Matsunaga Memorial Hall Reveals the Two Sides of a Businessman and Tea Master
Matsunaga Memorial Hall in Itabashi, Odawara, was established to display the antique art collection of Yasuzaemon Matsunaga, a leading figure in Japan's electric power industry.
As a tea master, Matsunaga used the art name Ji-an and brought together buildings, gardens, and utensils with a sensibility distinct from the business world.
By viewing not only the exhibits but also his later home and several tea rooms on the same grounds, visitors can gain a three-dimensional understanding of the spaces sought by modern sukiya connoisseurs.
The Founding Aim: Opening Antique Art to the Public
To make the antique art he had collected over many years available to the public, Matsunaga established the Matsunaga Memorial Hall Foundation and opened the facility in 1959 (Shōwa 34).
After the foundation was dissolved, the grounds and buildings were donated to the City of Odawara. They have been open since 1980 (Shōwa 55) as a branch of the municipal local culture museum.
Learning how a private collection was transformed into a public learning resource makes the role of the galleries easier to grasp.
Exploring Matsunaga's Work as the Tea Master Ji-an
Yasuzaemon Matsunaga took a deep interest in the way of tea and invited tea masters, politicians, and scholars to gather and exchange ideas.
The aesthetic sense of Ji-an, who was also called the “last suki tea master,” appears not only in his ownership of valuable utensils but also in the route for receiving guests, the light, materials, and garden views.
Rather than simply following the names of the facilities, consider whom each space welcomed and how it did so to deepen your understanding.
Different Exhibition Roles in the Main Building and Annex
The main building displays materials connected with Ji-an, while the annex presents works owned by the city and donated collections, including items from writer Yōichi Nakagawa.
Displays rotate, so objects introduced in the past may not necessarily be on view on the day you visit.
Check the current exhibition information, then pay attention to the origin of each item, its former owner, and its relationship to the exhibition space.
| What to See | Main Clues | What They Reveal |
|---|---|---|
| Main building exhibits | Materials related to Ji-an | Ideas behind collecting and public display |
| Annex exhibits | City-owned and donated works | Culture spreading through the community |
| Tea rooms | Materials, dimensions, and circulation | Ways of welcoming guests |
| Garden | Pond, stones, and plants | Scenery linking the buildings |
Discover Ji-an's Later Life at Rōkyō-sō
Rōkyō-sō is the villa Ji-an created when he moved to Odawara in 1946 (Shōwa 21). This modern sukiya-style building contains his later residence, a tea room, a great room, and a waiting area, each with a distinct design.
Preserved as a nationally registered Tangible Cultural Property, it conveys a composition in which home and tea space overlap.
Compare the Tension Between Shoin and Sukiya Design
In the great room, examine the columns, ceiling, and tokonoma alcove, comparing elements that express formality with those that make use of the natural character of the materials.
Curves and knots in the wood are incorporated into otherwise neatly ordered lines, creating a calm atmosphere that is not merely austere.
Rather than viewing the alcove post and fittings in isolation, imagine how the garden is framed from the eye level of someone seated.
Consider the Mental Transition from the Waiting Area to the Tea Room
The yoritsuki is where guests wait before entering a tea gathering. Although it is outside the tea room, it plays a part in the tea occasion.
The time spent waiting, the walk through the roji garden, and the act of entering the room form stages that shift one's awareness from everyday life to the world of tea.
During your visit, do not hurry from the entrance to the principal rooms. Notice how thresholds and stepping stones guide movement to understand the meaning of the space.
Repairs and Public Access Carry the Building Forward
After Rōkyō-sō became the property of the City of Odawara, it underwent partial dismantling and repair to address deterioration.
An old building survives not through its original materials alone, but through repeated repair, management, and use.
See the traces of repair not as flaws, but as part of the history of protecting a cultural property while keeping it in use.
Modern Tea-Master Connections at Yōu-an and Uyaku-tei
Yōu-an is a tea room built by Kōta Nozaki, a businessman and tea master who served as president of Mitsukoshi and used the art name Gen-an.
Since its relocation, it and the neighboring Uyaku-tei have been used for tea gatherings and cultural activities.
See a Tea Room Relocated from Another Site
Yōu-an originally stood in Minamichō, Odawara, and hosted tea gatherings for prominent figures from Japan's political and business circles.
It was relocated and restored within Matsunaga Memorial Hall in 1986 (Shōwa 61) and conveys the tea culture of modern Odawara.
Look beyond the scenery of its present location: learning why the building was moved and how it was preserved clarifies its value as a cultural property.
Connect the Name Uyaku-tei with Its Tree
Uyaku-tei, next to Yōu-an, is named after the Tendai-uyaku tree in front of the building.
The tea room's name is tied to a plant on the grounds, showing how architecture and garden form an inseparable relationship.
Interior access changes with events and use, so at ordinary times, carefully observe the exterior and surrounding scenery.
| Building | Associated Person | What to Observe |
|---|---|---|
| Rōkyō-sō | Matsunaga Ji-an | Residence and tea room |
| Yōu-an | Nozaki Gen-an | Relocated tea room |
| Uyaku-tei | Annex to Yōu-an | The tree and the building's name |
| Second-floor Japanese-style room in the main building | Matsunaga Ji-an | Great room and alcove post |
Experience Rustic Tea Culture at Mujū-an
Mujū-an is a rustic farmhouse-style tea room that Ji-an created by reusing part of an old traditional house.
The earthen floor and wooden-floored room, unlike a shoin room or compact tea room, reveal the breadth of Ji-an's approach to tea.
Giving Traditional-House Materials a New Setting
Ji-an used part of an old house from Saitama Prefecture and relocated Mujū-an behind Rōkyō-sō in 1955 (Shōwa 30).
The old timber does more than create an aged appearance: it brings the texture of long-used wood and memories of daily life into the tea space.
Focus on the boundaries between the pillars, earthen floor, and wooden floor to recognize an intimacy different from that of a formal tatami room.
Consider Preservation Choices Through Repeated Relocation
After Ji-an's death, Mujū-an was moved elsewhere. It was donated to the city in 2017 (Heisei 29) and relocated and restored on the grounds of Matsunaga Memorial Hall in 2020 (Reiwa 2).
Relocation removes a building from its original site, but it can also protect it from being lost and present it alongside related facilities.
Viewing Rōkyō-sō and Yōu-an in sequence lets you compare the spatial differences among shoin, sukiya, and rustic farmhouse styles.
Enjoy the Pond Garden and Stone Monuments Between the Buildings
The garden at Matsunaga Memorial Hall centers on a pond that connects the buildings and tea rooms while presenting seasonal plants and old stone monuments.
Approach it not merely as a route between architectural sights, but as a work in its own right that adjusts your gaze and walking pace.
Layer the Buildings Beyond the Pond
When the water, stones, trees, and buildings beyond them enter the same view, it becomes clear that the garden does not fix a single front for the architecture.
Just a few steps change how much of each roof is visible and how the trees overlap, creating a new composition.
When taking photographs, stay on the garden path and wait for changes in light and reflection from a place that does not obstruct others.
Look for Stone Monuments from the Nara and Heian Periods
Stone monuments from the Nara and Heian periods are scattered through the garden, adding an older layer of time to a landscape arranged in the modern era.
Rather than isolating the monuments, note which buildings overlook them and where they sit among the plantings.
Do not speculate beyond the on-site explanations about their origin or date; use reliable labels as your guide.
Read the Garden's Composition Beyond Seasonal Peak Color
The timing and colors of flowers and autumn leaves vary with the weather.
Even when a particular plant is not at its peak, you can enjoy the garden's composition by observing the overlap of evergreen and deciduous trees, the open space around the pond, and the direction of the stepping stones.
Fallen leaves and wet paths can be slippery, so wear comfortable walking shoes.
| Garden Element | Where to View It | Relationship to Read |
|---|---|---|
| Pond | Bends in the garden path | Water surface and buildings |
| Stepping stones | On the way to the tea rooms | Stride and line of sight |
| Stone monuments | Among the plantings | Layers of earlier time |
| Trees | From indoors and the garden side | Scenery framed like a picture |
Plan a Visit That Balances Exhibits and Architecture
Matsunaga Memorial Hall is about a 10-minute walk from Hakone-Itabashi Station on the Hakone Tozan Line and can also be combined with modern architecture and gardens in the Itabashi area.
Regular admission is free, although special exhibitions may charge a fee, and parking is available for 23 vehicles.
Because galleries, gardens, and tea rooms differ in their public access and use, check the access and facility information for the day of your visit.
Start with the Exhibits to Learn About the People
On a first visit, it is easy to understand the site by learning about Ji-an's activities in the main building, then continuing to Rōkyō-sō, the tea rooms, and the garden.
Knowing the person and the background of the collection first makes the architectural details appear not merely as taste, but as expressions of an idea.
On a day when you plan to focus on a special exhibition, reserve some time for the outdoor areas as well.
Give Priority to Signs About Interior Access and Photography
The tea rooms and Japanese-style rooms are used for events and rentals, so the same areas may not always be accessible.
Follow the signs and staff guidance regarding entry, photography, footwear, and food and drink.
Even if you cannot enter, observing the eaves, windows, roji garden, and orientation toward the garden from outside can reveal the role of each space.
Matsunaga Memorial Hall: Summary
Matsunaga Memorial Hall traces Matsunaga Ji-an's antique art collection and tea culture through exhibits in the main building, his later home Rōkyō-sō, Yōu-an, Mujū-an, and the pond garden.
Organize the people and uses connected with each building and consider the history of relocation and repair to discover the depth of a cultural setting created by a modern sukiya connoisseur and inherited by the community.
Check the latest information for the displays and interior access on the day of your visit, and help protect the quiet environment and cultural properties as you explore.
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