Dogen writes:

"You should not contrue temporal passage (kyoryaku)
as something like a storm passing from east to west.
The entire world is not motionless and changeless,
not without advance or retreat: it is temporal passage.

Passage is, then, like spring, with all its many and varied signs.
That is temporal passage.*

You should learn that spring passes without anything outside
itself [such as winter or summer].

For example, springtime's passage
invariably passes through spring itself.
[There is nothing but the dynamic activity
of the spring].

Although temporal passage is not confined to
spring alone, it is now realized at this particular
time of spring because it is the dynamism of spring.
This should be understood carefully.

––S, "Uji"

Dogen writes:
"The spring we are talking about now is the painted spring
because it is "embodied as a painted picture."
This has nothing to do with extraneous powers
but only allows the plum blossoms to exert the spring;
this is why [the spring] is painted in the picture
and enters the [plum] tree.
They are all skillful means."

––S, "Baika"

––
* Passing seriatim differs from the flow of 'passing time', in that its "flow" is one of mutual identity and mutual penetration. It expresses intra-epochal simulataneity, in which an event, such as spring, passes through itself in all directions and dimensions, both horizontally and vertically.

In Spring/Peony Flower, spring passes through itself as the entire time of spring. Since nothing is left out of the self-sufficient moment of spring, spring remains an ungraspable here and now mystery.


richard stodart d r e a m m a k i n g
Spring/Peony Flower 2010 acrylic on paper 21" x 27"