The Seien Ryu (西園流) honkyoku were seldom heard outside of their rural home in Hamamatsu (later in Nagoya) until the Seien Ryu master Higuchi Taizan (1856 – 1914) moved to Kyoto in 1885, thus bringing the Seien Ryu pieces out of relative obscurity and into a major city. Taizan’s school, which is often referred to as Myoan, evolved independent from the Seien Ryu resulting in unique iterations of the 11 Seien Ryu honkyoku.
The Myoan version went on to become some of the most popular honkyoku in Japan and the Myoan society remains one of the three largest shakuhachi organizations. The Myoan honkyoku inspired further unique iterations from such 20th c. masters as Watazumi, Jin Nyodo, Nishimura Kokku, and others. In short, the Seien Ryu honkyoku are the source material for some of the most popular honkyoku and post-Edo period schools. However, the Seien Ryu still remains rare and obscure.
The Seien Ryu traces its roots back to two Komuso monks named Gyokudo and Baizan who passed down the Fudaiji honkyoku pieces to Kanetomo Seien I (1819-1895). The home of the Seien Ryu is currently in Nagoya which isn’t far from were the original Fudaiji used to stand in Hamamatsu. Fudaiji was destroyed during the Buddhist persecution of the Meiji Restoration.
The Eleven Seien Ryu Honkyoku
- Honte Shirabe Seien Ryu (本手調子)
- Shizu no Kyoku Seien Ryu (志図 の曲)
- Takiochi no Kyoku Seien Ryu (滝落 の曲)
- Sanya no Kyoku Seien Ryu (三谷 の曲)
- Reibo Seien Ryu (霊慕)
- Koto Sugagaki Seien Ryu (箏 菅垣)
- Akita Seien Ryu (秋田)
- Mukaiji Seien Ryu (霧海箎)
- Koku Seien Ryu (虚空)
- Kyorei Seien Ryu (虚鈴)
- Tsuru no Sugomori (鶴の巣籠) (optional)