名流尺八コンサート
Meiryu Shakuhachi Concert
６月２日（土）京都府立文化芸術会館
Saturday, June 2 at Kyoto Furitsu Bunka Geijutsu Kaikan
　
　
普化正宗虚霊山 明暗寺 普化明暗尺八
Fuke-Shoshu Kyoreizan Myoanji "Fuke Myoan Shakuhachi"
　
尺八の根本　明暗尺八の世界
The Roots of Shakuhachi　The World of Myoan Shakuhachi
　
　
明暗尺八
　
その淵源は、九世紀の中頃、中国は唐の高僧普化禅師は常に鐸を振り鳴らして
　
明 頭 来 明 頭 打　　暗 頭 来 暗 頭 打
四 方 八 面 来 旋 風 打　　虚 空 来 連 架 打
　
と云う「四打の偈」を唱えて、市中を行化托鉢して居られました。時に河南府の張伯居士は、其の硯徳を慕い、又鐸音の霊妙なる
を聞いて心を惹かれ弟子入りを乞いましたが許されませんでしたので自己習得の吹管で普化振鐸の真髄を写し取って作曲したのが
後世普化尺八の根元曲となった明暗的伝三虚霊の一つ「嘘鈴」の曲だと云われています。
我が国への渡来は、心地覚心、後に由良興国寺の開山となられました法燈国師が建長元年（1249）の春入宋、当時張伯十六世の孫、
張参から張家伝来の「嘘鈴」の曲を習い、建長六年（1254）「国作、理正、宗恕、法普」の四居士を伴い帰朝し、此曲を法弟の寄
竹了円（後の虚竹禅師）に授けられたのが、日本への明暗尺八の伝来の始まりであります。その後、寄竹は伊勢の朝熊山の虚空蔵
堂に夜通し参籠して夢中に感得する処あり、「虚空」「霧海」の二曲を作曲し、明暗開宗根元としての「三虚霊」を完成して、
竹音に依って無常の大道を体得され、偈を唱え鐸を鳴らすかわりに尺八を吹いて畿内を托鉢行化して修生を接化済度されましたの
で、世人呼んで「今普化」と喧伝されたと云われます。禅師没後、法嗣の天外明普師が京洛の地に一寺を建立し、「虚霊山明暗寺」
と称し、吹管を以て、法務と為し、読経を為さず一枝の竹管を以て市中を行化托鉢して禅師の遺風を後世に伝えました。尚、後世
の虚無僧の起源は楠木正成の孫である楠木正勝が南朝衰微後此の宗門に入り、「虚無」と号し、常に天蓋を冠り、諸国を遊行し、
戸々に尺八を吹いて南朝復興の機を企ったので、世人は「虚無者」と呼びその風儀が始まりだと云い伝えられています。かくして
日本の歴史に新しく「明暗尺八」亦は「普化尺八」と云われる竹音によって自らを修め衆生を済度せんとする「吹禅」の一派が興
ったのであります。
　
○　吹禅行化誓願文
　
一 吹 為 断 一 切 悪
二 吹 為 修 一 切 善
三 吹 為 度 諸 衆 生
皆 共 成 仏 道
　
「明暗寺所伝古典本曲要説」より
　
Myoan Shakuhachi

The origin of Myoan Shakuhachi dates back to the middle ninth century. In China, the high priest Fuke (Pu'kua)
always rang a handbell while singing the following gathas "Shidanoge":

"If attacked in the light, I will strike back in the light. If attacked in the dark, I will strike in the dark.";
"If from all quarters, I will strike as a whirlwind does. If attacked from the empty sky, I will thrash with a flail."
(transl. Genichi Tsuge)

Zhang Bo, a Buddhist layman who came from Xijing Henanfu (Luoyang City) had gone about begging for alms,
adored Fuke's virtue and was so attracted by his miraculous bell. Chohaku asked to become his disciple but
Zhang Bo rejected his request. Chohaku then composed a piece of music by listening to the essence of swinging
bell, which subsequently became "Kyorei", one of Three Myoan Kyorei, the fundamental Fuke Shakuhachi pieces.
The arrival of Myoan Shakuhachi to Japan can be traced back to Hotto, the founder of a Kokoku-ji Temple in
Yura, Wakayama, who visited China in 1249 and learned Zhang Jia's transmitted "Kyorei" from Zhang Can who was
the grandson of the 16th Zhang Bo. Hotto returned to Japan in 1254 accompanied by four Buddhist laymen:
Guo Zuo, Zheng, Zong Shu and Fa Pu. Hotto dedicated "Kyorei" to Kichiku Ryoen who later on became Kyochiku
Zenji.
Kichiku, while meditating all night at the Kokudo Buddhist temple on Mt. Asama, Ise Province, "realized" music which
seemed to be divinely inspired. He then composed "Koku," "Mukaiji," completing the "San Kyorei" (Three Myoan Kyorei)
today commonly known as the Myoan classics. Kichiku experienced a religious transformation through the sound of the
bamboo and from then on played the shakuhachi instead of ringing a wind-bell or chanting the gatha. As such he went
on begging pilgrimages throughout Kinai (counties near Kyoto). As a consequence, people called him the the latter-day
Fuke.
After his death, Tengai Myofu, a legal descendent, built a temple in Kyoto and named it Kyoreizan Myoan-ji.
Regarding the playing of shakuhachi as a meditative practice, Kichiku transmitted his zen understanding by blowing a
bamboo flute instead of chanting sutras.
Regarding the origin of Komuso in a later era of Japanese history, Kusunoki Masakatsu, grandson of Kusunoki Masashige,
entered the Fuke sect after the decline of the sixteenth century Southern Dynasty, and declared himself as "Komu"
(a monk of nothingness or the void). He visited many provinces for the sake of his missionary work, seeking a chance
to revive the Southern Dynasty. People at that time called him as "Komu-mono" or the "nothingness man".
Thus "Myoan Shakuhachi," or "Fuke Shakuhachi," which aims at enlightenment and the salvation of all people, arose
newly as a school of suizen ("Blowing Zen"), or in the history of Japanese Buddhism.

○　Suizen Gyoke Seiganmon:

Blow once to exorcise all bad things;
Blow a second time to master all good things;
Blow a third time to save all people;
Thus everyone can attain Buddhahood.

from "The Guidelines of Myoan Temple":

　
　
1
吹禅
Suizen

法燈国師は尺八をもって座禅一助の便法、禅定悟得の妙法とした指導理念で吹簫禅すなわち「吹禅」を確立されました。後世、こ
の禅尺八が明暗尺八と云われるようになりました。明暗尺八は音楽芸能と云われる概念とは全く次元を異にしています。
一般に音楽の一音は一符一音と云うことでその積み重ねで曲が成立していますが、明暗尺八では一音は楔吹きでの一呼一音と云う
ことで、一呼吸のなかで音が変化して一音を形成しています。つまり、禅道修業における数息観に準じた呼吸法で渾身の生気で一
管に息を吹き込み、楔吹きの余韻のうちに「ツーレーウー　無韻の韻」という変化曲節で一音が完結すると云うことです。一曲は
その一呼一音の積み重ねということになります。また吹管は楽器としてではなく法器として扱われ極力手を加えない竹本来の音味
（ネアジ）を尊重した「地なし一尺八寸管」を正寸としています。
もとより吹禅は禅家の座禅と同じで修業の尺八であって公開するものではありませんが此の度の「国際尺八フェスティバル」の趣
旨に賛同し、尺八文化の一端として公開させていただくことと致しました。
　
Hotto established suizen or "Blowing Zen meditation" after realizing that blowing shakuhachi
is an excellent means of meditation. Later on, this Zen Shakuhachi style was called Myoan
Shakuhachi. In this way, Myoan Shakuhachi occupies a completely different dimension from
other musical environments.
Generally, the sound of music is an arrangement of tones, a musical piece composed of different
sounds. In Myoan shakuhachi, one sound is produced by blowing "wedge" style (kusabi-buki),
that is to say, the sound changes as one exhales. In accordance with certain breathing techniques
in Zen training, blow the air in one time, in the wedge style blowing, one sound is completed
by changed tune in the afterglow of "tsu", "re", "u", etc., ... producing an "unrhymed
rhyme". One "song" is constructed by building auditory exhalations one by one.
Moreover, the shakuhachi is regarded not merely as a secular musical instrument, but as ritual
tool so that "Jinashi one shaku eight sun" (a shakuhachi not lined with powdered stone) is regarded as
authentic instrument which evokes the spirit of the original bamboo sound (ne-aji) which comes
from unprocessed bamboo.
Likewise, blowing Zen is not to be displayed in public since it is equivalent to Zen meditation.
However, Myoan-ji, as a part of shakuhachi culture, endorses to the objectives of the World
Shakuhachi Festival.

○読経（開山諷経）Sutra Chanting
明暗寺住職　平住仰山
Gyozan Hirazumi, Myoanji Jushoku


○明暗洞簫御詠歌 Myoan Dosho Goeika Chanting
明暗道人 Myoan Dojin

一、うきふしの　しらべかさぬる　笛の音を　松ふく風に　のこしてぞゆく　（明暗35世看首　樋口対山　辞世の句）

1.　The vicissitudes of life
　　Bamboo sound left behind
　　Wind through pine forests.
　　(the death tanka poem of Taizan Higuchi, 35th Myoan Kansu)

二、世の中の　うきふしぬけし　笛竹の　聲にほほえむ　我がこころかな　（明暗37世看首　谷北無竹　辞世の句）

2.　During a sad age
　　smile at the sound
　　of bamboo
　　(the death tanka poem of Muchiku Tanikita, 37th Myoan Kansu)


○嘘鈴 Kyorei
明暗道人 Myoan Dojin

＜明暗道人＞ Myoan Dojin performers
児島抱庵　　八尾白蓮　　水野礎空　　酒井玄心　　谷北一聲
福島恕水　　福井聲竹　　石原松韻　　岩井普穆　　植西晨水
澤田諦鳴　　林　晋水　　森田鵬水　　岸本普山　　マウ吟竹
井上寶吹
Hoan Kojima / Byakuren Yao / Soku Mizuno / Genshin Sakai / Issei Tanikita
Josui Fukushima / Seichiku Fukui / Shoin Ishihara / Fuboku Iwai / Shinsui Uenishi
Taimei Sawada / Shinsui Hayashi / Hosui Morita / Fuzan Kishimoto / Ginchiku Mau
Hosui Inoue

2
虚無僧作法
The Komuso Code
　
（虚竹投機偈）
ー従裁断両頭後　尺八寸中通古今　吹起無生真一曲　三千里外絶知音
　
・「遇対」････虚無僧が行脚中に別の虚無僧に出遇った時の作法で、虚無僧が本物か※売僧（マイス）かを見分ける作法。
※売僧（マイス）････江戸時代に、仏を売り仏法を商うニセ虚無僧は処罰された。
　
There is a code of conduct ("Otai") for all Komuso monks when meeting each other while traveling on foot,
as a way of distinguishing true Komuso from "fallen" monks (maisu).


○吹合相図（フキアワセアイズ）The order of greeting and acknowledgement:

「呼び竹」→「受け竹」→「※本則確認」→「連管奏（大和調子）」
　※本則････明暗寺に入門し尺八修業を積んだ証の免許状。

1. The first Komuso plays yobitake ("calling" shakuhachi);
2. Another Komuso responds by playing ukedake ("receiving" shakuhachi);
3. They both show their *honsoku to each other;
4. They play "Yamato Choshi" together.
*Honsoku is a license, or certificate stating that one has entered Myoan-ji Temple and has experienced shakuhachi training.

演者 performers
呼び竹 Yobitake (call)　谷林白毫 Byakugo Tanibayashi
受け竹 Ukedake (response)　小林成水 Josui Kobayashi


3
献奏
Kenso

○虚空 Koku
児島抱庵 Hoan Kojima

この曲は普化宗明暗尺八根源の古伝三曲又は三虚霊の一曲で寄竹（虚竹）が霊夢のなかで感得したと云われた曲で和歌山由良興国
寺の法燈国師が命名されたものである。
　
This piece is one of three legendary pieces of Fuke Myoan Shakuhachi or "Three Kyorei." Kichiku experienced this
piece in a dream and was titled by Hotto of Kokoku-ji Temple, Yura, Wakayama.


○明暗 鹿遠音 Myoan Shika no Tone
八尾白蓮 Byakuren Yao
酒井玄心 Genshin Sakai
　
破手の曲で古来の名曲とされるが作曲者も発生源も不明である。
尺八二管の掛け合い形式で秋の深山で雄鹿の鳴く声が山々に谺して聞こえてくる遠音の風情を表現したものである。
樋口対山が雅楽形式の音取（前吹き）、吹止（後吹き）の手を加え、景・情合わせ具えた「明暗 鹿遠音」に仕上げた曲である。
　
This hade piece has been famous for centuries but the composer and place of origin are unknown.
This is a performance by two alternating shakuhachi, expressing a feeling of the distant sound of deer echoing
in the mountains.
Taizan Higuchi added netori (pre-blowing) section and fukidome (post-blowing) section which are in the gagaku
style, thus completing the "Myoan-styled Shika no Tone" replete with imagery and emotion.

*The term honkyoku originally referred to the pieces that were practiced by adherents to the Fuke sect; however,
following the abolition of the Fuke sect in 1871, the scope of meaning of the term expanded to include solo musical
compositions unrelated to religion that were played on the shakuhachi, and even compositions consisting of more
than one part for the shakuhachi came to be called honkyoku.

＜司会＞
Announcers
柴田毫光　Goko Shibata
岩知道竹水　Chikusui Iwachido