InterviewAuthor Interview

Digital Art
Buddhist meditation
Profile
Bonzen (also read as Kashiwagi Makoto) was born in 1957 in Iwate Prefecture. He taught himself the Obaku school and Japanese painting, and is now an artist who creates digital bijin-ga (beautiful women's pictures). He has exhibited extensively both domestically and internationally, with representative works such as "Goldfish" and "Sparklers." It reinterprets traditional Japanese beauty and elegance with a modern approach, expressing the spirituality of Japanese culture through the image of women. Going forward, he aims to widely convey the philosophy of the Obaku school and the worldview of Tessai Tomioka through his works. His serene and profound style continues to captivate many people.
Please briefly introduce yourself.

My stage name is Bonzen. 'San' stands for Brahman (the fundamental principles of the universe), and 'Zen' refers to the cultivation of enlightened beings. His real name is Makoto Kashiwagi, and he was born in 1957 in Morioka City, Iwate Prefecture. After moving to Tokyo, I graduated from a general university and worked as a prep school instructor, self-studying ink works by Ikkyu Sojun of the Ōbaku school, Hakuin's ink paintings, and Tomioka Tessai. Currently, I reside in Saitama Prefecture and mainly create Japanese paintings using digital art, mainly bijin-ga. Among the connections are art critic Hiroshi Kashiwagi and artists from Iwate Prefecture, Beniko and Shozo Fukazawa.

*Ink marks: Traces of characters written in ink. It specifically refers to the handwriting written by a monk (Zen monk).

"Cloud Heart and Moon Nature" Written as: Fanchan
Are there any exhibitions or events that left a strong impression on you?

One particularly memorable event was "Passionate Desire, Cold Truth," exhibited at the 3rd Session of the 9th Salon de Art Japone in September 2024, hosted by Reijinsha Co., Ltd. Additionally, in February 2026, "Goldfish" and "Sparklers" will be featured in the art book series "Analysis from an Artistic Perspective" by Milan Publishing, Italy. In the same month, we plan to exhibit "Ten Thousand Miles in the Sky" and "Clouds in the Moonlight" at the 16th Monaco Japan Art Festival, commemorating the 20th anniversary of diplomatic relations with Japan.
Other memorable occasions included the "Futari Shizuzu" event at the 50th Japan Week in Manchester, UK, hosted by Lift Co., Ltd. in September 2025, and the 9th Art Collection in Yokohama in January 2026 at the Keihin-Yokohama Station digital signage screen.

Other events include AQUA ART MIAMI's "Seijaku Kanga" hosted by Gya Gya gallery Co., Ltd. in December 2024, "Elegant Elegance" at Scottsdale Ferrari Art Fair in LA in March 2025, and "Senbi Toryō" at Focus Art Fair Chelsea-Industrial in New York in May 2025, as well as Artcross_tokyo Co., Ltd. Many experiences have fueled my creations, including winning the Japan Art Honorary Grand Prize at the Art Expo in Paris and the Japan Art Contribution Grand Prize at the Art Light Exhibition in Ishikawa.

"Hatter" Written by: Felix Vallotton
What inspired you to start your career as a painter?

I have been familiar with drawing since childhood, and until I was 17, I devoted myself to creating with the goal of pursuing a career in art. However, due to various circumstances at the time, such as family circumstances and career choices, he had to abandon that path and have since lived a long life away from painting. A turning point came in recent years. By chance, I came across Vallotton's printmaking works and was deeply moved by the aesthetics of his printmaking. That impact awakened a dormant desire for creation within me, and a strong desire to face painting once again welled up. Thus, after decades, I resumed creating content, and I am still here today.

What kind of feelings do you put into your work?

While using the contemporary medium of digital art, I relentlessly pursue the beauty of Japanese style. While traditional Japanese painting has been built on material materials such as mineral pigments and washi paper, I chose a completely different approach. We aim to create a new form of Japanese painting that is revived on a small screen like a palm-sized mobile monitor.
Additionally, as Western-style contemporary painting becomes mainstream, we aim to express the traditional elegance and cultural worldview of Japanese women—which is gradually being lost—through the demeanor and body of Japanese women. I see myself not as an artist but as a "painter," and I work as a bearer of the tradition of Japanese beauty.

"Goldfish" Written as: Fanchan
Is there a work you've ever worked on that feels most 'like yourself!'? Please tell us.

I feel that the works 'Goldfish' and 'Incense Fireworks,' scheduled to be published in an art book by a Milan publisher in Italy in February 2026, are the most authentic to me. These are by no means flashy works. Rather, the use of subdued colors may not be flashy at first glance. But precisely because of that, I believe these works reflect the core of my aesthetic sense. A woman's expression, a fleeting moment of sorrow, and the feelings hidden inside. The texture of the kimono, the overlapping fabric, and the beauty of the collar lines. And the meanings and decorative qualities of kimono patterns and traditional motifs. Additionally, accent placements tighten the entire screen. Balance with the margins, guiding the gaze. Each of these elements embodies my deep passion for the aesthetic beauty of Japanese style, which I cherish.

"Incense Fireworks" Author: Fan Chan

Rather than seeking flashy or glamorous displays, he finds deep charm within restrained colors. Quiet yet commanding presence. That is my origin, and I believe that "goldfish" and "incense fireworks" express that aesthetic sensibility in the purest form.

"Persona (Noh Mask and Woman)" Author: Fan Chan
Could you share your thoughts on creating your future works?

In truth, there are many things I want to convey through my work. My goal is to devote my life to expressing these experiences. My ideal is, like the Zen paintings created by the monks of the Obaku sect during the Edo period, which may seem approachable on the surface but contain profound ideas within. Like the works of Meiji-era Tomioka Tessai, it evokes a simple yet sublime worldview. I am strongly drawn to expressions where the surface and deep layers coexist. In today's world, we want to deliver our works to a wider audience by utilizing various media including social media. While actively utilizing modern media, his essential aesthetic sense remains unshaken. I want to keep creating such works.

 

With deep respect for the Japanese spirituality and aesthetic sense cultivated over many years, he pioneers his own unique Japanese painting expression using new digital techniques. Mr. Bonzen's works quietly coexist with reverence for tradition and questioning the present, leaving a deep impression on viewers. The reason it has resonated with audiences at exhibitions across the country is likely because his creative approach is completely sincere, and his very outlook on life is etched into the canvas. We will continue to watch how this uniqueness develops going forward.

 
Interview: 2025/11/23