Regional Characteristics of “Bonkei” from the Perspective of International
Comparison and Historical Verification
Landscape Gardening and Greening Course: Akashi Sayako(Instructor: Aida Akira)1. Introduction“Bonkei”is a ceramic/wooden tray/bowl filled with soil or water and decorated with rooted plants,rocks, miniature figures, animals, and houses to create a small landscape. Originating in China, it
has spread throughout East and Southeast Asia. In the present Vietnam "Hòn Non Bộ" has beendeveloped, in which a rocky mountain is built in a water basin or pond, and plants and trees areplanted to represent a landscape of mountains and islands rising above the water's edge. In Japan
today, "Bonsai" is in the mainstream, but prior to the Taisho era, "Bonkei," "Bonsan," "Bontei,""Bonseki," "Bonga," and other techniques to compose scenery on a tray vessel were also
developed.
Upon entering this school, I came to live in Gifu Prefecture for the first time and learned about
deep landscapes with a combination of rocks, water, and plants, such as Hatobukiyama andOnigashima in Kani City, Oniiwa Park in the Chuno and Tono regions, as well as Ena Gorge andHisui Gorge. As a resut of thinking about how to preserve and reproduce the sensation of viewing
these landscapes, I came up with the idea of creating a “Bonkei”of the actual landscape. I decided
to create a “Bonkei”that has features not found in normal gardens because it is portable, can beenjoyed indoors, can be produced with few materials and expense costs, and can condense andemphasize the characteristics of the actual landscape.
2. Purpose of Study
To actually produce “Bonkei,” it is necessary to learn about the techniques and methods ofexpression. Since “Bonkei” production is not active in Japan today, it was necessary to investigate
the “Bonkei” situation abroad and the history of “Bonkei” inside and outside of Japan. I also thought
it would be possible to clarify the regional characteristics of each “Bonkei”by comparing the “Bonkei”
of each culture.
The purpose of this study is to learn about “Bonkei” techniques and methods of expression
through international comparison and historical verification of “Bonkei,” and to create a “Bonkei” ofthe actual landscape that exists in the region.
3. Method of StudyFirst, investigate the history of “Bonkei” in China, Vietnam, and Japan to confirm how “Bonkei”
has been formed in modern and contemporary times. Then, compare the “Bonkei” of each culture
by form and use, and examine the regional characteristics of “Bonkei” of each culture from aninternational perspective. Next, examine Japanese “Bonkei” from the late Edo period to the Taisho
period, which represent actual places of interest and landscapes, using the literatures from theperiods as a reference, and consider the regional expression of “Bonkei” in Japan. Based on thisresearch, create a “Bonkei” of the landscape of the Tono and Chuno regions of Gifu Prefecture,using Mino ware, a specialty of the region, as the vessel.
4. Results and Observation
Through this research, I was able to take a step toward understanding the characteristics of each
“Bonkei” culture by giving an overview of the history of “Bonkei” in China, Vietnam, and Japan. In
China, the expression of mountains with prominent peaks and trees using strong ancient colors ispreferred, and the sentiment of poetry and painting is valued in both the creation and appreciationof “Bonkei”; in Vietnam, waterfront scenery is skillfully expressed using water basins and ponds,
and there is flexibility in the heavy use of miniatures and the selection of modern materials andtechniques; and in Japan, the creation of gentle landscapes with an awareness of horizontal
direction and depth rather than vertical direction can be considered a characteristic of “Bonkei.”
Regarding the uses of “Bonkei,” it was concluded that in China, “Bonkei” was used to "escape fromdeath and the mundane world" in relation to the Senzan philosophy and literati philosophy; inVietnam, “Bonkei” was used to "celebrate and wish for happiness in this life" because it was madeto commemorate the birthdays of emperors and used for divination; in Japan, it was highly valued
as imported goods from China, and the association with the culture of the common people and thetaste of the literati during the Edo period led to the conclusion that it had a strong character as a"property good" and "toy". Compared to China and Vietnam, Japanese “Bonkei” has less religious

and ideological factors. In other words, the lack of religious and ideological constraints makes it
easier for even people today to create and appreciate “Bonkei,” and allows experimentation withdifferent subjects and techniques of expression.
Further investigation through the literature into the history of Bonkei in Japan revealed that the“Bonkei” reproducing famous places was popular in Japan from the late Edo period to the Taishoperiod (Figure 1), and that “Bonkei” production techniques and methods of expression were activelypursued. In the Meiji and Taisho periods, in particular, there were attempts to modernize “Bonkei”
through the use of new materials and the application of landscape theory and Western and Eastern
art theory. These techniques and methods of expression, which fell into disuse during and afterWorld War II, are worthy of reconsideration.
Based on international comparison and historical verification, I created a “Bonkei” representing
the landscape of Hatobuki Mountain in Kani City and the lower reaches of the Kani River, and a“Bonkei” representing the landscape of Oniwa Park in Mitake Town and Mizunami City (Photo-1)
and named each work "Hatobuki Chinsui" and "Oniiwa Seido" based on the eight-view stylelandscape view originated in China. After creating the “Bonkei”, when looking at actual landscapes(not only the landscapes which “Bonkei” were created for), the sense of tracing the contours of thelandscape (mountain ridges, valleys, and lines of roads and rivers) with my hands began to appear
frequently, and not only did my attachment and familiarity with the landscape become stronger, but
I also began to think about how to incorporate the landscape into “Bonkei” and landscaping spaces
more frequently. On the other hand, when looking at the produced “Bonkei,” I was reminded indetail of my actual visit to the landscape, indicating that “Bonkei” serves as a kind of recording
device.
Going forward, I would like to try to reproduce famous “Bonkei” works from the late Edo to
Taisho periods, as well as conduct further research on “Bonkei” from overseas to discover new"landscapes. In addition, after graduating from this school, I plan to work in Hokkaido, where I am
originally from. My current goal is to create new “Bonkei” that are suited to the topography, geology,and vegetation, etc. of Hokkaido, referring to the crafts of the Ainu people and the way they use
plants. Furthermore, although I was able to create “Bonkei” that appealed mainly to the senses ofsight and touch at this time, I would like to create “Bonkei” that appeal to the senses of smell andtaste, as well as “Bonkei” that can be enjoyed only by the sense of touch, thereby playing a role inthe creation of a “Bonkei” culture that can be enjoyed by a wider variety of people.

Photo-1 "Oniiwa Seido”
Diameter of vessel: approx. 25 cm

Figure-1: From "Tokaido fifty-three station Hachiyamazue”
Okazaki Yahagibashi Bridge" (1848)