Incense holder
Kogo as a microcosm
The moment you pass through the nijiriguchi (traditional Japanese entrance) of a tea room and sit upright on the tatami mat, a faint fragrance suddenly tickles your nose. An incense container is a vessel that gently captures this subtle fragrance and condenses the host's taste and aesthetic sense. It is an amazing fact that a small vessel that fits in the palm of your hand contains a thousand years of history and culture, from the introduction of Buddhism to the ingenuity of connoisseurs and on to contemporary art. In this article, we will provide a comprehensive explanation of incense containers from the five perspectives of "history, design, use, appreciation, and preservation."
1. What is a Kogo? - Its name, structure, and basic concept
An incense container (kogo or goshi) is a general term for a small container with a lid that "contains incense together." Its structure is extremely simple, with only three elements : the body, the lid, and the inner bottom . However, even in the space of a tea room where a tea bowl measuring just over one foot sits leisurely, it harbors an eye-catching, concentrated beauty.
Capacity and Dimensions <br data-end="488" data-start="485">Generally, the diameter is 3-7 cm, and the height is 2-5 cm. Ideally, it should be able to hold about three pieces of paste incense the size of a pickled plum, or three pieces of cut fragrant wood the size of a finger.
Airtightness <br data-end="558" data-start="555">Incense paste contains water and honey, and fragrant wood contains resin, so the higher the airtightness, the more it will prevent the fragrance from evaporating and maintain its quality. Ceramics and metals are highly airtight, while lacquerware allows the wood to breathe and allows for appropriate humidity regulation.
Inscriptions and Stories <br data-end="660" data-start="657">The inscriptions on tea utensils tell their background. Incense containers also have inscriptions that refer to seasons, scenery or poetry, such as "Yokogumo" ("Horizontal Clouds"), "Hana Kagari" ("Flower Kagari") and "Yukimachi" ("Waiting for Snow"), which symbolically show the spirit of the tea ceremony.
2. Historical chronology: From Buddhist altar implements to objects of refined taste
2-1 Ancient times: Incense containers as imported Buddhist altar implements
In the mid-6th century, Chinese lacquer boxes, jade boxes, and gilt bronze boxes were introduced to Japan along with Buddhism as supporting items for the Sangusoku (candlestick, vase, and incense burner). The gilt bronze incense containers at Toshodaiji Temple in Nara convey the essence of Tenpyo engraving. Here, the incense containers were still practical items for offering incense, and durability was more important than design.
2-2 Early Muromachi Period: Decorations of Meeting Places and the Worship of Chinese Items
In the "kaisho decorations" where the shogunate and powerful feudal lords competed, Chinese lacquerware such as tsuishu and tsuigoku were displayed as brand-name Chinese goods . The "Kindai Kansocho-ki" records in detail the inscriptions and histories of the incense containers displayed in the Ryounkaku, which shows that they were already highly regarded for their aesthetic value.
2-3 Late Muromachi to Momoyama Period: Establishment of the tea ceremony and independence of incense containers
The tea ceremony brewed by Takeno Jōō and Sen no Rikyū established the philosophy of “wabi” (wabi) and adopted a new practice of preparing charcoal. It became customary to use different materials for storing incense in a ceramic incense container during the winter hearth period and fragrant wood in a lacquer incense container during the summer hearth period, and the incense container was elevated to an independent tea utensil, separate from the three tea utensils.
Influence of the birth of Kuniyaki During Rikyu's time, Seto and Minokiseto were on the rise as domestic ceramics. Furuta Oribe openly supported Kuniyaki and created innovative pieces such as the Shino Usagi incense container and the Oribe hand box incense container.
2-4 Early to late Edo period: The boom in shaped incense containers
The Kan'ei culture was a period when decorative beauty flourished. Nonomura Ninsei and Ogata Kenzan condensed pictorial designs into incense containers, and a succession of masterpieces were produced, such as Kenzan's "Urigata Incense Container." The "Katabutsu Kogo Sumo Ranking," published in 1855, ranks 230 items from Ozeki to Jonokuchi, and it is believed that the aesthetic sense of Nagoya's connoisseurs and tool dealers was strongly reflected in the selection.
2-5 Modern to contemporary art: Diversification of art appreciation and collections
During the Meiji period, Suwa Sozan and Miyagawa Kozan, who were Imperial Household Artists, produced incense containers that were a revival of the classical style and were highly praised at overseas exhibitions. After the war, Living National Treasures of lacquer and ceramics produced incense containers with a rich variety of individuality, and in recent years, materials have expanded to include glass, resin, and 3D printing.
3. A thorough analysis of the functions and etiquette of the tea ceremony
Flow in front of the charcoal
The cut charcoal is placed in order and the water is prepared.
Pick up the incense holder from the charcoal container with your right hand, place it in your left hand and open the lid.
Furnace stage : Use the chopsticks to move two grains of incense to the wall of the hearth, and return the remaining grain to the incense box.
Furo period : Place the square cut incense stick in the center, not too close to the lid, to allow the fragrance to gently rise.
The lid is then closed and the incense box is placed on the tatami mat next to the guest. Guests may wish to inspect the incense box and pass it around.
Etiquette for Questioning and Answering Questions
The main guest politely requests, "May I see the incense holder?"
It is considered virtuous for the host to answer questions about the inscription, history, and work concisely, and to avoid long-winded talk.
The customer slides the lid and body of the sake together with their fingertips, then drops their gaze to the aroma of the sake, enjoying the scent.
Theory of Tool Assembly
Combining an Oribe incense container with a Shino tea bowl is a no-no. The two earthenware pieces will clash.
The celadon incense holder and Tenmoku tea bowl exude a Goryeo style and are perfect for an autumn evening gathering.
The Kaikogo x Rakukuro tea bowl creates a refreshing feeling when drinking tea in the morning in summer. The proper way to drink tea is to place the hinge on the back of the incense box at the back.
4. Materials and techniques: Understanding the depths of craftsmanship
Lacquerware
Maki-e : Gold and silver powder is sprinkled using a powder tube, and then togidashi maki-e is used to create a pictorial effect.
Raden : Turquoise shell is cut into thin slices and inlaid with lacquer. Wave patterns and clouds and cranes are the standard.
Tsuishu/Tikuro : Over 100 layers of lacquer are carved into the design, depicting dragons and begonia flowers with shadows.
Ceramics
Yellow Seto : The amber yellow color is reflected in the ash-feldspar glaze, and the iron-painted flowers and birds give it an autumnal feel.
Blue and white porcelain : Tsujido and cloud dragon designs are hand-painted in cobalt blue, then covered with a transparent glaze and fired at 1300℃.
Kouchi : Low-fire glaze colored with cobalt, copper, and iron, creating a multi-colored kirikane pattern.
Metalwork, woodwork, shell
Tin-rimmed incense box : The edges of a small Kamakura lacquerware box are reinforced with tin and reused.
Karakibikiya incense holder : Thinly cut ebony and the contrast with the scarlet wood base are reminiscent of Akizuki.
Shell incense holder : The clam shell is polished and the inside is stamped with gold leaf and painted with ultramarine blue.
5. Tales of famous incense containers: Anecdotes and connoisseurs
Kochi Large Turtle Incense Container <br data-end="2514" data-start="2511">There is a famous anecdote about how Fujita Denzaburo (Kosetsu) acquired this at the age of 82, and passed away with it at his bedside with a big smile on his face. The tortoise shell pattern is a symbol of longevity and good fortune.
Blue and white Tsujido incense container <br data-end="2589" data-start="2586">This incense container is modeled after the shrine building of Tsujido Hachimangu Shrine in Aichi Prefecture, and reflects the tastes of literati. It was a favorite of the Southern painter Uragami Gyokudō.
Tin-rimmed hand box incense holder <br data-end="2648" data-start="2645">This incense holder holds the lingering fragrance of Kamakura-period lacquerware and was used by the sixth generation of the Omotesenke school, Kakukakusai, at a cherry blossom viewing tea ceremony.
6. Intersection with the art of incense: The spread of the culture of "listening"
If the tea ceremony is an art of "seeing, drinking, and touching," then the art of incense-do is one of "listening." The Oke-ryu and Shino-ryu schools of incense-do were established during the Muromachi period, and incense boxes play a central role here as well. Fragrant woods are classified as "jukogo ," and in some cases, tags for ten kinds of incense and group incense are placed inside. While the incense box in tea ceremony is opened to show the moment, in incense-do, it is quietly passed around between conversations and is appreciated together with the incense burner.
7. Combination Guide
| season | Tea room setup | Recommended incense holder | Recommended incense |
|---|---|---|---|
| Early spring (first day of spring to Keisei) | White plum blossom hanging scroll, willow vase | Blue and white plum blossom incense holder | Incense paste "Ume-ga-ka" |
| Midsummer (midsummer to early autumn) | Morning glory design on fan, green bamboo vase | Bamboo joint lacquer incense holder | Kyara "Rakoku" square cut |
| Late autumn (cold dew to frost) | Maple leaf patterned paper, gourd vase | Yellow Seto Leaf Incense Container | Incense stick "Tatsuta River" |
| Deep winter (heavy snow to cold) | Snowscape hanging scroll, iron vase | Celadon Yukirin Incense Case | Incense stick "Zuiun" |
It is important to combine the symbolism of the seasonal color and pattern to give a double sense of the season, visually and olfactory. Avoid overlapping similar colors too much, and make them stand out by contrasting with the main tea bowl and flower vase.
8. Appreciation and Collecting: Modern Pleasures
Museum Tour
Fujita Museum of Art (Osaka) : The Kochi Ogame and Blue and White Tsujido are on display in a special exhibition.
Nezu Museum (Tokyo) : Houses the famous "Green Glazed Crab Incense Holder."
MOA Museum of Art (Atami) : Seasonal exhibits featuring Ninsei replica incense holders.
Obtaining and storing information
Where to buy : Reliable tea ceremony utensil dealers, solo exhibitions of contemporary artists, auctions. Checking the box inscription and provenance is essential.
Storage : Storing incense for a long time can cause mold and oxidation. After use, brush off the powder with a soft bristle brush and wipe dry. Store lacquerware in a paulownia wood box out of direct sunlight. Ceramics can become rough if they dry out too much, so keep them moist by wrapping them in washi paper.
9. Contemporary Artists and Their Creative Processes
Making lacquer incense containers
Wood turning : Katsura, cypress, magnolia, etc. are roughly cut and turned on a lathe.
Priming : Covering with cloth and applying priming powder (sanding powder and lacquer) suppresses the wood's breathing.
Middle coat and top coat : Lacquer is applied 12 to 20 times to obtain a mirror finish.
Maki-e : Patterns are drawn with red lacquer, gold powder is sprinkled, charcoal is polished, and the surface is finished with a matte finish.
Production of ceramic incense containers
Forming : Hand kneaded and molded. The lid and body are cut with a blade to ensure a "sweet" finish.
Bisque firing : 800℃. Fired with the lid removed to prevent distortion.
Glazing : Kiseto is glazed with feldspar glaze and straw ash, while celadon is glazed with Longquan lime glaze.
Final firing : 1250-1350℃. Celadon is produced in a reducing flame, and blue and white porcelain is produced in an oxidizing flame.
Innovative Materials
Recently, a 3D printed incense holder made from heat-resistant resin has been prototyped. The "layered beauty" of this incense holder, which differs from traditional crafts, can be seen as a modern attempt to inherit Rikyu's love of new things.
10. Conclusion: The philosophy of hospitality entrusted to incense holders
The tea ceremony is an art of "ichiza-kenritsu," or the creation of a space for a single gathering, in which the host and guest work together. The incense container is introduced at the beginning, in front of the charcoal, and serves as a medium that condenses and conveys the host's aesthetic sense along with its quiet fragrance. When history, technique, thought, and seasons are condensed into a small vessel that fits in the palm of your hand, the guest's mind is instantly transported to an extraordinary world. The next time you attend a tea ceremony, be sure to listen carefully to the story woven by the shape, material, and name of the incense container, as well as the faint smoke rising from the edge of the hearth. You will surely be able to hear from the "way of incense" that has been passed down for over a thousand years.
Water pitcher – High-end pottery specialty store [Amagimichi]