Thinking about Kenzan with experts 4/4 ~ Behind the scenes of the Kenzan exhibition and the future of Kenzan ~

Interviewee: Akiyoshi Hatanaka (Chief Curatorial Officer, MIHO MUSEUM)

He has curated special exhibitions such as "Shigaraki - Heaven in a Pot" (1999), "Kenzan - A World of Mystery and Elegance" (2004), and "Future of Ancient Pottery - Ceramics of the Middle Ages" (2010). The Kenzan culinary photo book Beautiful Kenzan Shikisai, which he planned, won the Grand Prix (2006) and Best of the Best (2008) in the photography category of the Gourmand World Cookbook Awards, as well as the Best of the Best award in 2015.

Interviewer: Masatoshi Yokoyama (Owner of KOTOPOTTER)

Q. Behind the Scenes of the Legendary Exhibition at MIHO MUSEUM

Yokoyama: So far, we've discussed Kenzan mainly from an academic standpoint, but what I'd really like to ask about is the special exhibition "Kenzan - A World of Seclusion and Elegance" held in 2004. I imagine a tremendous amount of effort went into organizing it.

Hatanaka: The opportunity arose because of the extensive Kenzan collection at MIHO MUSEUM. I spoke with the founder, Miho Koyama, about holding an exhibition showcasing the collection and related pieces, which led to planning the exhibition. However, the events of 9/11 occurred during this period, and I was concerned about transporting the artworks by air.

* 9/11 refers to the September 11, 2001 terrorist attacks in the United States.

(The exhibition catalogue for "Kenzan - A World of Seclusion and Elegance" lists many overseas art museums and collectors.)

Yokoyama: You borrowed many works from institutions abroad.

Hatanaka: Yes, indeed. Richard L. Wilson, a leading expert on Kenzan, advised me on contacts. This allowed us to research Kenzan’s works overseas.

* Richard L. Wilson is a leading authority on Kenzan and contributed to the exhibition catalogue.

Yokoyama: Researching overseas sounds quite challenging.

Hatanaka: It took about three years. During that time, I borrowed works from the Dallas Museum of Art in the US and traveled worldwide twice for research.

Yokoyama: That's impressive. Kenzan’s works really are spread across the globe.

Hatanaka: Yes, including pieces in Hawaii and Denmark. His works are exhibited in museums worldwide. Of course, not all institutions cooperated, and we faced some refusals.

Yokoyama: Traveling internationally twice in three years must have been exhausting.

Hatanaka: It was tiring but enjoyable. There was so much to see and taste, and without this opportunity, I might never have visited those places.

Yokoyama: I was in junior high when this exhibition took place, so I regret missing it, but I’m grateful the catalogue allows me to study Kenzan’s works from around the world. I still refer to it often.

Q. Kenzan and Japanese Cuisine: Kenzan’s Tableware Continues to Inspire

• Image: Beautiful Kenzan Four Seasons Vegetables, MIHO MUSEUM
• Available at MIHO MUSEUM shop /online store for ¥2,200

Yokoyama: Was this book created around the same time?

Hatanaka: Yes, I spent a year preparing it. I wanted to verify if what Tsujitome-san, whom I know well, said was accurate—curating how to present food on these ornate dishes.

* Tsujitome-san is from Kaiseki Tsujitome, a renowned kaiseki restaurant.

Yokoyama: How did the food presentation turn out?

Hatanaka: It truly enhanced the food’s appeal. I was surprised at how beautiful the dishes looked when actually arranged. MIHO MUSEUM holds many of Kenzan’s works, so I created the photo book featuring seasonal ingredients.

• Image: Beautiful Kenzan Four Seasons Vegetables, MIHO MUSEUM
• Available at MIHO MUSEUM shop /online store for ¥2,200

Yokoyama: Kenzan’s replica dishes remain popular among Japanese chefs, but creating a photo book using authentic works is truly a unique project only MIHO MUSEUM could undertake. Was managing the exhibition and book production simultaneously difficult?

Hatanaka: Yes, I focused on completing the book by the exhibition opening and finalized it shortly after. It was published about two months after the exhibition started.

Yokoyama: Are those awards displayed here for the book?

Hatanaka: Yes, my photography was recognized with three awards for this book.

Yokoyama: That’s an incredible achievement! It shows how Kenzan’s pottery and Japanese cuisine have gained worldwide recognition.

Hatanaka: Absolutely. Japanese cuisine has become globally popular, and it’s remarkable that a book published 20 years ago still receives such acclaim.

Yokoyama: But serving food on Kenzan’s priceless works must be nerve-wracking—they’re valuable cultural properties displayed carefully behind glass.

Hatanaka: That’s true. There’s concern about soy sauce soaking in, so the containers are used only briefly during serving and promptly removed afterward.

Yokoyama: Some traditional Kyoto restaurants own Kenzan tableware, but having such a large collection to use for food presentation is a privilege only MIHO MUSEUM enjoys.

• Image: Beautiful Kenzan Four Seasons Vegetables, MIHO MUSEUM
• Available at MIHO MUSEUM shop /online store for ¥2,200

Hatanaka: It was a truly valuable experience. I hope these efforts inspire greater interest in Kenzan and help people appreciate Japanese cuisine, pottery, and culture.

Yokoyama: Besides Kenzan exhibitions, MIHO MUSEUM hosts many exhibitions on Japanese culture and cuisine. For those of us involved in traditional crafts, it’s a wonderful place to learn. Thank you very much for your time today.

Hatanaka: Thank you very much.

Thank you, Hatanaka-san!

What did you think?

The interview lasted an hour and a half and was full of insights about Kenzan.

Mr. Hatanaka, who has seen many of Kenzan’s works, provided an academic, engaging, and informative discussion.

Through this interview, I hope I was able to convey the true spirit of Kenzan, which has been difficult to appreciate until now.

Why not visit the MIHO MUSEUM yourself?

Thinking with an Expert on Kenzan <1> <2> <3> <4>

MIHO MUSEUM

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