Biography of Yosa Buson
Leading haiku poet of the late 18th century and, with Basho and Issa, one of the great names in haiku. Also known as Yosa Buson or Taniguchi Buson. Also a distinguished Bunjinga(literati-style) painter, he perfected haiga ("haiky sketch") as a branch of Japanese pictorial art. His best-known painting disciple, Matsumura Goshun, also known as Gekkei, founded the Shijo school.
Born near Osaka, as a youth Buson went to Edo (now Tokyo). For five years (1737-42) he belonged to a haikai linked-verse circle over which Hayano Hajin (1676-1742) presided. Here he learned the traditions of the Basho school haikai as transmitted by Hattori Ransetsu and Takarai Kikaku. After Hajin's death Buson spent much time around Yuki, north of edo, where he painted, practiced haikai, and worte Hokuju Rosen wo itamu (Elegy to the old poet Hokuju), the first of his innovative poems that foreshadow modern free verse. Buson also visited places in northeastern Japan famed in Basho's poetic diary, Oku No Hosomichi (1694; tr The Narrow Road to the Deep North, 1966).
Buson settled in Kyoto in the late 1750s. He was active in Mochizuki Sooku's (1688-1766) poetry circle and was also actively painting in the Chinese-inspired bunjinga style. By practicing both poetry and painting, he aspired to the ideals of the bunjin (Ch: wen-ren or wen-jen; literati) of China. One of Buson's commissions involved collaborating with Ike No Tagia on a landscape series based on Chinese poems, Juben jugi (1771, Ten Conveniences and Ten Pleasures), now a National Treasure. In 1770 he took the name of Yahantei the Second (Midnight Hermitage) for his studio. His haikai teacher Hajin was the First Yahantei. In painting, he used the names of Sha Cho-Koh, Shunsei (Spring Star) and others during his earlier years in Kyoto.
Master of Poetry and Painting - Buson found his distinct voice partly from association with two dissimilar poets, Tan Taigi and Kuroyanagi Shoha (d 1772), both of whom helped him develop his spontaneous and sensual style. Following their passing, Buson emerged as the central figure of a haikai revival known as the "Return to Basho" movement. In 1776 his own poetry group built a clubhouse, the Bashoan (Basho Hut), for their haikai and linked-verse gatherings. Buson also prepared several illustrated scrolls and screens, including the text of Oku no hosomich, which helped canonize Basho as a grand saint of poetry. Although Buson sought to emulate Basho, his own poetry is clearly different and versatile. Buson read classics extensively and studied different styles of Chinese and Japanese paintings. Poetry and painting affected each other in his art. His poems were, diversely enough, rich in imagery, clearly depicting fine movements and sensual appearances of things, dynamic with wider landscapes, lyrical, sensitive to human affairs, romantic with hidden stories, graceful, and longingly time-conscious. Buson completed his own style of painting in his later years when he was using the name of Sha-In. Freed from the influence of China, he created genuine Japanese landscapes.
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Yosa Buson Poems
Blow Of An Ax
Blow of an ax, pine scent, the winter woods.
Hokku Poems In Four Seasons
Spring The year's first poem done, with smug self confidence
Dawn-- fish the cormorants haven't caught swimming in the shallows.
Early Summer Rain
Early summer rain-- houses facing the river, two of them.
Before The White Chrysanthemum
Before the white chrysanthemum the scissors hesitate a moment.
Calligraphy Of Geese
Calligraphy of geese against the sky-- the moon seals it.
Blown From The West
Blown from the west, fallen leaves gather in the east.
My Arm For A Pillow
My arm for a pillow, I really like myself under the hazy moon.
Buying leeks and walking home under the bare trees.
Listening To The Moon
Listening to the moon, gazing at the croaking of frogs in a field of ripe rice.
A Bat Flits
A bat flits in moonlight above the plum blossoms.
Lighting One Candle
Lighting one candle with another candle-- spring evening.
Harvest moon-- called at his house, he was digging potatoes.
Not Quite Dark Yet
Not quite dark yet and the stars shining above the withered fields.
Listening To The Moon
Listening to the moon,
gazing at the croaking of frogs
in a field of ripe rice.
Translated by Robert Hass