Fig. 1: Katsushika Hokusai 葛飾北斎 (1760–1849), ‘Sōma Ware’ (Sōma yaki), from the series Horse Compendium (Uma zukushi), 1822 (Year of the Horse), surimono, polychrome woodblock print, poem by Shūfūen Hananushi 秋風園花主 (dates unknown). Photo and translation © Yale University Art Gallery.
By Laura Vermeulen
Poetry and pottery share a fascinating synergy in conveying the beauty and incomprehensibility of the wabi ‘way of tea’ (chadō). While tea vessels (wabi-cha) embody the Zen spirit of simplicity and austerity, a deliberate form of ‘artless’ aesthetics curated by tea master Sen no Rikyu 千利休 (1522-1591), poetry is able to lay bare the spiritual layers and cultural significance of tea-drinking while often wrapped in a simple riddle.
A beautiful example of the fusion between poetry and pottery are the many tea-themed surimono, where a comical kyōka (a parody of tanka) is accompanied by a still life of a New-year tea ceremony. These seemingly humorous ‘New Year cards’ actually reveal a much more complex composition and play of words. Taking this example from Hokusai (fig. 1), the Sōma pot in the front is adorned with a drawing of a wild horse, a motif from the Sōma family crest. A clever choice, as wild horses are considered
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