Hyōnen-zu: A National Treasure of Early Japanese Ink Painting

Tucked within the tranquil grounds of Taizō-in Temple, a sub-temple of the vast Myōshin-ji Zen complex in Kyoto, lies one of Japan's most enigmatic and celebrated works of art: the Hyōnen-zu (瓢鮎図), or Catching a Catfish with a Gourd. Painted by the monk-artist Josetsu in the early 15th century, this National Treasure is widely regarded as one of the earliest and most important ink wash paintings (suiboku-ga) in Japanese art history. Far more than a simple painting, it is a visual Zen riddle that has captivated scholars, monks, and visitors for over 600 years.

The Story Behind the Painting

Around 1413, Ashikaga Yoshimochi, the fourth shōgun of the Muromachi shogunate, posed a seemingly absurd question to the leading Zen monks of Kyoto: "How does one catch a slippery catfish with a smooth gourd?" This was not a practical question about fishing — it was a Zen kōan, a paradoxical riddle designed to push the mind beyond the limits of logical reasoning.

Yoshimochi commissioned the priest-painter Josetsu to illustrate this riddle, and then invited 31 of the most distinguished Zen monks from Kyoto's prestigious Five Mountain (Gozan) temples to compose poetic responses. The result was a remarkable collaborative artwork: Josetsu's painting occupies the lower half of the scroll, while the upper half is filled with the monks' inscriptions — witty, profound, and sometimes playfully absurd answers to the shōgun's impossible question.

What Makes the Hyōnen-zu a National Treasure?

The Hyōnen-zu was designated a National Treasure of Japan on June 9, 1951, and its significance is multifaceted.

First, the painting is an authenticated work by Josetsu, who is revered as the pioneer of Japanese ink wash painting. Josetsu was based at Shōkoku-ji Temple in Kyoto and is credited with introducing the styles of Chinese Southern Song dynasty painting to Japan. He taught Shūbun, who in turn influenced the legendary Sesshū — making Josetsu the spiritual grandfather of Japan's greatest ink painting tradition.

Second, the Hyōnen-zu stands at a pivotal moment in Japanese art history. Its composition draws on the "lingering mountain" technique of the Chinese master Ma Yuan, where the main subjects are placed to one side while the rest of the canvas opens into expansive space. The human figure, meanwhile, shows the influence of the abbreviated brushwork style of the Song painter Liang Kai. This fusion of Chinese techniques with a distinctly Japanese sensibility marked a turning point in the development of ink painting in Japan.

Third, the painting is a rare and precious record of the intellectual and cultural life surrounding the Muromachi shōgun. The 31 poetic inscriptions — functioning almost like an early form of collaborative literary game — reveal the sophisticated interplay between political power, religious thought, and artistic creativity that defined this remarkable era.

A Closer Look: The Art and Its Hidden Messages

The lower portion of the scroll depicts a misty riverside scene. A shabby, bewhiskered man stands on a small island in a stream, holding a smooth gourd with both hands in an awkward, uncertain grip. Below him, a large catfish glides through the water. In the left foreground, bamboo sways gently, and in the distant background, mountains dissolve into fog.

Every element in the painting reinforces the theme of slipperiness. The catfish, the gourd, the bamboo, and even the flowing water are all rendered in soft, curving lines — everything is smooth, elusive, and impossible to grasp. Only the man is drawn with angular, almost comical rigidity, emphasizing how out of his depth he truly is.

This is Josetsu's visual answer to the shōgun's riddle: the very impossibility of the task is the point. In Zen philosophy, trying to grasp enlightenment through rational thought is as futile as trying to catch a slippery catfish with a smooth gourd. The painting invites the viewer to let go of conventional thinking and embrace a deeper, more intuitive understanding.

The monks' poetic responses are equally delightful. One suggests coating the gourd with oil to improve one's grip. Another quips that if you manage to catch the catfish, you might as well cook rice from sand. These responses are not failures — they are playful demonstrations of the Zen spirit, showing that humor and absurdity can be pathways to insight.

About the Artist: Josetsu

Josetsu (如拙) was a Zen priest-painter active during the Ōei era (1394–1428) at Shōkoku-ji Temple in Kyoto. His artistic name, meaning "like clumsiness," derives from the Daoist saying "great skill appears clumsy" (大巧如拙). Very few of his works survive, making the Hyōnen-zu an exceptionally valuable piece of evidence for understanding the origins of Japanese ink painting.

Josetsu studied the painting styles of the Chinese Song and Yuan dynasties and was the first major artist in Japan to incorporate these techniques into a distinctly Japanese artistic vision. Later generations of painters, including the renowned Sesshū Tōyō, regarded Josetsu as the founding father of the Japanese ink painting tradition.

Visiting Taizō-in Temple

The original Hyōnen-zu scroll is deposited at the Kyoto National Museum for conservation purposes, but a high-quality replica is displayed in the Main Hall (Hōjō) of Taizō-in Temple, allowing visitors to appreciate the painting in its spiritual home.

Taizō-in itself is a gem well worth visiting. Founded in 1404, it is the oldest sub-temple within the Myōshin-ji complex and one of only a few that are open to the public year-round. The temple offers a rich array of attractions beyond the Hyōnen-zu replica:

• Motonobu's Garden: A dry landscape garden (karesansui) attributed to the master painter Kanō Motonobu, designated a National Site of Scenic Beauty and Historic Interest.
• Yōko-en Garden: A stunning pond-strolling garden designed by the celebrated landscape architect Nakane Kinsaku in the 1960s, considered one of the finest Shōwa-era gardens in Japan.
• In-Yō no Niwa (Garden of Yin and Yang): A pair of contrasting dry gardens — one of white sand, the other of dark gravel — expressing the Zen principle of non-duality.
• Zen Experiences: Taizō-in offers zazen meditation sessions, tea ceremony, and even Zen temple cuisine (shōjin ryōri), providing visitors with an immersive experience of Zen culture.
• Weeping Cherry Tree: The temple's famous weeping cherry tree in the Yōko-en garden is a highlight during cherry blossom season, typically around early April.

Surrounding Attractions

Taizō-in is located within the Myōshin-ji temple complex, which itself is one of Kyoto's most impressive Zen environments. With 46 sub-temples spread across extensive grounds, walking through Myōshin-ji feels like stepping into a quiet Zen city. Nearby attractions include:

• Myōshin-ji Hattō Hall: The main lecture hall features a spectacular ceiling painting of a dragon by Kanō Tan'yū, whose eyes seem to follow you wherever you stand.
• Keishun-in Temple: Another sub-temple open year-round, offering four lovely gardens and matcha tea service.
• Ryōan-ji Temple: The world-famous Zen rock garden is only a short walk north of the Myōshin-ji complex (also a UNESCO World Heritage Site).
• Ninna-ji Temple: A UNESCO World Heritage Site known for its late-blooming Omuro cherry blossoms, located nearby to the west.