Theory of Art Creation 26 "The Aesthetics of Kobori Enshu"

The aesthetics of Kobori Enshu

"Kirei Sabi" pioneers a new form of tea and art

Kobori Enshu is an indispensable figure when talking about traditional Japanese culture. While he was in charge of government affairs as a feudal lord, he displayed a wide range of talents in tea ceremony, architecture, gardens, crafts, calligraphy, and painting, and greatly changed the value of Japanese beauty. He established the aesthetic sense of "kirei sabi" (beautiful rustic beauty) by blending the essence of imperial culture with the tea tradition established by Sen no Rikyu and Furuta Oribe, and had a great influence on samurai society, nobles, townspeople, and even overseas. In this article, we will take a closer look at the historical background in which Kobori Enshu lived, the characteristics of the tea ceremony, his work as a construction magistrate, mainly in architecture and landscaping, and his favorite tools and artistry, while also exploring the role that "Kobori Enshu's aesthetics" played and its universal appeal.

1. The Man Who Was Kobori Enshu: His Origins, Life, and Political Role

1-1. Origins and childhood

Kobori Enshu's real name was Kobori Masakazu. The nickname "Enshu" comes from his official title of "Totomi no Kami." He lived from the end of the Azuchi-Momoyama period to the beginning of the Edo period , and while he served as a samurai bureaucrat, he also demonstrated his talents in many fields, including as a tea master, architect, garden designer, and calligrapher.

Birth : Born in 1579 in Omi Province (present-day Shiga Prefecture)

Father : Masatsugu Kobori
A military commander who served Toyotomi Hidenaga and later Tokugawa Ieyasu, becoming the lord of Bitchu Matsuyama Castle (Takahashi City, Okayama Prefecture). His childhood name was Sakusuke, and he first encountered the tea ceremony in Yamatokoriyama (Nara Prefecture), where he moved to follow his father. At Yamatokoriyama Castle, where Toyotomi Hidenaga was based, many famous tea masters, including Sen no Rikyu, gathered, and it is said that the young Masakazu's experience of the charm of the tea ceremony firsthand there led to his later success.

1-2. The path of a samurai and the appointment of "Totomi no Kami"

In the later years of Toyotomi Hideyoshi, Masakazu learned tea from Furuta Oribe and established a residence in Fushimi. He was recognized for his achievements in serving Tokugawa Ieyasu on the Eastern side alongside his father, Masatsugu, at the Battle of Sekigahara (1600). After his father's death in 1604, he inherited Bitchu Matsuyama Castle and became a feudal lord with a fief of 12,460 koku.

Furthermore, in 1608 , he was appointed to the rank of Junior Fifth Rank and Totomi no Kami for his achievements as the magistrate for the repairs of Sunpu Castle. From this point on, he became widely known by the nickname "Kobori Enshu," and he played an active role in government affairs, architecture, and landscaping, mainly in Fushimi, Kyoto, during the establishment of the Edo Shogunate.

1-3. As the Magistrate of Fushimi and the Governor of Kamigata

Enshu continued to hold important posts in the shogunate overseeing the entire Kinai region, including as the magistrate of Fushimi, the magistrate of Omi Province, and the governor of Kamigata. As the magistrate of Fushimi in particular, he was responsible for the development of the area around Fushimi Castle in Kyoto and the rebuilding of the magistrate's office, making him an important figure both politically and culturally.
It is said that in his later years, Enshu was suspected of misappropriating public funds, but he avoided prosecution thanks to the support of his senior vassals (Sakai Tadakatsu, Ii Naotaka, Hosokawa Tadaoki, etc.). He devoted himself to garden design and the tea ceremony, and passed away in 1647 at the age of 69.

2. The Tea Ceremony and the "Kobori Enshu School" - From Sen no Rikyu to Oribe to "Kirei Sabi"

2-1. The history of the tea ceremony: from Rikyu to Oribe and Enshu

The history of Japanese tea ceremony was founded by Murata Juko and Takeno Jōō, and Sen no Rikyu perfected wabi-cha. After Rikyu's death, his disciple Furuta Oribe created the "Oribe-ryu" style of tea ceremony, incorporating the originality and avant-garde nature of samurai tea ceremony. Kobori Enshu studied under Oribe, and while inheriting the wabi spirit and refined samurai tea style, he further developed his own aesthetic sense.

2-2. What is "Kirei Sabi"?

The essence of the tea ceremony that Enshu is said to have created is "kirei sabi." It is a new sensation that inherits the elegance and tranquil atmosphere of wabi-sabi, while adding the "elegance and gaiety of imperial court culture." In a word,

"A quiet and mysterious atmosphere that highlights refined beauty"

This can be said to be the direction of Kirei Sabi. It is thought to have pursued values ​​such as beautifully arranged things, gorgeous things without losing their dignity, which were not found in the wabi of Rikyu's time, which "adopted imperfection as a good thing."

2-3. The Establishment of Enshu-ryu Tea Ceremony and the Path to Becoming a Master of the Shogunate

The tea ceremony that Enshu perfected came to be known as the "Enshu style," and in contrast to Sen no Rikyu's grandson, Sen Sotan, and others who emphasized "wabi tea," Enshu's style garnered support primarily from samurai and noble families. He also served as the tea instructor for Tokugawa Iemitsu, the third shogun of the Edo shogunate , and held many tea ceremonies both inside and outside the shogunate. It is said that he hosted nearly 400 tea ceremonies in his lifetime, inviting a total of 2,000 people of various social classes, including daimyo, nobles, and townspeople.

He also had an excellent eye for the aesthetics of tea utensils, and many of the tea utensils that he selected and branded were listed as "famous objects of the revival" and recorded in the Enshu storehouse. The selection of such tea utensils, as well as his instruction and design of pottery from all over Japan known as Kuni-yaki (Takatori-yaki, Shidoro-yaki, Tamba-yaki, etc.), show that the Enshu school had a great influence in the world of tea utensils.

3. Achievements as a Sakujibugyo (magistrate of the government) - Talent in architecture and landscaping

3-1. The relationship between the Shogunate and the Imperial Court and the construction projects

Enshu was highly regarded not only for the tea ceremony, but also for his architecture and landscaping, as he was deeply involved in important construction and repair projects, starting with his position as the magistrate for the repairs of Sunpu Castle, and including the Nagoya Castle tower and the Goyozei-in Palace. With the trust he built with the shogun and the imperial court as a backdrop, he led and participated in the following projects:

  • Nagoya Castle Tower <br>When the magnificent tower was constructed at the request of Tokugawa Ieyasu, Enshu is said to have overseen the design and construction as the magistrate.
  • Construction of Emperor Goyozei's Imperial Palace <br>The construction of the Imperial Palace was a major government project. Enshu participated in the construction of the palace as he held a key position linking the shogunate and the Imperial Court.
  • Shinagawa Tokai-ji Temple (Tokugawa family temple)
    He was involved in the construction of a prestigious temple that would serve as both a family temple for the shogun family and a villa.
  • He designed and supervised the construction of a number of lavish palaces, including the Ochaya Palace in Osaka Castle, the Mizuguchi Palace, the Iba Palace, and the Nagahara Palace, which were built as places for the shogun to rest when he visited Kyoto.

3-2. Influence on feudal lord gardens and temple gardens

As a garden designer, Kobori Enshu was influenced by Sen no Rikyu and Furuta Oribe, but he also established his own style that incorporated the aesthetic sense of samurai tea ceremony. Among his most famous works are the garden (Tsurukame garden) at Konchi-in, a sub-temple of Nanzen-ji Temple in Kyoto, and the garden at Koho-an, a sub-temple of Daitoku-ji Temple. Both are known as "gardens that Enshu liked," and have the following characteristics:

  1. Introduction of straight lines and geometric elements Unlike traditional gardens which are made up of only natural curves, geometrically arranged stones such as cut stones and square paving stones are used to add definition to the space.
  2. Utilizing stone bridges and trimmings <br>Adding a bold stone bridge (such as a straight bridge) and neatly trimmed shrubs creates a clean impression.
  3. "Kirei Sabi" Presentation <br>The contrast between the plants and stones, and the use of grass to create a bright picture plane embody the elegance of Enshu.

He is also said to have been involved in the renovation of gardens at Katsura Imperial Villa, Sento Imperial Palace, Nijo Castle, and other locations, and his participation in large-scale construction projects for the shogunate and the imperial household helped to spread Enshu's preferred landscaping techniques widely.

3-3. Invention of the Cave Water Gate and the Water Chime

In Enshu, there are stories of the invention of the hand-washing basin that utilizes the principle of a siphon, and the invention of the prototype of the "Suikinkutsu" (a water chime cave), in which the sound of water reverberates like a harp. There is a famous legend that when he was only 18 years old, he installed a Dosuimon in his own home in Fushimi, and astonished his master, Furuta Oribe.
These innovative ideas well represent Enshu's attitude of not simply following the classics, but incorporating new techniques and knowledge to combine original beauty with practicality .

4. Kobori Enshu's aesthetic sense: its expansion into tea utensils, flower arrangement, and crafts

4-1. Enshu tastes and "Chukō specialties"

Enshu further developed the evaluation system for "famous tea utensils" established by Sen no Rikyu. Since it became difficult to obtain treasured antique masterpieces after Rikyu's reign, Enshu discovered new tea utensils, gave them unique names, and had them recognized as "famous tea utensils from the revival."
Here, Enshu's knowledge of waka poetry and classical literature was put to good use. The inscriptions often use sources such as "The Tale of Ise" and "The Tale of Genji," as well as court-style utamakura (poems that translate "poems"), and the idea of ​​sorting and classifying similar designs derived from "honka" (original poems) is seen in the inscriptions.

■ Enshu-kirigata tea utensils

He designed designs such as "beveled edges," "gourd shapes," and "eared edges" for Takatori-yaki and Shidoro-yaki ware, and also gave instructions on firing methods and glazes. The form of his wares, which combines the refinement of the samurai class with the elegance of the dynasty, exudes a sense of elegance that is different from wabi-sabi, and can be said to be a concrete example of "kirei sabi."

4-2. Influence on Ikebana: The spread of “Enshu-style flowers” ​​in the late Edo period

Enshu's aesthetic sense extended not only to tea ceremony but also to flowers. In the world of flower arranging, many schools were born that actively incorporated "curved arrangements," in which flower branches are boldly bent, and it is said that at their foundation lies the "Enshu-style" sensibility for flowers.
In the late Edo period, schools of flower arrangement such as the Seifu school, Nihonbashi school, and Asakusa school were established, and furthermore, in the early Showa period, schools bearing the name "Enshu" were born one after another. They shared a common characteristic of reflecting the refinement of samurai culture and the dignity of the imperial court in flowers .

4-3. Architectural decoration using cloisonné

Enshu is also notable for adopting Shippo (cloisonné) work, which had not been used much until then, in the spatial design of tea rooms and shoin (study rooms), for door pockets, sliding door handles, nail covers, etc. Compared to the style of Sen no Rikyu and Furuta Oribe, who disliked extravagant decoration, Enshu's work shows a preference for brighter, more decorative designs , which can also be said to be an artistic style unique to Enshu.
It is said that the cloisonné decorative handles that can be found at Katsura Imperial Villa, Manshuin Temple, Shugakuin Imperial Villa, and other villas were made by the master craftsman Kacho under Enshu's guidance, and the spread of such crafts shows another side of the "kirei sabi" (traditional Japanese aesthetic) that Enshu established.

5. Internationalism and literary sophistication: The broad perspective that Kobori Enshu aimed for

5-1. Gaining information on foreign affairs as the magistrate of Fushimi

Under the feudal domain system of the early Edo period, trade and exchange with the outside world via Nagasaki was severely restricted, but continued to some extent. Enshu, who held the position of Fushimi magistrate, was said to have been in a position to easily obtain information from overseas at times, and he was also very interested in the ceramics and cultural artifacts imported from the Netherlands. There are even examples of him sending his own designs to have them fired and making "custom ceramics."
For example, there are several known items that are believed to have been created by Enshu, such as the Dutch half-tube tea bowl , which is a "tea bowl" made from pottery made in Europe and has cloisonne patterns applied to the body.

5-2. Deep knowledge of literature and calligraphy

Enshu was an admirer of Fujiwara no Teika and studied waka poetry and calligraphy with great enthusiasm. His calligraphy style was called "Teika-sama" and he was so skilled that he wrote the hanging scrolls on his alcove in his own hand.
His own works, such as "Imitating Lord Teika's Ogura Shikishi," remain, and the graceful brushwork of the scattered waka poems gives a sense of the lineage of imperial culture. These works were used as floor decorations at tea ceremonies, and came to symbolize the fusion of tea ceremony and literature .

5-3. The sense of incorporating waka poems and stories into inscriptions

Famous phrases from waka poetry or classical literature were often used to inscribe tea utensils. Enshu was well versed in such works as The Tale of Ise, The Tale of Genji, and the poetry collections of Fujiwara no Teika, and by using elegant utamakura (poems) taken from these sources to inscribe his tea utensils, he elevated them from mere utensils to "works of art imbued with literary charm."
For example, the inscription on the Takatori tea caddy "Shimotsura" (underside) and the verse of a poem for a hard-hand tea bowl are examples of Enshu's refined naming sense and literary sophistication.

6. Spaces and tools left behind by Enshu: some representative examples

Here we will look at some of Enshu's representative buildings, gardens, and tea utensils to get a more three-dimensional understanding of its aesthetics.

6-1. Kohoan - The "Bosen Room" and Garden

  • Location : Daitokuji-cho, Kita-ku, Kyoto, one of the sub-temples of Daitokuji Temple
  • Founded : Enshu built it in the Ryukoin temple of Daitokuji around 1612, and later moved to its current location in 1643.
  • What to see :
    1. Bosen Room
      This 12-tatami mat hall has a unique design in which a light-filled sliding screen is installed at the end of the wooden veranda facing the western garden, leaving the lower part open to form a "boat-entering room."
    2. Garden composition <br>The space separated by a threshold exquisitely blends the indoor and outdoor scenery, creating a juxtaposition of mystery and brightness.
    3. Enshu calligraphy and Kano school screen paintings , as well as ink paintings on the sliding doors and walls, give the room an air of imperial elegance.

"Uke" is a device used to catch fish, and once you catch a fish, you forget about the trap -- in other words, it is a Zen phrase that allegorizes a state of mind where you do not cling to the means once your goal is achieved. This space is a condensed version of the philosophy of Enshu teahouse construction.

6-2. Konchi-in Temple, Nanzenji Temple

  • Location : Kyoto City, Sakyo Ward, Nanzenji, Fukuchi-cho
  • Hojo South Garden (Tsurukame Garden) : A famous garden said to have been designed by Enshu, with the Crane Island and Turtle Island carved into the Masago sand, and cut stones arranged geometrically as stepping stones. This linear, modern composition is a representative example of the so-called "Enshu style."
  • Teahouse and Shoin Study : Konchi-in Temple is home to the Toshogu Shrine and a prayer hall, and it is assumed that this was a temple in which Enshu gained the trust of the government and had deep ties.

6-3. Tea utensils preferred by Enshu

Hard-handled, cross-shaped footed tea bowl . A Korean piece of pottery from the early Joseon period, this is in the lineage of the "Ido tea bowl," but is characterized by its hard clay and calm glaze. This rare piece was handed down to the Enshu family and features a foot carved into a cross shape.

Hoju Incense Container <br>This incense container is said to have been ordered from a regular lacquerer in 1638, the 15th year of the Kanei era (1651-1638), when Enshu turned 60. The red lacquer and jewel-shaped design combine brilliance and elegance, making it a true symbol of "kirei sabi".

Vermilion Itome Gourd Tea Utensil This tea utensil has a unique shape with a gourd-shaped body and a fine stripe pattern called "Itome" painted with vermilion lacquer. It combines the dignity of the samurai with a sense of playfulness, and is also interesting from a functional standpoint, such as the way the tea scoop can be placed in the upper opening.

7. What is "Kobori Enshu's aesthetics"? Its essence and influence on later generations

7-1. Possibilities opened up by "Kirei Sabi"

Enshu-style tea ceremony inherited the wabi-sabi of Sen no Rikyu, but presented a brighter and more refined aesthetic sense, which won great support from samurai and noble families of the Edo period, as well as from cultural figures. It can be said that the fusion of the "rich and dignified" aspects in addition to the quietness of "savoring the lack" of wabi actually increased the diversity of Japanese culture.

  • By combining contrasting values ​​such as simplicity and luxury, tranquility and splendor , a new point of harmony was created.
  • The spirit of "kirei sabi" eventually resonated with decorative arts such as the Rinpa school, and became one of the pillars supporting the glamorous and sophisticated artistic culture of the Momoyama and early Edo periods.

7-2. A bridge between politics and art

Enshu held important posts in the shogunate (such as the magistrate of Fushimi and the governor of Kamigata), and was an artist in a very public position , building and creating gardens under the orders of the imperial family and the shogun. In an era when Furuta Oribe had fallen from grace and control over tea masters had strengthened, Enshu successfully played the role of helmsman connecting power and art.

  • While Sen no Rikyu and Furuta Oribe pursued "high spirituality and avant-garde style," Enshu took into consideration the wishes of political authorities , yet found a middle ground that did not sacrifice artistic quality.
  • This flexible and creative attitude led to the birth of "kirei sabi," a style of rustic elegance that ultimately contributed greatly to the cultural prosperity of the early Edo period.

7-3. Inheritance and Evaluation for Future Generations

After Enshu's death, from the mid to late Edo period, the Sen schools (Omotesenke, Urasenke, Mushakojisenke) and other schools of tea ceremony spread, and while the trend towards wabi-cha became stronger, the Enshu school continued to maintain ties with samurai society and aristocratic culture . Even after the Meiji Restoration, it influenced many schools of flower arranging and tea ceremony, and in the world of architecture and landscaping, gardens that are said to be in the "Enshu style" are scattered all over the country.
In modern times, when the German architect Bruno Taut (1880-1938) was in exile in Japan, he praised Katsura Imperial Villa and other buildings, and the beauty of Enshu's architecture and gardens was reevaluated as "part of the quintessence of artistic expression that Japan can be proud of around the world."

Summary: Kobori Enshu's Legacy and Its Implications for the Modern Age

Kobori Enshu survived the drastic change from Toyotomi to Tokugawa, and while maintaining his status as a samurai, he left his mark in a wide range of fields, including the tea ceremony, architecture, landscaping, and crafts. The aesthetic of "kirei sabi" that he established brought new light to wabi-sabi without being trapped by it, while respecting its spirit.

  1. tea ceremony
    • The Enshu style combines mystery and elegance.
    • Through a wide range of social interactions, he welcomes many people to his tea ceremonies, maximizing the communicative power of tea.
  2. Achievements as a Sakujibugyo (sakuji magistrate)
    • He undertook large-scale projects for the shogunate and imperial court, decorating castles, palaces, temples, shrines, and imperial palaces, and creating many famous gardens and buildings that will remain for generations to come.
  3. Artistic and political harmony
    • A sense of balance that respects the tastes of authority and nobles while maintaining the independence and dignity of tea and art.
    • With a free-spirited approach, he incorporated foreign designs and technologies, and demonstrated an international perspective through his interest in wine and Dutch pottery.

In this way, Kobori Enshu's great achievement was to demonstrate his multifaceted talents and broaden people's perception of beauty in a more pluralistic and open way . Even today, we can get a glimpse of his delicate yet bold artistry through the architecture, gardens, tea rooms and tea utensils he left behind. Enshu's work remains as a crystallization of Japanese culture that we can be proud of around the world.

"Tea may be wabi, but flower is also good.
It is in the depths of wabi that the beautiful flowers that are born are what make my heart shine.

If Enshu's words had survived, such a phrase might have been written down.
The tea ceremony was founded by Sen no Rikyu and infused with innovation by Furuta Oribe. Kobori Enshu absorbed these ideas while adding his own artistic perspective, establishing the world of "kirei sabi". His aesthetics continue to have a definite influence on not only tea rooms and gardens, but also on the design and hospitality in our daily lives.

Back to blog