Art Exhibition Guide: “Scenes with Flower Containers”

Team Musubi recently visited the Sen-oku Hakukokan Museum Tokyo for an in-depth look at Scenes with Flower Containers, a captivating new exhibition that celebrates the art and history of Japanese flower vases. At MUSUBI KILN, we showcase a wide range of these vases, and we were particularly intrigued by this exhibit’s focus on understanding their origins through the lens of the tea ceremony.

Tracing the journey of flower containers from their Chinese roots to the modern Japanese era—when ceramic and bamboo vessels emerged, refined by a distinctly Japanese aesthetic—this exhibition illuminates how these pieces became central to the culture of tea and daily life in Japan. 

We invite you to join us in exploring the evolution of Japanese flower containers, their pivotal role in the tea ceremony and ikebana, and the captivating masterpieces
that bring this rich narrative to life.

Curated Exhibition (January 25, 2025–March 16, 2025): Scenes with Flower Containers

This exhibition showcases carefully selected floral containers from the Sumitomo Collection, alongside paintings depicting these elegant vessels. Additionally, it presents pieces generously donated by the esteemed ikebana master, OGO Rimei.

As we approached the exhibition room, we came across an informative panel on the origins of Japanese flower containers. Here is an excerpt from the text:

According to the panel, flower containers in Japan were originally influenced by Buddhism, which was introduced from China. They were one of the sangusoku, a trio of objects used to adorn Buddhist statues and altars. By the Heian period (794–1185 CE), flowers arranged in these vessels had already appeared in Buddhist paintings.

During the Song dynasty in China, ancient bronze vessels were reassessed, leading to the production of ceramics modeled after them. These vessels were then used for flower arrangements, a practice that was introduced to Japan. From the Muromachi period (1336–1573 CE) onwards, these imported ceramics, known as karamono (Chinese objects), were highly prized. This era also marked the flourishing of Japanese tea culture. As tea masters and scholars, inspired by Chinese literati culture, developed a keen interest in flower containers, many types of vases were created and admired.

Japanese ceramics have long been influenced by China and Korea, and flower containers were no exception. At the same time, the significant role of flower containers in the tea ceremony made us curious about what types of containers were produced in Japan. Eager to learn more, we stepped into the exhibition hall.

The exhibition was divided into four thematic sections. The first room we entered featured “Painted Flower Containers,” showcasing artworks that depicted flower vases. Most of the paintings were created during the Edo period (1603–1868 CE) and later, but the objects portrayed varied in historical context. Here are some of the most striking pieces:

This vividly colored painting immediately caught our attention and was even featured on the exhibition leaflet as one of the highlights. The peony painting on which this work is based is preserved at Chion-in Temple in Kyoto and is believed to be from the Yuan dynasty (1271–1368 CE ) in China. The peonies in the painting are arranged in what appears to be a metal basin. If such a brilliant blue color could be achieved in a real vase, it would undoubtedly be stunning.

This painting portrays the Six Dynasties poet Tao Yuanming, known for his love of chrysanthemums. He stands before a flower vase with ring-shaped handles, lost in contemplation, evoking a tranquil and blissful moment.

Sugawara no Michizane, a nobleman from the Heian period, was unjustly exiled. During his time, the Chrysanthemum Festival (Choyo no Sekku) was already celebrated, and it is said that chrysanthemums were arranged in golden vases at the imperial court. In this painting, chrysanthemums are placed in a wooden bucket under a sky where the moon appears blurred, conveying a deep sense of melancholy.

The next section was dedicated to “Flower Containers in the Tea Ceremony.” The Sen-oku Hakukokan Museum Tokyo houses a collection of art gathered by the Sumitomo family from the Edo period to the Taisho period (1912–1926 CE), with a significant focus on items related to the tea ceremony. Many of these utensils had been used in historic tea gatherings, forming the core of the collection. The display was arranged in a way that recreated the atmosphere of a traditional tea room, with exhibits placed on tatami mats and hanging scrolls adorning the walls.

This section featured a remarkable selection of karamono (Chinese imports) alongside Bizen ware and bamboo craft flower vases from various regions of Japan. Each piece exuded a dignified presence and a tranquil aura.

The elegant green glaze, decorative design, and curved form combined to create a work of refined beauty. This celadon vase was crafted at Longquan Kiln in China, a site renowned for producing high-quality celadon ware. The lotus, a flower sacred in Buddhism symbolizing purity, was frequently depicted in religious art. This vase is believed to have been used in Buddhist ceremonies.

With its dynamic glazing, undulating shape, and intersecting chisel marks, this piece embodies the bold aesthetics of Takatori ware. A mark attributed to Furuta Oribe, a prominent tea master, is inscribed on the lower part. During tea gatherings, this vase was used to hold camellias and bodhi tree flowers, making us wonder how they contrasted with the vessel’s unique form.

This flower container, characterized by its rounded form, is called a boat tokkuri. It resembles a traditional sake bottle designed with a broad base for stability on a ship. The body showcases what appears to be a goma (sesame) pattern, reminiscent of sesame seeds. This piece embodies the enduring legacy of Bizen ware craftsmanship.

Attributed to Sen Sōtan, the grandson of the renowned tea master Sen no Rikyū, this bamboo flower container uses goma-take bamboo. Goma-take is named for the sesame-like spots that appear as the bamboo ages. Hanging on a wall, it accentuates the natural beauty of the flowers it holds.

Next, we visited the exhibition room featuring copper flower vessels donated by ikebana master, OGO Rimei. While MUSUBI KILN also offers copper vessels, the variety in color, shape, and pattern here was overwhelming. Let's look at some particularly striking pieces.

This piece stands out for its intricate openwork design, harmoniously combining traditional Japanese motifs of paulownia leaves, chrysanthemums, and arabesque patterns.

This vase captures the majestic image of a dragon soaring among clouds. In Chinese culture, the dragon symbolizes the emperor, and in Japan, influenced by China and Buddhism, dragons came to be revered. Seen as auspicious for its association with ascending from water to the sky, the dragon is depicted with gold eyes while gold and silver adorn the clouds, enhancing its three-dimensional and dynamic appeal.

At MUSUBI KILN, we offer items featuring dragons rendered in black glaze. The combination of black and the dragon motif is sure to inspire a range of emotions in the viewer, from awe to admiration.

This vase's gentle form and depiction of the flowing ocean defy its metallic composition, offering a soft appearance. The pale verdigris finish evokes a view of plovers flying through morning mist. Traditional plover motifs are also seen in tableware at MUSUBI KILN, consistently surprising viewers with their timeless aesthetic.

The final exhibit features flower vessels from the Meiji era (1868－1912 CE) and beyond. During this time, Western-style vases were introduced to Japan, leading to diverse creations. These vessels retain traditional elements from the Edo period but embrace a blend of Japanese and Western designs, often with vibrant aesthetics. Though the exhibit space was modest, the entrance hall of the museum displays more of these modern vessels.

The artist, Kanzan Denshichi (1871-1890 CE), was a prominent figure in the Kyoto pottery world during the early Meiji era. He was renowned for his successful use of Western paints in glazes, which led to him receiving commissions from the Imperial Household. Subsequently, he dedicated himself to the production of Western-style tableware.

This piece effectively utilizes both underglaze painting (where designs are applied to the unglazed surface before the final firing) and overglaze painting (where colors are applied on top of the glaze). With its vibrant red and white peonies as the focal point, surrounded by a profusion of flowers and accented with gold, it is a truly magnificent work of art.

This exhibition gave Team Musubi a fresh appreciation for the incredible range of Japanese flower containers, both past and present. Just as there are endless ways to arrange flowers, the sheer variety of colors, shapes, materials, and functions found in these vessels is truly remarkable. This rich diversity invites us to consider the very definition of "beauty." A vase can enhance the natural elegance of the flowers it holds, and sometimes even become a captivating work of art in its own right. These vessels, reflecting the tastes of their respective eras, will continue to be a part of our daily lives, imbued with a timeless artistry.