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松樹千年翠 shōju sennen no midori The Pine Stays Green a Thousand Years

松樹千年翠 (shōju sennen no midori), the pine, green a thousand years. In the Song books it is half a rebuke: the evergreen nobody looks at, beside the peony a whole city drinks to for a day. In Japan the oldest read bless a house at a memorial of 1382, and hang alone in the tea reports read, 1929 to 1935.

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Japanese Scroll of The Pine Stays Green a Thousand Years (shōju sennen no midori) — Calligraphy by Eri Takase
The Pine Stays Green a Thousand Years松樹千年翠shōju sennen no midori

Original art by Master Calligrapher Eri Takase

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Abstract

松樹千年翠, shōju sennen no midori, the pine, green a thousand years, is the first half of a couplet whose second half is 不入時人意, and is not to the taste of the people of the day. In the Song Chan books the evergreen nobody looks at stands against flowers everyone admires: a juniper against the spring blossoms and the drunken young lords in a sermon of Jingduan 淨端, printed in a lamp history presented to the court under the title of the Jiatai era, 1201 to 1204 [1][2]; and, in a master's comment in the same book, the couplet 松栢千年青，不入時人意 set beside 牡丹一日紅，滿城公子醉, the peony is red for one day, and the whole city's young lords are drunk [3]; Shitian Faxun 石田法薰 gave the two couplets to his assembly in 1244, in the last year of his life [4][5]. Every Chinese witness read that has the pine writes 松栢 or 松柏 and 青; the Japanese records write 翠, the oldest read in the sayings of Hakuun Egyō 白雲慧暁 (1223–1298) as they survive [6][7], and the five characters 松樹千年翠 are read first in 1382, as a blessing at a memorial, in a sermon of Shun'oku Myōha 春屋妙葩 [8][9]. The couplet in this wording is an entry of the Zen phrase book printed in 1645, apart from the peony [10]; the print of 1688 notes its sources, and from the 1910s to 1935 the books and magazines read here record the five characters brushed in a single line and hung at tea gatherings [11][12][13][14].

Overview

The sense. kotobank has no page for the phrase; its words are ordinary [15][16][17][18]. 松, the pine: the デジタル大辞泉 says that with bamboo and plum, or with the crane, it is held an auspicious pairing and is made into the New Year's gate pines, 竹・梅あるいは鶴とともにめでたい取り合わせとされ、正月の門松にする, and the 日本国語大辞典 that it has long been prized as a sign of long life and of celebration, 古くから長寿や慶賀を表わすものとして尊ばれている, and gives as one sense 永久であること、不変であることのたとえ, a figure for what is eternal, what does not change [15]. 千年, a thousand years, is 転じて、長い年月, by extension, a long span of years [18]. So the five characters say: the pine keeps its green a thousand years. Alone, that is a wish for what lasts. In the couplet they come from, the next five characters turn it: 時人, the people of the time, one's contemporaries, その時の人。同時代の人々 [19]; 不入…意, does not enter their mind, which in Japanese is read 意に入らず or 心に入らず, and 心に入る in the dictionary is 気に入る。心にかなう, to be to one's liking [20]. The evergreen is what nobody looks at.

The words. 松樹 is the pine tree. The Chinese books write 松柏 (or 松栢, the same 柏), pine and cypress, the evergreens together: the 日本国語大辞典 notes that the 柏 is one of the evergreens 側柏 (このてがしわ), 扁柏 (ひのき), 円柏 (びゃくしん), and gives the figure, 転じて、節を守って変わらないこと、また、変わらずに永く栄えることのたとえ, by extension, keeping faith without changing, or flourishing long without change; the 字通 cites the Analects [16]. 翠 is, in the 大辞泉, the name of a bird, the kingfisher, カワセミ; a jewel, 翡翠; and green, みどり。青緑色, with the native reading みどり, midori; the 字通 cites the Heian dictionary 名義抄 for ミドリ [17]. The Chinese books have 青, green, where the Japanese write 翠 (The historical record). The reading midori has a printed witness in the phrase book of 1688 and its reprint of 1889, which set the okurigana リ beside 翠, 千年ノ翠リ, a mark that fits midori and not the Sino-Japanese sui [11][21]; and in kana, though for Musō Soseki's 松柏千年翠 rather than this phrase, in a Japanese translation of his record, in a set the Library dates 1919 to 1921, which sets しようはくせんねんみどり beside it [22].

The text in English. Sōiku Shigematsu's A Zen Forest (1981) gives the whole couplet as The pine is green / for a thousand years: / No one now / understands it, and in its appendix the Japanese, 松樹千年翠 不入時人意, read Shōju sennen no midori; Toki no hito no i ni irazu [23]. Victor Sogen Hori's Zen Sand (2003) gives the half alone, Shōju sennen no midori. The pine tree, a thousand years of green, and, in another section, the whole couplet, The thousand-year green of this pine / Does not enter the minds of people today [24].

The historical record

The Song, the juniper nobody looks at. The Jiatai pudeng lu 嘉泰普燈錄, a lamp history that its compiler Zhengshou 正受, who died in 1208, presented to the court under the title of the Jiatai era, 1201 to 1204 [2], has a sermon of Jingduan 淨端 for the second day of the second month [1]: 二月二，禪翁有何謂？春風觸目百華開，公子王孫日日醺醺醉。唯有殿前陳朝檜，不入時人意。禪家流，只這是，莫思慮。坦然齋後一甌茶，長連床上伸脚睡。, The second of the second month: what has the old Zen man to say? The spring wind, and a hundred flowers open wherever you look; the young lords and the princes' sons are drunk day after day. Only the juniper of the Chen court before the hall is not to the taste of the people of the day. You of the Zen school: just this; do not think it over. Calm after the meal, a bowl of tea; on the long bench, stretch your legs and sleep. The book calls Jingduan Lion Duan, 端師子, because after an insight at a lion dance he made himself a lion skin of colored silk and wore it; it gives his age at death, seventy-two, and no year [25]. The evergreen here is a juniper, 檜, and the flowers are the season's: the second half of the couplet, before the first half has its pine.

The Song, the pine and the peony. In the same book's section of masters' comments on old cases, Meng'an Siyue 蒙庵思嶽, whom the book lists among the heirs of Dahui Zonggao 大慧宗杲 (1089–1163) with no account of his life [26][27], takes up a case [3]: 舉古㵎寒泉。師曰：雪峯不從口入。松栢千年青，不入時人意。趙州云死。牡丹一日紅，滿城公子醉。, He took up "the old stream, the cold spring". The master said: Xuefeng's "it does not go in by the mouth": the pine and cypress are green a thousand years, and are not to the taste of the people of the day. Zhaozhou's "he dies": the peony is red for one day, and the whole city's young lords are drunk. The case is in Zhaozhou's record: a monk asked Xuefeng how it is with the old stream and the cold spring, and was told you stare and cannot see the bottom; and the one who drinks? It does not go in by the mouth. Asked the same, Zhaozhou answered bitter, and of the one who drinks, he dies; and Xuefeng, hearing it, called him an old buddha [28]. So in the oldest place read where the two couplets stand together, they are a comment on two answers to one question: the evergreen beside Xuefeng's, the peony beside Zhaozhou's. The 禪林類聚, a collection of the Yuan by CBETA's record, has the comment too, under 蒙庵, in its fourteenth fascicle, the section on water and fire [29].

1244, Shitian Faxun. Shitian Faxun 石田法薰 asked his assembly, on the fifteenth day of the third month of 1244, 淳祐甲辰: 古人云：但得本，莫愁末。喚什麼作本？喚什麼作末？松栢千年青，不入時人意；牡丹一日紅，滿城公子醉。, The ancients said: get the root, and do not worry about the branches. What do you call the root? What do you call the branches? The pine and cypress are green a thousand years, and are not to the taste of the people of the day; the peony is red for one day, and the whole city's young lords are drunk [4]. His account of conduct, 行狀, tells the instruction among his last acts: after it, his heir 師俊 had his portrait painted and asked him for a eulogy, and the next day he fell ill; he died on the eleventh day of the first month of the following year, at seventy-five [5]. The Ming lamp histories carry the instruction under his name: the Xu chuandeng lu 續傳燈錄, which CBETA dates 1404, with 松柏 [30], and the Zengji xu chuandeng lu 增集續傳燈錄 of Wenxiu 文琇, with 松栢 [31]. That book was printed in Japan in 1641, and its leaf reads 松柏千年青 [32].

The thirteenth century, 翠 in Japan. Hakuun Egyō 白雲慧暁 (1223–1298; the ブリタニカ gives his death by the Japanese calendar, the twenty-fifth of the twelfth month of 1297) went to Song China and came back to be the fourth abbot of Tōfukuji [33]. His recorded sayings, compiled by his heir 希白, have a sermon for the full moon of the third month, undated, in which he takes up the case of Nanquan and the peony in the courtyard and ends [6]: 但倚曲木禪床閑吟一篇古詩。諸人還要聽取麼（卓拄杖一下云）松柏千年翠不入時人意。牡丹一日紅滿城公子醉, only leaning on the bent-wood chair, idly chanting an old poem. Do you want to hear it? (He struck the staff once.) The pine and cypress are green a thousand years, and are not to the taste of the people of the day; the peony is red for one day, and the whole city's young lords are drunk. He calls the pair an old poem; he writes 翠. The record survives through a copy made in 1401 from an exemplar kept at the temple 聖壽寺, by the copyist's own note, and the Taishō's text is a manuscript of 1813, with notes of that year by 守選 at the end of each fascicle [7]. That 翠 is Hakuun's own word is the record's claim; the oldest witness read for it is that copy.

The thirteenth and fourteenth centuries, the second half alone. Nanpo Shōmyō 南浦紹明 (1235–1309 in the 大辞泉) [34], asked what Zhaozhou's cypress in the courtyard is, answers with the second half and a doubled green: 如何是柏樹子。師云靑靑不入時人意, "What is the cypress?" The master: "Green, green: not to the taste of the people of the day" [35]. His heir Shūhō Myōchō 宗峰妙超 (1283–1338 in the 大辞泉) [36] answers a monk's verse at a sermon of the first day of the fourth month with the same line, 青青不入時人意 [37]. Jakushitsu Genkō 寂室元光 (1290–1367) [38], giving a student the name Pine Crag, 松巖, writes 志氣高衝霄漢不憂不入時人意。雖嘗盡霜雪之苦。終難改歳寒之姿, let his aim rise to the clouds, and let him not mind that he is not to the taste of the people of the day; though he taste the hardship of frost and snow to the end, he will hardly change the form he keeps in the cold of the year [39][40]: the second half said to a man named for the pine.

1365, Musō Soseki. Musō Soseki 夢窓疎石 (1275–1351) [41], thanking the five heads of the hall at a sermon, says 絶唱古曲無人會, the old tune sung to the end, and nobody understands it, asks which is the teaching of Vulture Peak and which of Dragon Mountain, and, after a long silence, says 牡丹一日紅松柏千年翠, the peony red for one day; the pine and cypress green a thousand years [42]: the two first halves, the order reversed, both second halves gone, and 翠. The Taishō's text of his record is a print of 1365. A Japanese translation, in a set the Library dates 1919 to 1921, reads the line 牡丹一日紅に、松柏千年翠なり, with the kana しようはくせんねんみどり, shōhaku sennen midori, beside the second half [22].

1382, Shun'oku Myōha, the blessing. The oldest 松樹千年翠 read, in exactly these characters, is in the record of Shun'oku Myōha 春屋妙葩 (1312–1388 in the 大辞泉; 1311–88 in the 世界大百科) [43]. The heading of the sermon reads 永德二年七月十九日。承大丞相命就于等持禪院。爲大聖寺殿從一品無相圓公大禪定尼盡七忌辰。丞相自書金剛經, on the nineteenth day of the seventh month of Eitoku 2, 1382, by the chancellor's command, at the Zen cloister 等持禪院, for the forty-ninth-day memorial of the lady of 大聖寺殿, of the first rank, 無相圓公大禪定尼; the chancellor copied the Diamond Sutra in his own hand [8]. Shun'oku takes up Yunmen's answer to where do all buddhas come forth? and ends [9]: 今日若有人問如何是諸佛出身處。祗對他道。平岡松樹千年翠。覆蔭兒孫百世春, if someone asks today where all buddhas come forth, answer him: on the level ridge the pine keeps its green a thousand years, and shades the children and grandchildren a hundred generations of spring. The line has no second half and no peony; it is a seven-character couplet of its own, and it blesses a house. A postscript in the same record, written at Tiantong in China in 1405 for a disciple who had carried the record across the sea, shows it compiled by then [44].

The phrase book. The book of Zen phrases called 句雙紙 in its early copies and prints survives in many copies. A manuscript the 国書総目録 catalogues as early Edo has the peony couplet, 牡丹一日紅 / 滿城公子醉, among its five-character couplets, and does not have the pine couplet: the run of couplets in which the printed book sets it is not in this copy [45]. The print of 1645, titled 禅林句双紙, has both, apart: 牡丹一日紅滿城公子醉 on one leaf, and five leaves on, at the head of a page, 松樹千年翠不入時人意, with the marks for the reading 千年ノ翠 … 時人ノ意ニ入ラズ, and the same neighbors it keeps in every later print [10]. So by 1645 the phrase book had the couplet in the wording 松樹 … 翠, and the halves of the Song pair were two entries. Whether the shorter manuscript keeps an older text or cuts a longer one, it does not say.

1688 to 1894, the phrase book annotated. The Zenrin kushū 禅林句集, in its annotated print of 1688, which the catalogue credits to Tōyō Eichō 東陽英朝 (1428–1504) as compiler [46], has the entry with the okurigana リ beside 翠, and two notes and a head-note [11]. The notes are 薰石田樹作栢, Faxun's Shitian record writes 栢 for 樹, and 續傳三ノ八丁石田章同。禪類, the Xu chuan, juan 3, leaf 8, the chapter on Shitian, the same; the Chanlin leiju; the head-note is 又禪類十四水火門松栢千年青不入時人意, also the Chanlin leiju, juan 14, the section on water and fire: 松栢千年青不入時人意. Juan 3, leaf 8 is the leaf of the Japanese print of the Zengji xu chuandeng lu that carries Faxun's instruction, which reads 松柏千年青 [32]; so the same means the same passage. The editor noted the 栢 against his 樹 and printed the 禪林類聚's 青 in the head-note without remarking on his own 翠. The prints of 1889 and 1894 carry the entry with the same notes [21][47].

The seventeenth century, the pair turned. Isshi Monju 一糸文守 (1608–1646) [48] turns the line on himself in a verse to his students: 主張菴子已經年。麁禪不入時人意。閑袖拳頭打大眠, I have kept this hermitage for years now; my coarse Zen is not to the taste of the people of the day; idle fists in my sleeves, I take a long sleep [49]. Manzan Dōhaku 卍山道白 (1636–1715) [50], in a verse for a lady whose house name was Green Pine Cloister, 青松院, sets the two first halves against each other in the phrase book's wording: 人間榮耀眼前空。大事因縁心裏通。莫將松樹千年翠。換却牡丹一日紅, the glory of the world is empty before your eyes; the great matter goes through in the heart. Do not trade the pine's thousand years of green for the peony's one day of red [51].

1895 to 1935, the rebuke and the blessing. The books and magazines read here, in the National Diet Library's snippet view, carry both lives of the line. The rebuke: a magazine of 1895 has 槿花一日ノ榮ヲ以テ松樹千年ノ翠ニ勝ルトナス, to take the one day's glory of the rose of Sharon to surpass the pine's thousand years of green [52], and an essay of 1927 quotes the couplet in Japanese reading, 松樹千年の翠、時人の意に入らず [53]. The blessing: a Zen magazine's number of January 1907 prints a poem on the New Year pine with 松樹千年翠、高節雄姿, which goes on to offer the auspice of the sovereign's endless life, 更呈聖壽無窮瑞 [54]; a book of 1916 lists 松樹千年翠 among its capping words, 著語, with 冬嶺孤松秀 and 孤松聳嶺頭 [55]; and a book of Zen phrases, the second series of 藤田玄路's 塗毒皷, which the Library dates 1916 to 1922, read at the page image, lists the couplet whole, 松樹千年翠不入時人意, among its ten-character phrases [56]. And the tea room: a volume of the Kyoto art clubs' sale catalogues, which the Library dates 1913 to 1917, lists a single line of 松樹千年翠 with a box by 宗鸞, by a master whose name the window cuts to …齋 [12]; a magazine of 1922 lists one by 海門和尙 [57]; a book of 1928 on the Zen phrases of tea-room hangings says it means the same as 松無古今色, the pine has no color of old or new [58]; and the tea magazine 茶道月報 reports 松樹千年翠 hung at gatherings in single lines by the masters it names 呼啄齋 (so the Library's text reads), 愈好齋 and 啐啄齋, and in a large horizontal piece by 認得齋; the first at its usual monthly kettle, いつもの月の釜, in its New Year number of January 1929 [13][59][14][60]. A 一行物 is 文字を一行に書いた墨蹟, brushwork of characters written in a single line, and a 茶掛 a scroll hung in the alcove of a tea room [61][62].

What is not a source. The Noh Takasago has 千年の翠手に満てり, a thousand years' green fills the hand, transliterated sennen no midori te ni michiteri in 1906 [63]; the line behind it, 倚松根而摩腰，千年之翠滿手, leaning on the pine's root and rubbing one's back, a thousand years' green fills the hand, stands in the 和漢朗詠集 and, in a piece on the outing of the Day of the Rat, in the 本朝文粋, and a Meiji journal of 1884 gives it to 尊敬 and reads it as the New Year rite of the pine for long life, all in snippet view [64][65][66]. It is a Japanese neighbor where 千年 and 翠 are a pine's green and the reading is midori; no witness read joins it to the Zen line. The Chinese canon's later 千年翠, in 千年翠竹萬年松 and similar lines of the Ming and after, is not this couplet.

The line in English

1981, Shigematsu. Sōiku Shigematsu translates it as no. 563 of A Zen Forest: The pine is green / for a thousand years: / No one now / understands it; his appendix prints 松樹千年翠 不入時人意 with Shōju sennen no midori; Toki no hito no i ni irazu, and on the same page, as no. 569, 松無古今色 竹有上下節 [23].

2003, Hori. Victor Sogen Hori's Zen Sand, a book of the capping phrases used in kōan practice, translated, enters the half as 5.182, Shōju sennen no midori. The pine tree, a thousand years of green, and the couplet as 10.239, Shoju sennen no midori, / Toki no hito no kokoro ni irazu. / The thousand-year green of this pine / Does not enter the minds of people today, its phrases taken, by its own account, from two modern collections, Tsuchiya Etsudō's Zengoshū and Shibayama Zenkei's Zenrin kushū [24].

Today. kotobank has no page for the phrase; its words are ordinary. In English it is the pine is green for a thousand years or the pine tree, a thousand years of green; word for word, the pine tree, a thousand years' green.

A reading

The couplet's force, in its oldest life, is the contrast. The pine and the peony are both true: one keeps its green for a thousand years and nobody looks at it, the other is red for a day and the whole city drinks to it. Meng'an sets them beside two answers to one question; Faxun asks which is the root and which the branches; Jingduan's juniper is the thing a Zen man should be, unnoticed, after his tea, asleep. That is a rebuke, and an instruction: be the evergreen and do not mind that the people of the day pass it by. Jakushitsu says so outright to a student he names Pine Crag.

Then the line came apart. Hakuun calls the pair an old poem and Musō drops both second halves; Shun'oku, at a memorial in 1382, makes the pine a blessing on a house, its shade over children and grandchildren a hundred generations. By the time the phrase book prints the couplet in 1645 the peony is a separate entry, and from the 1910s to 1935 the books and magazines read here record the five characters hung alone in tea rooms. As I read the witnesses, the five characters hung alone are a blessing, and that is the reading I sign for the scroll: the pine that keeps its green, what lasts. The rebuke stands under it, in the couplet the line was cut from, and it is the older meaning.

On the reading, I sign shōju sennen no midori: the okurigana リ of the 1688 phrase book, the kana みどり that a translation of 1919 to 1921 sets beside Musō's 翠, Shigematsu and Hori.

Notes

The 1688 phrase book notes that Faxun's record writes 栢 for 樹 [11]; CBETA's text of the record does [4], and the Ming lamp histories write 松柏 and 松栢 [30][31]. No Chinese witness read has 松樹 or 翠 in this couplet. The editor's head-note prints the 禪林類聚's 松栢千年青 [11][29].

The 1645 print marks 千年ノ翠 and no okurigana on 翠 [10]; the 1688 and 1889 prints add リ [11][21]; the 1894 print, read at a lower resolution, appears to carry it as well [47]. Shigematsu reads 意 as i, i ni irazu; Hori as kokoro, kokoro ni irazu [23][24].

In Jakushitsu's 松巖説 the SAT text sets the two characters before 改歳寒之姿 as glyph images, which its search index reads 終難; the print of 1930, with reading marks, reads 終難 at the page image [39][40].

The dictionaries give Nanpo Shōmyō's death as 1309 and 1308, and Shūhō Myōchō as 1283–1338 and 1282–1337 [34][36]; Hakuun Egyō's death fell on the twenty-fifth day of the twelfth month of 1297 by the Japanese calendar, January 1298 by the Western [33].

Japanese Scrolls by Master Calligrapher Eri Takase

Japanese Scroll of The Pine Stays Green a Thousand Years (shōju sennen no midori) in a block font by Master Japanese Calligrapher Eri Takase
松樹千年翠VB5JBlock
Japanese Scroll of The Pine Stays Green a Thousand Years (shōju sennen no midori) in a cursive font by Master Japanese Calligrapher Eri Takase
松樹千年翠VC5JCursive
Japanese Scroll of The Pine Stays Green a Thousand Years (shōju sennen no midori) in Master Japanese Calligrapher Eri Takase's own style (jiun)
松樹千年翠VD5JJiun
Japanese Scroll of The Pine Stays Green a Thousand Years (shōju sennen no midori) in a semi-cursive font by Master Japanese Calligrapher Eri Takase
松樹千年翠VS5JSemi-Cursive

Sources not seen

山本峻岳 編『禅林句集 和訓略解』, 光融館, 1920, held by the National Diet Library, whose copy can be searched only by its record and whose images did not load; it would give the reading of the phrase in kana of the Taishō years.

柴山全慶『訓註 禅林句集』, 1972, which Hori names as a source; it would show how the modern Zen phrase book reads and glosses the couplet.

The manuscripts of the 句雙紙 that the 国書総目録 lists as late Muromachi and of 1612, which have no images at the 国書データベース; they would show whether the pine couplet stood in the phrase book before 1645.

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

References

  1. 正受, 『嘉泰普燈錄』 卷三, 湖州西余師子淨端禪師, the sermon of the second day of the second month, at CBETA (X79n1559, p. 305c22–306a01). https://cbetaonline.dila.edu.tw/zh/X79n1559_p0305c22
  2. 『嘉泰普燈錄總目錄』: 正受's memorial naming the book 嘉泰普燈錄, and 黃汝霖's account of his death in 嘉定改元 (1208), at CBETA (X79n1558, p. 269b11–b14 and 270a10–a11). https://cbetaonline.dila.edu.tw/zh/X79n1558_p0269b11
  3. 『嘉泰普燈錄』 卷二十六, 東禪蒙庵嶽禪師一則, at CBETA (X79n1559, p. 458a04–a06). https://cbetaonline.dila.edu.tw/zh/X79n1559_p0458a04
  4. 『石田法薰禪師語錄』 卷二, at CBETA (X70n1386, p. 331a20–a22). https://cbetaonline.dila.edu.tw/zh/X70n1386_p0331a20
  5. 『石田法薰禪師語錄』 卷四, 行狀: the instruction of 淳祐甲辰 3.15 (1244), then a portrait eulogy and his illness the next day after it, his death on the eleventh of the first month of the next year at seventy-five, at CBETA (X70n1386, p. 355c04–c12). https://cbetaonline.dila.edu.tw/zh/X70n1386_p0355c04
  6. 希白 輯, 『佛照禪師語録』 上卷, 三月望上堂, at the SAT database (T80n2546, p. 29b22–c02). https://21dzk.l.u-tokyo.ac.jp/SAT/ddb-sat2.php?mode=detail&useid=2546_,80,0029
  7. 『佛照禪師語録』, the copyist 妙哲's note dated 應永辛巳 (1401) and 守選's notes of 文化十年 (1813), at the SAT database (T80n2546, p. 45a27–b15; and p. 34c03–c07). https://21dzk.l.u-tokyo.ac.jp/SAT/ddb-sat2.php?mode=detail&useid=2546_,80,0045
  8. 『知覺普明國師語録』, the heading 永德二年七月十九日 (1382), at the SAT database (T80n2560, p. 670c11–c14). https://21dzk.l.u-tokyo.ac.jp/SAT/ddb-sat2.php?mode=detail&useid=2560_,80,0670
  9. 『知覺普明國師語録』, the same sermon, at the SAT database (T80n2560, p. 671a05–a10). https://21dzk.l.u-tokyo.ac.jp/SAT/ddb-sat2.php?mode=detail&useid=2560_,80,0671
  10. 『禅林句双紙』, 正保2 (1645), 西村又左衛門, the copy the catalogue lists as 上田図花月, ◎五言對, canvases 47 and 52. 国書データベース. https://doi.org/10.20730/100103433
  11. 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 71. 国書データベース. https://doi.org/10.20730/100272428
  12. 『古物売立目録』, dated by the Library 〔大正2-6〕, 1913 to 1917, snippet view, National Diet Library. https://dl.ndl.go.jp/pid/936831
  13. 『茶道月報』 (217), the New Year number of 1929, snippet view, National Diet Library. https://dl.ndl.go.jp/pid/11208113
  14. 『茶道月報』 (291), March 1935, snippet view, National Diet Library. https://dl.ndl.go.jp/pid/11208187
  15. 「松」, デジタル大辞泉 and 精選版 日本国語大辞典, at kotobank. https://kotobank.jp/word/%E6%9D%BE-530383
  16. 「松柏」, デジタル大辞泉, 精選版 日本国語大辞典 and 字通, at kotobank. https://kotobank.jp/word/%E6%9D%BE%E6%9F%8F-532946
  17. 「翠」, デジタル大辞泉 and 字通, at kotobank. https://kotobank.jp/word/%E7%BF%A0-539455
  18. 「千年」, デジタル大辞泉 and 精選版 日本国語大辞典, at kotobank. https://kotobank.jp/word/%E5%8D%83%E5%B9%B4-551007
  19. 「時人」, デジタル大辞泉 and 精選版 日本国語大辞典, at kotobank. https://kotobank.jp/word/%E6%99%82%E4%BA%BA-519574
  20. 「心に入る」, デジタル大辞泉 and 精選版 日本国語大辞典, at kotobank. https://kotobank.jp/word/%E5%BF%83%E3%81%AB%E5%85%A5%E3%82%8B-500492
  21. 『禅林句集』 (the NDL record names 英朝 as author), Nagoya, 1889, scan 74. https://dl.ndl.go.jp/pid/899715/1/74
  22. 『国訳禅宗叢書』 第5巻, 国訳禅宗叢書刊行会, dated by the Library 〔大正8-10〕, 1919 to 1921, 國譯夢窓正覺心宗普濟國師語錄 上, p. 69, scan 43 (page image), National Diet Library. https://dl.ndl.go.jp/pid/959983/1/43
  23. Sōiku Shigematsu, A Zen Forest: Sayings of the Masters, Weatherhill, 1981, no. 563, p. 75, and the appendix Characters and Romanization, p. 144 (page images of the shelf copy).
  24. Victor Sogen Hori, Zen Sand: The Book of Capping Phrases for Koan Practice, University of Hawai‘i Press, 2003, 5.182, p. 199 (page image of the shelf copy), and 10.239, p. 404 (text layer of the shelf copy, whose page image is blank).
  25. 『嘉泰普燈錄』 卷三, 淨端: the lion skin and the name 端師子, and his death at seventy-two, with no year, at CBETA (X79n1559, p. 305b24–c02 and 306a08–a09). https://cbetaonline.dila.edu.tw/zh/X79n1559_p0305b24
  26. 『嘉泰普燈錄』 卷十八, 福州東禪蒙庵思嶽禪師, under the heirs of 徑山大慧普覺宗杲, at CBETA (X79n1559, p. 400a09). https://cbetaonline.dila.edu.tw/zh/X79n1559_p0400a09
  27. 「大慧宗杲」, 改訂新版 世界大百科事典 (1089–1163), at kotobank. https://kotobank.jp/word/%E5%A4%A7%E6%85%A7%E5%AE%97%E6%9D%B2-90822
  28. 『古尊宿語錄』 卷十三, 趙州真際禪師語錄, the case of the old stream and the cold spring, at CBETA (X68n1315, p. 76b04–b08). https://cbetaonline.dila.edu.tw/zh/X68n1315_p0076b04
  29. 道泰, 『禪林類聚』 卷十四, 水火門, 元 by CBETA's work record, at CBETA (X67n1299, p. 89c15–c16). https://cbetaonline.dila.edu.tw/zh/X67n1299_p0089c15
  30. 居頂, 『續傳燈錄』 卷三十五, 石田法薰 (CBETA dates the work 1404), at CBETA (T51n2077, p. 710a24–a28). https://cbetaonline.dila.edu.tw/zh/T51n2077_p0710a24
  31. 文琇, 『增集續傳燈錄』 卷三, 杭州靈隱石田法薰禪師 (明), at CBETA (X83n1574, p. 288b15–b18). https://cbetaonline.dila.edu.tw/zh/X83n1574_p0288b15
  32. 『增集續傳燈錄』, 寛永18 (1641) print, the copy the catalogue lists as 東洋大哲学堂, juan 3, leaf 8 (its fold 續傳燈三 / 八), canvas 74. 国書データベース. https://doi.org/10.20730/300092646
  33. 「白雲慧暁」, デジタル大辞泉 (1223–1298) and ブリタニカ国際大百科事典 小項目事典 (没 永仁5 (1297).12.25), at kotobank. https://kotobank.jp/word/%E7%99%BD%E9%9B%B2%E6%85%A7%E6%9A%81-113628
  34. 「南浦紹明」, デジタル大辞泉 (1235–1309) and 改訂新版 世界大百科事典 (1235–1308), at kotobank. https://kotobank.jp/word/%E5%8D%97%E6%B5%A6%E7%B4%B9%E6%98%8E-108986
  35. 『圓通大應國師語録』, at the SAT database (T80n2548, p. 98c04–c13). https://21dzk.l.u-tokyo.ac.jp/SAT/ddb-sat2.php?mode=detail&useid=2548_,80,0098
  36. 「宗峰妙超」, デジタル大辞泉 (1283–1338) and 改訂新版 世界大百科事典 (1282–1337), at kotobank. https://kotobank.jp/word/%E5%AE%97%E5%B3%B0%E5%A6%99%E8%B6%85-77410
  37. 『大燈國師語録』, 四月旦上堂, at the SAT database (T81n2566, p. 197b16–b18). https://21dzk.l.u-tokyo.ac.jp/SAT/ddb-sat2.php?mode=detail&useid=2566_,81,0197
  38. 「寂室元光」, 精選版 日本国語大辞典 and デジタル版 日本人名大辞典+Plus (1290–1367), at kotobank. https://kotobank.jp/word/%E5%AF%82%E5%AE%A4%E5%85%83%E5%85%89-1081544
  39. 『永源寂室和尚語録』, 松巖説, at the SAT database (T81n2564, p. 120c07–c13). https://21dzk.l.u-tokyo.ac.jp/SAT/ddb-sat2.php?mode=detail&useid=2564_,81,0120
  40. 『国訳禅学大成』 第25巻, 国訳禅学大成編輯所, 1930, 永源寂室和尚語錄 卷之三, 松巖說, p. 61, scan 196 (page image), National Diet Library. https://dl.ndl.go.jp/pid/1120227/1/196
  41. 「夢窓疎石」, デジタル大辞泉 (1275–1351), at kotobank. https://kotobank.jp/word/%E5%A4%A2%E7%AA%93%E7%96%8E%E7%9F%B3-140578
  42. 『夢窓國師語録』, 謝五頭首秉拂上堂, at the SAT database (T80n2555, p. 459b10–b13). https://21dzk.l.u-tokyo.ac.jp/SAT/ddb-sat2.php?mode=detail&useid=2555_,80,0459
  43. 「春屋妙葩」, デジタル大辞泉 (1312–1388) and 改訂新版 世界大百科事典 (1311–88), at kotobank. https://kotobank.jp/word/%E6%98%A5%E5%B1%8B%E5%A6%99%E8%91%A9-78525
  44. 『知覺普明國師語録』, the postscript of 希顏 at 天童寺, 永樂三年 (1405), at the SAT database (T80n2560, p. 644b25–c02). https://21dzk.l.u-tokyo.ac.jp/SAT/ddb-sat2.php?mode=detail&useid=2560_,80,0644
  45. 『句双紙』, manuscript, the copy the catalogue lists as 京都府歴彩 (国書総目録: 江戸初期写), the five-character couplets, canvases 25–39 (the peony couplet on canvas 36). 国書データベース. https://doi.org/10.20730/100171982
  46. 「東陽英朝」, デジタル版 日本人名大辞典+Plus (1428–1504), at kotobank. https://kotobank.jp/word/%E6%9D%B1%E9%99%BD%E8%8B%B1%E6%9C%9D-1093907
  47. 『禅林句集』, 1894, scan 51. https://dl.ndl.go.jp/pid/875204/1/51
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  49. 『佛頂國師語録』, 偶成示二三子三首, at the SAT database (T81n2565, p. 174c25–c27). https://21dzk.l.u-tokyo.ac.jp/SAT/ddb-sat2.php?mode=detail&useid=2565_,81,0174
  50. 「卍山道白」, デジタル大辞泉 (1636–1715), at kotobank. https://kotobank.jp/word/%E5%8D%8D%E5%B1%B1%E9%81%93%E7%99%BD-16683
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  57. 『書画珍本雑誌』, December 1922, snippet view, National Diet Library. https://dl.ndl.go.jp/pid/1509336
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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 松樹千年翠 (shōju sennen no midori)," Takase Studios, 2026, https://takase.com/library/philology/shoju-sennen-no-midori.