Sep 30, 2025
Enkū (円空) (1632–1695) photography by Tetsuo Kurihara
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Enkū (円空) (1632–1695) photography by Tetsuo Kurihara
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Don’t know if this is a stupid question, but with the Raidou remaster shown and older demons given new life, I’d like to ask, what is an Enku?
I know it’s a Preta, but I can’t find sources on Enku specifically, and I thought one of the guys that found the myths of obscure demons would find him.
Questions about demons are never stupid!
It is really difficult to find specific info on the Enku. This is about the best I could find in a reasonable timeframe that's also not just repeating SMT compendium info:
Welcome to the official website of the Kyoto National Museum. In addition to information about exhibitions, events, and access, the website
The sixth section tells how Ananda (J: Anan), another of Shakyamuni’s ten great disciples, heard about the suffering of a hungry ghost who continuously belched flame (engu gaki) and taught the ghost an incantation from Shakyamuni to achieve salvation. The seventh section recounts how Ananda passed on this method of salvation to the monks, who then began the ceremony of offering food and drink to the spirits of the dead (segaki).
The Enku's definition as a type of Preta that belches flame and exists in the Preta realm really seems to be about it. Essentially, it's a being that exists as a kind of punishment should you be wicked and end up reincarnating in the Preta realm. The idea/formula behind the enku gaki is, in sum:
you hear about the enku gaki
then get frightened of reincarnating as one
thus you become more devoted to following Buddhist teachings
That's how they get ya!
Enter Der Hungergeister:
D-14.May.2005 円空考 Image: 44.0 x 29.0cm Paper: 54 x 39.5cm Description: mixed media painting ,water, acrylic, oil/ kakishibu, papermaking, original emulsion base ,collage artist self-made washi, gampi, Hahnemühle paper Takahiko HAYASHI 林孝彦 2005
[I just like Raidou 2′s model edits. They’re neat. They slapped a new head and a bib on Preta to make Devil Summoner’s Enku and it works. He even puffs his cheeks like they’re full of fire.]
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A scene from the now fragmentary “Illustrated Biography of Saint Myōe” (明恵上人絵伝) dating to the Muromachi period (1336-1573) in the collection of Kōzanji Temple (高山寺) up in northwest Kyoto, featuring Myōe in the upper left conversing with the Zen monk Enkū (円空) from downtown Kyoto’s Kenninji Temple (建仁寺)
Image from a booklet acquired at the temple March 30, 1997
Installation sketch Installation sketch
Perhaps two hundred hanging strips of delicate, translucent paper with 16 pairs of strips with surface transducers and contact mics each to create a feedback loop when they touch. Each row of the ten will be made up of two large sheets of paper that will, before separating, each have a complete image on them.
The image will be a visual interpretation of my experience of listening to the voices recorded in a workshop I will run on group toning. Each row’s 2D image will contribute to a 3D image so as to form a circle to continue a non-lingual sensuous dialogue that exists continuously in-between.
Translucency is important with this work and allows for the potential reading of what is seen as something faint and passing, like memory. This is done so beautifully in the fine silk and needles of Doris Salcedo’s Disremembered, 2014 and Mira Scendel’s Monotype’s where the use of fine Japanese paper and an adaptation of monotype printing allowed for a double sided image. This double sided quality is essential in not creating a front facing object, as suggested by Ingrid Plum, so visitors can move around the sculpture to see and hear its spatiality. Schendel’s technique is something I would like to try.