Hōjōki: Visions of a Torn World

Impermanence, or mujō, is a major part of Japanese culture. Japan has many terms revolving around this idea. Mono no aware is the specific awareness of transience, and it is often used to convey an appreciation for the things that do not last. Cherry blossoms are a common symbol in Japanese literature—as they only last for a few weeks, they are perfect representations of the beautiful but fleeting nature of life. The tradition of hanami, or flower viewing, continues in 21st-century Japan—people will gather under cherry trees and eat and drink, appreciating their fleeting beauty for the short time it lasts. Wabi-sabi is another term relating to transience and imperfection; it typically relates to the aesthetic of these concepts, such as ikebana, flower arranging, and kintsugi, the art of repairing broken pottery with gold to emphasize its changed appearance.

Chōmei repeatedly refers to impermanence throughout “Hōjōki,” citing it as a major consideration in both his decision to become a recluse and the way he built his hut. Chōmei even opens “Hōjōki” with a metaphor about the transience of life: “Ceaselessly the river flows, and yet the water is never the same” (1).