Thinking about Kenzan with an expert 3/4 ~ What meaning did the literary man Kenzan put into his pottery? ~

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 photography 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 of 2015.

Interviewer: Masatoshi Yokoyama (Owner of KOTOPOTTER)

Q. Kenzan and the Rinpa School

Yokoyama: So far, we have learned a bit about Kenzan’s pottery and background. Next, I’d like to ask about his relationship with the Rinpa school. Earlier, you mentioned that the Rinpa school was a form of rebellion against the shogunate—what exactly does that mean?

Hatanaka: During Hideyoshi’s era, Kyoto and Osaka were Japan’s cultural centers. But in the Edo period, the political center shifted east to Edo (Tokyo). The Rinpa school used paintings as a way to assert that Kyoto remained the true cultural capital.

• Kyoto City and Surrounding Area Screen Collection, Kyushu National Museum
• Image: Colbase
• Depiction of Kyoto during Kenzan’s time (Kan’ei era, 1624-1645)

Yokoyama: This might sound rude, but does that basically mean “Edo is the countryside”?

Hatanaka: People say Kyoto natives can be indirect—they often don’t say what they truly mean, but imply it instead. It’s a cultural trait over a thousand years old. For example, “bubuzuke” (rice with tea) is famous in Kyoto—I’ve even tried it myself (laughs).

(Bubuzuke is served in Kyoto as a polite way to encourage guests to leave.)

Yokoyama: I wasn’t born in Kyoto, but I get what you mean (laughs).

Hatanaka: Exactly (laughs). Kyoto’s unique way of communicating—getting your point across without directness and without causing offense—is a deep-rooted, subtle culture. This attitude influenced the birth of the Rinpa school. In a way, it reflected pride in being from the capital. That spirit is embedded in Kenzan and Rinpa artworks.

Q. The Meaning Behind Kenzan Ware

Yokoyama: I’ve been curious about the Chinese and waka poems featured on Kenzan’s works. Are these quotations from specific sources?

Hatanaka: Almost all are referenced. Kenzan inherited many books from his father and likely collected others himself, so he had a large library.

Yokoyama: For example, what kinds of books did he consult?

Hatanaka: A well-known one is Enkikatsuho, which he referenced frequently. Many rust-painted works, like square plates, feature poems from it. Also, many waka poems come from a Muromachi-era anthology by Sanjonishi Sanetaka. While he may have composed some himself, most are taken from these collections.

• The Tale of Genji by Murasaki Shikibu
• Image: Colbase
• The first half transcribed by Sanjonishi Sanetaka

Yokoyama: As we discussed, Kenzan was quite learned.

Hatanaka: Yes. It might seem like showing off (laughs), but he incorporated his extensive knowledge into his ceramics.

Yokoyama: Without understanding this background, it’s hard to truly appreciate Kenzan ware. The knowledge of those using the pottery is tested as well.

Hatanaka: Exactly. Those familiar with the motifs understand their meaning, and users of Kenzan ware can demonstrate their own cultural refinement.

For example, there’s a dish depicting the Tatsuta River, which is a common theme in waka poetry.

• Collection: MIHO MUSEUM
• Image: Kenzan – A World of Mystery and Elegance, MIHO MUSEUM

Yokoyama: The Tatsuta River piece is among Kenzan’s most famous works.

Hatanaka: At the time, the owner likely wouldn’t explicitly say “this is the Tatsuta River.” Instead, the image of a wave on a maple leaf would evoke the association.

Yokoyama: No explanation then?

Hatanaka: Right, no explanation. But if you know the song about the Tatsuta River, you’d recognize the inspiration. At a tea ceremony, one could read the poem and deepen the conversation.

• Map of the Tatsuta River by Kano School
• Image: Colbase
• The Tatsuta River is famous for autumn leaves and featured in a folding screen poem by Ariwara no Narihira: “Even in the age of the gods, no one has heard of the Tatsuta River turning crimson red” (from Kokinshu)

Yokoyama: Without knowing this background, the image might not be clear at all.

Hatanaka: When viewed simply as tableware, one might only notice the color and shape. But Kyoto culture values how an educated person reacts when understanding these deeper meanings.

Yokoyama: (laughs) If you don’t understand, people might think you’re uneducated, missing key points in the tea ceremony...

Hatanaka: Exactly. The creators were aware of this and designed accordingly. It’s a subtle test of the guest’s knowledge.

Yokoyama: That sounds a bit intimidating. I’d probably just say “What a beautiful dish! Thank you!”

Hatanaka: There’s more. For example, this tea bowl:

• Colored tea bowl with lid, decorated with silver grass motif, owned by MIHO MUSEUM
• Image: Kenzan – A World of Mystery and Elegance, MIHO MUSEUM

Hatanaka: “Susuki” means silver grass, and the vertical and horizontal rust-painted lines form the susuki pattern. This stylized motif is typical of the Rinpa school. Once you recognize susuki, you understand the design. Do you know what the green pattern represents?

Yokoyama: A mountain… maybe?

Hatanaka: Nearby are mountains, but this represents a vast field of silver grass. More deeply, it symbolizes the Musashino Plain in the Edo region.

Yokoyama: Ah, Edo?

Hatanaka: Yes, the Kanto Plain. Musashino was already the eastern edge of the capital region and felt somewhat outside Japan during the Heian period.

Note: Musashino refers to the Kanto Plain, known for its vast silver grass fields.

• Musashino Screen, 17th century, author unknown, Tokyo National Museum
• Image: Colbase

Yokoyama: So is this another example of a capital native ironically calling Edo the countryside?

Hatanaka: Not quite (laughs). This scene depicts Ariwara no Narihira’s Tale of Ise, where a heartbroken man leaves the capital heading east.

 

• Narrow Ivy Path Screen Collection, Tokyo National Museum
• Image: Colbase
• From the ninth chapter of The Tales of Ise, depicting the protagonist’s journey eastward in despair.

Hatanaka: This simple three-colored pottery design is packed with culture and meaning—it’s more than just decoration.

Yokoyama: Even more complex than the Tatsuta River vessels! The depth is fascinating.

Hatanaka: Yes. Kenzan was clearly intelligent and knowledgeable. He absorbed culture and information from books and translated it into his work beautifully.

Yokoyama: So he consciously created new works with this mindset.

Hatanaka: Yes. I believe he communicated these ideas to the craftsmen and oversaw production.

Yokoyama: The creativity in a single piece is impressive. The volume of his works shows his passion.

Hatanaka: Indeed. He gave form to his ideas because he had a strong sense of authorship.

<Continued to Part 4>

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

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