspective that goes far beyond notions of cuteness or coolness—
it touches something profound in the human spirit.

This haiku, paired with the graceful image of a morning glory, invites you to see the flower as expanding gently outward—
into the quiet depths of the season.

μはがき作品｜朝がほ / Morning Glory – Japanese Calligraphy Art | totKnow - ととのう - powered by BASE

鮮やかな青い朝顔のイラストに、与謝蕪村の俳句「朝がほや一輪深き淵の色」をしたため...

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What kind of verse?

Under a clear sky after a typhoon, the leaves have fallen and the plum grove is neat and clean. Looking up, dragonflies soar high in the sky. This is the scene of this poem.

Choosing an Autumn Poem in Early Spring

As if heralding the arrival of spring in February, the plum blossoms have begun to bloom. In the lingering cold air of winter, there is a faint warmth mixed in, making me feel that spring is drawing near. Yet, in this season, why did I choose to write a poem about autumn leaves?

It is because I feel that spring and autumn are somehow connected. Spring is a season of budding life, but the soil that nurtures it is enriched by the fallen leaves of autumn, which eventually become the source of new vitality. Autumn is a season symbolizing loneliness and farewell, but beyond its melancholy, there is always a sense of a new beginning.

Writing an autumn poem in a garden where plum blossoms bloom feels like transcending the flow of time and contemplating the cycle of the seasons. By reflecting on what has passed, perhaps we can more deeply appreciate the seasons yet to come.

Such is one of the many pleasures of calligraphy.

What kind of verse?

brief comment

For this piece, I added a kotobagaki (a preface or contextual note) and expressed the composition with a layout inspired by Sunshoan shikishi, which is the most famous old text about 1000 years ago. The distinctive charm of Sunshoan shikishi lies in its free-flowing arrangement and elegant placement of text, creating harmony between the poem and the overall composition of the paper. In this work, the kotobagaki serves to enhance the poem, evoking the serene imagery of moonlight and crimson leaves with poetic depth.

While paying homage to the timeless beauty of Sunshoan shikishi, I also sought to integrate my own sensibilities, exploring new possibilities for artistic expression in the modern era. I hope this work conveys a sense of tranquility and the beauty of the scenery to those who view it.

What kind of verse?

It depict a scene in which autumn leaves are offered to the departing autumn, as a gesture of farewell.

brief comment

This piece pays homage to the unique scattered writing layout of the Nishi Honganji Sanjūrokunin kashu Ise Collection, arranging the characters in a way that evokes mountains adorned with beautiful autumn foliage.

Nishi Honganji Sanjūrokunin kashu Ise Collection

A graceful old brush said to have been made in 1112 as a gift to the emperor of the time. The link is a piece of that collection.

The Ise-shu — A Complete Hand Copy

#103 A reproduction of Ise-shuSize：about...

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2022.10.26

The scattered placement suggests maple leaves swaying in the wind, decorating the mountains and offering their beauty as a farewell to autumn.

I sought to incorporate a sense of autumn’s gentle fade throughout the work, allowing a poetic resonance to linger. While creating this piece, I envisioned a scene of deepening autumn hues in the mountains, moving my brush with the image of leaves stirring in the breeze, as if autumn itself were bidding a reluctant farewell.

Through the image of falling maple leaves, I hoped to capture nature’s beauty and the passage of seasons.

What kind of verse?

brief comment

The endless autumn road stretches on, with no sign of travelers either ahead or behind. In this scene, Bashō’s indescribable sense of loneliness comes through.

Even though he was a highly successful haiku poet with many disciples, Bashō eventually reached such a state of mind. He is no longer a saint, but rather someone who feels relatable with a touch of human warmth.

I attempted to connect with Bashō’s feelings by expressing the long, unending road through the length of the central line in this piece.

What kind of verse?

This haiku’s image may be,

When I went to the well to get water in early morning, I found morning glories wrapped around the vines and blooming. I couldn’t bear to harm such morning glories, so I went to get water elsewhere.

The haiku reflects themes of nature’s beauty and the gentle interdependence of human life.

brief comment

I have inscribed the same haiku on three different types of traditional Japanese paper (ryoshi). Each piece of paper is meticulously decorated with genuine gold and silver leaf, creating a truly elaborate work of art. I wonder if the depth of the ink’s color and the solemn atmosphere conveyed on the authentic ryoshi can be appreciated.