Japanese Incense Container
Japanese Incense Container (kōgō) with Floral Motif
Japanese Incense Container (kōgō) with Floral Motif, Kanjirō Kawai
20th century CE
Stoneware
2.25 in x 2.5 in x 2.5 in
Japan
1992.387
Though small in stature, this kōgō, a type of Japanese incense container, is exquisitely crafted with an intricate flower design and glossy sheen. Created by artist Kawai Kanjirō (1890-1966), the kōgō is painted with a yellow floral motif against an iron background. The composition of the kōgō plays a key part in incense rituals and is significant, particularly the floral art.
The importance of nature in Japanese tradition is shown through the floral motif on this kōgō. Following a practice called Ikebana, Japanese artists aim to harmonize with nature, capturing the essence of the natural world and its ever-changing seasons.1 Artists symbolize harmony using images of nature, like trees or flowers, and paint them onto objects. This art form acts as a reminder of the profound connection between humans and the natural world, fostering a sense of tranquility and harmony.2
This is an example of art depicting nature in Japanese tradition. In this case, a floral motif is used.3
Kanjirō embodied this practice of Ikebana in his works. Although he was trained in the use of chemical glazes and gained wide recognition for their use, he was ultimately dissatisfied with this early work and turned instead to natural glazes and the natural world.4 Kanjirō’s choice of glaze used to paint floral images on objects like this kōgōunderscores this emphasis on nature in the tradition of Japanese art.
The incense this kōgō contained also played a role in Japanese art and society. Although there are many types of incense, from the kōgō having no holes in the lid and ceramic material, it is likely that the incense this was made for was either renkō, kneaded incense beads that were warmed instead of burned, or jinkō, a purer incense variety. Unlike incense that was used to dedicate scent to the Buddha, renkō increased the use of incense for generic purposes like pleasure and perfume for guests instead of religious purification.5
This is a kneaded incense bead that is heated indirectly called takimono. Renkō and jinkō bear resemblance to this.6
Jinkō became popular later on in the 12th century and helped lead to the development of monkō, the art of appreciating incense. This development led to the prevalence of incense in everyday life. Incense recognition games like jisshukō developed and kōawase, an incense evaluation ceremony, was established. These games and social rituals were competitive: participants were eager to show off their cultural knowledge and class.7
Incense was also linked with poems in takigumikō, which involved appreciating traditional Japanese poetry with fragrances. Takigumikō was created by General Ashikaga Yoshimasa (1436-1490) and was focused on sophisticated appreciation of incense, helping cement incense’s place in the high class and fine arts. Incense permeated multiple fabrics of Japanese society, from cultural games to refined arts ceremonies. Though not necessarily religious, both renkō and jinkō created ritualistic and artistic practices in Japanese society.
The art of appreciating incense continues today: people gather to appreciate famous jinkō pieces, jinkō variations that have been given a name, and others have friendly competitions on differentiating jinkō incense.8 Recently, incense has stepped further from its Buddhist roots. Japanese people today frequently use incense to honor their friends, the living, rather than the dead. Though originally used for purification by Buddhist monks, incense has evolved far beyond it, becoming an integral piece of Japanese culture and everyday life.
While this kōgō and its incense likely had little religious meaning, Kanjirō’s delicate design and reverence towards nature shines in this piece. Kōgō and incense are central parts of Japanese cultural memory, a legacy of art and social ritual in Japan, and they should be appreciated in their own right.
Aaron Li
Computer Science and Math
Class of 2026
Andrew Xue
Neuroscience
Class of 2024
Annotated Bibliography
Horiguchi, Satoru, and Dinah Jung. “Kōdō — Its Spiritual and Game Elements and Its Interrelations with the Japanese Literary Arts.” Journal of the Royal Asiatic Society 23, no. 1 (2013): 69–84. http://www.jstor.org/stable/43307645.
This paper discusses the history of incense and different varieties of incense in Japan. It explains how incense’s popularity changed over time and how it intertwines with games and literary arts integral to Japanese culture. It also covers how Japanese incense is used in society today and the ways it manifests in everyday life like in incense-differentiating games. This information about Japanese incense’s history was used extensively in this paper.
Moeran, Brian. “Making Scents of Smell: Manufacturing and Consuming Incense in Japan.”Human Organization 68, no. 4 (Winter, 2009): 439-450. doi:https://doi.org/10.17730/humo.68.4.q570w7g1684u412t. http://proxy.library.vanderbilt.edu/login?url=https://www.proquest.com/scholarly-journals/making-scents-smell-manufacturing-consuming/docview/201170348/se-2.
This paper discusses how incense is produced in Japan and the uses of incense in contemporary Japanese society. The author explains that incense has had a multitude of ritual and non-ritual uses (cover the smell of burning flesh, purify places and acts, and medical practices). He furthers that younger generations of Japanese use incense for their friends instead of just their ancestors showing new values and different “we-groups.” The information about contemporary Japanese use of incense is used in this paper.
Watanabe, Eriyo. “Fermented Incense (Neri-Koh and Kyphi).” Incense Research Institute. Accessed October 14, 2023. https://arts-wellness.com/creation/fermented-incense-neri-koh-and-kyphi/.
This website has many images of different incense. One of these incense types is takimono, a kneaded incense bead. An image of takimono was used to demonstrate the form of renkō and jinkō.
Conner, Jill. 2023. “Painted Clay: Wada Morihiro & Modern Ceramics of Japan.” Ceramics, Art and Perception (121): 76-83. http://proxy.library.vanderbilt.edu/login?url=https://www.proquest.com/trade-journals/painted-clay-wada-morihiro-amp-modern-ceramics/docview/2868316488/se-2.
The article addresses the role ceramics play in Japanese culture. The author contends that ceramics and art depicting nature is used to represent a balance between nature and humans. Additionally, the author looks at the work of Wada Morihiro, to show how patterns in ceramics evolve from traditional representation of nature to more abstract forms. We use this source to elaborate on the significance of nature in Japanese tradition.
This Lidded Jar with Peonies, 1897–1912. Seifū Yohei III (Japanese, 1851–1914). Porcelain with molded and carved design and underglaze blue; h. 27 cm, diam. 26.4 cm. The Cleveland Museum of Art, Gift of James and Christine Heusinger, 2022.200.a–b
This contains an image of a Japanese ceramic with a floral motif. This image was used in this text to demonstrate a floral motif and Japanese art concept known as Ikebana.
Fortuna, Jennifer K., PhD. and OTR/L. 2021. “Ikebana: An Ancient Tradition of Contemporary Healing and Artful Practice.” The Open Journal of Occupational Therapy 9 (3) (Summer): 1-5. doi:https://doi.org/10.15453/2168-6408.1918. http://proxy.library.vanderbilt.edu/login?url=https://www.proquest.com/scholarly-journals/ikebana-ancient-tradition-contemporary-healing/docview/2555532378/se-2.
This paper discusses the significance of Ikebana in Japanese art. It discusses how the depictions of nature in Japanese art are a practice used to emphasize the connection of humans to nature. This connection furthers Japanese ideas about symbolizing tranquility and harmony in relation to nature. We use this source to elaborate on Ikebana and how the relationship between humans and nature is shown through art using it.
Uchida, Yoshiko. We do not work alone: The thoughts of kanjiro kawai. Kyoto: Kawai Kanjiro’s House, 1973.
This book was written by Yoshiko Uchida who went to Japan on a year’s fellowship. She spent most of her year in Kyoto where she became well acquainted with Kawai Kanjirō. This book is the result of her many long talks with him and his son, Hiroshi. The text covers Kanjirō’s views about his art and how he started and changed his art styles throughout his career. This book acts as supplemental information on how Kanjirō’s views affected his art style.
Boger, H. Batterson. “Incense Ceremony.” Essay. In The Traditional Arts of Japan: A Complete Illustrated Guide, 221–26. London: W. H. Allen and C., 1964.
This source talks about incense’s significance in social context and rituals. It also explains the incense games were competitive and used to show off class and cultural knowledge. This chapter is used as supplemental information to how incense rituals work in Japan (in the context of households) and the purpose behind them.