Hello, everyone reading the blog.

I’m Masatoshi Yokoyama, owner of KOTOPOTTER.

During the Edo period, the potter Ogata Kenzan laid the foundation for what we now recognize as Kyoto’s traditional ceramic arts—Kyō-ware and Kiyomizu-ware.

His work profoundly influenced the development of Japanese pottery, conveying a unique worldview through handmade ceramics.

On the KOTOPOTTER “World of Kyō-ware & Kiyomizu-ware” section, we have already published several articles related to Kenzan.

 

However, merely studying documents and artworks has its limits when it comes to fully understanding Kenzan’s true impact. I felt it was important to hear from an expert deeply familiar with his legacy.

So I reached out to MIHO MUSEUM, which holds and exhibits many of Kenzan’s works. To my surprise and gratitude, they kindly agreed to an interview.

KOTOPOTTER is just a small online shop, and my request came unexpectedly, so I honestly expected them to decline. MIHO MUSEUM’s generosity truly surprised me!

I hope this interview will deepen our understanding of Kenzan’s true character and enduring appeal.

MIHO MUSEUM

• Hours: 10:00 AM – 5:00 PM (last admission at 4:00 PM)
• Closed: Please check the official website for details
• Access & Directions

MIHO MUSEUM’s Hatakenaka on “Kenzan”

In mid-December 2024, with permission to conduct the interview, I drove about an hour from my office in Kyōtanabe to MIHO MUSEUM.

Located amid the lush mountains of Shigaraki in Shiga Prefecture, MIHO MUSEUM boasts an unparalleled collection and a building that itself is a work of art—offering a fully immersive art experience.

The interviewee was Akitoshi Hatakenaka, Curator and Head of the Research Department, who organized the renowned 2004 special exhibition “Kenzan: The Subtle Elegance of His World.”

Having seen Kenzan’s works both in Japan and abroad, I was eager to hear Hatakenaka’s insights on Ogata Kenzan as a potter and cultural figure.

Interviewee: Akitoshi Hatakenaka (Curator & Head of Research, MIHO MUSEUM)

“I have curated special exhibitions such as ‘Shigaraki – A Pot in Heaven’ (1999), ‘Kenzan – The Subtle Elegance of His World’ (2004), and ‘Ancient Kiln Records – Medieval Pottery’ (2010). The Kenzan culinary photography book I planned—Uruwashi Kenzan: Four Seasons of Colorful Cuisine—won the Gourmand World Cookbook Awards’ Grand Prix in Photography (2006), Best of the Best (2008), and was honored as Best of the Best over the past 20 years (2015).”

Interviewer: Masatoshi Yokoyama (Owner, KOTOPOTTER)

 

Yokoyama: Thank you for taking the time for this interview.

Hatakenaka: My pleasure.

Yokoyama: The catalog for your 2004 exhibition “Kenzan: The Subtle Elegance of His World” contains many works and detailed commentary. It has been extremely helpful—especially since even kilns producing Kenzan-inspired wares often refer to it.

• Images from “Kenzan – The Subtle Elegance of His World,” MIHO MUSEUM

Hatakenaka: I’m glad to hear that. We put great effort into that exhibition.

Yokoyama: I look forward to learning more about it. Thank you again for your time today!

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Q. About MIHO MUSEUM’s Kenzan Collection

Yokoyama: MIHO MUSEUM has such an impressive Kenzan collection that you could hold a solo exhibition. What distinguishes the Kenzan works you’ve acquired?

Hatakenaka: Rather than collecting strictly by era or theme, our founder, Mihoko Koyama, has always acquired pieces that personally resonated with her. She selected works that “spoke” to her aesthetic sense.

• Rust-Glazed Lily-Shaped Dish (Owned by MIHO MUSEUM)
• Image from “Kenzan – The Subtle Elegance of His World,” MIHO MUSEUM

Yokoyama: So the collection reflects her personal sensibility.

Hatakenaka: Exactly. This approach has brought together many outstanding works—from tea utensils to other Japanese art forms—that deeply move viewers.

• Overglaze-Decorated Camellia Dish (Owned by MIHO MUSEUM)
• Image from “Kenzan – The Subtle Elegance of His World,” MIHO MUSEUM

Yokoyama: So Kenzan’s works are part of this exceptional collection.

Hatakenaka: Yes. Some pieces were previously owned by our founder, and when the museum opened, she expanded the collection to include ceramics, calligraphy, and paintings, forming the foundation of MIHO MUSEUM’s Kenzan holdings.

Yokoyama: Her keen eye and passion have clearly shaped this remarkable collection.

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Q. About the Current Kenzan Market

Yokoyama: Do original Kenzan pieces still appear in the antiques market? I’ve visited auctions but never seen an authenticated Kenzan.

Hatakenaka: Occasionally, originals appear at auctions, but forgeries are common. While experts can spot fakes, some imitations are very convincing.

Yokoyama: Given Kenzan’s fame, counterfeits must be a significant issue. From your extensive experience, what are the key points for authenticating Kenzan works?

Hatakenaka: The calligraphy is crucial. While glazing can be imitated, replicating Kenzan’s brushwork—especially on plates bearing waka poems or Chinese verses—is extremely difficult.

• Rust-Glazed Peony Square Plate (Owned by Tokyo National Museum)
• Image: Colbase

Yokoyama: So Kenzan’s calligraphy is the key to verifying authenticity.

Hatakenaka: Yes. Unlike his brother Kōrin, who was more focused on painting, Kenzan specialized in ceramics but took great pride in his calligraphy. He personally signed kiln marks by hand rather than using seals, reflecting this pride.

• Rust-Glazed Waka Poem Plate (Owned by Tokyo National Museum)
• Image: Colbase

Yokoyama: His works truly convey a unique personality through both text and design.

Hatakenaka: That individuality is what makes Kenzan’s work so captivating.

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Q. About Kenzan’s Approach to Pottery

Yokoyama: Kenzan created ceramics, paintings, and calligraphy. How involved was he in hands-on work like shaping clay or firing kilns?

Hatakenaka: In the early days at Narutaki—the birthplace of Kenzan ware—he likely participated fully. However, Kyoto’s traditional production followed a division of labor. Coming from a kimono merchant family, Kenzan mainly coordinated artisans rather than performing every step himself.

• Image: Ruins of Kenzan’s Narutaki Kiln (Photo by Masatoshi Yokoyama)

Yokoyama: So he was more of a producer overseeing the work than an individual craftsman?

Hatakenaka: Exactly. Kenzan supervised design and entrusted skilled artisans with execution. That collaborative process defines Kenzan ware.

Yokoyama: Was some production effectively small-scale series work?

Hatakenaka: Yes. As demand grew, multiple artisans contributed. It is also known that Kenzan adopted the son of the famous potter Ninsei and worked alongside him.

Yokoyama: It must be hard to precisely determine Kenzan’s direct involvement.

Hatakenaka: That’s true. Some scholars only credit pieces Kenzan personally shaped, while others include the entire collaborative output as Kenzan ware. The debate continues.

＜Continued in Part 2＞

Specialist Perspectives on Kenzan <1> <2> <3> <4>

 

Other Articles on Ogata Kenzan