"Edo Sangin" - Edo Sangin

He was praised for being "away from the mundane, and even in places where there is no elegance, there is elegance" (Hinkai-e-awase). In 1677, he left for the East and by the following spring, he composed "Edo Sangin" with Tosei (Basho) and Shinsho (Sodo), and served as a bridge between the Kyoto and Edo haiku circles, both of which were seeking to bring a new style to the genre. The Yushin Yubi style of the Jōkyō period (1684-88), which prompted the birth of the Basho style, was largely due to the ingenuity and ingenuity of Shintoku and others.

*Some of the terminology that refers to "Edo Sangin" is listed below.

Source | Heibonsha World Encyclopedia 2nd Edition | Information

…俗をはなれて，風流なき所又風流〉(《誹諧絵合》)などと評された。77年東下，翌春にかけて桃青(芭蕉)，信章(素堂)と《江戸三吟》を巻いたのを手始めに，新風をめざす京･江戸両俳壇の橋渡し役を務めた。蕉風の誕生を促した貞享期(1684‐88)の有心優美体は，信徳らの創意工夫によるところが大きい。…

※「《江戸三吟》」について言及している用語解説の一部を掲載しています。

出典｜株式会社平凡社世界大百科事典 第２版について | 情報