Kenzan's artistic style is remarkably varied; he produced copies of a type of Korean pottery known as hakeme (brushed, brush mark), as well as copies of pottery from Cizhou kilns in China and works from Delft kilns in Holland, not to mention Japanese pottery of different styles employing iron underglaze and coloring. Kenzan, who was highly cultured with a broad knowledge of art, absorbed characteristics of different styles and allowed them to emerge in his own works.
This thin-walled tea bowl was first formed carefully on a potter's wheel, then white slip was applied to cover its surface. Subsequently, the grass design was added with iron underglaze, leaving large areas which were then painted in deep green. This combination of designs resonates with what Oribe ware is known for, that is, the contrast between solid colors and design motifs and the contrast between light and dark colors are precisely those originated by Oribe. Kenzan, however, admirably achieved a delicate sense of balance of contrasts and made it his very own. The Japanese pampas grass design does not suggest excessive delicateness and unassertiveness of lines typical of Kyo ware; instead, it embodies design qualities reminiscent of the so-called Rinpa school with clear influences from Sotatsu, Koetsu, and Korin.
Though it is quite likely that this lidded bowl, with designs over the entire surface was part of a set of five or ten, only the present work remains today. In the interior of the base, Kenzan's signature is inscribed with iron under-glaze in a white oval area delineated with a line drawn with iron underglaze.
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