Reception of Chinese Classics and the Development of Sōka Culture in Early Modern Japan—The 6th Seminar Held by the Department of Art Research, Archives and Information Systems
Chinese books published during the Ming dynasty, known as Ming editions, were swiftly imported into Japan and profoundly influenced Japanese culture from the Muromachi period through the Edo period. A notable example is Ping Shi (『瓶史』), authored by Yuan Hongdao (袁宏道) in 1600, during the 28th year of the Wanli reign. Ping Shi was brought to Japan by at least 1629 (Kanei 6), and during the late Edo period it was enthusiastically embraced by the literati, leading to the establishment of numerous Sōka (Minimalist flower arrangement) schools. This influence is evident in the successive publications of ikebana-related texts from the 18th century onwards, such as Honchō Heishi Nageire Kishinonami (1750), Heika Anshū Fū Heiwa (1785), and Heishi Kokujikai (1809, 1810).
However, the details of Ping Shi’s reception in the earlier 17th century remain unclear. At the 6th seminar held by the Department of Art Research, Archives, and Information Systems on October 29, 2024, Ms. ONO Mayumi, Head of the Japanese and East Asian Art History Section of the Department of Art Research, Archives and Information Systems, presented her findings on the influence of Yuan Hongdao’s Ping Shi during the early Edo period. Her presentation, titled “The Reception of Yuan Hongdao’s Ping Shi in Early Edo Japan: Introducing FUJIMURA Yōken’s Kadōsho,” shed light on this underexplored history. Ms. ONO introduced a newly discovered kadōsho (flower arrangement manual), Koryū Sōka Kuden Hisho, which reveals that FUJIMURA Yōken (1613–1699) revered Yuan Hongdao. Yōken not only embraced the principles of Ping Shi, but also founded a distinct school of Sōka. A prominent tea master of the 17th century, Yōken served as the head of the Gofuku merchant house Jūniya in Kyoto and worked for the TŌDŌ family. He studied Chinese classics under MIYAKE Bōyō (1580–1649) and trained in tea ceremony under the Yabunouchi and Enshū schools before becoming a disciple of SEN Sōtan (1578–1658). Known for his excellence in Chinese poetry and his diverse tea practices, Yōken also demonstrated exceptional skill in flower arrangement. The session featured valuable commentary from Associate Professor YAMAMOTO Yoshitaka of the National Institute of Japanese Literature, who provided insights into Ping Shi.
Yuan Hongdao’s philosophy of flowers—emphasizing that placing a single branch in a vase is akin to immersing oneself in nature—resonated deeply with Edo-period sensibilities. The Seminar fostered discussions among experts from various fields about how this philosophy was received and evolved into different schools of ikebana during the Edo period. Building on these discussions and the textual analysis of Koryū Sōka Kuden Hisho, future research will continue to delve into the nuanced reception and development of Ping Shi within Japan’s ikebana traditions.