In the previous "Hagi Denryu III -Tsukeai-" event, we asked participants to create works inspired by the linked verses in Nasu from Matsuo Basho's travelogue, "Oku no Hosomichi" (The Narrow Road to the Deep North).

It must have been challenging as it was their first attempt, but it was a huge success, involving both the creators and the users.

This time, "Hagi Denryu IV"-Song Contest-"So,"Kokin Wakashu"I selected fifteen waka poems representing the four seasons, and then commissioned the artist to create works based on three of those poems (only two poems and two bowls are featured on the website).

The aesthetics of Yugen in the tea ceremony are said to have been inherited from the theory of Yugen in Waka and Renga poetry.

This theory of yugen (subtlety and profound beauty) has had a strong influence not only on the tea ceremony but also on Noh theater and other forms of entertainment.

Takenō Jōō and Sen no Rikyū often cited waka poetry to express the spirit of the tea ceremony.

Fujiwara no Ietaka's poem, "I wish I could show the spring in the grass peeking through the snow in the mountain village to those who are only waiting for the flowers," and Fujiwara no Teika's poem, "Looking around, there are neither flowers nor autumn leaves; it is the autumn twilight in the thatched hut by the bay," are famous waka poems that express the beauty of cold, desolate solitude.

The beginning of the kana preface to the Kokin Wakashū (Collection of Ancient and Modern Japanese Poems) reads, "Yamato poetry originates from the human heart and becomes a myriad of words."

This explains the origins of Japanese poetry, suggesting that waka poetry originated from the human heart, giving rise to a variety of expressions.

Many names for tea ceremony utensils seem to be derived from waka poems.

Perhaps only the Japanese give names to their tools and enjoy the aesthetics of "wabi" and "sabi."

Mr. Yasushi OkadaThis "White Hagi Glazed Ash-Covered Tea Bowl" is a tea bowl featuring the ash-covered glaze, a technique the artist excels at.

An anonymous autumn poem"In the twilight of the mountain village where cicadas sing, there is no one to visit except the wind."Inspired by this image, the ash glaze is used to represent a mountain village, and the white Hagi glaze is applied to the entire piece to express a sense of wabi-sabi (a Japanese aesthetic emphasizing melancholy and solitude).

On the other hand, the "White Hagi Glazed Kiln-Fired Tea Bowl" is a tea bowl that is distorted into the shape of a shoe, but it is a winter poem."As evening falls, my sleeves feel cold; it seems that snow is falling on the Yoshino Mountains of Yoshino."This design is inspired by the image of snow falling on the mountains of Yoshino, a place known for its cherry blossoms.

Furthermore, the "Pale Blue Glazed Bowl" has a tense shape resembling a rugby ball cut in half, but by likening the inside and outside of the bowl to the inside and outside of the sea, the artist expresses a unique aesthetic by depicting the inside as a deep blue and the outside as a deep blue sea with faintly drawn white waves.

Masahiro SakakuraThe tea bowl "Shunka" is a spring poem by Ariwara no Motokata."Though the spring mountainside is far away and shrouded in mist, the wind that blows through it counts the blossoms."This design evokes the image of cherry blossoms carried on a spring breeze.

Looking at the base, one is struck by the powerful, swirling wave-like form centered around it. This is a truly captivating powder-glazed tea bowl, seemingly depicting cherry blossoms and a spring breeze (like swirling waves).

On the other hand, the tea bowl "Reiri" is an autumn poem by an unknown author (Sarumaru Tayu)."When I hear the cries of deer treading through the autumn leaves in the deep mountains, that is when autumn truly feels sorrowful."This work was created by superimposing the scenery of the mountain village in Fukagawa, Nagato City onto the imagery.

Using local clay from a mountain village, which is not typically used in Hagi ware but is known as the resting place of deer, a deer is depicted inside the pottery, and a stylized triangular mountain is represented on the body using slip.

Furthermore, the "grain-patterned vessels" are vessels with protrusions similar to Jomon pottery, but the "grain pattern" is one of Sakakura's specialties, and its intricate intertwining creates a unique expression.

Akihiro ShinjouThe "Hagi Tea Bowl" is from an autumn poem by Oe no Senri."When I look at the moon, countless sorrows fill my heart, though this autumn is not just my own."Inspired by this image, the clay is mixed with red clay to represent an autumn night.

Once the tea is finished, a clear, white moon appears in the cup, delighting the guest.

On the other hand, the Hagi White Glazed Tea Bowl is associated with Ki no Tomonori's spring poem."On this peaceful spring day, bathed in the gentle light of the distant sun, the blossoms fall without a care in the world."Inspired by this image, the piece expresses the charm of cherry blossoms fluttering in the wind and the gentle spring sunshine through the varying shades of Hagi white glaze.

Both tea bowls were chosen after much trial and error, so they can truly be called two masterpieces.

Furthermore, the "Kohiki Flower Vase" is a simple flower vase in the shape of a taro root, but it is a work that reflects the artist's characteristic style, which does not favor excessive expression.

Takao TaharaThe "Flowing White Glazed Tea Bowl 'Spring Snow'" is based on a spring poem by Emperor Kōkō."For your sake, I went out into the spring fields to gather young flowers, and snow fell on my sleeves."Inspired by this image, the body of the pottery is painted in a grassy green color using pine ash glaze, with a white glaze poured over it to represent a scene of falling snowflakes.

The spring fields, with their fluttering snowflakes, can also be seen in the prospect.

On the other hand, the "White Glazed Bowl 'Late Autumn'" is a poem about autumn by Sakagami Korenori."Though the leaves of Mount Saho are still pale in color, autumn has truly deepened."Based on that, this is a unique tea bowl that embodies the shape of a mountain edge.

The yellow foliage of Mt. Saho is represented by the reddish-brown color, and autumn is depicted with the white glaze.

The name "Hahaso" in Sahoyama refers to the sawtooth oak tree, and it beautifully captures the autumn scenery of Sahoyama.

Furthermore, in the "Iron Glazed Hexagonal Vase," the six sides, each coated with either white or iron glaze, spread out towards the base, and the triangular gaps created between these six faces give the piece a sense of stability, which is part of its charm.

Shin'ichi TamamuraThis "Hagi Powder-Glazed Tea Bowl" is a poem about autumn by an unknown author (Kakinomoto no Hitomaro)."Maple leaves flow along the Tatsuta River, and it seems that autumn rain is falling on the sacred Mimuro Mountain."This is a dignified tea bowl that evokes the image of [something].

The autumn leaves along the Tatsuta River are beautifully depicted with the swirl of the slip-glazed pottery.

On the other hand, the "Hagi Shiranami Tea Bowl" is associated with Fujiwara no Okikaze's winter poem."The snow falling near the bay looks like white waves crossing the pine-covered mountains."Inspired by this image, the rough winter waves of Sue no Matsuyama, located in Yawata, Tagajo City, Miyagi Prefecture, are depicted using Hagi glaze.

I believe both were chosen after firing many bowls. Otherwise, such perfectly fitting tea bowls wouldn't have been produced.

The "Straw Glazed Vase" is a Korean Karatsu-style vase with a bold application of straw ash glaze over a black amber glaze.

The powerful yet simple design is what makes it so appealing.

Kouichi Mori (Art critic, Standing Director of the Japan Ceramic Society)