Today, I would like to reflect on the world of Kabuki and a new approach to Bonsai decoration, both of which are currently drawing significant attention.

The film Kokuhou, released in 2026 and now a social phenomenon, presents a story of unprecedented hope. It depicts a single individual shattering the formidable walls of traditional performing arts through the sheer force of their extraordinary talent, despite having neither a prestigious lineage nor powerful backing. In the world of Kabuki—a society of clans spanning four hundred years—the protagonist’s ascent to the pinnacle without even being adopted into a family has challenged the very foundations of Japanese traditional culture, which often prizes form and pedigree above all else. Witnessing the miracle depicted in this story, I cannot help but anticipate a similar revolution occurring in the world of Bonsai, another quintessentially Japanese cultural heritage.

In the world of Bonsai, the most absolute requirement has always been that the work must be a "living plant." However, how thrilling would it be if an enthusiast appeared and produced "Kogei Bonsai" (Artisan/Crafted Bonsai) through their own aesthetic vision and design prowess, gaining recognition beyond the traditional framework? Just as the film's protagonist invalidated the absolute requirement of "bloodline" to become a Living National Treasure, the ultimate formal beauty of Bonsai as a craft—transcending even the constraints of biological life—deserves rightful evaluation. Such an achievement would mirror the image of that great actor who dominated the stage alone, commanding the audience's absolute conviction.

If works created by an individual who defies the common sense of "living things" were to carve a new definition into the history of Bonsai through their overwhelming perfection, it would signal an era where culture is liberated from existing definitions and spells, returning to the realm of pure individual expression. Tradition is not about merely tracing the past; it is something continuously renewed by the passion of individuals living in the present. As shown by the film Kokuhou, representing the world of Kabuki, I find it profoundly exciting to imagine a future where the conviction that "true beauty will always be found," even without relying on existing systems or fixed ideas of "how things should be," breathes new life into the serene world of Bonsai and opens up an artistic horizon the likes of which no one has ever seen.