Thinking about Kenzan with the experts 2/4 ~ How was Kenzan ware received? ~

Interviewee: Akitoshi Hatakenaka (Chief Curator, MIHO MUSEUM)

He has curated special exhibitions including "Shigaraki — A Pot in Heaven" (1999), "Kenzan — The Subtle Elegance of His World" (2004), and "Ancient Kiln Records — Medieval Pottery" (2010). He also planned the Kenzan culinary photography book Uruwashi Kenzan: Four Seasons of Colorful Cuisine, which won the Gourmand World Cookbook Awards Grand Prix for Photography (2006), Best of the Best (2008), and was named Best of the Best of the Past 20 Years in 2015.

Interviewer: Masatoshi Yokoyama (Owner, KOTOPOTTER)

 

Q. The Value of Kenzan Ware at the Time

Yokoyama: Nowadays, Kenzan’s works are widely recognized as valuable, but I wonder how people at the time perceived their worth. Were they considered exclusive luxury items only accessible to a few?

Hatakenaka: That’s a good question. Everyday tea utensils from outside Kyoto were probably accessible to common townspeople, but Kenzan’s works were different. For one, pieces co-created with his brother were something to be proud of owning.

• Rust-painted Peony Square Plate, painting by Kōrin, owned by MIHO MUSEUM
• Image from "Kenzan — The Subtle Elegance of His World," MIHO MUSEUM

Yokoyama: So the works had quite high value even then.

Hatakenaka: Yes. Kenzan’s name appears in a book gathering notable Kyoto figures, including famous painters like Maruyama Ōkyo and Itō Jakuchū. Owning works by such distinguished people was definitely something to boast about.

• Maruyama Ōkyo, Cherry Blossom Painting, owned by Tokyo National Museum
• Image: Colbase

Yokoyama: So Kenzan’s pottery was regarded as a prestigious brand, alongside works by renowned painters.

Hatakenaka: Kenzan’s family, the Karigane-ya, served as official suppliers to the imperial court, including to Empress Tōfukumon-in. His brother Kōrin’s paintings also carried great prestige. Having the heir of Karigane-ya making pottery had a strong impact and was something people greatly admired.

Yokoyama: Hearing about an official supplier to the imperial court really resonates with us today.

Hatakenaka: There was a book introducing famous Kyoto products written at the time, and Kenzan ware was included. It definitely was a well-known and popular item. Also, some Kenzan works use gold decoration. The use of gold and silver rims added an even greater sense of luxury. Because such pieces had to be fired multiple times, it required extra effort and materials, which naturally increased the price. I believe Kenzan ware stood apart from common ceramics even in those days.

• Overglaze Painted Ashigamo Design Bowl with Pierced Work, owned by Idemitsu Museum of Arts
• Image from "Kenzan — The Subtle Elegance of His World," MIHO MUSEUM

 

Q. Differences in Approach Between Kenzan and Ninsei

Yokoyama: Ninsei of Omuro ware taught Kenzan pottery. Both are considered founders of Kyō-yaki and Kiyomizu-yaki, but their works suggest different aesthetics and philosophies. How did their approaches to pottery differ?

Note: Scholars debate whether the Ninsei who worked with Kenzan was the first or second generation Ninsei.

Hatakenaka: Ninsei mainly produced tea utensils, most ordered for feudal lords. He worked under Kanamori Sōwa, who commissioned pieces according to his preferences. Ninsei crafted according to these orders, not from his own concepts.

Note: Kanamori Sōwa (1584–1657) was the son of feudal lord Kanamori Kasushige and became a tea master in Kyoto. He is known for discovering Ninsei.

• Ninsei, Overglaze Plum Blossom Tea Bowl, owned by Tokyo National Museum
• Image: Colbase

Yokoyama: So Ninsei was a highly skilled craftsman producing pieces based on commissioned designs. How about Kenzan?

Hatakenaka: Kenzan was a literati and intellectual, exposed to scholarship and culture. His works show many paintings and literati motifs such as landscapes, reflecting this background strongly.

• Rust-painted Sea Gulls Square Plate, owned by Tokyo National Museum
• Image: Colbase

Yokoyama: So Kenzan created works based on his own ideas. Was his privileged background a major factor in this?

Hatakenaka: Yes. Born into a wealthy family, Kenzan inherited Chinese books from his father and had a strong interest in scholarship. I believe his knowledge deeply influenced his works.

Yokoyama: That knowledge was clearly reflected in his creations.

Hatakenaka: Exactly. Kenzan’s accumulated knowledge added depth to his pottery. His scholarly background was expressed through his ceramic output, shaping what we now call Kenzan ware.

• Rust-painted Camellia Fan-shaped Bowl, owned by MIHO MUSEUM
• Image from "Kenzan — The Subtle Elegance of His World," MIHO MUSEUM

Yokoyama: Was Kenzan different from other potters of his time in this regard?

Hatakenaka: Yes. Potters were considered lower than farmers, often working in the mountains covered in soot, with low social status. So a learned and creative potter like Kenzan was quite rare at the time.

Yokoyama: Hearing this, it’s clear that Kenzan and Ninsei had very different approaches and attitudes toward pottery.

 

Q. The Impact of Kenzan Ware’s Emergence

Yokoyama: Considering all this, it’s evident Kenzan was a distinguished potter even in his own time. How was Kenzan ware received then?

Hatakenaka: Including Ninsei, the image of Kyō-yaki was shaped by their works. When pieces from Kyoto were presented in other regions, they shone like diamonds, symbolizing the capital’s refined culture.

• Rust-painted Overglaze Decoration Bowl, owned by MIHO MUSEUM
• Image from "Kenzan — The Subtle Elegance of His World," MIHO MUSEUM

Yokoyama: So Kyoto-made works like those of Ninsei and Kenzan were highly coveted.

Hatakenaka: Yes. At the time, many feudal domains had official kilns producing works in the Kyoto style. This allowed Ninsei and Kenzan’s styles to spread widely.

It’s similar to how Paris was once considered the fashion capital, with haute couture designers setting trends worldwide.

• Overglaze Painted Hydrangea Bowl, San Kiln, owned by Tokyo National Museum
• Image: Colbase
• San Kiln was the official kiln of the Takamatsu domain, producing Kenzan-style painting.

Yokoyama: Kyoto was the cultural hub from which these trends spread. While today social media drives trends, even then, individuals held influence.

Hatakenaka: Although political power was centered in Edo, Kyoto remained the cultural heart with the Emperor residing there. Trends from the capital naturally influenced other regions.

Yokoyama: Did Kenzan take pride in creating pottery at the cultural center?

Hatakenaka: Yes. Kenzan is considered part of the Rimpa school, which was, in part, a reaction against the shogunate.

Yokoyama: Really? That’s interesting!

 

＜To be continued Part 3＞

 

Expert Discussions on Kenzan < 1 > < 2 > < 3 > < 4 >

 

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