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一華開五葉 ikka goyō o hiraku One Flower Opens Five Petals

一華開五葉, one flower opens five petals: what the petals of Bodhidharma's verse have been read to be, from the Tang records to the tea room.

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Japanese Scroll of One Flower Opens Five Petals (ikka goyō o hiraku) — Calligraphy by Eri Takase
One Flower Opens Five Petals一華開五葉ikka goyō o hiraku

Original art by Master Calligrapher Eri Takase

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Abstract

一華開五葉, one flower opens five petals, is the third line of a four-line verse that the Chan records give Bodhidharma as he hands on the Dharma: I came to this land to pass on the Dharma and save the deluded; one flower opens five petals, and the fruit forms of itself. The earliest date the texts read put on it is 838, when a Japanese monk listed in his catalogue a Tang book that carries it; in the frame the Platform Sutra gives it, the verse is recited to show that the robe is not to be passed on after the sixth patriarch, and the count it invites, the five petals as the five patriarchs after Bodhidharma, another Dunhuang text puts in Huineng's mouth [1][2][3]. The reading several of the English books read give, that the petals foretell the five houses of Chan, is first read, in the Chinese texts read, in a stupa inscription for a master who died in 1381, a Chinese emperor called it a later gloss in 1733, and the first time the Japanese texts read set it on the verse, at Shōfukuji, about 1264 by the telling of 1702, a Japanese master refuses it [4][5][6]. Dōgen in 1243 refused the count altogether, the layering of the one flower is the five petals; the opening of the five petals is the one flower [7][8], and two of the Chinese masters who came to Japan in the thirteenth century wrote it as the Dharma reaching Japan, where it became a court poem, a monk's name and a one-line hanging scroll [9][10][11][12][13].

Overview

The sense. No dictionary at kotobank heads the phrase: the word pages for 一華開五葉 and 一花開五葉 each answer 404. Its words are entered. 一華, read いちげ, is 一輪の花, a single flower, with いっか as a second reading; in Buddhist use it stands for the original thing before it divides, or for the mind that seeks awakening, and the 日本国語大辞典 cites the 景德傳燈錄's third book for it, the book that gives this verse [14]. 五葉 is first 草木の、ひとところから出ている五つの葉, five leaves growing from one place, and by extension 元のものから五つに分かれたことのたとえ, a figure for five things divided from one source; the デジタル大辞泉 gives as its third sense 五つの分派。特に、禅宗の五家, five branches; in particular, the five houses of Zen [15]. The line says that one flower opens into five petals. What the five are, the line does not say, and the witnesses read give at least seven answers, set out below.

The words. The verse whole, as the 景德傳燈錄 prints it: 吾本來茲土。傳法救迷情。一華開五葉。結果自然成, I came to this land to pass on the Dharma and save the deluded. One flower opens five petals, and the fruit forms of itself [16]. 華 and 花 are one word; the early witnesses write both, and 結果 is also written 結菓 [1][3]. 開 here takes 五葉 as its object, opens five petals, so the flower is what does the opening. The sources read give the line three readings in Japanese. A Zen handbook of 1911 prints a ruby, いつけごえふをひらいてけつくわじねんになる, ikke goyō o hiraite kekka jinen ni naru [17], and a Zen book of 1910 one that runs …けごやうをひらきてけつくわじねんに…, …ke goyō o hirakite kekka jinen ni… [18]. The 日本国語大辞典 heads 一華 as いちげ [14], and Hori in 2003 reads Ichige goyō o hiraki, kekka jinen ni naru, and gives beside it the reading of the 円福寺 monastery, ikke goyō o hiraki, kekka jinen jō [19]. A tea writer in 1981 reads 一花五葉開 as いつかごようをひらく, ikka goyō o hiraku [20], the reading this page's title gives. 結果自然成 is kekka jinen ni naru in the ruby of 1911 and in Hori, with 自然 as jinen, of itself; the 円福寺 reading Hori gives is kekka jinen jō.

The text in English. Joseph Edkins in 1880 gives the line inside its Platform Sutra frame, In the five petals the flower, as he had expressed it, would be complete [21]; D. T. Suzuki in 1927 as One flower with five petals is unfolded, / And the bearing of fruit will by itself come [22]; Philip Yampolsky in 1967 as One flower opens five petals, / And the fruit ripens of itself [23].

The historical record

Before 838, the 寶林傳, a Tang book. The earliest dated witness read is the 寶林傳, a lineage history of the Chan patriarchs; the Japanese monk Ennin 圓仁 lists it in his catalogue of the books he sought in Tang, dated 838 (承和五年), as 曹溪寶林傳十卷, with a preface by the monk 靈徹 of Kuaiji [2]. In it Bodhidharma hands his Dharma and his robe to his heir and says: 我今將此正法眼藏付囑於汝以此袈裟吾用為信汝受吾教聽吾偈言吾本來茲土傳教救迷情一花開五葉結菓自然成, I now entrust this treasury of the true Dharma eye to you, and this robe as its token. Receive my teaching and hear my verse: I came to this land to pass on the teaching and save the deluded; one flower opens five petals, and the fruit forms of itself [1]. Bodhidharma died in 528 by the dictionary [24], so the earliest date the texts read put on the verse is some three centuries after him. Heinrich Dumoulin called it likewise spurious in 1963, and in 1988 a prophecy already fulfilled at the time it was set in writing [25][26].

The Platform Sutra: the robe stops. In the Dunhuang text of the Platform Sutra, Huineng 慧能, the sixth patriarch, tells his disciples that the robe is not to be passed on after him, and recites the verses of the five patriarchs before him to show why: 衣不合傳 … 若據第一祖達摩頌意，即不合傳衣 … 第一祖達摩和尚頌曰：吾本來東土，傳教救迷情，一花開五葉，結菓自然成, the robe is not to be passed on … by the sense of the first patriarch Bodhidharma's verse, the robe is not to be passed on … the first patriarch, the priest Bodhidharma, said in verse: I came to the eastern land … [3]. The 宗寶本 of the sutra keeps the frame: 據先祖達磨大師付授偈意，衣不合傳 [27]. In this frame the verse closes the passing of the robe at the sixth patriarch, and the count it invites is the five generations from Bodhidharma's heir Huike 慧可 to Huineng, which a Dunhuang text, below, puts in words. The 祖堂集, dated to 952 by the encyclopedia [28], sets beside the verse Bodhidharma's own words, 我法至六代，陵遲傳法之人, when my Dharma reaches the sixth generation, those who pass it on will be brought low [29], and the 景德傳燈錄, dated to 1004 by the dictionary [30], gives the verse as above [16]. A Dunhuang text put the count in Huineng's mouth: 從可大師至吾，恰五人也, from Huike to me there are exactly five [31]; and a Song collection of the patriarchs' verses notes under the line 有六祖號，花開五葉，誰人不知, there is the title of Sixth Patriarch: the flower opened five petals, who does not know it [32].

The Song and the Jin: the line spreads. In the Song the five petals are read as the line of generations growing, and in the passages read no one reads the verse's five as the five houses, though one monk sets the two side by side. The 從容錄, the case collection with Hongzhi Zhengjue's 宏智正覺 verses and the commentary of Wansong Xingxiu 萬松行秀 (1166–1246), prefaced in 1224 [33][34], takes the verse in its fifty-third case, where Huangbo calls his monks dreg-eaters. Hongzhi's verse says 葉綴花聯敗祖曹, leaves strung and flowers linked ruin the ancestors' house, and Wansong comments: 一花五葉。便是岐分絲染也, one flower and five petals: that is the forking of the road and the dyeing of the silk [35]. The spreading is the trouble here, and Huangbo is praised for cutting the side branches. The phrase book 祖庭事苑, printed between 1098 and 1110 by the デジタル大辞泉 (the 日本国語大辞典 says in the 元符 era, 1098–1100) [36], heads 五葉 and glosses it only by quoting the verse [37]. In the record of Xueyan Zuqin 雪巖祖欽, who took up his abbacy in 1253 by its own date, a monk pairs the two in one breath: 少林首傳二祖，五葉芬芳 … 門庭雖有五家，般若同歸地位, Shaolin first passed it to the second patriarch, and the five petals are fragrant … though the gate has five houses, prajñā returns to the same ground [38]. The petals stand with the line from the second patriarch, and the houses come after though; the monk then asks for the teaching of the five houses, 如何是五家宗旨, and of each house in turn [38].

1316 and 1325, Zhongfeng Mingben's five writings. The Yuan master Zhongfeng Mingben 中峰明本 (1263–1323) [39] gathered five of his own writings under one title and said why in its preface: 前後成篇者五。戲以一華五葉目之, the pieces come to five in all, and in play I gave them the name "one flower, five petals." He meant to throw them into water or fire, and his followers answered with his own teaching of illusion: 一華是幻五葉亦幻, the one flower is illusion, and the five petals are illusion too. His verse afterword, signed in 1316, opens 少室一華開五葉。狼藉叢林豈堪說, the one flower of Shaoshi opened five petals, strewn through the monasteries past telling [40]. Gulin Qingmao 古林清茂 (1262–1329), the Yuan master many Japanese monks went to study with [41], wrote a piece to head the book at the request of the head seat 惟則, 復請引其首, dated the last month of 泰定二年, 1325–26, and it cites the verse and follows it with the line of the patriarchs: 自可祖至於大鑑，芳聯𦦨續，派列枝分，繩繩而不絕者, from the patriarch Huike down to Dajian, that is Huineng, the fragrance linked and the flame went on, the streams ranged and the branches divided, unbroken, cord upon cord [42]. In Japan it was read as a book: Jakushitsu Genkō 寂室元光 (1290–1367), who had studied with Zhongfeng in China [43], thanks a friend in a letter for the gift of the 一花五葉 and says he still lacks the 東語西話, 尚欠東語西話, a title the 仏教大辞典 lists with the 一華五葉集 among Zhongfeng's works [44].

After 1381: the five houses. The stupa inscription for Wanfeng Shiwei 萬峰時蔚, who died in the first month of 洪武十四年 (1381) by his life in the same record, traces his line from Huineng down to Linji and says: 一花五葉，從此而分。臨濟、溈仰、雲門、曹洞、法眼, one flower, five petals: from here they divided, Linji, Weiyang, Yunmen, Caodong, Fayan [4]. Of the dated Chinese texts read, it is the earliest to read the petals as the five houses. A preface to the 五家語錄 signed in 1630 calls the verse a prophecy, 一花開五葉之讖 [45], and a Qing preface to a chart of the five lineages says the line divided into five lesser branches 以應一花五葉之讖, so as to answer the prophecy of one flower and five petals [46]. A commentary on the Diamond Sutra, with a preface signed in 順治戊子, 1648, keeps the older count: 達磨是一花 … 二祖慧可、三祖僧璨、四祖道信、五祖弘忍、六祖慧能，乃是五葉, Bodhidharma is the one flower … Huike, Sengcan, Daoxin, Hongren and Huineng are the five petals [47].

1733, the Yongzheng emperor. In his anthology of Chan sayings, prefaced in 1733, the emperor writes in his own person: 如達摩傳衣偈云：一花開五葉，結果自然成。後世附會其說，以為五葉者，五宗也。夫傳衣止於曹溪，則是從慧可而下五世矣 … 由可至能，豈非五葉？後來萬派同源，豈非結果自然成耶？何得以五宗當之？, as Bodhidharma's verse on handing on the robe says, "one flower opens five petals, and the fruit forms of itself." Later ages fastened a gloss on it, taking the five petals for the five houses. But the robe stopped at Caoxi, and that is five generations down from Huike … from Huike to Huineng, are those not the five petals? And the ten thousand streams after, from one source: is that not the fruit forming of itself? How can the five houses be made to fit it? [5].

1243, Dōgen: one flower and five petals are one. Dōgen 道元 quotes the verse in the two chapters of the 正法眼蔵 read here, both written in 1243 by their colophons. In 空華: 一華ノ重ハ五葉ナリ。五葉ノ開ハ一華ナリ, the layering of the one flower is the five petals; the opening of the five petals is the one flower [7]. In 梅華 he names the count he refuses. Every patriarch, from the seven Buddhas of the past through the Indian and Chinese ancestors, is 只一枝ノ開五葉, just one branch opening five petals; and then: シカアルヲカツテ參學眼ナキトモカライハク。五葉トイフハ。東地ノ五代ト初祖トヲ一華トシテ … イカテカ五代ノミナラン。六祖ヨリノチハ。道取セサルカ, yet those who have no eye for study have said that the five petals are the five generations of the East, with the first patriarch as the one flower … how could it be only five generations? After the Sixth Patriarch, is nothing said? [8]. He calls the count not worth raising to refute. Neither of the two chapters, read whole at the SAT database, names the five houses. The commentary on the 正法眼蔵 of his disciple Senne 詮慧, a Kamakura monk by the dictionary [48], and of 経豪, the 御抄, names the count again as other schools': 余門には一花開五葉をば、初祖をば一花にて、開五葉をば六祖までの抜群の祖師達を指て云ふと談之。当流不用義なり, other gates say that the first patriarch is the one flower and that the opening five petals point to the outstanding patriarchs down to the sixth; our line does not use that reading [49]. In another place it says 此五葉ハ開無量葉也, these five petals are the opening of numberless petals [50]. When the Sōtō head temple printed the 正法眼蔵, it marked its twenty volumes with the twenty characters of the verse [51].

Before 1249, Wuzhun Shifan: open of themselves. The Southern Song master Wuzhun Shifan 無準師範 (1178–1249), whose disciples include Mugaku Sogen [52], wrote among his encomia for Bodhidharma: 觸忤梁王，恓恓渡江。九年冷坐，重重話墮。一花五葉自芬披，不在春風著意吹, he offended the Liang king and crossed the river in distress; nine years he sat cold, and slipped in his speech again and again. One flower, five petals, open fragrant of themselves, not waiting for the spring wind to blow them [53]. Helmut Brinker prints the line from a painting of Bodhidharma crossing the Yangzi on a reed in the Tokugawa Art Museum, One flower and five petals all grow on their own [54].

About 1271, Rankei Dōryū: the fragrance reaches Japan. Rankei Dōryū 蘭溪道隆 (1213–1278), who came to Japan from the Song in 1246 and founded Kenchōji [55], wrote on a painting of Bodhidharma now at Kōgakuji, for a lay patron, 朗然居士, as a local history prints the inscription: 香至國王之季子、般若多羅之克家、遊竺乾破六宗之執見、來震旦開五葉之奇花、香傳日域, the youngest son of the king of Kōshi, the heir of Prajñātāra, travelled India and broke the six schools' fixed views; he came to China and opened the rare flower of five petals, and its fragrance passed to Japan [9]. A journal of 1932 notes that the inscription is not in his recorded sayings [56]. It is undated; a catalogue of Zen painting and calligraphy from the Museum of Fine Arts, Boston, presumes the painting roughly contemporary with his inscription of 1271 for the same patron on a portrait at Kenchōji [57].

After 1279, Mugaku Sogen: the color in Fusō. Mugaku Sogen 無学祖元 (1226–1286), Wuzhun's disciple, who came to Japan in 1279 [58], took his teacher's line whole and added his own under 達磨: 一花五葉自芬披。雨過扶桑色轉輝, one flower, five petals, open fragrant of themselves; the rain has passed, and in Fusō the color shines brighter, Fusō being Japan; and again, 一花五葉正流東, one flower, five petals, flowing now to the east [10]. A paper of 1984 on the Bodhidharma of the 元亨釈書 quotes the first line from his record [59]. Neither émigré master counts the petals in the lines quoted here, though Mugaku names the five houses in another encomium for Bodhidharma, 五家依舊各開門, the five houses still open each its own gate, without the verse [10]. In the lines quoted, Rankei says the flower's fragrance passed to Japan, and Mugaku sets its color shining in Fusō.

About 1264, at Shōfukuji: the five houses refused. The Japanese master Gokū Keinen 悟空敬念 (1217–1272) [60] went to see the Chinese master Gottan Funei 兀庵普寧 (1197–1276) [61] at Shōfukuji 聖福寺 before Gottan sailed home, and that night argued the founder's verse with a monk. The life of Tōgan Ean 東巌慧安 (1225–1277), who turned to Zen on meeting Gokū and took Gottan's Dharma [62], tells it: 僧曰一華開五葉。是識語。指吾宗後分爲五家。念云。何其爾乎。此是吾祖末後全提句, the monk said: "One flower opens five petals" is a prophecy, pointing to our school's later division into five houses. Gokū said: How could that be so? This is our founder's last whole word [63]. Gokū asked Gottan which of them was nearer, and Gottan wrote the verse anew: 吾本來玆土。無法而可傳, I came to this land; there is no Dharma to be passed on. Mangen Shiban 卍元師蛮 (1626–1710) [64] also tells it, in his lamp record of 1678 [65], where Gottan goes on 成蛇而入艸。成龍而上天, become a snake and go into the grass; become a dragon and rise to heaven [6], and in his lives of eminent monks of 1702 [66], which dates the night to 文永元年 (1264) and has Gokū laugh: 胡亂指注, a muddled gloss [67]. In every telling read, the reading of the five houses is put forward and refused.

1345, the 太平記: Zen named by its verse. In the 太平記, the war chronicle the dictionary holds to date from the Ōan era, 1368 to 1375 [68], the monks of Mount Hiei petition against the Zen master 疎石 and the dedication of 天龍寺, in a petition dated 康永四年 (1345): 偉哉世在淳朴、四花敷台嶺、痛乎時及澆薄、五葉爲叢林, great it was: in the age of simplicity, the four flowers spread on the Tendai peak; grievous it is: the times have thinned, and the five petals have become monasteries [69]. The 日本国語大辞典 gives this line as its first example under 五葉 ①, by extension, a figure for five things divided from one source [15]. The petition sets Tendai's four flowers against Zen's five petals, and its annotator of 1925 glosses 五葉爲叢林 with the verse, not with the houses [70].

About 1349, the 風雅集: a court poem. The imperial anthology 風雅和歌集, compiled about 1349 [71], sets among its Buddhist poems one by Eifukumon'in no Naishi 永福門院内侍, a court poet [72], under the heading 一華開五葉結菓自然成の心を, on the heart of "one flower opens five petals, and the fruit forms of itself" [11]: 咲きそむる宿の櫻の一本よ春の景色に秋ぞ知らるゝ, the one cherry tree at my lodging, just coming into flower: in the look of spring, autumn is already known [73]. The flower already holds its fruit.

About 1490 and before 1533, the name 一華. Ōsen Keisan 横川景三 (1429–1493) [74] gave his disciple Keijun the sobriquet Ichige, as the English catalogue writes it without characters (一華 is my writing of it), and wrote him a gāthā whose third line the catalogue gives as The five petals open of their own accord; the catalogue dates it perhaps about 1490 and reads the petals as an allusion either to the "five houses" of Ch'an or to the patriarchs [57]. Gesshū Jukei 月舟寿桂 (d. 1533) [75] wrote an essay titled 一華說, whose opening and passage on the verse were read and whose end, which might say what the title names, was not (Gesshū retired late in life to the 一華軒, a hermitage of the 妙喜菴 at Kenninji, by the 世界大百科事典 on the page [75] cites); it quotes the verse as the word, by the sentence before it Bodhidharma's, to his one-armed heir, says that a flower with no fruit is only a wild flower, and asks whether it is not the plum: 晩年接隻臂闍梨云。一華開。五葉結。果自然成。花若無果。唯狂花爾 … 有花有果。豈非梅乎。以故魁千百花。佛祖相傳。必是梅也, late in life he received the one-armed teacher and said, "one flower opens, five petals form, the fruit ripens of itself." A flower with no fruit is only a wild flower … a flower that has both flower and fruit: is it not the plum? That is why it heads the thousand flowers; what the buddhas and patriarchs pass on must be the plum [12].

1645 and 1688, the phrase books. The Zen phrase book 句雙紙 of 1645, read leaf by leaf through its four-character, five-character and paired five-character sections, does not carry the verse [76]. The enlarged 禪林句集 of 1688 does, among its ten-character entries: 一花五葉開結果自然成, tagged 少室六門集 and followed by 終, with Bodhidharma's verse cited in its head note [77]; a typeset of 1889 of the 禅林句集 adds テ after 開, goyō hiraite [78]. The 少室六門 printed in 1675 does not write it so: at the end of its 血脈論 it prints 一花開五葉 [79]. A manuscript copy made in 1646 writes 一花開五葉 as well, and its reader glossed the line in kana with the one school, the five houses and a prophecy: … 一宗五家ニ … 讖文也, where the image leaves undecided whether the verb after 五家ニ is 分 or 合, and whether the character before 文也 is 讖 or 識, which Tōgan's life uses in the same sense [80]. The order 一花五葉開 is a Chinese Zen line in its own right. In the record of the Song master 慧暉, a monk recalls four lines as Caoshan's that end 不是本分事，一花五葉開 [81], and it stands in a Song verse that is not the transmission verse, 一花五葉開還落, one flower, five petals, open and fall again [82]. Dōgen writes it so too, in a summer-retreat sermon of his extensive record: 一花五葉開天澤, one flower, five petals, open in heaven's rain [83]. So does Hakuun Egyō 白雲慧暁 (1223–1298), who went to the Song in 1266 and later headed Tōfukuji [84], in an encomium for Bodhidharma: 渺然南海外。十萬里航來。獨坐崧山下。一華五葉開, from beyond the boundless southern sea he sailed a hundred thousand li; he sat alone beneath Mount Song: one flower, five petals open. Here the order puts 開 in the rhyme with 來, and his other encomia for Bodhidharma beside it speak of the line branching, 一脈分枝派 and 千枝萬派列無窮, and of the petals as 從教五葉聯芳 and 一華五葉。萬古春風 [85]. A four-line inscription for a Kannon on a single leaf opens 一花五葉開，一葉一如來, dated 1242 and signed 沙門道元贊 in the tradition that carries it [86]; its authenticity is not settled (Itō does not call it a forgery), and the story told of it, a Kannon who appeared on a single leaf during Dōgen's voyage home, begins as a later compiler's guess [87].

The seventeenth century on: the hanging scroll. The one-line scrolls by Japanese hands read write the verse in the order 五葉開. The Sōtō master Gesshū Sōko 月舟宗胡 (1618–1696) [88] brushed 一華五葉開 as a five-character line [13]. A one-line scroll 一花五葉開 by 玉室, presumably Gyokushitsu Sōhaku 玉室宗珀 (1572–1641) of Daitokuji [89], is listed among the utensils of a tea gathering in a book of 1975 on Kawakami Fuhaku 川上不白 (1716–1807 by デジタル大辞泉; the 日本人名大辞典+Plus on the same page gives 1719), a book that prints Fuhaku's tea records, in a window that does not show whose gathering it was [90][91], and Fuhaku himself, at seventy-six by his signature, which the 1981 survey takes as 寛政三年, 1791 (counted in the Japanese way from the 1716 birth; from the 1719 birth it would be 1794), brushed two lines of the verse in a set of three scrolls labelled 假, 空 and 中: 一花五葉開, 本来是清浄 and 結果自然成, the second not a line of the verse [92]. Herbert Plutschow's life of Hōunsai 鵬雲斎, the fifteenth Urasenke master, lists his calligraphy A Blossom Becomes Five Leaves [93]. The Chinese-born Ōbaku master Mokuan Shōtō 木庵性瑫 (1611–1684) [94] wrote the verse's own order: a book of 1904 recalls his 一華開五葉 on the desk of 清沢満之 [95]. A pair of his hanging scrolls in Boston reads Five petals of one flower open, / The fruit ripens by itself in the catalogue, which gives the English only, so its order is not known [96]. A Zen handbook of 1911 lists 一華開五葉結果自然成 under the heading 退禮, after the questions headed 進問, in the exchange at a new abbot's first entry into his temple, 晋山 [17][97].

Other petals. The 1675 少室六門 carries a different line in its verses on the Heart Sutra, 心花五葉開, the mind's flower opens five petals, and its commentator, quoting Bodhidharma's verse beside it, says the occasion and the sense differ and reads the five as the fivefold Dharma body: 五葉者戒定慧解脱知見五分法身也, precepts, concentration, wisdom, liberation, and the knowledge and vision of liberation [98]. An Edo Tendai primer reads them as five disciples: 達磨有五人弟子門葉五葉分 [99]. In 1976 Stephen Addiss listed the five schools of Zen, the five modes of consciousness, the five Dhyani-Buddhas, the five earliest Zen patriarchs, and the five wisdoms, and proposed enlightenment, which comes of itself like the opening of a flower [100].

What is not a source. The order 一華五葉開 on a scroll is not an error for the verse, and the verse is not a misquotation of the scroll: each is a form with its own witnesses. The 心經頌's 心花五葉開 is another line, which its commentator sets beside the verse and not under it [98].

The line in English

Edkins's rendering is the oldest found in the English books read and in the Internet Archive's full text, and it keeps the Platform Sutra's frame: The monastic habit and rice bowl … were in accordance with what Bodhidharma had said, not communicated to a new patriarch. In the five petals the flower, as he had expressed it, would be complete, he himself, the first of the six, being the stem on which the others grew [21]. Bodhidharma is the stem. Wong Mou-lam's translation of the sutra, in Goddard's A Buddhist Bible of 1938, uses nearly the same words, In five petals, the flower will be complete; / Thereafter, fruit will come to maturity naturally, inside the robe's frame [101]; the 1990 revision reads In five petals the flowers will be complete. / Thereafter, the fruit will come to bearing naturally [102]. Suzuki in 1927 writes that the "five petals" are supposed to mean the five Zen Fathers in China after Dharma, and that whether the verse is Bodhidharma's or composed by some Zen historian after the sixth patriarch … we have no means to decide [22]. Dumoulin in 1963 gives A flower with five petals opens; / Of itself the fruit will ripen [25]. Yampolsky's note of 1967 holds both readings and orders them: This phrase is traditionally interpreted to refer to the Five Patriarchs after Bodhidharma. Another interpretation is that it predicts the later division of Ch'an into five branches [23]. From Kazuaki Tanahashi in 1985 the houses lead: Usually interpreted as Bodhidharma's teaching which was divided into the teachings of the Five Schools of Chinese Zen. Dōgen interprets "five petals" as representing all buddha ancestors [103], and in 2010 he renders 空華 The blossom consists of five petals. The blossoming of the five petals is one blossom [104]. Isshū Miura and Ruth Fuller Sasaki in 1965 give The five petals of the one flower open, / And the fruit of itself is ripe, under Ikka goyo hiraite / Kekka jinen ni naru [105]. John McRae in 2000 gives A single flower opens into five leaves [106], Thomas Cleary in 1998 One flower will open into five petals [107], and Victor Sōgen Hori in 2003 A lotus opens five leaves, / And of itself bears fruit, the only rendering read that makes the flower a lotus, which the Chinese does not [19]. Cleary in 1988 renders Wansong's comment One flower with five petals is none other than "paths divide, threads are dyed" [108], and in 2013 Dōgen's summer sermon one flower with five petals opens in the moisture from the sky [109]. Gudo Nishijima and Chodo Cross, in the edition of 2008, romanize the line Ikke-kai-go-yō [110]. In a foreword to Sasaki's Record of Linji of 2009, Yamada Mumon writes that the lines are said to foretell the branching off of the five Zen schools [111], and Nakagawa Sōen, in a New Year letter of January 1967, wrote of Zen crossing the Pacific and then set the five continents beside the line: Bodhidharma says one flower opens five petals. Thinking of how the true Dharma prevails on the five continents, as well as in our five inner organs [112]. Taigen Dan Leighton and Shohaku Okumura in 2010 render Dōgen's summer sermon One flower with five petals opens in the sky and the mud and note that the line refers to the Chinese Zen lineage that developed into five lineages or houses [113]; Randolph Whitfield in 2015 gives When the single flower opens into five petals with the note The future five schools (houses) of Chan Buddhism in China [114]. Leighton's notes give Dōgen's line the five houses, which neither of the two chapters read names, or possibly the next five ancestors, the count 梅華 refuses [113][8].

Today. The house title is One flower opens five petals, the words of the line as they stand. A rendering must keep that the one flower does the opening; what the five petals are, the line does not say.

A reading

The reading the Platform Sutra's frame invites is a count, and another Dunhuang text puts it in Huineng's mouth: the five petals are the five patriarchs after Bodhidharma, and the verse is recited to close the line of the robe. I take that reading seriously, and I do not sign it. What the count serves, even there, is the end of a token: the robe stops because the flower is complete, and the fruit forms of itself. The verse in the sutra's frame already says that what is handed on no longer needs to be handed on as a thing. Dōgen takes that to its end. If the five petals are only five generations, he asks, is nothing said after the sixth? His answer is that the flower and its opening are one event, and every patriarch is one branch opening five petals. The grammar of the line allows it: 一華開五葉 says that one flower opens five petals, not that five things follow one.

The houses came late, and the first time the texts read set them on the verse in Japan, a master refused them in every telling read, once with a laugh. What I find most telling is how two of the Chinese masters who came here wrote it. Rankei did not count; he wrote that the flower opened in China and its fragrance passed to Japan. Mugaku took his teacher's line, open of themselves, and added that in Fusō the color shines brighter. For them the opening was the Dharma arriving, and I read the line with them and with Dōgen: one flower, opening, with the fruit forming of itself. Gesshū Jukei's plum, the flower that bears fruit, answers the same verse in a Muromachi monk's hand.

On the sound, the title above gives ikka, the tea world's of 1981; the Zen handbook of 1911 and the 円福寺 reading Hori gives say ikke, and the dictionary heads ichige.

Notes

The paper of 1984 that leads to Mugaku's encomium prints its first line 一花五葉自芳披; his record at the SAT database and his teacher's at CBETA read 芬 [59][10][53].

Gottan's rewritten verse is printed in three forms in the witnesses read. The 1678 lamp record, in its life of Gokū, prints 無法與入傳, and so does a printing of the 1702 lives made in the Meiji era [6][115]. The same lamp record, in Gottan's own life, has him recite the verse at a memorial feast, by the passage before it Bodhidharma's (老胡受般若多羅讖記 … 至玆遇遠諱之臨。因齋慶讚), as 吾本來玆土。無法與人傳。成蛇者入草。成龍者上天, no Dharma to give to anyone, and the typeset of 1922 of the 1702 lives gives 人 as well [116][67]. Tōgan's life gives 無法而可傳 [63].

In the 1922 typeset of the 1678 lamp record, the monk's word for what the verse does is printed in a character that, at the scan's resolution, cannot be told between 識 and 讖, prophecy: the life of Gokū (scan 107) and the life of Gottan, at 老胡受般若多羅讖記 (scan 33), print it in the same shape, and the National Diet Library's text layer reads both as 識. The history quotes the first as the text layer gives it, 識, and the second as 讖, by the sense; Tōgan's life is read by snippet, so its 是識語 is the text layer's, and prophecy is the sense the telling gives it [6][116][63].

The phrase book of 1688 tags its entry 少室六門集 and writes it 一花五葉開, and the 少室六門 of 1675 writes 一花開五葉; which copy of the 少室六門 the phrase book followed, if any, is not settled by the three read, the manuscript of 1646 among them [77][79][80].

The 1925 printing of Gesshū Jukei's essay punctuates 一華開。五葉結。果自然成, which makes 結 belong to the five petals; the verse reads 結果, the fruit forms [12].

Fuhaku's set of three is printed again in a book of his brushwork of 1980, as 一行書三幅対, 假 一花五葉開, 空 本来是清浄, 中 結果自然成, signed 七十六歳孤峰不白, read by snippet [117].

Japanese Scrolls by Master Calligrapher Eri Takase

Japanese Scroll of One Flower Opens Five Petals (ikka goyō o hiraku) in a block font by Master Japanese Calligrapher Eri Takase
一華開五葉VB5JBlock
Japanese Scroll of One Flower Opens Five Petals (ikka goyō o hiraku) in a cursive font by Master Japanese Calligrapher Eri Takase
一華開五葉VC5JCursive
Japanese Scroll of One Flower Opens Five Petals (ikka goyō o hiraku) in Master Japanese Calligrapher Eri Takase's own style (jiun)
一華開五葉VD5JJiun
Japanese Scroll of One Flower Opens Five Petals (ikka goyō o hiraku) in a semi-cursive font by Master Japanese Calligrapher Eri Takase
一華開五葉VS5JSemi-Cursive

Sources not seen

The 東巖安禪師行實, the life of Tōgan Ean, in 『続群書類従』 第9輯上 (1932; National Diet Library, pid 1078197), served in the Library's reading rooms only: its author and date would date the telling of the debate at Shōfukuji in Tōgan's life, which the history leaves undated.

The Chinese of Ōsen Keisan's gāthā for his disciple 一華, printed as 『書道全集』 vol. 20 (1957), no. 103, by the Boston catalogue: it would give the line the history knows only in English. His collected writings, 『補菴京華集』, are at the National Diet Library as a manuscript in fourteen volumes, open to all, and their machine-read text does not find the poem; a reading of the leaves has not been made.

The painting at Kōgakuji with Rankei Dōryū's inscription, or a plate of it: the history quotes the inscription from printed transcriptions.

A reader with access to any of these is invited to write to Takase Studios at Tim@Takase.com.

References

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  20. 『大塚宗哲随筆集』 6.1, 1981, search index 89: 一花五葉開(いつかごようをひらく)のかけじく, snippet view, National Diet Library. https://dl.ndl.go.jp/pid/12610998
  21. Joseph Edkins, Chinese Buddhism, 1880, p. 159 (the Internet Archive's text of the scan). https://archive.org/details/chinesebuddhism00edkiuoft
  22. Daisetz Teitaro Suzuki, Essays in Zen Buddhism, First Series, 1927, p. 172 (the shelf copy, the 2010 reprint).
  23. Philip B. Yampolsky, The Platform Sutra of the Sixth Patriarch, 1967 (the shelf copy, the 2012 reissue), the verses of the five patriarchs and n. 267.
  24. 「菩提達磨」, デジタル大辞泉 (?–528), at kotobank. https://kotobank.jp/word/%E8%8F%A9%E6%8F%90%E9%81%94%E7%A3%A8-630351
  25. Heinrich Dumoulin, A History of Zen Buddhism, 1963, p. 74 (the shelf copy).
  26. Heinrich Dumoulin, Zen Buddhism: A History, vol. 1, India and China, 1988, the chapter on Bodhidharma (the shelf copy).
  27. 『六祖大師法寶壇經』 (宗寶本): 據先祖達磨大師付授偈意，衣不合傳。偈曰：吾本來茲土，傳法救迷情，一華開五葉，結果自然成, at CBETA (T48n2008, p. 361a22–a25). https://cbetaonline.dila.edu.tw/zh/T48n2008_p0361a22
  28. 「祖堂集」, 改訂新版 世界大百科事典 (五代の南唐保大10年（952）の成立), at kotobank. https://kotobank.jp/word/%E7%A5%96%E5%A0%82%E9%9B%86-1181279
  29. 『祖堂集』 卷二, 菩提達摩: 我法至六代，陵遲傳法之人 (p. 335b02) … 汝聽吾偈曰：吾本來此土，傳教救迷情。一花開五葉，結果自然成 (p. 335b13–b14), at CBETA (B25n0144). https://cbetaonline.dila.edu.tw/zh/B25n0144_p0335b02
  30. 「景徳伝灯録」, デジタル大辞泉 (宋代の仏教書。30巻。道原著。1004年成立), at kotobank. https://kotobank.jp/word/%E6%99%AF%E5%BE%B3%E4%BC%9D%E7%81%AF%E9%8C%B2-489122
  31. 『金剛峻經』 卷四 (侯沖整理, from the Dunhuang manuscript S.2144 verso): 能大師告諸長老：衣信到吾處不傳也。所以達磨道「一花開五葉，結果自然成」。從可大師至吾，恰五人也, at CBETA (ZW11n0091, p. 134a10–a11). https://cbetaonline.dila.edu.tw/zh/ZW11n0091_p0134a10
  32. 子昇・如祐 錄, 『禪門諸祖師偈頌』 卷上: 一花開五葉，(有六祖號，花開五葉，誰人不知。) 結果自然成。(因花結果，因人悟心，悟無所得。), at CBETA (X66n1298, p. 722b19–b21). https://cbetaonline.dila.edu.tw/zh/X66n1298_p0722b19
  33. 「従容録」, デジタル大辞泉 and 日本大百科全書(ニッポニカ) (耶律楚材's preface, 1224), at kotobank. https://kotobank.jp/word/%E5%BE%93%E5%AE%B9%E9%8C%B2-79949
  34. 「万松行秀」, 日本大百科全書(ニッポニカ) (1166–1246), at kotobank. https://kotobank.jp/word/%E4%B8%87%E6%9D%BE%E8%A1%8C%E7%A7%80-118128
  35. 『萬松老人評唱天童覺和尚頌古從容庵錄』 卷三, 第五十三則 黃檗噇糟: 宏智's verse 岐分絲染太勞勞 … 葉綴花聯敗祖曹, and 萬松's commentary 葉綴花聯者。達磨初祖頌云 … 一花開五葉。結果自然成。一花五葉。便是岐分絲染也 (p. 261a28–a29), at CBETA (T48n2004). https://cbetaonline.dila.edu.tw/zh/T48n2004_p0261a28
  36. 「祖庭事苑」, デジタル大辞泉 (宋の睦庵善卿撰。1098～1110年刊) and 精選版 日本国語大辞典, at kotobank. https://kotobank.jp/word/%E7%A5%96%E5%BA%AD%E4%BA%8B%E8%8B%91-554737
  37. 睦庵善卿, 『祖庭事苑』 卷一, 雲門室中錄, the headword 五葉, glossed by quoting the verse, at CBETA (X64n1261, p. 320c05). https://cbetaonline.dila.edu.tw/zh/X64n1261_p0320c05
  38. 『雪巖祖欽禪師語錄』 卷二: 少林首傳二祖，五葉芬芳；葱嶺單提隻履，千燈續焰。門庭雖有五家，般若同歸地位。如何是五家宗旨？ (p. 610c16), and 卷一, 師於寶祐元年八月初一日入院 (p. 593c22), at CBETA (X70n1397). https://cbetaonline.dila.edu.tw/zh/X70n1397_p0610c16
  39. 「中峰明本」, ブリタニカ国際大百科事典 小項目事典 (ちゅうぼうみんぽん, 1263–1323; 号は幻住道人), at kotobank. https://kotobank.jp/word/%E4%B8%AD%E5%B3%B0%E6%98%8E%E6%9C%AC-20148
  40. 中峰明本, 『天目中峰廣錄』 卷二十四, 一華五葉序: 前後成篇者五。戲以一華五葉目之。亟欲投之水火。時幻眾曰。一華是幻五葉亦幻 (p. 936a10–a11), and 一華五葉後序: 少室一華開五葉。狼藉叢林豈堪說 (p. 936a16), signed 延祐丙辰冬幻住沙門明本 (p. 936b08–b09), at CBETA (B25n0145). https://cbetaonline.dila.edu.tw/zh/B25n0145_p0936a01
  41. 「古林清茂」, ブリタニカ国際大百科事典 小項目事典 (くりんせいむ, 1262–1329; 号は休居叟; 日本の入元僧で彼の教えを請うた者が多く), at kotobank. https://kotobank.jp/word/%E5%8F%A4%E6%9E%97%E6%B8%85%E8%8C%82-57121
  42. 休居叟清茂, a piece to head 中峰明本's 一華五葉, in 『天目明本禪師雜錄』 卷三: 昔吾祖菩提達磨大師首來震旦 … 故有一華開五葉，結果自然成之語。自可祖至於大鑑，芳聯𦦨續，派列枝分，繩繩而不絕者，良有以也 (p. 752a15–a18) … 休居叟既續後序之歌，而其徒惟則首座復請引其首，不可辭。時泰定二年十二月廿七日 (p. 752a22–a24), at CBETA (X70n1402). https://cbetaonline.dila.edu.tw/zh/X70n1402_p0752a13
  43. 「寂室元光」, 精選版 日本国語大辞典 (じゃくしつ‐げんこう; 元応二年（一三二〇）中国に渡り、中峰明本に学んだ; 正応三～貞治六), at kotobank. https://kotobank.jp/word/%E5%AF%82%E5%AE%A4%E5%85%83%E5%85%89-1081544
  44. 『永源寂室和尚語録』, 書簡, 答倫上人: 前既見惠一花五葉。山中無事。焚香披閲結般若縁。尚欠東語西話 (p. 123a18–a20), at the SAT Daizōkyō Text Database (T81n2564). https://21dzk.l.u-tokyo.ac.jp/SAT/T2564_.81.0123a16:0123a20.cit; and 『仏教大辞典』 第5, 1936, search index 940, in 中峰明本's entry: 著す所 … 一華五葉集(擬寒山詩一百首)、幻住家訓、東語西話各一卷, snippet view, National Diet Library. https://dl.ndl.go.jp/pid/1208017
  45. 『五家語錄』, 語風圓信's 五家語錄序 (p. 22b20): 一花開五葉之讖，其若是乎 … (p. 22c03–c04), signed 崇禎庚午 (1630; p. 23a08); the preface before it is signed 崇禎壬申 (1632; p. 22b14), at CBETA (X69n1326). https://cbetaonline.dila.edu.tw/zh/X69n1326_p0022c03
  46. 『緇門世譜』, 釋氏源流五宗世譜定祖圖序: 二大枝下復分溈仰、臨濟、曹洞、雲門、法眼五小枝，是為五宗，以應一花五葉之讖 (Qing), at CBETA (X86n1603, p. 483b13–b14). https://cbetaonline.dila.edu.tw/zh/X86n1603_p0483b13
  47. 屠垠 註, 『金剛經註解鐵鋑錎』 卷上: 一花開五葉者，達磨是一花，傳下二祖慧可、三祖僧璨、四祖道信、五祖弘忍、六祖慧能，乃是五葉 (p. 862a03; a preface signed 順治戊子, 1648), at CBETA (X24n0470). https://cbetaonline.dila.edu.tw/zh/X24n0470_p0862a03
  48. 「詮慧」, デジタル版 日本人名大辞典+Plus (せんね; 鎌倉時代の僧。曹洞宗), at kotobank. https://kotobank.jp/word/%E8%A9%AE%E6%85%A7-1085576
  49. 石井清純, 「『御抄』の禅語解釈」, 『印度學佛教學研究』 47 (1), 1998, quoting 『正法眼蔵註解全書』 巻六 p. 372: 余門には一花開五葉をば、初祖をば一花にて、開五葉をば六祖までの抜群の祖師達を指て云ふと談之。当流不用義なり, J-STAGE. https://www.jstage.jst.go.jp/article/ibk1952/47/1/47_1_148/_article/-char/ja/
  50. 『正法眼蔵抄』 上巻, 鴻盟社, 1903, search index 242: 一華開五葉ト云、此五葉ハ開無量葉也, snippet view, National Diet Library. https://dl.ndl.go.jp/pid/823083
  51. 『正法眼藏』 (本山版), 凡例: the twenty volumes marked by the characters of 吾本來此土。傳法救迷情。一華開五葉。結果自然成 (p. 10b28–c08), at the SAT Daizōkyō Text Database (T82n2582). https://21dzk.l.u-tokyo.ac.jp/SAT/T2582_.82.0010b28:0010c08.cit
  52. 「無準師範」, 日本大百科全書(ニッポニカ) (ぶじゅんしはん, 1178–1249; his disciples include 無学祖元 and 雪巌祖欽), at kotobank. https://kotobank.jp/word/%E7%84%A1%E6%BA%96%E5%B8%AB%E7%AF%84-140481
  53. 『無準師範禪師語錄』 卷五, 達磨祖師 (p. 270a08), the third encomium: 觸忤梁王，恓恓渡江。九年冷坐，重重話墮。一花五葉自芬披，不在春風著意吹 (p. 270a13–a14), at CBETA (X70n1382). https://cbetaonline.dila.edu.tw/zh/X70n1382_p0270a13
  54. Helmut Brinker and Hiroshi Kanazawa, Zen: Masters of Meditation in Images and Writings, translated by Andreas Leisinger, Artibus Asiae Supplementum 40, 1996, Brinker's essay, the Tokugawa Art Museum's Bodhidharma Crossing the Yangzi on a Reed with Wuzhun Shifan's inscription (the shelf copy).
  55. 「蘭渓道隆」, デジタル大辞泉 (らんけい‐どうりゅう, 1213–1278; 寛元4年（1246）来日), at kotobank. https://kotobank.jp/word/%E8%98%AD%E6%B8%93%E9%81%93%E9%9A%86-17903
  56. 『美術研究』 10, 1932, search index 30–31, on the 向嶽寺 達磨図 and its inscription, which it prints to the signature 建長蘭溪道隆爲朗然居士拜賛: この贊も語錄に見えず, snippet view, National Diet Library. https://dl.ndl.go.jp/pid/7964112
  57. Jan Fontein and Money L. Hickman, Zen Painting and Calligraphy, Museum of Fine Arts, Boston, cat. 20 (the Kōgakuji Bodhidharma, Lanxi Daolong's inscription, colophon in the catalogue's word) and cat. 54 (Ōsen Keisan, Calligraphy with Dedicatory Gatha; perhaps about 1490) (the shelf copy).
  58. 「無学祖元」, デジタル大辞泉 (むがく‐そげん, 1226–1286; 弘安2年（1279）北条時宗の招きで来日), at kotobank. https://kotobank.jp/word/%E7%84%A1%E5%AD%A6%E7%A5%96%E5%85%83-16997
  59. ささきともこ, 「『元亨釈書』達磨伝について」, 『日本文学』 33 (12), 1984, J-STAGE. https://www.jstage.jst.go.jp/article/nihonbungaku/33/12/33_KJ00009962262/_article/-char/ja/
  60. 「悟空敬念」, デジタル版 日本人名大辞典+Plus (ごくう-けいねん, 1217–1272), at kotobank. https://kotobank.jp/word/%E6%82%9F%E7%A9%BA%E6%95%AC%E5%BF%B5-1074554
  61. 「兀庵普寧」, デジタル大辞泉 (ごったん‐ふねい, 1197–1276), at kotobank. https://kotobank.jp/word/%E5%85%80%E5%BA%B5%E6%99%AE%E5%AF%A7-65308
  62. 「東巌慧安」, ブリタニカ国際大百科事典 小項目事典 (とうがんえあん, 1225–1277), at kotobank. https://kotobank.jp/word/%E6%9D%B1%E5%B7%8C%E6%85%A7%E5%AE%89-103259
  63. 『東巖安禪師行實』, in 『続群書類従』 第9輯上, 1932, search index 160: 僧曰一華開五葉。是識語。指吾宗後分爲五家。念云。何其爾乎。此是吾祖末後全提句 … 兀庵卽引筆頌曰。吾本來玆土。無法而可傳, snippet view, National Diet Library. https://dl.ndl.go.jp/pid/1078197
  64. 「卍元師蛮」, デジタル大辞泉 (まんげん‐しばん, 1626–1710), at kotobank. https://kotobank.jp/word/%E5%8D%8D%E5%85%83%E5%B8%AB%E8%9B%AE-16682
  65. 「延宝伝灯録」, 改訂新版 世界大百科事典 (卍元師蛮; 1678), at kotobank. https://kotobank.jp/word/%E5%BB%B6%E5%AE%9D%E4%BC%9D%E7%81%AF%E9%8C%B2-1150307
  66. 「本朝高僧伝」, デジタル大辞泉 (元禄15年（1702）成立), at kotobank. https://kotobank.jp/word/%E6%9C%AC%E6%9C%9D%E9%AB%98%E5%83%A7%E4%BC%9D-135156
  67. 卍元師蛮, 『本朝高僧傳』 (1702), in 『大日本仏教全書』 102, 1922, search index 149: 文永元年兀菴將歸宋。寓止聖福 … 僧曰。一華開五葉。結果自然成。此祖師識吾宗後分爲五家。念笑曰。胡亂指注。此是吾祖末後全提句。卽問菴。那個親那個疎。菴卽書曰。吾本來此土。無法與人傳。成蛇而入艸。成龍而上天, snippet view, National Diet Library. https://dl.ndl.go.jp/pid/952806
  68. 「太平記」, デジタル大辞泉 (応安年間（1368～1375）の成立とされる), at kotobank. https://kotobank.jp/word/%E5%A4%AA%E5%B9%B3%E8%A8%98-91961
  69. 『太平記』 巻二十四, 延曆寺三千大衆 petition dated 康永四年七月日: 偉哉世在淳朴、四花敷台嶺、痛乎時及澆薄、五葉爲叢林, in 『太平記』 巻1–40, 1906, scan 359 (page image), National Diet Library. https://dl.ndl.go.jp/pid/1885211/1/359
  70. 『日本文学大系』 校註 太平記, 1925, scan 38, the gloss: 五葉爲叢林 祖庭事苑に「吾本來玆土傳法救迷情一花開五葉結果自然成」 (page image), National Diet Library. https://dl.ndl.go.jp/pid/1018064/1/38
  71. 「風雅和歌集」, デジタル大辞泉 (正平4＝貞和5年（1349）ごろ成立), at kotobank. https://kotobank.jp/word/%E9%A2%A8%E9%9B%85%E5%92%8C%E6%AD%8C%E9%9B%86-122937
  72. 「永福門院内侍」, デジタル版 日本人名大辞典+Plus (えいふくもんいんの-ないし; 鎌倉-南北朝時代の歌人), at kotobank. https://kotobank.jp/word/%E6%B0%B8%E7%A6%8F%E9%96%80%E9%99%A2%E5%86%85%E4%BE%8D-1058667
  73. 『国歌大系』 第7巻, 1935, search index 266, 風雅和歌集 巻十八: …結菓自然成の心を咲きそむる宿の櫻の一本よ春の景色に秋ぞ知らるゝ厭離穢土の歌五十首よみ侍りける中に…, snippet view, National Diet Library. https://dl.ndl.go.jp/pid/1219745
  74. 「横川景三」, デジタル大辞泉 (おうせん‐けいさん, 1429–1493), at kotobank. https://kotobank.jp/word/%E6%A8%AA%E5%B7%9D%E6%99%AF%E4%B8%89-17515
  75. 「月舟寿桂」, 精選版 日本国語大辞典 (げっしゅう‐じゅけい; 別号幻雲; 天文二年（一五三三）没), at kotobank. https://kotobank.jp/word/%E6%9C%88%E8%88%9F%E5%AF%BF%E6%A1%82-1073268
  76. 『句雙紙』, 正保2 (1645), 西村又左衛門, a walk of canvases 8–55: the 四言 (canvases 8–27), the 五言 (27–35) and the 五言對 (36–55), each canvas read. 国書データベース. https://doi.org/10.20730/100103433
  77. 東陽英朝 集『増補首書 禪林句集』, 京師 小川多左衞門, 貞享5 (1688), the copy of 神戸大学附属図書館, canvas 79: 一花五葉開結果自然成, 少室六門集, and the head note 達磨大師偈云吾本来茲土傳法救迷情一花 ——— 成. 国書データベース. https://doi.org/10.20730/100272428
  78. 英朝 著『禅林句集』, 1889, scan 82: 一花五葉開テ結果自然成, 少室六門集 (page image), National Diet Library. https://dl.ndl.go.jp/pid/899715/1/82
  79. 『少室六門』 3巻, 1675, scan 90, the end of the 血脈論: 説頌曰 吾本來茲土 傳法救迷情 一花開五葉 結果自然成 … 血脈論終, and on the facing leaf the colophon 延寶三曆仲秋吉旦 秋田屋五郎兵衛板行 (page image), National Diet Library. https://dl.ndl.go.jp/pid/2537705/1/90
  80. 『少室六門』, 写本, 正保3 (1646), 大阪大学附属図書館, canvas 46, the end of the 血脈論: 說頌曰 吾本來茲土傳法救迷情 一花開五葉 結果自然成, with the kana gloss beside the third and fourth lines … 一宗五家ニ … 讖文也, and canvas 47: 血脈論終, with the copying note 正保三年七月 (page image), at the 国書データベース. https://doi.org/10.20730/300075690
  81. 『淨慈慧暉禪師語錄』 卷三: 上堂，因僧問：記得曹山和尚道：當頭無諱忌，語路若何迴？不是本分事，一花五葉開。此意作麼生？師曰：君臣合道 …, at CBETA (X72n1428, p. 140a17). https://cbetaonline.dila.edu.tw/zh/X72n1428_p0140a17
  82. 『淮海原肇禪師語錄』: 惟此道何遼漠，一花五葉開還落，枝子派子分不分，今之古之皆成錯, at CBETA (X69n1370, p. 783a17). https://cbetaonline.dila.edu.tw/zh/X69n1370_p0783a17
  83. 『承陽大師聖教全集』 第3巻, 1909, 永平廣録 結夏上堂, search index 60: 百草如今將夏結。拈來盡地萬千莖。一花五葉開天澤。結果自然必可成, snippet view, National Diet Library. https://dl.ndl.go.jp/pid/823141
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Authors

Tim Jackowski (Systems Architect, Takase Studios, LLC) · 典 Ten (Anthropic Claude Opus 5.5, Takase Studios, LLC)

AI written · Ten wrote the history. Tim Jackowski commissioned it and answers for it.

Not yet reviewed.

Cite as: Tim Jackowski and Ten, "Philology of 一華開五葉 (ikka goyō o hiraku)," Takase Studios, 2026, https://takase.com/library/philology/ikka-goyo-o-hiraku.