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 MUSEUM OF FINE ARTS, BOSTON 
 
 CATALOGUE OF 
 
 JAPANESE POTTERY 
 
 BY 
 
 EDWARD S. MORSE 
 
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 ARRANGEMENT OF CASES 
 
MUSEUM OF FINE ARTS, BOSTON 
 
 1/ 
 
 CATALOGUE 
 
 OF THE 
 
 MORSE COLLECTION 
 
 OF 
 
 JAPANESE POTTERY 
 
 BY 
 
 EDWARD S. MORSE 
 
 Keeper of the Japanese Pottery 
 
 WITH SIXTY-EIGHT PHOTOGRAVURE PLATES, OF WHICH 
 
 FORTY ARE ACCOMPANIED BY GUIDE PLATES DRAWN 
 
 BY THE AUTHOR, AND FIFTEEN HUNDRED 
 
 AND FORTY-FIVE POTTERS' 
 
 MARKS IN TEXT 
 
 CAMBRIDGE 
 
 MDCCCCI 
 
 OF THE ^ 
 
 UNlVERSnY I) 
 
 £^UfOBH\f'^ 
 
COPYRIGHT, 1900, BY MUSEUM OF FINE ARTS, BOSTON, MASS. 
 ALL RIGHTS RESERVED 
 
 '^t'i 
 
 fj ^vvfAtr 
 
 
 I; 
 
PREFACE 
 
 The collection of Japanese pottery herein briefly catalogued has been 
 brought together by one collector, who throughout the task (which is by 
 no means ended) has had in view certain definite objects. One of these 
 objects, and the main one, has been to make a collection of the pottery of 
 Japan which should parallel the famous collections of the potteries of Eng- 
 land, Holland, France, and adjacent countries, as seen in the museums of 
 Europe. 
 
 In the great museums of art in Paris, Berlin, and other places, one may 
 find the pottery of the various countries of Europe fully represented. 
 These collections often represent the ovens and signatures known from 
 the earliest time to the latest. Turning to Japan, the greatest pottery-pro- 
 ducing country in the world, one often finds in a case labeled " Oriental 
 Porcelain " a small collection of miscellaneous pieces, with highly deco- 
 rated specimens made for the foreign market predominating, and these not 
 unusually mingled with the fictile products of China. In France, for exam- 
 ple, one may find in her great museums extensive collections of English 
 pottery from Chelsea, Leeds, Staffordshire, Burslam, and other pottery 
 centres, including, of course, representations of all the great potters such 
 as Astbury, Elers, and Wedgwood, as well as the work of the minor pot- 
 ters. Turning from these cases to the Japanese section, if by good fortune 
 the museum possesses one, the contrast is striking. Such an absence of 
 due proportion would be paralleled by a general zoological museum dis- 
 playing, for example, a complete collection of European and North Amer- 
 ican insects, and for South America possessing a few bright butterflies 
 and the elytra of metallic-lustred beetles mounted as jewelry. I am thus 
 explicit in justification of the apparently redundant exhibition of specimens 
 in some of the provincial groupings, and the display of certain specimens 
 
 -85236 
 
iv PREFACE 
 
 which are more curious than beautiful, and in some instances even posi- 
 tively ugly. The importance of each specimen has been fully weighed in 
 accordance with the effort to secure the work not only of every known 
 family of potters in Japan, but of all the generations of each family and 
 their collateral branches, with the various marks used by them. So far as 
 possible, the range of work of each potter has been attempted. The differ- 
 ent kinds of objects made in pottery have not been overlooked ; and while 
 this portion of the collection would be more appropriate in a museum of 
 ethnology, the artistic character of the people is well illustrated by the 
 objects associated not only with their tea-drinking, writing, flower arrange- 
 ment, etc., but with the more humble service of the kitchen. 
 
 Since the collection came into the possession of the Museum of Fine 
 Arts in 1892, sixteen hundred and seventy-seven specimens have been 
 added to it, of which two hundred and eighty-five have been by gifts, and 
 thirteen hundred and ninety-two by purchase. 
 
 Grateful acknowledgments are due to Dr. William Sturgis Bigelow, Mr. 
 Denman W. Ross, Dr. Charles G. Weld, Mr. George W. Wales, Mr. Henry 
 O. Havemeyer, Mr. Frederick S. Dickson, Mrs. John J. Glessner, Sir 
 William H. Van Home, Mr. Thomas E. Waggaman, Mr. John C. Ban- 
 croft, Mr. Charles L. Freer, Mr. James Ford Rhodes, Baron von Richt- 
 hoven, Mons. Louis Gonse, Mr. Rufus E. Moore, Mr. Charles H. Read, 
 Dr. T. C. Mendenhall, Mrs. Helen Abbott Michael, Dr. J. W. Baker, 
 U. S. N., Mons. S. Bing, Dr. Edward Wigglesworth, Hon. Charles A. 
 Dana, Mrs. Russell Robb, Lieutenant Foster, U. S. N., Mr. Howard Mans- 
 field, Mrs. Henrietta Page, Mr. Frederick H. Bigelow, Mr. Augustus 
 Hemenway, Mr. Samuel Colman, Mr. Francis Bartlett, Mr. George lies. 
 Miss Lucy Ellis, Dr. Justus Brinckmann, Mr. A. D. Weld French, Dr. 
 Ernest Hart, and many others, for their contributions to the collections. 
 
 The collection given by Dr. Bigelow embraces many specimens of great 
 rarity and beauty, among which should specially be mentioned a Chinese 
 bowl of the thirteenth century. The rarest object in the entire collection 
 is a bowl of one of the early Zengoros, given by Mr. Denman W. Ross ; 
 another exceedingly rare object, also representing one of the early Zen- 
 goros, was presented by Mr. George lies. A rare bowl of early Kyoto, the 
 
PREFACE V 
 
 gift of Mr. Bancroft, and a flower vessel with the rare mark Rakuto, by 
 Mrs, Henrietta Page, should be specially mentioned. In this connection 
 I must thank Mr. Hiromichi Shugio, Mr. Bunkio Matsuki, Mr. Takaganagi, 
 Dr. Seiken Takenaka, Mr. Shigejiro Yamanaka, Mr. Michitaro Hisa, Mr. 
 Rokubei, Mr. Choyu, Mr. Meiki Matsuki, Mr. Yamanaka, Mr. Morimoto, 
 Mr. Ushikubo, and many others whose names appear in the catalogue. 
 Indeed, in one way or another, I have laid every Japanese friend under 
 contribution : one has proved to be a good reader of obscure marks ; 
 another comes from a province whose pottery is but little known, and in 
 this instance he has been induced to write to some antiquarian friend 
 at home for information. 
 
 In these various acknowledgments I must not omit the name of Miss 
 Margarette W. Brooks, who has been identified with the catalogue since 
 the work began, and who has with infinite care copied all the manuscripts, 
 verified the marks, and aided in the instalment of the collection in the 
 cases, nor that of Miss Beata L. Gray, who has in various ways assisted in 
 the work. To Mr. John Robinson, my coadjutor in Salem, who has for 
 years relieved me of many duties in connection with the work of the 
 Peabody Academy of Science, no words of mine can adequately express 
 my gratitude. To Dr. James R. Chadwick, as chairman of the committee, 
 and the subscribers, one and all, who by their spirit and liberality secured 
 the collection for the Museum of Fine Arts, a grateful recognition is here 
 recorded. To the director. Gen. Charles G. Loring, Mr. Edward Robinson, 
 Dr. W. S. Bigelow, and Mr. Denman W. Ross, who have throughout the 
 task shown the keenest interest, my acknowledgments are particularly due. 
 To certain private collectors who have freely parted with rare objects that 
 this catalogue might be as nearly complete as possible, and without whose 
 unselfish spirit there would have been many lacunae, my devout gratitude 
 is most heartily expressed. Finally, I wish to recognize the painstaking 
 care with which Mr. A. W. Elson has made the photogravure plates, Mr. 
 C. A. Watts of the Boston Engraving Co. has reproduced the marks, 
 Mr. C. A. Lawrence with untiring patience has taken the photographs 
 of the cases for the plates, and the firm of Houghton, Mifflin & Co. has 
 made the book. 
 
CONTENTS 
 
 INTRODUCTION. 
 
 Sources of Information. As to Names. False Guides. 
 Obscure Potters. Amateur Potters. Pottery-Making 1-7 
 
 Decoration. 
 
 Animals and Plants. Natural Scenery and Natural 
 Objects. Associated Objects. Sports and Games. Fes- 
 tivals. Tools and Utensils. Structures. Crests. Sym- 
 bolisms. Conventional Scrolls and Diapers. Inscrip- 
 tions. Glazes. Brush-Marks. Schools followed in 
 Decoration . . 7-13 
 
 Principal Uses of Objects in the Collection. 
 
 House. Kitchen. Sacra. Food - Vessels. Heating. 
 Illumination. Tea-Making. The Tea-Ceremony. Wine. 
 Smoking. Writing-Table. Artist's Materials. Flowers. 
 Incense-Burners. Incense-Boxes. Ornamental Objects. 
 Objects worn on the Body. Decorative Material. 
 
INTRODUCTION -. — continued. 
 
 Toilet-Table. Games and Toys. Gardens. Medicine. 
 Pottery-Making. Miscellaneous. Explanatory Notes 13-24 
 
 THE CATALOGUE. 
 
 Korean Pottery 25-31 
 
 Japanese Pottery 31-364 
 
 Of Doubtful Provenance 343-348 
 
 Of Unknown Provenance .... 349-351 
 
 Ethnological . 351 
 
 Recent Accessions 352-364 
 
 Final Notes 364 
 
 ALPHABETICAL INDEX OF PROVINCES ... 367 
 
 ALPHABETICAL INDEX OF POTTERIES . . . 370-372 
 
 ALPHABETICAL INDEX OF SIGNATURES . . 373-383 
 
LIST OF PLATES 
 
 A. Inserted in the Text 
 
 PAGE 
 
 Frontispiece. Showing arrangement of Cases from i to 40 
 
 Case I. Korea : Early Historic and Recent 30 
 
 2. Japan : Pre-historic and Early 36 
 
 3. Province of Hizen 42 
 
 4. Province of Hizen 48 
 
 5. Province of Bizen 54 
 
 6. Provinces of Tsushima, Tosa, and Settsu .... 66 
 
 7. Province of Omi 74 
 
 8. Province of Higo 80 
 
 9. Province of Nagato 84 
 
 10. Province of Kaga 92 
 
 11. Province of Ise 104 
 
 12. Provinces of Yamato, Echizen, Chikugo, Iyo, Shimotsuke, Ko- 
 
 zuke, Hidachi, and Mino . 116 
 
 13. Provinces of Suo, Sado, and Awaji 124 
 
 14. Provinces of Buzen, Izumi, Shinano, Iwami, and Suruga . 136 
 
 15. Provinces of Kii and Iga 146 
 
 16. Provinces of Totomi and Hariha 156 
 
 17. Provinces of Izumo and Aki 164 
 
X LIST OF PLATES 
 
 PAGE 
 
 Case 1 8. Province of Chikuzen 170 
 
 19. Province of Sanuki 178 
 
 20. Province of Tamba 182 
 
 21. Province of Owari . . . 188 
 
 22. Province of Owari 194 
 
 23. Province of Owari .......... 200 
 
 24. Province of Owari 204 
 
 25. Province of Owari 208 
 
 26. Province of Owari 216 
 
 27. Province of Yamashiro 222 
 
 28. Province of Yamashiro 234 
 
 29. Province of Yamashiro 240 
 
 30. Province of Yamashiro 248 
 
 31. Province of Yamashiro . . . 252 
 
 32. Province of Yamashiro 266 
 
 33. Province of Yamashiro . . 276 
 
 34. Province of Yamashiro 290 
 
 35. Province of Musashi 308 
 
 36. Provinces of Iwaki and Rikuzen 318 
 
 37. Province of Satsuma 326 
 
 38. Provinces of Satsuma and Osumi 334 
 
 39. Doubtful and Unknown 35° 
 
 40. Recent Accessions 3^4 
 
LIST OF PLATES 
 B. At the end of the Volume 
 
 Plate I. Upper half. Hizen. Karatsu. 
 
 Lower hall Hizen. Karatsu, GoroshichL 
 
 IL Upper half. Bizen. Imbe. 
 
 Lower half. Tosa. Odo, Shohaku. 
 
 III. Upper halL Tsushima. Yaheda, Shiga. 
 
 Lower half. Settsu. Kosobe, Naniwa, Kikko, Kyuzan, Sakurai no 
 
 Sato. 
 
 IV. Upper half. Omi. Shigaraki, Bairin, Ubagamochi, Hira, Zeze. 
 Lower half. Higo. Koda, Higo, Shofu. 
 
 V. Upper half. Nagato. Fukagawa, Setsuzan, Michisuke. 
 
 Lower half. Kaga. Rendaiji, Ohi, Kutani. 
 
 VI. Upper half. Ise. Anto, Banko. 
 
 Lower half. Ise. Yusetsu, Banko, Fueki Banko, Isawa. 
 
 VII. Upper hal£ Echizen. Setosuke. 
 
 Lower half. Awaji. Mimpei. 
 MiNO. Kujiri. 
 
 HiDACHi. Kairaku. ' 
 
 VIIL Suo. Tada. 
 
 IX. Buzen. Denko, Buzen, Hosho, Agano. 
 
 X. IzuMi. Kichiyemon (Kichibei), Minato, Kichiyemon. 
 
 XI. Shinano. Yukichiruya, Ikichiruya, Bokusai, Igara. 
 
 XII. IwAHi. NagamL 
 
xii LIST OF PLATES 
 
 XIII. Upper half. Kii. Kairakuyen, Meppotani. 
 
 Lower half. Iga. Shinjiro, Iga, Marubashira, Tokusai. 
 
 XIV. Upper half. Totomi. Shidoro. 
 
 Lower half. Harima. Ryushi, Akashi, Maiko. 
 
 XV. Upper half. Izumo. Fujina, Zenshiro, Rakuzaa 
 
 Lower half. Chikuzen. Takatori. 
 
 XVI. Upper half. Sanuki. Minzan, Yohachi, Shido, Yashima, Sanuki, 
 
 Naohachi. 
 
 Lower half. Tamba. Tachikui, Naosaku, Tamba. 
 
 XVII. OwARi. Toshiro and his Successors. 
 
 XVIII. Upper half. Owari. Shino. 
 
 Lower half. Owari. Shunki, Shun-u, Shunzan. 
 
 XIX. Upper half. Owari. Gempin, Ki Seto. 
 
 Lower half. Owari. Hagiyama, Sasashima, Masaki, Fujimi, Toyosuke. 
 
 XX. Upper half. Yamashiro. Bizan, Iwakurayama, Awata, Hozan, Tanzan. 
 
 Lower half. Yamashiro. Rokubei, Yos5be, Kitei, Shichibei. 
 
 XXI. Upper half. Yamashiro. Dohachi. 
 
 Lower half. Yamashiro. Mokubei, Kenzan, Kichibei. 
 
 XXII. Upper half. Yamashiro. Sozen, Hozen, Wagen, Yokuro. 
 
 Lower half. Yamashiro. Riyoniu. 
 
 XXIII. Upper half. Yamashiro. Otowa, Ninsei. 
 
 Lower half. Yamashiro. Takagamine, Sohaku, Shoi, S5-i, Koson, Taihei, 
 
 Asahi. 
 
 XXIV. MusASHi. Rakurakuyen. 
 
LIST OF PLATES xiii 
 
 XXV. Upper half. Musashi. Kenya, Tokuzan, Kenzan, Mizuno, Korakuyen, 
 
 Tamagawa. 
 
 Lower half. Iwaki. Seijiyemon, Soma, Komaru, Nakamura. 
 
 XXVL Upper half. Satsuma. Satsuma, Hohei, Hoju, Sunkoroku. 
 
 Lower half. Satsuma. Satsuma, Tsuboya. 
 
 XXVIL Upper half. Satsuma. Mishima, Betsukafu, Hoyei, Sam6, 
 
 Lower half. Satsuma. White Satsuma, Nishiki-de. 
 
 XXVIIL Musashi ? Keizen. 
 

 INTRODUCTION 
 
 Sources of Information 
 
 The difficulties in the way of acquiring reliable information upon the 
 subject of Japanese pottery are very great. The work of Ninagawa Nori- 
 tane, entitled Kwan Ko Dzu Setsu, 1876-79, embraces much of the definite 
 information contained in previous works on the subject. Kogei Shirio, a 
 hand-book issued by the National Museum in Tokyo, gives in a condensed 
 form much of the matter found in Ninagawa's work. Later editions of 
 Kogei Skirio add a few potteries from additional provinces. There are 
 many copies in MSS. by different writers to be found, but these give 
 little information not presented by later works. In native documents of 
 this kind, both published and in MSS., the information about Japanese 
 pottery never seems to go beyond a certain number of potters limited to 
 a certain number of provinces ; and Ninagawa, in his work, has brought 
 nearly all this information together, and added to it the fruits of much 
 correspondence, and the results of many long journeys in quest of material. 
 The only publications of merit in English on Japanese pottery are, almost 
 item for item, a translation of Kwan Ko Dzu Setsu or of Kogei Shirio, usu- 
 ally without a word of credit being accorded to these works : the two nota- 
 ble exceptions are fapanese Pottery : Being a Native Report, edited by Sir 
 Augustus W. Franks, and issued as a South Kensington Art Handbook; 
 and Thomas E. Waggaman's catalogue, compiled and edited by H. Shugio. 
 The student will find a most appreciative chapter on Japanese pottery by 
 Mr. Charles Holme in the second edition of fapan and its Art, by Mr. 
 Marcus B. Huish. I would also mention an interesting little handbook, 
 La Ceramique faponais, by Mr, O. Tokunosuke and Mons. E, Deshayes, and 
 the chapters on pottery in L'Art fap07tais, by Mons. Louis Gonse, and in 
 Artistic fapan, by Mons. S. Bing. I have derived much information from 
 Ninagawa's private copy of his work, containing important additions and 
 corrections by the author, as well as from MSS. letters and memoranda which 
 came into my possession immediately after the death of this lamented anti- 
 quarian. I have also secured additional information from Bampo Zensho^ 
 1705 ; Ko Kon Meibutsu Riushiu, 1787 ; Tokiko, 1853; Kenzan Yaki Yaki 
 
3 INTRODUCTION 
 
 His ho ; articles in Ko Kwa by Professor Imaidsumi ; Kaga Etchu Tqji- 
 Koso by Shohata Takaoka ; and Toki Shoshi by Koga Seishu. I have also 
 derived matter from single printed sheets on Toshiro and his descendants, 
 and also on certain forms of Banko, Raku, and other potteries. Special 
 interviews with the famous potters of Kyoto, notably Kichizayemon, Yeiraku, 
 Dohachi, Rokubei, Kitei, and Zoroku have added many points concerning 
 this great centre of the potter's art. The potters and antiquarians of 
 Musashi, Owari, Kii, Higo, Suo, Aki, and other provinces have also aided 
 me in my inquiries. During my residence in Japan I was in more or less 
 intimate relations with a number of pottery experts. I would especially men- 
 tion Ninagawa, Maida, Kohitsu, Kashiwage, Kimura, and others. My chief 
 sources of information, outside the above-mentioned books and men, have 
 been interviews with leading collectors, chajins, and antiquarians in many 
 parts of the Empire. The collectors freely allowed me to make sketches 
 of their specimens and " rubbings " of the marks. Since my return to this 
 country I have to acknowledge my very great indebtedness to Mr. Hiro- 
 michi Shugio, the author of the classical catalogue of the Waggaman col- 
 lection ; to Mr. Bunkio Matsuki ; and to Mr. Michitaro Hisa. Mr. Shugi5 
 has aided in the identification of many obscure pieces, and has spent day 
 after day studiously examining the collection. Mr. Matsuki, who owes his 
 first interest and knowledge of Japanese pottery to me, has, during his 
 frequent visits to Japan, secured many items of importance from the potters 
 themselves, and has been particularly skilful in interpreting obscure marks. 
 And Mr. Hisa has translated two modern works for me, besides securing 
 very valuable information regarding the pottery of his native province, 
 Iwaki. Nor must I forget Mr. Takano, who, with Mr. Hisa, has drawn 
 most of the marks which are here published. In his work Mr. Takano 
 has also interpreted many marks that were puzzles to every one in Japan, 
 notably the enigma of Yohachi. I cannot neglect here to acknowledge 
 my indebtedness to Mr. Shioda, Mr. Yamataka, Director of the National 
 Museum in Tokyo ; and to a host of Japanese friends, who have, by corre- 
 spondence and otherwise, aided in throwing light on obscure points. 
 Finally, I have made many determinations by a critical comparison of 
 unidentified specimens and marks with specimens the attribution of which 
 could not be gainsaid. 
 
 I mention all these facts, as the sources of information, outside the few 
 beaten tracks, are scant and too inadequate for a proper exposition of the 
 subject. It is, therefore, with some reluctance, and after considerable delay, 
 that I present this preliminary catalogue. 
 
INTRODUCTION 3 
 
 With this explanation I venture to offer this catalogue, which includes 
 much that is already known, and some information which may prove new 
 even to Japanese experts. 
 
 For the erroneous attributions and blunders which are sure to be found 
 in this catalogue, I can only say that in the one case it will not be the result 
 of haste ; and in the other I have only to quote a reviewer in the London 
 AthencEum, who has most truly recognized the conditions involved in a 
 work of this nature, as follows : " One of the ablest students of our time 
 said seriously, ' If you are seeking renown on account of extreme exactness 
 in literary work, and in doing homage to what has been fantastically called 
 the " rod of accuracy," try a little cataloguing. If that does not check your 
 vanity, make you charitable towards the blunders of others, and convince 
 you that it is human to err, never trust my word again.' " 
 
 As to Names 
 
 Much confusion exists among the Japanese experts in regard to the 
 proper designation of different kinds of pottery. A number of names are 
 often applied to the same pottery ; and again, a number of distinct kinds 
 are united under a single name. In such cases I have given preference to 
 that name which is indicated by the mark it bears. For example, a pottery 
 bearing the impressed mark Otafuku is known by that name, but more 
 commonly it is spoken of as Daigo pottery, from the region in Ky5to where 
 it is made ; in this case the name Otafuku will be retained for this pottery. 
 Again, the product of a family of potters may be known under a number of 
 names, as a variety of marks were used in the work. Thus the marks 
 Toyosuke, Toyohachi, Horaku, and others are found on the work of Toyo- 
 suke of Nagoya; in this case the name Toyosuke alone will be retained. 
 Ninagawa had always supposed that the name Zentokoro referred to the 
 product of a single kiln, but on personal inquiry of Mr. Shibata, a former 
 official of Zentokoro, he learned that this name included a number of 
 quite distinct potters and widely separated ovens, such as Oye, Seta, and 
 Bairin, as these various ovens belonged to the land area owned by the 
 Zentokoro family. As these potters varied in origin and method, the names 
 will be considered separately, and not as Zentokoro. As to geographical 
 names, pottery is sometimes known by the name of the town where it is 
 sold, and not by the name of the place of baking. Thus Koda pottery is 
 known throughout Japan as Yatsushiro. Yet in the province it is known 
 as Koda. Arita is known as Imari. A parallel case is seen in Europe, 
 where the pottery made in Meissen is known as Dresden, at which place 
 the product is sold. 
 
4 INTRODUCTION 
 
 My use of the words " rare," " very rare," etc., is in the interest of col- 
 lectors, and based upon my own experience as a collector. This experience 
 has been derived from the examination of hundreds of collections in Japan, 
 public and private, including the stock in trade of innumerable bric-a-brac 
 shops. Added to this may be mentioned a more or less critical examina- 
 tion of the leading public and many private collections of Europe and 
 America. It should be understood that rarity does not always signify an 
 original high value or beauty or even intrinsic merit. 
 
 False Guides 
 
 There is no royal road leading to the identification of pottery. Counter- 
 feits either of age or mark can be determined only by familiarity with the 
 genuine. The mark of the potter, if the piece be genuine, is the best clue. 
 In the pottery of some provinces, notably Hizen, Nagato, and Tosa, the 
 pieces are rarely signed, and here an appeal must be made to the clay. 
 The name of a village or shrine written or impressed on pottery is no safe 
 criterion of its origin. At many of the shrines and leading pleasure resorts 
 in Japan, one may buy for a trifle some little souvenir of the place, and 
 usually the object has been made in the immediate neighborhood, and from 
 the material gathered there. Thus at Nikko one gets various forms of 
 boxes and cups made from a large woody fungus ; at Hakone, inlaid wood- 
 work ; at Enoshima, shellwork, etc. These are all true souvenirs of their 
 respective places. As to the pottery souvenirs one cannot be so sure : such 
 objects may be made at some great pottery centre and impressed with the 
 mark of some great resort where they are to be sold as souvenirs, as is the 
 case probably with one form of Miyajima pottery. Even the name written 
 on a time-worn box, with carefully folded attestation within, is a hazardous 
 guide, as the original specimen may have been broken or lost, and another 
 specimen, equally valuable perhaps, substituted. Ninagawa was deceived in 
 this way by a bowl of Rokubei, with mark erased, being found, cuckoo-like, 
 in a box from which a Satsuma bowl had been displaced. Above all, the 
 crest or mon of a family appearing on the pottery is absolutely worthless 
 in identifying the origin of the specimen. 
 
 Obscure Potters 
 
 The apparent ease with which the Japanese turn to pottery-making has 
 led to hosts of petty potters following the pursuit for a short time, their 
 product being usually in faint imitation of reputable work. Any attempt at 
 originality has led to the production of absurdities which have rarely sur- 
 
INTRODUCTION 5 
 
 vived. The duration of these outputs has been so short, and the character 
 of the work so unimportant, that no record has been left of the potters' 
 existence. The age of such pieces may be fairly determined, and the place 
 of baking may also be guessed at ; but beyond this it is oftentimes impos- 
 sible to get more light on the subject, nor is it of any importance in many 
 cases to do so. 
 
 Amateur Potters 
 
 The bane and misery of the student of Japanese pottery are the produc- 
 tions of the amateur potter. It has been the custom, in Japan, for devotees 
 of the tea ceremonies usu-cha and sen-cha to try their hand at an art 
 they all adore — that of pottery-making. Some of the work is good, and, 
 like amateur work in general, some of it is atrocious, and fortunately 
 carries with it the sign of its amateur origin, and this sign is about the 
 only feature that can be recognized. Though the pieces usually bear an 
 impressed or written mark, the characters are either undecipherable, or, if 
 capable of translation, reveal the poetic name of some garden or summer 
 house, or some general poetic name. They may also record the fact that 
 the earth is taken from some historic shrine or famous mountain, or that 
 the potter has reached the age of eighty or more years. As an illustration 
 of the origin of some of this work, for example, the amateur potter has 
 made a pilgrimage to some distant province, from which region he brings 
 back a quantity of clay; he gathers materials for glazing from another 
 province, settles down two hundred miles from the last place, and struggles 
 with the difficulties of this time-honored art by shaping a bowl or incense- 
 box, and having baked it, may apply the glaze when he gets home and 
 bake it again. An artist friend adorns it with a sprig of bamboo and signs 
 it with his pseudonym. Such are the difficulties in the way of identification 
 of these veritable puzzles. A study of Japanese pottery is not complete, 
 however, without a consideration of this work. The amateur often dis- 
 covers new kinds of clay and glaze, and often suggests more refined forms 
 or new kinds of objects which may be made of clay. The work of the pro- 
 fessional potter has often been affected by the pottery ronin. In a parallel 
 way our amateur photographers and microscopists have done a great deal 
 by their discoveries in advancing the character of the instruments demanded 
 by the professional workers in these branches. 
 
 In this class of pottery erroneous attributions are sure to be made from 
 the fact, as before stated (unless definite records are at hand), that the only 
 feature identifiable about the pottery is that it is non-professional ; and even 
 
6 INTRODUCTION 
 
 here mistakes will be made, as the work of some professionals is as bad as 
 that of the amateur, and conversely, though rarely, the work of the ama- 
 teur is as good as that of the professionals. 
 
 Pottery- Making 
 
 The prehistoric pottery of Japan was modeled by hand, and to-day, in 
 various parts of the empire, this ancient art is continued in its prehistoric 
 form. There are many potters in Japan who are still at work using only 
 the hand in making bowls, delicate teapots, and dishes of various kinds. 
 The pottery vessels used as offerings at Shinto shrines are usually made 
 without the use of the wheel and are unglazed. 
 
 The potter's wheel, erroneously attributed to Gyogi Bosatsu, was brought 
 to Japan from Korea. The first wheel was probably the kick-wheel used 
 in Satsuma and other southern provinces. The common form of potter's 
 wheel consists of a wooden disk fifteen to eighteen inches in diameter and 
 three inches thick. This is fastened to a hollow axis fourteen or more 
 inches in length ; a spindle with pointed end rises firmly from the ground, 
 and on this the wheel rests, the spindle passing up through the hollow axis, 
 and a porcelain saucer or cup being inserted in the wheel to lessen friction 
 as it rests on the spindle. The wheel itself is on a level with the floor, and 
 the potter, sitting in the usual Japanese position, bends over the wheel, 
 which he revolves by inserting a slender stick in a shallow hole or depres- 
 sion near the periphery of the wheel. With a few vigorous motions of his 
 arm the wheel is set in rapid motion, then, with his elbows braced against 
 his knees, the whole body at rest, he has the steadiest command of the clay 
 he is to turn. As the wheel slackens in motion he again sets it twirling. 
 The wonderful delicacy of the work of the Japanese potter, as shown in 
 certain graceful wine-bottles, and marvelously thin and symmetrical bowls, 
 must be accounted for by the potter's attitude and the resultant steadiness 
 while throwing. 
 
 Sir Ernest Satow, in his Korean Potters in Satsuma {Proc. Asia. Soc. of 
 Japan, i8y8), says that these potters use wheels of different sizes. These 
 are formed of two wooden disks connected by four bars of wood. A spindle ' 
 rising from a square pit passes through a hole in the lower disk, and upon 
 its pointed end the upper disk rests, a porcelain cup forming the bearing, 
 as already mentioned. In the smallest of these wheels the upper disk is 
 fifteen inches in diameter, while the lower one has a diameter of eighteen 
 inches. The potter sits on the edge of the pit and pushes or kicks the 
 lower wheel with his left foot, the wheels being far enough apart to allow 
 
INTRODUCTION 7 
 
 the lower wheel to be kicked freely. The Korean wheel, as described by 
 Mr. P. L. Jouy {Science, 1888, p. 144), differs from this in form in having 
 but one disk, as in the typical Japanese wheel. The potter, on a level with 
 the wheel, sits on one leg and kicks the wheel with the other leg. The 
 wheel is pivoted in the centre and rolls on small wheels beneath. North of 
 Canton I saw a potter's wheel on a level with the potter while sitting, and 
 a boy stood at one side steadying himself by holding to a fixed bamboo 
 pole, and with his right foot kicking the disk upon which rested the clay 
 the potter was manipulating. The ovens are a series of chambers resting 
 side by side and built against the sloping side of a hill, the lower one being 
 four or five feet wide, and the other chambers widening gradually, so that 
 the upper one, which may be the eighth or tenth, is eight or more feet in 
 width. These have, on their ends, a large opening through which to 
 charge the chambers, and a smaller opening through which fuel may be 
 passed. These chambers are connected by openings within. The fire is 
 started in the lower one, and after burning briskly for a while fuel is added 
 to the next one in turn, and so on to the upper chamber. In this way all 
 the heat is utilized. I have drawings of this form of oven from Korea, and 
 I have seen the same form in China. The ovens seem much more firmly 
 and substantially built in China than in Japan. There are single round 
 ovens five or six feet in diameter,' used as mufifles, and for special purposes 
 of baking. For fine work seggars are used as with us. For the baking 
 of Raku pottery a small furnace is built in the house, square-box bellows 
 being used to insure rapid combustion. In many places, as at Koda, near 
 Yatsushiro, a single range of ovens is used by all the potters in the vicinity, 
 and the numerous marks used on Yatsushiro and Bizen are called oven 
 marks, and indicate the work of the individual potter. The tools used by 
 the potter are of the simplest description. These consist of a few wooden 
 formers, to shape the inside of a bowl ; long sticks with hooked ends, to 
 follow along inside a narrow-necked bottle ; a bit of leather, used wet, to 
 round the edges of bowls and dishes ; a pair of calipers, to secure the 
 proper diameter; a wire, to separate the piece from the wheel; and other 
 utensils of equal simplicity. 
 
 DECORATION 
 
 An explanation of the meaning of the many curious motives employed 
 by the Japanese in the decoration of pottery would involve an extended 
 study of Japanese and Chinese mythology, classics, history, symbolism, folk- 
 
8 INTRODUCTION 
 
 lore, and religion. Such a study would make an important work by itself. 
 Space will admit only the briefest allusion to this most interesting subject. 
 The quaint and unexpected objects used as motives in decoration seem 
 very strange and curious to us until we know their meaning. A bowl 
 decorated with a fringe of straw, with sprig of pendent pine, or a red lobster 
 and spray of sasa, conveys no meaning, unless one has chanced to be in 
 Japan on New Year's Day, and has seen the tasteful decoration of straw, 
 pine, and red lobster over gateways or in front of houses. Natural scenery, 
 flowers, and the like are evidently clear enough ; but even these have their 
 significances. The landscape may show the site of some famous temple, or 
 historic ground upon which an heroic deed was done, or it may recall some 
 place celebrated for its beauty. The flowers also have their language, a 
 sentiment perhaps, or suggestion of some historic meeting. The methods 
 and motives used in the decoration of pottery may be roughly classified 
 under the following heads. 
 
 Animals and Plants 
 
 Drawings of the monkey, fox, and badger, with which are connected 
 many superstitions and curious stories, are often used as motives. Fishes 
 and birds, particularly water-birds, are common subjects. Among insects 
 the butterflies and stridulating insects lend themselves as subjects for the 
 artist. Shells and the cuttle-fish are not uncommon. 
 
 Natural Scenery and Natural Objects 
 
 Simple landscapes, running brooks, the peak of Fuji, sprays of flowers, 
 are very often used in decorating pottery. The effort of the artist is never 
 to overload. The spray of flowers, or simple landscape, appears on one side 
 of the bowl. The sketches are often of great merit, and we wonder at the 
 ability of a common potter to do this work, or to command such talent 
 The designs, however, are often copied from the masters : a heron, by 
 Okyo ; a monkey, by Sosen ; a bit of landscape or flash of fishes from some 
 Kano artist. In copies of this kind the decorator never mutilates the draw- 
 ing. If a spray of flowers is selected to adorn a bowl, the mass is drawn as 
 far as it will go on the outside, and then continued over the rim and down 
 the inside of the bowl, running to the bottom or across. 
 
 Associated Objects 
 
 There are many objects almost invariably grouped together. Among 
 the common examples are seen the lion and peony, whitewood and sacred 
 
INTRODUCTION 9 
 
 bird, wind and tiger, cloud and dragon, waterfall and carp, millet and quail, 
 deer and maple, rain and swallow or willow and swallow, bamboo and spar- 
 row, and crane and tortoise. Some of these typify aspiration, long life, and 
 good fortune; others, the delights of nature, the beauty of spring, etc. 
 Other associations of objects occur, as the well-known sho-chiku-bai, repre- 
 sented by a flower-pot in which are pine, plum, bamboo, and precious coral. 
 The four wise men of Confucius are typified by the ran (an orchid), chrys- 
 anthemum, bamboo, and plum ; the three stages of nature, by conventional 
 figures of the moon, snowflake, and flower. At New Year's a favorite 
 present consists of the orange and dried persimmon, accompanied by the 
 usual folded paper, called noshi. Among these various symbols, those 
 suggesting longevity, good fortune, riches, and New Year's festivities are 
 most often seen. 
 
 Sports and Games 
 
 The Japanese have many forms of indoor and outdoor pleasures, such as 
 games, picnics, tournaments, and the like. Among these may be men- 
 tioned games of authors and other card games ; go, chess, battledore and 
 shuttlecock, music, poetry, writing, tea ceremonies, painting, archery, fen- 
 cing, polo, hawking, hunting, fishing, and many other forms of enjoyment. 
 These are variously depicted on pottery, either by the sketch of the game, 
 play, or act, or, what is more usual, a suggestion is given by drawing the 
 utensil, instrument, or other object used. The poet at the foot of a water- 
 fall is being inspired to write some apostrophe; a reel and line suggest 
 fishing ; a jug of sake, being warmed over a fire with maple leaves for fuel, 
 tells the story of a picnic ; a bamboo spoon and stirrer call up the tranquil 
 pleasures of the tea ceremony ; and so with other objects the various doings 
 are fully brought to the mind. 
 
 Festivals 
 
 * 
 There are many festivals among the Japanese, coming at certain stated 
 
 times of the year, — a festival for boys ; the Feast of Dolls, a girl's festival ; 
 and others to celebrate the blooming of certain flowers, and New Year's 
 Day, of course. Objects associated with these and other festivals are used 
 in decoration. A bowl to be given on New Year's Day will bear the decora- 
 tion of a red lobster and the green leaves of a bamboo grass. The lobster 
 conveys the wish that the recipient may live to that age when his back 
 becomes bent like the lobster; and the sasa, or bamboo, conveys the wish of 
 long life. 
 
lo INTRODUCTION 
 
 Tools and Utensils 
 
 Tools used in the construction of a house or vessel, utensils connected 
 with husbandry and domestic work generally, as the rake, hoe, broom, 
 though it may be a ceremonial rake or broom to sweep the little devils out 
 of the house, the distaff, reels, etc., often occur as embellishments. 
 
 Structures 
 
 One sees on pottery the representation of certain structures, a house 
 roof or simple roofing tile, a castle wall, a bridge or simple bridge post, a 
 trough for conducting water, a well-curb, a rustic fence, a torii, and many 
 others. An infinite variety of such objects is seized upon by the Japanese 
 potter as appropriate subjects for pottery embellishments. Strange and 
 often grotesque as many of these appear to be, the artist, in his choice, 
 has had a definite object in view : they all convey some sentiment of rural 
 felicity, home life, some hint or suggestion of pleasant association. 
 
 Crests 
 
 The mon, which is the equivalent of our heraldic designs, crests, etc., is 
 often seen on pottery, and the exquisite character of these conventional 
 fieures lends itself with great effect. The mo7i of the Mikado and the 
 families of the Shoguns and certain dominant families are seen upon ves- 
 sels, some of which may have been used by the retainers of these fami- 
 lies. When a daimyo or other official ordered pottery from some potter of 
 his own or even of some remote province, he desired the crest of his family 
 to be used in the decoration of each piece. When families are united in 
 marriage, the crests of both families may be found interwoven or overlaid as 
 a decoration. 
 
 Symbolism 
 
 The Japanese are rich in symbolism, and largely draw on this material in 
 selecting designs for their art industries. Brocade, metal work, pottery and 
 lacquer, all bear witness to the infinite variety of these subjects, and the 
 never-ending way in which they are transformed for the purposes of decora- 
 tion. We, also, are rich in symbolic figures, illustrating attributes or condi- 
 tions, such as hope, faith, plenty, time, courage, meekness, justice, etc. How 
 rarely, however, are these objects brought into use as decorative motives ! 
 With the exception of the conventional heart, the wheel of fortune, and 
 possibly a few others, our symbols are represented by the depiction of 
 veritable objects, such as the scales for justice, dove for peace, hour-glass for 
 
INTRODUCTION ii 
 
 time, anchor for hope, etc. The Japanese, on the contrary, have among 
 their symbols many mythological forms. When the symbols are repre- 
 sented by veritable objects, as the rain-coat, concealing hat, dove, scroll, and 
 others, they are drawn in a conventional way. Even the pine, bamboo, 
 plum, heron, and tortoise are often conventionalized in drawing, and in metal 
 work almost beyond recognition. The mythological figures are seen in 
 various monstrous animals, such as the dragon, phoenix, lion, and a crea- 
 ture which appears like a cross between a bull, a deer, and a unicorn. 
 The seven household deities of good fortune, as the gods of longevity, daily 
 bread, riches, military glory, contentment, lore and love, are variously repre- 
 sented. The liberty the Japanese take with their household deities is 
 shown in the manner in which they are often caricatured. Various sects 
 of Buddhism have their patron saints, certain sects having their special 
 ones. All warriors look to Bishamon-ten as their special patron. Benzai- 
 ten attracts followers of all creeds. Women appeal to her for blessings in 
 the form of wealth and beauty. Daikoku is depicted as a short, fat figure 
 seated on a bag with mallet in hand. Merchants propitiate this god. 
 
 Conventional Scrolls and Diapers 
 
 Japanese decorative work is rich in the variety of scrolls, geometrical 
 lattice work, and diapers of various kinds, and these are used with great 
 skill. The so-called Greek fret, which the Japanese have derived from 
 China, is common in a variety of forms. The Mishima style of decoration, 
 which is either incised or impressed and filled with clay of contrasting 
 color, consists of lines, cross-hatchings, encircling bands, stars, circles, punc- 
 tures, and conventional flowers, and has been derived from Korea. 
 
 Inscriptions 
 
 The pottery often bears inscriptions either incised or written in some 
 colored pigment. The inscription, when translated, may turn out to be the 
 advertisement of some tea-house or a recommendation of the object in 
 question, as, for example, a tea-pot bears the following : " The taste of the 
 tea depends upon the article in which it is made, and this is good for tea- 
 making." Sometimes it may convey a humorous admonition, as in the case 
 of a little bell-shaped wine-cup, which cannot possibly be put down with- 
 out tipping over ; the recipient has to hold the cup until he has drank the 
 contents. Written in black are these words : " If you let this cup wait too 
 long, it annoys your friend, therefore pass to the left." Again the writing 
 may give the poetic name of some garden or summer-house, such as " light 
 
12 INTRODUCTION 
 
 summer rain," or a sentiment expressed in a few words, " long life, never 
 old." Usually, however, if the pottery has any character, the inscription 
 is an extract from some Chinese classic, a stanza of poetry or poetic senti- 
 ment, an appeal to the beauties of nature, etc. The following are a few 
 translations to illustrate. One refers to a man in a strange place think- 
 ing of home, and being specially homesick in the springtime ; another calls 
 attention to the beautiful sound of water striking against the rocks. On 
 one bowl, upon which is drawn a single wild flower, is the inscription : 
 "Transparent, simple, far away from noise and dust." Another tells 
 us, " The dew of bamboo makes a very pleasant sound in falling on the 
 leaves below." On another is depicted a gourd hanging on its vine ; the 
 legend refers to a happy life, without care, and one can either sit or stand. 
 The gourd typifies it : if the gourd is light, it hangs all right ; but if 
 heavy, the vine breaks ; so with a man weighted with business cares. The 
 Japanese love of nature, in its sweetest phase, is conveyed in the following: 
 " The fair wind blows, the branches turn green, and those on the south side 
 blossom." 
 
 Glazes 
 
 In certain kinds of pottery, as in that of Chikuzen, and notably in 
 special forms, as in the tea-jars, the potter depends upon his glazes for 
 striking effects. The over-glazes are so applied as to run down in streams 
 of contrasting color. The effects are often unique, and the behavior of 
 the glazes, while not under complete control, is yet so managed that the 
 features aimed at are usually attained. 
 
 Brush Marks 
 
 Simple strokes of the brush either in broad dashes, scrolls, lines crossed 
 in lattice form, or dots, are often used to modify a plain surface. In 
 roughly made pottery, as in certain forms of Karatsu and Shino, this 
 decoration is often seen. It gives a rude and archaic appearance to the 
 piece. 
 
 Schools Followed in Decoration 
 
 With the help of Prof. E. F. Fenollosa a rapid survey was made of the 
 collection to note the schools followed by the potters in the decoration of 
 their pieces. The result was interesting, as showing the refinement and 
 intelligence of the potter in that he went to classical sources for his themes. 
 Thus roughly may be stated that the Kano school was dominant, even 
 
_. ^^/ 
 
 INTRODUCTION 13 
 
 Sesshu and the early Kano school being represented. Okyo and the Shijd 
 school, Korin and Bunjinga came next in number. The Nagasaki school 
 was not uncommonly followed, and, in a few cases, the Soga and Tosa 
 schools were represented. Of the popular school, Ukioye, only four 
 examples were seen ; and as an evidence of the reserve of the potter, only 
 one instance of a copy of Hokusai occurs. The potters of the provinces of 
 Sanuki and Kaga, and the potter Mokubei of Kyoto, followed the Chinese 
 school ; while Higo, Iwaki, Satsuma, and Kyoto followed Kano. 
 
 PRINCIPAL USES OF OBJECTS IN THE COLLECTION 
 
 Concerning the various uses to which pottery is applied, the Japanese 
 are only equaled by the Greeks of past times. Schliemann records the fact 
 that the ruins of the first prehistoric city of Hissarlik show the almost uni- 
 versal use of pottery by the people. " Utensils for every-day life, terra- 
 cotta funeral urns, large terra-cotta bowls, weights for fishing-nets, handles 
 for their brushes, and even hooks to hang their clothes upon, were all made 
 of pottery." Where we use silver and other metals, glass, etc., in the 
 making of various articles for daily use, the Japanese use pottery. 
 
 It is thought proper here to answer some of the questions which will 
 naturally be asked, by explaining the uses of the principal objects in the 
 collection. Examples of many of these are grouped together, but are not 
 on exhibition for want of room. 
 
 House 
 
 For use in the house may occasionally be seen a vessel the upper portion 
 of which has numerous perforations. This is used to hold material which, 
 when burnt, produces a dense smoke, a device used for driving mos- 
 quitoes out of the house (cases 17 and 19). Little wheels of hard pottery 
 are used as rollers for the sliding window or scuttle in the roof of the 
 kitchen ; a solid block of pottery in the form of a tortoise, bird, or simple 
 square, having a deep, wide notch in one end, is used to hold the end of a 
 standing screen. In house construction the roofing tile, sometimes glazed, 
 and the tiles terminating the ends of the ridge or the eaves, often very 
 elaborate, are of pottery. The intricate friezes of the rooms, usually perfo- 
 rated and of delicate wood carving, are sometimes seen in porcelain. The 
 ornamental -headed nails and recessed contrivances for shoving back the 
 screen partitions are sometimes made of porcelain. 
 
14 INTRODUCTION 
 
 Kitchen 
 
 The Japanese kitchen is rich in various forms of pottery. A jar as large 
 as a barrel is used for water for general purposes ; large bottles and jugs of 
 various sizes are used to hold sauce, vinegar, oil, and wine. There are a 
 number of stout bowls, and even shallow dishes, the bottoms of which have 
 been roughened by deep lines or imbrications, like a wood-file, to grate 
 radishes and other substances, — a device which might come into practical 
 use in our kitchen. There are jars for pickled vegetables, salted fish, etc. ; 
 shallow earthen pans for parching peas or corn ; peculiarly constructed 
 vessels for the purpose of steaming cold rice ; covered dishes in which 
 to prepare fish or meat, and covered bowls to cook eggs in a certain way. 
 Near the range stands a rough jar filled with water ; in this fragments of 
 burning charcoal are dropped when the fire is no longer needed. This is 
 done as a precaution against fire, and to save the charcoal, an economy 
 practiced by the Japanese. 
 
 Sacra 
 
 In every house a little shelf may be found, high up near the ceiling, upon 
 which is placed the household shrine. In front of this are little pottery 
 lamps, usually in the form of small plates, to hold oil and a pith wick ; 
 unglazed plates for food offerings ; oviform, long-necked flasks to hold the 
 wine offering ; and pottery vessels to hold the incense sticks. Even the 
 effigy of Buddha, or Kwannon, may be of pottery or semi-porcelain. For 
 offerings in the Shinto temples, unglazed, hand-made plates are used. 
 These are often made by one of the priests of the temple. For the burn- 
 ing of incense at funerals specially formed vessels are utilized. The cine- 
 rary urns for the poorer classes are very simple. These are black, unglazed, 
 containing a small wooden box to hold the fragments of bone and teeth 
 which may not have been completely reduced to ashes. At the grave large, 
 unglazed vessels are used, in which to burn incense and to offer food. The 
 peculiar gateway, or torii^ standing in front of the temple, which may be of 
 wood, stone, or metal, has also been made of porcelain. There is a very 
 large one of porcelain in Hizen, 
 
 Food- Vessels 
 
 Among the dishes used for food and for table service generally a great 
 variety of very interesting and beautiful objects are seen. Among these 
 are covered bowls for soup and rice. A wide, low, covered bowl, placed in 
 the centre of the dinner tray, is used to hold meat or broiled fish ; smaller 
 
INTRODUCTION 15 
 
 dishes for pickles, salted plums, etc.; shallow dishes, sometimes with a 
 small receptacle adherent for sauce for raw fish ; quaint and interesting 
 forms of dishes to hold cake and jelly; and small globular bottles, with 
 narrow mouths, are for sugar-plums, which may be shaken out one by one. 
 There are deep, narrow cups for raw fish and vinegar ; similar shaped cups, 
 though larger, for hot water for drinking ; and vessels, with a slight depres- 
 sion or nose on the rim, are used to hold sauce for raw fish and a kind 
 of macaroni. Three little pots, with a tall, cylindrical one, all united, take 
 the place of the caster for pepper, radish, and salt: the cylindrical part 
 accommodating the chopsticks for serving. Large, oblong dishes and deep 
 bowls are used to hold rice and fishballs, and large quantities of food in 
 general. Pottery-rests and holders for chopsticks, and receptacles for 
 toothpicks, are also seen. 
 
 Heating 
 
 A number of vessels come in use for the holding of ashes in which char- 
 coal is burned. Globular and nearly closed devices are used for warming 
 the hands ; open vessels are brought to guests for the same purpose ; and 
 there are little pottery devices containing live coals, which may be carried 
 on the person. Receptacles fop burning incense, and braziers for cooking 
 and preparing tea, will be considered under other heads. 
 
 Illumination 
 
 A number of articles made of pottery are used for illumination, or, per- 
 haps one might say, to make the darkness more apparent. Lamps range 
 all the way from a shallow saucer to hold oil and a pith wick to well-con- 
 structed lamps, with stand and handle combined. Pottery candlesticks of 
 various designs are seen, and also covered vessels to hold the snuffings, 
 with a receptacle for metal chopsticks to act as snuffers. In the bottom of 
 the large lantern which stands on the floor a shallow plate is placed to 
 catch the drippings from the lamp or candle. 
 
 Tea-Making 
 
 In preparing tea in the ordinary way, that is, from the leaves, quite a 
 number of vessels are demanded. If made with any formality, a little 
 lacquer cabinet is provided to hold the tea-cups, etc. A pottery furnace is 
 used upon which the vessel is placed to boil the water, and an object, not 
 unlike a small tea-pot, to cool the water to the proper temperature before 
 making the infusion. Contrary to our dictum, boiling water spoils the tea. 
 
i6 INTRODUCTION 
 
 Little tea-cups are used, from which the tea is drank without sugar and 
 without cream, and by the time the tea is made properly and served it is 
 nearly cold, but delicious. Other objects come into play, such as rests for 
 the cup, and a tea-jar, though for ordinary service a lacquer box is used or a 
 block-tin canister. A special form of bowl is used, into which the rinsings 
 of the cup are poured ; and in the formal serving of this tea other objects 
 find a place. 
 
 The Tea-Ceremony 
 
 Tea in the form of a fine powder, to which boiling hot water is added 
 and briskly stirred with a bamboo whisk, is, when served with due formal- 
 ity, associated with a number of intricate rules, according to the school 
 followed. In this service nearly all the vessels and utensils are made of 
 pottery. Among the objects commonly made of bamboo or metal, pottery 
 examples may be found ; even the shovel for ashes, which is usually of 
 metal, in rare instances is made of pottery. The collection contains an 
 example. The tripod upon which the hot-water kettle rests is also seen in 
 pottery. 
 
 Space will not permit a description of the ceremonial tea-party, though 
 the origin and persistence of this refined oustom has had a most profound 
 influence on the fictile art of Japan. The tenets have insisted on repose in 
 form and decoration. In the little house specially made for the service, and 
 in the approaches to it, such as the pathway, gate, fences, etc., rusticity is 
 affected : old moss-covered framework to the wells ; the pathway, in winter, 
 strewn with pine needles ; quaint waterworn rocks brought from some dis- 
 tant mountain brook. In the densest portions of the commercial city of 
 Tokyo one can find these enchanting spots. 
 
 The little tea-jars to hold the powdered tea must depend upon their form 
 and glaze for their attractive features. The tea-bowls are often of irregular 
 contour, rarely decorated ; the little dishes in which food is served before 
 the tea are also of some quaint form, and dainty always. The furnace may 
 consist of a square hole in the floor, metal-lined, and filled with ashes, in 
 which the burning charcoal is partially buried. Often the furnace is a large, 
 thick, unglazed pottery receptacle standing on three short legs (case 33). 
 This rests on a square tile or a square lacquered board. A large water-jar, 
 with lacquered cover, holds the water to replenish the iron kettle.. A quaint 
 little box of pottery is to hold incense, which is often put on the coals to 
 give fragrance to the room. A rest for the bamboo dipper may be of 
 bamboo, but is often made of pottery. A vessel into which the water is 
 
INTRODUCTION 17 
 
 emptied after rinsing the bowl, a little tube to hold the cloth with which 
 the bowl is wiped, and, in some forms, a long pottery tube, with broader 
 base, in which the bamboo dipper may stand, handle down, in a most un- 
 balanced attitude, are also seen. These and many other devices make up 
 the paraphernalia of the tea ceremony. The tea is reduced to powder 
 by grinding in a stone handmill. The Ethnological Museum at Leipzig 
 possesses a pottery mill. Sometimes a pottery mortar and pestle are used 
 to pulverize the leaves. Such, in brief, are the pottery utensils used in the 
 tea ceremony, a ceremony which has not only profoundly influenced the 
 pottery, but has affected the character of the house and garden as well. 
 Perhaps it may be nearer the truth to say that those whose tastes are quiet 
 and refined enough to enjoy the formal drinking of tea, with its easy, 
 though apparently rigid etiquette, demand cleanliness, purity, simplicity in 
 all the appointments connected with the service. 
 
 Wine 
 
 The universal wine of the country, used everywhere and on all occasions, 
 is the well-known sake, fermented from rice, and apparently no stronger 
 than German beer. This wine is drank hot from little, shallow, flaring cups, 
 usually of porcelain. The sake is served from bottles simple in shape, with 
 gradually tapering neck. These 'are often beautifully decorated, notably the 
 Satsuma and Kyoto forms. There are a great variety of sake bottles, some 
 with wide bottoms to use on shipboard or at picnics ; others with a bulbous 
 expansion, that they may float when placed in hot water ; others made 
 tapering to a point below, so that they can be stuck in the ashes. Recep- 
 tacles for sake are made with large areas of heating surface, or a vessel may 
 be filled with hot water, with accommodations for a narrow cylindrical sake 
 bottle. Beside the usual form of sake cup, there is one made in the form of 
 a mask, with a long nose, so that the wine must be drank before the cup is 
 laid down ; others are made in the form of a bell for the same purpose. A 
 cup is made with a hole in the bottom, over which the finger must be 
 placed ; the holder is forced to drink the liquor at once. In company, a 
 very important vessel (the haisen) is used to hold cold water, in which the 
 guest first rinses his cup before passing to another with whom he wishes to 
 drink. Little cups are seen which are tied to the girdle and used in travel- 
 ing. Three cups of varying sizes, resting one upon another, are used in 
 the marriage ceremony. 
 
z8 INTRODUCTION 
 
 Smoking 
 
 A few pottery utensils come in play for the use of the smoker. Jars 
 for tobacco and long, deep tubes, usually of bamboo, are also rarely made 
 of pottery. These are to knock the ashes in and to serve as a hand cus- 
 pidor. A pottery vessel filled with ashes to hold a live coal for the lighting 
 of pipes is handed to a visitor as one of the first acts of hospitality after the 
 customary salutation. The universal form of pipe consists of a metal bowl 
 and mouthpiece with bamboo stem. The collection contains an entire 
 pipe made of pottery. The Ethnological Museum at Hamburg has a pipe 
 in which the bowl and mouthpiece are made of porcelain. 
 
 Writing- Table 
 
 The love of poetry and verse which strongly characterizes the Japanese 
 lends an additional charm to the writing-table and the objects that are used 
 upon it. Many of these are made of pottery, and skill, ingenuity, and taste 
 are displayed in their making. The ink-stone, though usually of stone, is 
 sometimes seen in pottery ; an old roofing-tile may be utilized for that pur- 
 pose. The rest for brushes assumes a variety of shapes, as, for example, 
 three swans grouped together, or cocks of grain, or a row of children, or a 
 simple notched ridge. The vessel for water for the ink-stone is made in 
 the form of some household deity or mythological animal. A rest for the 
 stick of ink is made of pottery ; a little pottery screen is provided to stand 
 up in front of the ink-stone to catch any drops of ink that may be spattered 
 in rubbing. Pottery paper-weights are not uncommon : these may be in 
 the form of a tortoise, or a flat bar with moulded objects upon it. A special 
 holder is made for the red ink used in correcting manuscript. The collec- 
 tion contains a writing-box with partitions, stone and brush handles, etc., all 
 made of pottery. The bell to call the servant is sometimes of porcelain. 
 
 Artists Materials 
 
 The artist in mixing colors requires low, shallow plates, peculiarly shaped 
 objects for the holding and cleansing of brushes, and vessels for water, etc. 
 In drawing Chinese characters of large size, a quantity of ink is prepared, 
 and special vessels are used for this purpose. 
 
 Flowers 
 
 With the Japanese the love for flowers is a leading characteristic. A 
 great variety of objects is made for their display. Among these are stand- 
 ing flower - vases, rough, heavy, and massive, in which the flowers, by 
 
INTRODUCTION 19 
 
 contrast, look exceedingly beautiful ; hanging flower-holders of an infinite 
 variety of design ; quaint little receptacles just big enough to hold one 
 flower. These may be placed on the writing-table or shelf in the room. 
 Hanging, boat-shaped vessels, or two square-shaped buckets suspended 
 from a wheel, as well as large, heavy trays, are also made for flowers. The 
 flower-pots are often of blue and white porcelain or celadon glaze. These 
 are very ornamental. 
 
 Incense- Burners 
 
 The burning of incense sticks or little bits of incense takes place on 
 many occasions : in the tea ceremony, before the household shrine, on the 
 presence of a guest, and at the grave. There are many forms of incense- 
 burners, — some made in the shape of an animal, the smoke finding egress 
 through its mouth and eyes ; others in the form of a house, the smoke 
 coming out of the openings in the ends of the ridge ; or the vessel may be 
 in the form of a bronze incense-burner, the glaze made to resemble copper. 
 
 Incense-Boxes 
 
 The exuberance of the Japanese potter is most fully displayed in the 
 boxes to hold incense. Here the coquetries and conceits, the unexpected- 
 nesses and surprises, in the words of Jarves, find the fullest expression. 
 Mammals, birds, fishes, insects, mythological objects, fruits and flowers, and 
 every conceivable object, even mountains and waterfalls, are all rendered in 
 pottery for this service. 
 
 Ornamental Objects 
 
 Under this head may be placed pottery figures in the shape of some 
 mythological animal or household deity, which is placed in the recess 
 below the hanging picture or kakemono. This kind of picture rolls up like 
 a map when not in use, and the stick upon which it rolls may sometimes 
 have pottery or porcelain knobs. Curious-shaped objects, usually of metal, 
 but sometimes of pottery, are used to hang on these knobs to straighten 
 the picture. A rare but ingenious contrivance in pottery, in which an 
 open fan is displayed, is made to hang on some upright post in the room ; 
 a circular disk of pottery, with the characters for large and small on 
 opposite sides, is to remind one of the greater or less number of days in 
 a month. Cages to hold musical insects are sometimes seen in porcelain ; 
 large, deep vessels are provided in which rock-work is built and goldfish 
 are kept ; little pottery cups with loops are used to hold bird-seed. 
 
ao INTRODUCTION 
 
 Objects worn on the Body 
 
 A little contrivance, usually of metal, to hold ink and a brush, which is 
 worn on the girdle, is rarely seen in pottery. Lawyers and doctors were in 
 former times permitted to wear a wooden or ivory apology for a sword. 
 This device was carved in the form of a fish or some other quaint object. 
 The collection contains one made of pottery. An inro, which is almost 
 universally seen in lacquer, is occasionally found made of pottery or porce- 
 lain. Netsuke, usually made of wood, ivory, metal, or stone, and beads, 
 usually of metal, are also made of pottery. Even hairpins are sometimes 
 made of pottery or of white porcelain, wrought in the shape of plum blos- 
 soms. The collection contains a pottery mask, probably to be used on an 
 effigy of some kind. 
 
 Decorative Material 
 
 Pottery in various forms is used in decoration. Porcelain panels are 
 used in cabinets. The famous lacquer artist, Ritsu-o, introduced soft pot- 
 tery as well as other materials in the decoration of his work, and artists 
 following Ritsu-o's methods have made decorative panels in which pottery, 
 pearl, and lead were utilized in this way. 
 
 Toilet-Table 
 
 . A number of pottery articles are used on the toilet-table, — boxes to hold 
 
 white powder, and special vessels to hold the water for mixing ; saucers for 
 a rouge-like paint ; low, wide bottles with narrow mouths to hold oil of the 
 seeds of camellia. Besides these one may find jars and other vessels used 
 in the blackening of teeth. 
 
 Gaines and Toys 
 
 Chess-boards of hard pottery are seen, with chessmen of porcelain, and 
 an infinite variety of toys in pottery, such as globular bells, little figures 
 of various kinds, and all the paraphernalia of the miniature gardens the 
 Japanese are so fond of constructing in trays of sand. Among objects for 
 this purpose are summer houses, bridges, fences, stone lanterns, figures, 
 and miniature trees. 
 
 Fencers have tied to the tops of their hoods a little fragile pottery plate 
 which breaks at the slightest blow. 
 
 Gardens 
 At the end of the veranda there is a receptacle for water, near which 
 
INTRODUCTION 21 
 
 hangs a towel. This receptacle may be of iron or stone, though large 
 pottery vessels are often seen. The stone lanterns which decorate a gar- 
 den are sometimes made of pottery. Square tiles are sometimes used in 
 the paths. These I saw specially in the gardens of potters in Kyoto. The 
 collection contains a large well-wheel of pottery, presented by Mr. S. Bing, 
 of Paris. Pottery or porcelain garden stools, after Chinese fashion, are not 
 uncommon. 
 
 Medicine 
 
 Under this head may be classed pottery vessels made for distilling. 
 Little jars used for carbonizing frogs, rabbits' skulls, etc., after the Chinese 
 pharmacopoeia (already doomed in Japan), are made of pottery. A long- 
 nosed cup from which to pour medicine, mortars for grinding substances, 
 and objects to be worn on the person, such as neisuke, or inro to hold 
 powders or pills, are not uncommon. 
 
 Pottery-making 
 
 The art of the potter brings in a number of pottery utensils. At the 
 outset the muffles are of pottery ; oven shelves, spurs, and seggars are all 
 of pottery. Large jars for lixiviation and various other vessels are used in 
 the potteries. 
 
 Miscellaneous 
 
 In the shops one sees a great number of objects in the shape of bottles, 
 boxes, and jars for the holding of various extracts, preserves, cordials, sweet 
 wines, etc., pottery taking the place of glass for these purposes. 
 
 The metallurgist uses crucibles of pottery for the melting of metals, the 
 accidental oxidations of which have, in past times, given a hint for new 
 glazes, and the colored residuum often left in the bottom of the crucible 
 the suggestion of various alloys for the inlaying of their metal work. 
 
 The farmers use a heavy jar in which to sprout seed. Along the streets 
 large water-jars are seen for the convenience of street sprinkling and for 
 fire precautions. 
 
 The objects thus far mentioned do not by any means include all the 
 devices made in pottery. No record has been made of the pottery utensils 
 used by the inkmaker, the lacquerer, and those seen in other trades and 
 occupations; sufificient examples, however, have been cited to show the 
 infinite variety of uses to which pottery is applied in Japan. 
 
22 . INTRODUCTION 
 
 Explanatory Notes 
 
 A few terms are used in this catalogue which require an explanation. In 
 designating the names of objects English names have been used in every 
 case, with one exception. This is a vessel to hold cold water, in which a 
 Japanese first rinses his winecup before proffering it to a guest with whom 
 he wishes to drink. The vessel is known as a haisen, and as there is no 
 English equivalent, either of vessel or ceremony, the name " haisen " will 
 be retained. The Japanese have a kind of bowl with a slight spout on the 
 rim. This is generally used for holding sauce, and is known as katakuchi 
 (side mouth). The term " beaker " is used for this form of vessel. As 
 nearly all the Japanese pottery is crazed or crackled, this word will not be 
 repeated in the descriptions unless the crackle is very coarse, or very fine, 
 or has some peculiarity. The absence of crackle will be mentioned when 
 necessary. As the larger number of tea-jars have a mark on the bottom 
 (made by the cord in separating the object from the wheel) known as a 
 thread-mark, and as this mark is generally a right-handed thread-mark, 
 except in the Satsuma tea-jars and some others, this feature will be under- 
 stood as right-handed unless otherwise mentioned. Transparent glaze is 
 one that gives the same coloring to the clay that water might give. The 
 Japanese speak of this glaze as water glaze. The word Kochi is not used 
 in the catalogue, though it is a very common term with the Japanese. Red, 
 yellow, green, and purple glazes, either separate or intermixed, as well as a 
 rough decoration in red and green on a white ground, are called by the 
 generic name of Kochi, These kinds are supposed to be derived from 
 Cochin China or in imitation of Cochin China pottery. An opportunity 
 was afforded me of examining a large collection of pottery near the town of 
 Cholon in Anam. The pottery had been brought from Cochin China. In 
 the entire collection I saw no suggestion in the glaze or decoration at all 
 resembling what the Japanese know as Kochi ; on the other hand I did see 
 in a town north of Canton pottery glazes which might very well have been 
 the origin of the Japanese Kochi. 
 
 In the arrangement of the pottery in the cases a concession has been 
 made to the nature of this Institution, which is first of all a Museum of 
 Fine Arts. A compromise has therefore been effected by which the 
 unique and more beautiful objects of a family of potters have been arranged 
 " on the line," so to speak. Had this not been done, the work of some of 
 the greatest potters would have come either on the lowest or on the 
 highest shelves, where the objects could not have been seen to advantage. 
 
INTRODUCTION 23 
 
 This is true also of the serial arrangement of the Provinces, the sequence 
 being purely arbitrary. 
 
 The absence of numbers in sequence or numbers marked with an 
 asterisk indicate that the objects are not exhibited for want of room and 
 for other reasons. Many are important to the collection in showing, for 
 example, the degradation of certain families of potters or some collateral 
 branch or other feature, and many have no artistic merit. Special students 
 may have access to these by applying to the Keeper of Japanese Pottery. 
 
 As before mentioned, Ninagawa Noritane began the publication of the 
 work entitled Kwan Ko Dzu Setsu in 1876.^ This work had the general 
 title of Japanese Arts and Industries. The work on Japanese Pottery 
 consisted of seven parts, and a number of unpublished plates and drawings 
 which would have formed Part VIII. had he lived. In this series a part 
 was published on the various gateways of the castle of Yedo, illustrated by 
 small photographs; plates had been made for a part on ancient roofing 
 tiles; and drawings had been prepared for a part on Japanese armor. 
 Ninagawa's untimely death in 1882 prevented the completion of this work. 
 The seven parts on pottery were illustrated by lithographic plates colored 
 by hand. The collection possesses many of the originals figured in this 
 work. Of Part I., of which many of the figures were copies from drawings, 
 the collection has none; of Part II. it has twenty-one out of twenty-three; 
 of Part III. it has thirty out of thirty-two; of Part IV. it has thirty-three 
 out of thirty-six ; of Part V. it has all the objects figured, numbering thirty ; 
 of Part VI. it has eleven out of thirty-five ; of Part VII. it has ten out of 
 thirty-one ; and of the objects figured on plates and drawings prepared for 
 Part VIII., but unpublished, it has fifteen out of twenty-two. The collec- 
 tion thus possesses one hundred and fifty of the originals of Ninagawa's 
 great work. Of the remaining fifty-two objects figured in the published 
 work the British Museum possesses nine, and a few of the remaining ones 
 are in the private collections of Thomas E. Waggaman, Esq., of Washing- 
 ton ; William Anderson, Esq., of London ; and Thomas Allen, Esq., of 
 Boston. The rarest and most important pieces figured by Ninagawa are in 
 Parts II., III., IV., and V. Of the one hundred and twenty-one figured in 
 these parts the collection possesses all but seven. In this catalogue the 
 originals are designated as Type Ninagawa, etc. 
 
 In order to render complete the historical development of Japanese 
 pottery a small collection of the softer pottery of China, Cochin China, and 
 Anam should be formed to illustrate the origin of certain types of pottery 
 
 1 Part I., 1876 ; Parts II., III., IV., and V., 1877 ; Part VI., 1879; Part VII., 1880. 
 
24 INTRODUCTION 
 
 and methods of glazing and decoration which have been derived from these 
 countries. The Japanese fully acknowledge their indebtedness, as shown 
 by such terms as K5chi (Cochin China), Shina (China), Nankin (vulgate 
 for China), applied to certain kinds of pottery. The remarkable Chinese 
 bowls, known as Temmoku, which the Japanese have never been able to 
 imitate, the Chinese celadon, many forms of Chinese porcelain, the rough 
 red and green over decoration known as Kochi, Nankin yellow, red and 
 gold tortoise-shell glaze, pottery known as Boccaro, and many others, are 
 all copies of Chinese models. A nucleus has already been made for such 
 a collection, though from the scarcity of this material it will be difficult to 
 do more than gather a few typical forms. 
 
 In the spelling of geographical names I have followed the valuable 
 Dictionary of the Principal Roads, Chief Towns, etc., of fapan, by W. N. 
 Whitney, M. D. ; hence, Izumo for Idzumo, Kozuke for Kodzuke, Kyoto for 
 Kioto, Tokyo for Tokio, etc. 
 
 I have also found Ancien fapon, by Professor G, Appert and Mr. H. 
 Kinoshita ; Handbook for Central and Nortliern fapan, by Sir Ernest M. 
 Satow and Lieut. A. G. S. Hawes ; and A Handbook for Travellers in 
 fapan, by Professor Basil Hall Chamberlain and W. B, Mason, useful 
 works of reference. 
 
THE CATALOGUE 
 
 KOREAN POTTERY 
 
 The Japanese give the fullest credit to Korea for many influences 
 derived from Korean potters in past times. For this reason a small col- 
 lection of Korean pottery has been brought together to show in a measure 
 what the Japanese really owe to Korea. The hard, lathe-turned, unglazed 
 mortuary pottery of a thousand years ago has been derived outright from 
 Korea. The Japanese identify specimens dug up in Japan as Korean. 
 From the wide distribution of this pottery in Japan, and its abundance as 
 seen in the fragments along the roadways, I am convinced that it was made 
 in Japan, but by Korean potters. I am forced to this conclusion by the 
 absolute identity in clay, form, decoration, and purpose. 
 
 In Korea as in Japan this hard, lathe-turned pottery is associated with 
 a hand-made pottery of light, sandy clay, either red or yellowish in color. 
 Korean potters came to Japan at various times, centuries before they were 
 compelled to by Hideyoshi and his generals, and followed the vocation of 
 making mortuary vessels as well as pottery for domestic use. Provincial 
 history records the coming of Korean potters to various southern provinces, 
 notably Hizen, Satsuma, Higo, Suo, and Buzen, and even as far north as 
 Musashi. A peculiar style of decoration consists of impressed or incised 
 figures, usually in the form of stars, rosettes, circles, lines, etc., which being 
 filled with white clay, rarely black, give a simple and enduring decoration 
 under the glaze. The Japanese call this style Mishima, and it is directly 
 traceable to Korea. I have elsewhere shown that wherever Korean potters 
 settled in Japan the Mishima style of decoration is seen. This form was 
 undoubtedly an outgrowth of the incised decoration found on the mortuary 
 pottery. Roughly cut notches in the basal ring of bowls are said to be of 
 Korean origin. 
 
 Aside from the above-mentioned features, unless we add the deep_olive- 
 green glazes of early Satsuma and the discovery of white clay in Osumi 
 by Korean potters, and possibly the early Raku glaze, I am not aware of 
 
a6 THE CATALOGUE 
 
 any feature in Japanese pottery worthy of note th'at is traceable to Korean 
 influence. The Kwannon and other forms in a hard, ivory-white glaze, 
 commonly attributed to Korea, are probably Chinese. The jars, and rarely 
 figures and plates, in a cream-white glaze, with a rough decoration in rich 
 brown, which the Japanese invariably designate as Korean, are regarded by 
 Dr. F. Hirth, of Pekin (with whom I had the opportunity of discussing the 
 matter in Berlin), as unquestionably Chinese. Indeed, the more one studies 
 authentic specimens of Korean pottery the more impressed he becomes 
 that, with the exception of the above-mentioned features, Korea gave to 
 Japan nothing beyond a number of industrious potters, who, in early 
 centuries, brought the lathe-turned mortuary pottery, and later the Mishima 
 decoration which the Japanese rapidly converted into a highly artistic 
 form. 
 
 It is to China that the Japanese, as well as all other nations, are 
 indebted for many of the methods of work and styles of decoration in por- 
 celain and pottery. Toshiro went to China in the twelfth century, Goro- 
 dayu Shonsui in the fifteenth century, and Gempin is said to have been a 
 Chinese fugitive and not a Korean. Korea was continually receiving, by 
 way of her inland sea and Manchuria, pottery and porcelain from China, 
 and these, readily finding their way to Japan from Korea, were naturally 
 believed to be Korean products. 
 
 The following ascribed dates to Korean examples have but little value. 
 Interviews with a number of intelligent Korean officials connected with the 
 embassy in Japan failed to shed any light on the question. I could not 
 find that any interest attached to the subject of antiquities. After pressing 
 an old Korean official for some information in regard to these matters, 
 he answered, somewhat pathetically, " We are the only antiquities left in 
 Korea ! " 
 
 MORTUARY POTTERY (hard, gray, lathe-turned) (Case i) 
 
 The small collection of mortuary pottery was selected from a larger collection 
 made by Pierre Louis Jouy in Korea. These objects were found in burial mounds 
 in Torai, Urasan, and Taiku, north and west of Fusan, on the eastern side of the 
 Korean peninsula. The United States National Museum also possesses a selection 
 from the same collection, and in a description of it by Mr. Jouy, published by the 
 National Museum, he says, " Korea is one vast graveyard ; burial mounds and monu- 
 ments, of varying age and rich in archjeological interest, are a prominent feature of the 
 landscape. Although a tolerably thickly populated country, there are many sections 
 where the cemeteries occupy a quarter as much space as that used for agricultural 
 purposes." Associated with this pottery were " rings of copper heavily gilded, parts 
 
KOREAN POTTERY 27 
 
 of horse trappings, such as buckles, and other ornaments and objects of stone." The 
 vessels are made of hard, gray clay, in most cases turned on a wheel, unglazed, though 
 in some specimens the surface has been vitrified by the heat. The ornamentation con- 
 sists of sharply raised bands, wavy marks made by a comb, and lines incised, impres- 
 sions made by a wooden block on which have been cut grooves at right angles or in 
 circles, and, more rarely, an impression of a tube leaving deep circles. The vessels 
 show no signs of use, and are in such forms as to indicate that they were vessels of 
 offering for food, wine, and flowers. In another type the vessels may be lathe-turned 
 or modeled by hand ; the clay is soft, light red, or yellowish, and the pieces are small. 
 In Japan also the two types occur together associated with similar relics, and the 
 absolute identity in clay, form, method, and purpose show conclusively a common 
 origin, the Japanese forms having been made on Japanese soil, and at the outset, at 
 least, by Korean potters. Their age is probably twelve hundred years. 
 
 1. Round JAR, with definite shoulder and neck. D. iij in. H. ii| in. Hard, light gray 
 clay, ornamented with three bead-like mouldings, upon each side of which are bands of 
 incised wave lines. Low basal ring with seven square perforations. 
 
 2. Similar to last. D. gj in. H. 12 in. 
 
 3. Globular jar, with short neck. D. ii| in. H. 12 in. Supported on a high, elon- 
 gated, bell-shaped stand. H. 13J in. D. at base 10^ in. Stand with seven rows of 
 long, square perforations, four in a row, alternating. Jar and stand ornamented with encir- 
 cling beads and wavy comb lines. 
 
 4- Flaring bowl, on high support, perforated with square holes. D. 12 in. H. gf in. 
 Ornamentation same as last. 
 
 The above objects are on top of Case i. 
 
 5*. Globular jar, on perforated support. D. 8J in. H. 9J in. 
 
 6*. Globular jar, with cylindrical neck. D. 6J in. H. 8| in. 
 
 7- Bowl, with high support. D. gf in. H. 7I in. Support with angular perforations in 
 two series alternating. Bowl with four heavy ribs, between which a band of incised lines in 
 basket pattern, and just below a zone of dots in vertical lines impressed. 
 
 8. Lenticular bottle, with looped handles. H. 8J in. Gray clay with reddish areas, 
 
 roughly potted. 
 
 9- Globular JAR. D. 7^ in. H. 7J in. Just below rim two circular perforations on oppo- 
 site sides, eighteen encircling lines extending to lower half of body, between which are 
 vertical incised lines. The body has been combed in a nearly vertical manner, and the 
 eighteen encircling lines have been ruled over the vertical lines. Lower half combed with 
 lines at various angles. 
 
 10, II. Globular jars, with somewhat long, flaring necks. 
 
 12. Mug, with looped handle. D. a,\ in. H. 4J in. 
 
 13' Globular jar, with looped handle and perforated support. D. 35 in. H. \\ in. 
 

 28 Tff£ CATALOGUE 
 
 I4> Body, consisting of hollow tube supporting three cup-shaped receptacles opening into 
 tube support (absent) with four square perforations. 
 
 15- Shallow cup, with looped handle-support with wide perforations. D. 4I in. H. 3^ in. 
 
 16. Globular jar, with flaring neck. D. 4I in. H. 4J in. Decoration of bands and wavy 
 comb-marks. On one side of body large, round perforation. 
 
 An identical form from Japan has been figured by Ninagawa. 
 
 17—44 inclusive, are smaller objects in the form of tazzas, jars, bottles, covered vessels, 
 cups, etc., of similar pottery. 
 Of these 36 to 44 are below. 
 
 MORTUARY POTTERY (hand-made) (Case i) 
 
 Associated with the above pottery are found smaller vessels, usually moulded by 
 hand, of a loose light reddish and sandy clay. This pottery may be of a sacerdotal 
 nature. A similar association is found in Japan. 
 
 45- BowL-SHAPED JAR, with constrictcd opening. D. 3^ in. H. 2% in. Coarse, sandy 
 light yellowish clay. Strong spiral lines on bottom of vessel. 
 
 46, 47. Similar to last. 
 
 48, 49- Knobbed covers. 
 
 50. Perforated disk (possibly spindle whorl). D. if in. S* 
 
 51, 52. Clay objects, in form of pagoda, used as votive offerings. H. 2^f in. Sandy, 
 light red clay, made in moulds of two halves. Base perforated. On one, obscure char- 
 acter in relief. 
 
 Identical objects are dug up in Yamato. 
 
 EARLY GLAZED POTTERY (Case i) 
 
 53- Vessel, with nozzle. D. 4J in. Hard gray clay, glaze strongly crackled. Border of 
 cranes and stars in black and white Mishima. iioo 
 
 54* Flaring bowl. D. 6J in. Reddish clay, dull greenish glaze. Five sanded spur- 
 marks inside and out. 
 
 55- Shallow saucer. D. 4 in. Light fawn clay, thick yellowish glaze. Base unglazed. 
 56. Shallow dish, with thickened rim. D. a,\ in. Hard clay, greenish celadon glaze, 
 finely crackled, sand adhering below. Roughly potted. 
 
 The last four objects were dug from graves near Chemulpo, and are probably eleven 
 hundred years old. 
 
 56a. Shallow bowl. D. 6J in. Coarse dark clay, rudely mixed, dark grayish glaze with 
 large bubble-like blisters, one of which, on the inside of the bowl, has broken away. Out- 
 side four encircling lines in two bands, beneath which are disposed at three equidistant 
 points a radiating figure inclosed in a double circle. Within are similar encircling lines 
 disposed in the same way, with a conventional flower impressed at four equidistant points, 
 the radiating wheel-like flower being made by one stamp, the leaves by another, while the 
 stem is incised. The bottom is very rough, and has adhering to it coarse sand upon which 
 the vessel rested in the oven. 
 
KOREAN POTTERY 39 
 
 Loaned by Percival Lowell, Esq. 
 
 A gift from the King of Korea to Mr. Lowell during his visit to Korea, when he was 
 appointed Foreign Secretary to the first Korean Embassy to the United States. 
 
 SONG-DO POTTERY (Case i) 
 
 The following pieces (Cat. Nos. 57 to 6y) were purchased from a Korean official in 
 SoUl in 1885 by an officer of the United States Navy. The Korean official had 
 obtained them from a Korean of Song-do, in whose family they had been for many 
 years. An ancestor had dug them from the ruins of the ancient royal palace in Song-do 
 from a part of the site which he owned. Song-do was the Korean capital for about 
 eight himdred years prior to five hundred years ago. The Koreans regarded the 
 pottery as about eight hundred years old. I have given a more conservative estimate 
 by indicating an age of six hundred years, though it might be safe to adjudge it of 
 a later date. The character of the work is so unlike Korean Mishima that one might 
 be justified in regarding it as of Chinese origin, and suggesting the idea that the 
 Korean Mishima was derived from the same source. The clay is hard and ringing, 
 and the glaze is a grayish or greenish celadon. The Mishima designs are in white 
 and black. 
 
 57* Vase. H. 14I in. Swelling body, tapering gracefully to a narrow base. Opening 
 small, neck short and constricted, with definite rim. Clay fawn-colored, hard, and fine ; 
 thick greenish celadon glaze, brownish area closely crackled. Decoration of cloud and 
 crane in black and white Mishima. Base uneven. 1200 
 
 58. Vase. H. io| in. Similar in form to last. Decoration of flowers and cranes, with 
 band of oblique fretwork about neck and base, with scalloped design on shoulder. 
 All in black and white Mishima. Mark incised and obscure. 1200 
 
 58 
 
 59* Shallow dish. D. •j\ in. Hard reddish clay, greenish celadon glaze 
 coarsely crackled. Inside, design of leaves in slight relief. Three small spur- 
 marks. 1200 
 
 DO. Oviform water-vessel, with nozzle and delicate looped handle. H. 7 in. Hard 
 light reddish clay, greenish celadon glaze. Constricted neck with low cover. On each side 
 large circular panels ; in one, floral design ; in the other, willow ; on front, cloud, all incised. 
 Handle and nozzle spring from deeply incised escutcheon design. Handle ribbed and 
 having above a small loop and projecting knob. Cover with rough scrollwork in white 
 Mishima. Five rough traces of spur-marks. Bottom unglazed. 1200 
 
 61. Shallow dish, with slightly flaring sides. D. 4I in. Hard ringing clay, gray celadon 
 glaze, crackled in parts. Five conventional flowers, equidistant, in black and white Mishima. 
 The same number, inside, in white Mishima, and on bottom, inside, rosette of scrolls, etc., in 
 white Mishima. Three ragged spur-marks. 1200 
 
 62. Shallow dish, with flattened projecting rim. D. 5^ in. Sides and rim moulded in 
 eight double scallops, /->-"-^-n. Inside, incised in leaves, scrolls, etc. Greenish celadon glaze. 
 On bottom three rough spur-marks. 1200 
 
CASE I 
 
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 S-6 
 
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 JOS. 
 
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 lOS 
 
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 KOREA. EARLY HISTORIC AND RECENT 
 

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 Ji^ 
 
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 ^# 
 
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 ^ 
 
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 rMWTw 
 
 
 Sr, 
 
 
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 'i^*i&r 
 
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JAPANESE POTTERY 31 
 
 89— 92- Bowls, with gray glaze and white Mishima decoration. 1630-1780 
 
 93~IOI« Bowls, flask, jars, and nozzle bottle. i 750-1800 
 
 KOREAN POTTERY — MODERN (Case i) 
 
 I02-H2. Jars, bottles, and cups. 1850-1880 
 
 JAPANESE POTTERY 
 
 The earliest records of the Japanese attest to the presence of the potter's 
 art. Before recorded history, however, or dimmest tradition, man was 
 engaged in fashioning rude pottery by hand, and the wide dispersal of this 
 material has led to a number of provinces claiming equal antiquity for the 
 origin of pottery-making. The shell heaps along the coast are filled with 
 the fragments of rude pots, showing cord-marked, incised, and modeled 
 decoration, indicating the presence, in prehistoric times, of a people low 
 down in savagery, yet skilful in handling clay. Early in historic times 
 may be regarded the clay figures, the burial of which on the death of an 
 emperor is said to have been substituted for that of living persons. The 
 record seems childish, and as the date is early in the Christian era it may be 
 that the story might have originated from the finding of these figures, or 
 that the legend might have come from abroad. Next in time are the 
 unglazed lathe-turned mortuary vessels found in caves, dolmens and tumuli, 
 associated with bronze objects, indicating an age of from eleven hundred to 
 twelve hundred years. The collections in the great storehouse at Nara 
 reveal the existence of soft green glazed pottery one thousand years ago, 
 though Ninagawa was inclined to believe that this pottery was brought 
 from China, and I am inclined to the same opinion. Fragments of a hard 
 green glazed pottery dug up in Omi are figured by Ninagawa and accorded 
 an age of nine hundred years. Records show the presence of Korean 
 potters in Hizen five hundred years ago. 
 
 The first step in what may be called a definite and connected history of 
 pottery-making in Japan dates from the beginning of the thirteenth cen- 
 tury. The drinking of powdered tea was destined to exercise a profound 
 influence on the potter's art. An herb which was so associated with 
 Chinese courtesy and hospitality — an infusion which had inspired the 
 minds of those who had been identified with the national grandeur of that 
 unique people — was to be served in vessels of becoming excellence. With 
 the importation of pottery and porcelain from China the desire to improve 
 
32 THE CATALOGUE 
 
 the quality of their own rude work was aroused, and history relates that in 
 1223 one Kato Shirozayemon, a potter of Owari, went to China to learn 
 the higher secrets of the potter's methods. After an absence of several 
 years he returned to his native village of Seto, and began the making of tea- 
 jars, water-jars, and other forms. A study of the work of this man and of 
 his successors is of interest, as exhibiting the dawn of that art which in 
 succeeding centuries was to make Japan famous the world over. So 
 important was the impress made by the potters of Seto that the name Seto 
 became the generic appellation of all Japanese pottery, just as China has 
 become the synonym for all porcelain. In New England every house con- 
 tains its " china closet," though its shelves may have sustained nothing 
 more precious than the white glazed stone pottery of England. 
 
 PREHISTORIC POTTERY (Case 2) 
 
 The pottery found in the shell heaps scattered along the coasts may justly be 
 regarded as prehistoric. In a memoir,* published by the University of Tokyo, I have 
 described and figured the characteristic features of some of this pottery, and have else- 
 where expressed the opinion, which I still hold, that the pottery was made by a people 
 who occupied the land before the Ainus. This pottery is rough, hand-made; rims 
 variously modeled and ornamented with curiously elaborate knobs, and sides deco- 
 rated with designs of scrolls, and inclosed spaces incised. In the north, cord-marked 
 pottery predominates ; this feature becomes less common towards the south, until 
 finally, in the extreme south, it almost disappears, and the design becomes broadly 
 incised. Each limited region on the coast has some peculiarity in form and marking. 
 The most elaborately made and decorated forms of shell-heap pottery are found near 
 the central portions of Japan. The pottery is usually found in fragments ; it shows 
 evidence of wear, breakage, and subsequent mending. No representation of a natural 
 object, such as an animal or a plant, appears in this pottery ; it is associated with 
 cannibalism and platycnemic tibiae, and, in the vicinity of Tokyo at least, with the 
 rudest stone and bone implements. Great age is indicated by a marked change in 
 the molluscan fauna since the deposits were made. 
 
 113. Fragments of pottery, from the shell mounds of Omori, near Tokyo. 
 
 II4-I23. Plaster casts of pottery vessels and pottery tablets from the shell mounds 
 of Omori, near Tokyo. The original specimens are in the Museum of the Imperial University 
 of Japan. 
 
 124. Jar, from shell mounds near Tokyo. 
 
 125. Fragments of pottery, from shell mounds on the west coast of Yezo, at Otaru. 
 
 126. Fragments of pottery, from shell mounds of Onomura, Higo. 
 
 ' Shell Mounds of Omori. 
 
JAPANESE POTTERY 33 
 
 127. Jar. H. 11} in. Narrow base, decorated by a fillet of crenulated clay around body. 
 This object is figured in Ninagawa's work, Part VII., Fig. 27. This was found at Hyuga, 
 and is evidently of the same age as the shell-heap pottery. 
 
 128. Jar. H. <j\ in. D. yi in. in middle, tapering to a narrow base and a narrow open- 
 ing. Two long, flat handles, notched with three circular impressions on each side. Around 
 neck and centre are raised ribs in pairs, connected by raised ribs in pairs running vertically 
 on both sides of handles, ending with raised circles at each end. Scroll design in relief on 
 sides, and impressed spirals in shape of figure eight around centre and on sides. Roughly 
 made. Dug up near Sapporo, in Yezo. Collected by Mrs. Mabel Loomis Todd. 
 
 KAMIOKA POTTERY (Case 2) 
 
 A form of ancient pottery seen in the collections of Japanese antiquarians is 
 brought from the northern provinces of Rikuzen and Rikuchu. I have not been able 
 to ascertain the conditions under which it is found, except that it was dug from the 
 ground. The number of perfect vessels met with would perhaps indicate that the 
 objects had been obtained from burial-places. The vessels are always small in size, 
 the walls are thin, the designs smoothly incised in scrolls or interrupted lines with 
 cord-mark decoration ; the rims are even, or worked into low knobs or shallow notches. 
 Most of the forms are curiously unlike those found elsewhere. Representations of 
 natural objects are also found. From what is thus far known about this interesting 
 pottery, it must be regarded as prehistoric. There is not the slightest evidence that 
 the Ainus made pottery. An art so persistent among savage tribes as pottery-making 
 would never have been abandoned by such primitive savages. If, however, it shall 
 ever be demonstrated that the Ainus, as a race, made pottery in past times, I shall 
 be inclined to attribute the Kamioka pottery to Ainu origin. 
 
 129. Bowl. D. 4^ in. Fine dark clay, band of interrupted lines around rim. Rim 
 notched with four pairs of low knobs. Cord-mark impressions on side. Smooth space near 
 bottom. 
 
 130* Cup. D. 2f in. Surface cut in series of strong encircling ribs. 
 
 13^' Jar. H. 5f in. Ovoid in form. Coarse whitish clay, surface rough. This speci- 
 men, though coming from Kamioka, has none of the characteristics of the typical Kamioka 
 pottery. 
 
 MORTUARY POTTERY (hard gray lathe-turned) (Case 2) 
 
 132. Lenticular flask, with cylindrical neck, and knobs on sides suggesting rudimentary 
 handles. H. 7J in. Hard gray clay. Circular lathe-lines deeply marked. Vitrified about 
 neck. Yamato. 800 
 
 133* Flask, spherical body, neck with flaring rim. H. 64 in. Fragments of other vessels 
 adhering. Yamato. 800 
 
 134- Spherical jar. Yamato. 800 
 
 135- Flask, similar to 133. 
 
34 THE CATALOGUE 
 
 136. Lenticular flask, nearly globular. Short cylindrical neck. H. 8^ in. 800 
 
 137* JaR- H. iiJ in. Globular body, flattened above. At one side of vertical axis 
 below is a flattened area upon which the vessel rests ; above and on the opposite side is a 
 short round neck, with definite rim. Hard fawn clay, upper surface strongly vitrified in 
 green drops. Lines impressed on outside. Yamato. 800 
 
 Type Ninagawa. Part II., Fig. i. 
 
 138. Lenticular flask. Yamato. 800 
 
 139. Shallow cup, with cover, with tall narrow base, flaring at bottom. H. 8| in. Per- 
 forated with three long, narrow slits interrupted in middle. Cover convex, with small knob. 
 Soft light gray clay, cover nearly white. Yamato. 800 
 
 140. Vase. H. 14! in. Globular body, short flaring neck. Tall support, flaring at base. 
 AflSxed to shoulder, close to neck, are three little globular jars with flaring necks. Neck 
 with three zones of wavy comb-marks divided by ribs. Body having lines of dots about 
 lower portion. Support with three zones of wavy comb-marks, also three lines of narrow 
 perforations interrupted by ribs. 
 
 A most unusual form. Yamato. Sob 
 
 I4I~I53' Various forms of pottery similar to the above. Yamato. 800 
 
 In clay and decoration the above objects are identical with those from Korea already 
 catalogued. The lenticular flasks are peculiar to Japan. Other forms are similar to or 
 identical with Korean forms. 
 
 154. Jar. H. si in. Globular body, sloping shoulder, large, slightly flaring neck with 
 two ribs midway and below. Wavy comb-marks. Hard light gray clay, walls thin, delicately 
 turned. Yamashiro. 800 
 
 ^55* Jar- H. 2,\ in- Bluntly pear-shaped. Neck short, flaring. Fine right-hand thread- 
 mark on bottom. Hard dark gray clay. Surface partly vitrified. Shinano. 800 
 
 156, 157' Mortuary vessels. Locality unknown. 800 
 
 158. Fragment of large jar, showing circular impressions on inner side. 
 
 Locality unknown. 800 
 
 159- Fragment, showing deep circular impressions on inner side. Omi. 800 
 
 Associated with unglazed, lathe-turned, hard, gray mortuary vessels in Korea are 
 found vessels of small size with soft light red clay, usually modeled by hand. So in 
 Japan, at Kabutoyama, in the Province of Musashi, at a place where Korean potters 
 are known to have come in early centuries, there are dug up similar vessels of soft 
 light red clay, made by hand, and of similar shapes. These are associated with frag- 
 ments of the hard gray mortuary pottery. 160-164, gift of Mr. Negishi. 
 
 160. Jar. D. 2>\ in- Round body, flaring rim. Heavy soft reddish clay. 
 
 Kabutoyama. 800 
 
 161. Cup, flaring. H. i\ in. Sides with two slight swellings. Thin light reddish clay. 
 
 Kabutoyama. 800 
 
 162. Cup, flaring. H. 2J in. Slight constriction below rim. Thin walls. Comb-marked 
 outside. Light fawn clay. Kabutoyama. 800 
 
JAPANESE POTTERY 35 
 
 163. Eighteen fragments of pottery similar to above, consisting of cup-supports, shallow 
 bowls, cups, tall supports with widely flaring base, etc. All hand-made. Some of the frag- 
 ments are stained with cinnabar. Kabutoyama. 800 
 
 164. Five fragments of hard bluish-gray unglazed pottery, associated with the preceding 
 forms. 
 
 In Korea peculiar pagoda-like figures, resembling rude chessmen, in soft light red 
 clay, and made in a mould, are found associated with the mortuary vessels. (See Cat. 
 Nos. 52 and 53.) In Japan similar objects are found associated with the same pottery. 
 In Yamato these objects are said to have been made during the reign of Suiko Tenno, 
 in the seventh century. They were made by the thousand for votive offerings. 
 
 165. Stunted pyramidal object, with heavy shoulder just below top, suggesting a phallus. 
 H. 2\ in. Oblong incision in base. Soft light fawn clay. Made in mould. 
 
 Yamato. Seventh century 
 
 166. Pagoda-formed object, with overhanging shoulder, projecting base, and ribbed spire. 
 H. 2^ in. Soft light red clay. Made in mould. Yamato. Seventh century 
 
 167. Fragment of light yellow sandy pottery from the mound of Jimmu Tenno. 
 
 Yamato. Seventh century 
 
 168. Similar fragment. Vertical comb-mark. 
 
 The two following pieces are identical with a form described and figured by Nina- 
 gawa in a separate brochure as coming from a mound in Yamato. They resemble 
 Ochiai and Okehazama in the welded basal ring. 
 
 169. Shallow bowl, with thin and delicate walls. D. 5! in. Soft nearly white clay, very 
 fine. Dark slate-colored areas. On bottom, inside, a smoothly rubbed scroll. Hand-made. 
 
 From a dolmen in Iga discovered by Professor Chujiro Sasaki. 
 
 170. Similar to last. 
 
 I7I- Shallow plate. D. 3J in. Light yellow sandy clay. Made by hand. Associated 
 with above. 
 
 172. Cylinder. H. iiJ in. D. 12 in., slightly larger below. Rough light reddish clay 
 coarsely worked by hand. Exterior with fine vertical comb-marks. On opposite sides of the 
 lower edge are two circular notches, four and one half inches in length by two inches in 
 height. On the outside of one notch the clay is somewhat blackened, as if by smoke. 
 There are no signs of fire inside. The upper end has thicker walls, varying from 3J in. to 
 } in. The lower rim \ in. in thickness. 
 
 Said to have been one of the flower-.vases used on the beach of Harima in ancient times 
 in honor of the Emperor. 
 
 In appearance the pottery resembles fragments 167, 168. 
 
 Gift of Bunkio Matsuki. (On top of Case 2.) 
 
 EARLY HISTORIC POTTERY (Case 2) 
 
 The two following shallow vessels are apparently later than the early lathe-turned 
 mortuary pottery already catalogued. They are made of similar clay, lathe-turned. 
 
36 THE CATALOGUE 
 
 unglazed, but differ from the Korean and similar pottery in Japan by having a basal 
 ring rudely welded, the base showing thread-marks. Vessels of this character are all 
 roughly potted. The objects are found on the sites of ancient ovens, and probably 
 represent the early attempts of Japanese potters breaking away from Korean models. 
 
 173' Shallow bowl. D. 6| in. Rudely potted. Hard light brownish clay. Inner sur- 
 face vitrified, basal ring welded to bottom, inside of which is a scroll. 
 
 Identical with Ninagawa's type. Part VI., Fig. 6. Ochiai, Owari. Seventh century 
 
 174, Similar to last. Indistinct thread-mark on bottom. 
 
 Okehazama, Owari. Seventh century 
 
 ^75' ^7"- Yamato NingiO. Reproduction of clay figures found near Nara, Yamato. 
 
 Gift of E. F. Fenollosa. Seventh century 
 
 EARLIEST GLAZED POTTERY (Case 2) 
 
 177' Fragments of pottery dug up at Shiga, Omi. Hard gray clay, thin watery green 
 glaze. 
 
 Type Ninagawa. Part II., Fig. 2. 
 
 178. Fragments of pottery from Emperor's storehouse at Nara. Soft light fawn clay, 
 light transparent glaze, rich green overglaze in streaks. 
 Ninagawa believed these to be Chinese. 
 
 PROVINCE OF HIZEN 
 
 The keramic products of Hizen are known the world over through its 
 famous porcelain. After China, its " blue and white " and " polychrome " 
 stand preeminent. During the early days of the Dutch commerce with 
 Japan, the porcelain ovens near Nagasaki turned out large numbers of huge 
 vases and plaques made expressly for the Dutch trade. The famous col- 
 lection at Dresden is made up almost exclusively of these big vases in 
 polychrome. When one considers the beautiful work, made in accordance 
 with the refined taste of the Japanese, which the Dutch merchants might 
 have obtained, the contemplation of the Dresden collection is simply 
 disheartening. 
 
 As the consideration of porcelain does not come within the scope of 
 . this catalogue, we turn our attention to the soft and hard pottery. Among 
 the kinds most prized by the Japanese are those which come under the 
 general name of Karatsu. There certainly could be no greater contrast 
 than that shown between the exquisite white porcelain and the rough, dark, 
 and archaic-looking bowls and jars of Karatsu. Of a later date may be 
 
i 
 
CASE 2 
 
 ^^I^A. 
 
 15 
 
 
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 I^O 
 
 J37 
 
 IS3 
 
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 17V 
 
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 lyy 
 
 13(9 
 
 (3Z 
 
 138 123 
 
 i3y 
 
 )(.3--, 
 
 Hi" 
 
 139 /ss 
 
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 io 
 
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 IhZ 
 
 
 r% 7 . 
 
 ^_/'2.'' 
 
 
 Q.3 
 
 JAPAN. PREHISTORIC AND EARLY 
 

PROVINCE OF HIZEN 37 
 
 considered the work of Goroshichi and the products of Kameyama, Boga- 
 saki, Utsutsugawa, and others, among which are found many pieces of 
 interest. The almost entire absence of marks renders the identification 
 in some cases extremely difficult. Yet a certain individuality attaches to 
 them all. 
 
 KARATSU (Cases 3 and 4 and Plate I. 179, 180, 181, 197, 206, 243, 252) 
 
 Under this name a very wide range of hard pottery is included. This pottery is 
 designated by different names, according to age or variety. I have found it difficult to 
 harmonize conflicting opinions among Japanese experts, and shall avoid making fur- 
 ther confusion by considering the entire group under the generic name of Karatsu. 
 
 In the ancient town of Karatsu, pottery has been made from remote times. 
 Records show that glazed pottery was made in Karatsu in 1200 or thereabouts. 
 Korean potters were at work there as late as the sixteenth century. The pottery 
 varies greatly in the color and the quality of the glaze. If decorated at all, the paint- 
 ing is done in black or brown, in the rudest manner ; if in Mishima style, the 
 designs are simple. Despite the hard, rough clay, which presents in many pieces a 
 resemblance to cast iron, and the archaic appearance of the pottery, there is a certain 
 charm about it, which increases with study. The older pieces belong to the past ; 
 they are like fossils, never again to be reproduced. The quarries from which the clay 
 was derived are exhausted ; the formulae for the glazes are lost. Old Karatsu pottery 
 is therefore unique. The earliest forms have a bluish-black clay and glaze. Subse- 
 quently Korean potters settled in Karatsu, and objects made by them are known as 
 Oku Korai (distant Korea). The pottery resembling Korean work is known as 
 Chosen (Korea) Karatsu. Castaways dug up from the ruins of old ovens are recog- 
 nized under the name of Horidashi (dug-up) Karatsu. Those decorated with rough 
 sketches, or rude splashes in black, are called Ye (painted) Karatsu. And those with 
 a broad brush-mark of white are termed Hakeme (brush-marked) Karatsu. The 
 designs, incised or impressed, and filled with clay of contrasting color, either white 
 or black, are known under the general name of Mishima Karatsu. Certain forms of 
 fine clay, rather delicately made, for the purpose of presenting to some Daimyo, are 
 called Kenjo (present to superior) Karatsu. Many of these distinctions are absurd as 
 well as useless, for they rarely indicate either special potters, ovens, or periods ; and 
 at the same time the distinctions are often so vague that native experts differ in dis- 
 tinguishing them, and even in defining them. For lack of other information, however, 
 and for convenience of cataloguing, the above groupings will be followed in a general 
 way. 
 
 179- Comfit -BOTTLE. H. 2J in. Smooth olive-gray clay, dull greenish-white underglaze, 
 dull brown overglaze. Lower portion unglazed. 1180 
 
 Type Ninagawa. Part III., Fig. 11. 
 
 180. Tea- bowl. D. si in. Dull light brown clay, olive glaze, crackled. Base unglazed. 
 Type Ninagawa. Part III., Fig. 12. 1280 
 
38 THE CATALOGUE 
 
 181. Single flower-holder, double gourd shape. H. 2\ in. Brownish clay, thick olive- 
 white glaze. Thread-mark. 1380 
 
 Type Ninagawa. Part III., Fig. 13. 
 
 182. Beaker, with large spout. D. 6J in. Coarse reddish clay, light olive-gray glaze 
 coarsely crackled. On opposite sides, large oval splash of dark gray. Iridescent. 1380 
 
 Type Ninagawa. Part III., Fig. 14. 
 
 The above types of Ninagawa all bear the evidences of great age. 
 
 ^^83- Jar, globular, sloping shoulder. H. 6 in. Thickened rim. Basal ring. Hard 
 reddish-brown clay, olive glaze coarsely crackled. Two curved brush-marks in black. 1480 
 This resembles No. 182, but was probably made a hundred years later. 
 
 184. Similar to last. H. 5 in. 1480 
 
 185. Tea-bowl, shallow, thickened rim, oblong oval in three curves. D. jj in. Hard 
 coarse reddish clay, light greenish-gray glaze, thick dull olive-brown second glaze, and white 
 curdled running overglaze. Roughly potted. 1500 
 
 186-I9I. Bowls, beaker, and cup-rest. 1530-1630 
 
 192. Tea-cup. D. 2J in. Reddish-brown clay, light olive-gray glaze, rich deep olive- 
 brown fringe of glaze around rim within. 1680 
 Exceedingly rare form. 
 
 193-196. Bowls and jars. 1680-1780 
 
 197- Jar. H. 5:^ in. Thickened rim. Coarse brown clay, thick silvery-white glaze crackled. 
 Splashes of greenish overglaze. 1750 
 
 198-202. Flower-vase, bowls, incense-stick burner, shallow dish. 1780-1830 
 
 203. Bowl. D. 4§ in. Coarse reddish-brown clay, grayish underglaze curdled, olive-green 
 overglaze. 1850 
 
 SILVER KARATSU (Case 3) 
 
 I have designated a peculiar white-glazed Karatsu as Silver Karatsu, to distinguish 
 it from other kinds of white glaze found in this province. It is, indeed, unlike any- 
 thing else found in the whole range of Japanese pottery. 
 
 204. Globular tea-jar, on high basal ring. H. 3 in. Coarse gray clay tinged with red, 
 silvery-white glaze with bluish fleck running in thick drops, finely crackled. 1480 
 
 205. Single flower-holder. H. 3^ in. Globular body, long neck, and flaring support. 
 Fawn-colored clay, white glaze finely crackled and much stained. 1480 
 
 206. Tea-bowl. D. 5J in. Flaring from basal ring, and strongly constricted just below 
 rim. Coarse fawn clay, thick silvery-white glaze crackled. Highly lustrous. 1530 
 
 207. Beaker. D. 4^ in. Hard reddish-brown clay, underglaze transparent, glistening; 
 thick silvery-white overglaze. 1600 
 
 208. Tea-jar. H. 3^ in. Very thick and heavy. Fine hard light reddish-brown clay, 
 lustrous transparent glaze, flecked with opalescent light blue ; rich transparent brown over- 
 glaze ; on shoulder bluish-white^running. 1650 
 
 Gift of Mrs. Henrietta Page. 
 
PROVINCE OF HIZEN 39 
 
 CHOSEN KARATSU (Case 3) 
 
 209. Bowl. D. 4J in. Fine clay, thick white glaze with pink areas, finely crackled, 
 blistered near rim inside and out. 1500 
 
 210. Bowl, contracted towards mouth. D. 3^^ in. Fine gray clay, thick white glaze, with 
 warm grayish tinge throughout, strongly crackled. (Case 4.) 1580 
 
 211. Bowl. D. i,\ in. Hard reddish clay, thick white glaze coarsely crackled. Dull 
 blue, sketchy decoration of cross lines, etc. 1580 
 
 YE-KARATSU (Case 3) 
 
 212. Cake-dish, fan-shaped. Outside diameter 9 in. Fine brown clay, dull, light 
 yellowish-gray glaze. Sketch of tree in greenish-black. 1500 
 
 213. Tile for furnace-rest, hexagonal. D. 7 J in. Dark brown clay, resembling cast iron ; 
 dull white underglaze, white overglaze. Decoration of egg plant in black, vigorously drawn. 
 
 1520 
 
 214. Cake-dish. D. 6j in. Reddish-brown clay, warm gray glaze. Rude decoration in 
 black. 1580 
 
 215— 217- Shallow plate, beaker, and deep cup. 1600-1630 
 
 218. Squat tea-jar. H. i^ in. Hard brown clay, thick olive-brown glaze crackled. 
 Decoration of wheels in black. 1650 
 
 219. Cake-dish. D. 6 in. 1680 
 
 220. Incense-stick burner, in form of bowl with inverted rim. D. if in. Fine gray 
 clay, light olive-gray glaze. Black and blue brush-marks on rim alternating. Thread-mark. 
 
 An unusual form. (Case 4.) 1680 
 
 221. Tea-bowl. 1680 
 
 222. Large bowl. D. 7J in. Light brown clay, heavy gray glaze, thick white overglaze 
 in two large areas, coarsely crackled and pitted. Decoration of flowers and bamboo in 
 green and brown. Incised lines encircling lower portions. 1700 
 
 223. Deep bowl, cylindrical. D. 3I in. H. 4 in. Fine brown clay, chocolate-colored 
 glaze. Rude decoration of flowers and vertical lines in olive brown. 1700 
 
 224. Oviform bottle, with long slender neck. H. 1 \\ in. Fine light gray clay, brilliant 
 light olive glaze, finely and evenly crackled. Neck with rich brown overglaze flecked with 
 black. Decoration of bamboo in black, with brown and green intermixed. (Case 4.) 1700 
 
 225. Bowl. D. sJ in. Basal ring with semicircular notches. 1700 
 
 220. Plate. D. 16^ in. Reddish-brown clay, thick light brown glaze; inside showing 
 combings of clay in wavy encircling and radiating lines. These lines filled with cream-white 
 glaze. Inside decoration of vine in. green and brown, roughly sketched. Lower half of 
 plate unglazed. (Case 4.) 1700 
 
 A remarkable example. 
 
 227. Oviform bottle, with long slender neck. H. 13I in. Light fawn clay, white glaze 
 with light fawn tinge, finely crackled. On base, opaque reddish glaze. Formal drawings of 
 
40 THE CATALOGUE 
 
 cloud, bat, mythological bird, etc., in black. Ornamental band at junction of neck with 
 body. (Case 4.) 1750 
 
 228—236. Bowls, cake-dish, deep bowls, tea-cup, etc. 1750-1870 
 
 The six following specimens appear to belong to the same type of pottery. They 
 all have light fawn clay and glaze, with rude decoration of scrolls, latticework, etc., in 
 black and brown. 
 
 237* WiNE-BOTTLE, mouth pinchcd to form a slight spout. H. 6J in. Fawn-colored clay 
 and glaze. Scrolls and latticework in black. 1530 
 
 238. Beaker. D. sJ in. Fine light brown clay, fawn glaze finely crackled. Scrolls, leaves, 
 etc., in black. 1530 
 
 239. Cake-dish. D. 6 in. 1650 
 
 240. Haisen. D. \o\ in. Basal ring flanged, with two circular openings. Light fawn 
 clay and glaze. Light brown decoration of dragons in panels. Interspaces filled with cross- 
 lines. 1750 
 
 241. Haisen. D. 74 in. Similar to last. 1750 
 
 242. Bowl. D. s| in. Fawn clay and glaze, coarsely crackled. Petalated scroll in gray 
 outlined in black. 1800 
 
 MISHIMA KARATSU (Case 3) 
 
 243- Jar. H. 4^ in. Coarse reddish-brown clay, dark warm gray glaze. Around shoulder 
 three zones of stars, flowers, etc., in white Mishima, the white forming an overglaze. 1580 
 
 244< Jar. H. 6| in. Similar to last. i5oo 
 
 245. Tea-bowl. D. 5I in. Light brown clay, thick dull gray glaze. Band of stars in 
 middle, and band of zigzag, vertical lines above and below in white Mishima. 1600 
 
 246. Jar. H. 6J in. Thick walls, looped handles. Vertical, wavy lines about rim, and 
 successive bands of jewels, stars, and circles continuing to base in white Mishima. 1680 
 247* Jar- H. 7^ in. . Straight sides. Light brown clay, transparent glaze. A variety 
 of designs in white Mishima impressed, white brush-marks. i68o 
 
 Gift of W. S. Bigelow. 
 
 248. Bowl. D. 5I in. Dull brown clay and dull gray glaze with thick layer of white glaze 
 combed through in sinuous lines inside and out. Inside, on bottom, radiating figures, etc., 
 in white Mishima. 1750 
 
 249. Bowl. D. s| in. Light gray clay, dull transparent glaze. Radiating figures and 
 coarsely incised lines in white Mishima, inside and out. 175° 
 
 250. Globular water-jar, shell handles. H. 5f in. Fine brown clay, chocolate brown 
 glaze. Flowers, frets, and zigzag lines in white Mishima. 1780 
 
 251. Tea-bowl. D. 6 in. 1780 
 The two following bowls were considered by Ninagawa as extremely rare. 
 
 252. Shallow tea-bowl, walls thin. D. 6 in. Fine brownish clay, thick chocolate gray 
 glaze. Inside, zigzag lines, finely rayed stars, etc, in white Mishima. 1780 
 
PROVINCE OF HIZEN 41 
 
 253- Shallow tea-bowl. D. 5^ in. Fine reddish-brown clay, dark warm gray glaze, 
 nearly black within. Fret, stars, etc., in white Mishima inside. Walls thin. 1780 
 
 254- Shallow tea-bowl. D. ^\\ in. Dark brownish clay, warm dark gray glaze. Inside, 
 bands of wave lines, flowers, points, etc., in white Mishima. 1780 
 
 Gift of Denman W. Ross. 
 
 255. Shallow tea-bowl. 1780 
 
 256— 259- Various forms of bowls. 1800 
 
 HAKEME KARATSU (Case 3) 
 
 260. Flower-vase. H. 7 in. Globular body, wide cylindrical neck. Large looped handles. 
 Hard reddish-brown clay, olive-gray glaze, thick white overglaze cut through with sinuous 
 lines. (Case 4.) i 1600 
 
 261. Jar, swelling above. Wide basal ring, heavy. H. 6J in. Hard brown clay, olive- 
 green underglaze, white overglaze in bands about top and on body, mottled with finger or 
 brush. 1700 
 
 262. Cake-dish, irregular in form. D. 6| in. Fine reddish-brown clay, thick light olive- 
 glaze. Sinuous brush-mark in white with bluish and purplish tinges. 1700 
 
 263. Tea-bowl, irregular. D. 5^ in. Reddish clay, thick warm gray glaze, tinged by red 
 clay beneath. Broad brush-marks in white inside and out. Thick basal ring. 1730 
 
 264. Oblong cake-dish. L. 9 J in. 1750 
 
 265. Shallow dish. 1800 
 
 KENJO KARATSU (Case 3) 
 
 266. Bowl. D. 4f in. Fine dull yellow clay, transparent glaze finely crackled, somewhat 
 resembling Satsuma. (Case 4.) 1800 
 
 267. Tea-cup. D. if in. Fine yellowish clay, with transparent glaze coarsely crackled. 
 A rare form. (Case 4.) 1820 
 
 268. Plate. D. 7J in. Light fawn clay, thick light yellowish glaze, inside finely crackled, 
 coarsely crackled below. 1820 
 
 269. Bowl. D. 5I in. Yellowish white clay and glaze, with pinkish tinges. Cloud and 
 crane in gray Mishima. 1820 
 
 271. Plate. D. io\ in. Fine light fawn clay and glaze. Inside, radiating lines about 
 rim and band of stars in dark brown Mishima. 1830 
 
 272. Bowl. D. 4J in. Light chocolate-brown clay and glaze. Cloud, crane, and encircling 
 bands in white Mishima. 1830 
 
 273- Bowl. D. 4f in. Fine light clay, black Mishima decoration. 1830 
 
 274- Bowl. D. \\ in. 1830 
 275> Bowl. D. sJ in. Fine light chocolate clay, warm light brown glaze. Cloud and 
 crane in white Mishima. 1840 
 
4* THE CATALOGUE 
 
 GRANULATED KARATSU (Case 4) 
 
 276. Tea-bowl, thick walls. D. 4^ in. Soft brownish clay, thick white glaze strongly 
 granulated. Unglazed below. 1600 
 
 IRREGULAR FORMS (Case 4) 
 
 277- Squat jar. H. if in. Coarse light reddish clay, thick white glaze with pinkish 
 tinge. Right thread-mark. 1600 
 
 278. Cover of bowl. D. 4I in. Light salmon clay, light gray glaze coarsely crackled. 
 
 1870 
 KARATSU TEA-JARS (Case 4) 
 
 279~299' A collection of tea- jars representing various forms, glazes, and dates from 
 1280 to 1830. Of these, 279 and 280 were identified by Ninagawa as the earliest forms of 
 Karatsu. The clay is fine, brownish in color, dull slaty black glaze, with iridescent areas. 
 Right thread-mark. Dated 1280. 281 is peculiar in shape, and bears evidence of great age. 
 Dated 1380. 282 is dated 1400. 285 is a most unusual form, tall and cylindrical, and has 
 some characteristics of Satsuma. The other tea-jars vary greatly in form and glaze. The 
 clay is reddish-brown or grayish-brown, rarely fawn or yellow ; the glaze is olive-brown or dark 
 grayish-brown, rarely yellow. The thread-mark is usually right, a few are left, and a number 
 are smooth-bottomed. 
 
 SETO (Case 3) 
 
 The village of Seto, a few miles from the castle of Karatsu, formerly possessed 
 four ovens. These have been for many years extinct. The pottery was known as 
 Seto, or Seto Karatsu. The two following bowls have been identified as Seto. 
 
 300. Tea-bowl. D. 4| in. Dull brownish clay, transparent underglaze, greenish-brown 
 overglaze. 1630 
 
 301. Tea-bowl. D. 4J in. Coarse reddish clay, thick white glaze, overglaze of dark 
 brown and fawn within, with streaks running outside. 1700 
 
 SHINOMINE (Case 4) 
 
 A rough, hard pottery with brownish-red clay, transparent glaze, and rich over- 
 glaze of black, blue, and other colors, was made at Shinomine, near Karatsu. 
 
 302. Tea-jar. H. 2/^ in. Reddish-brown clay, thick olive-brown glaze with darker 
 areas. 1680 
 
 303- Double gourd-shaped bottle. H. 4 in. Roughly potted. Fine hard brown clay, 
 thick deep brown glaze, bluish-white overglaze, flecked. 1750 
 
 304. Tall cylindrical jar. H. 7^ in. Sides sliced. Brown clay, warm yellowish-brown 
 glaze, streaked with blue and light fawn. 1750 
 
 305. Irregular-shaped bottle. H. 3^ in. 1780 
 
 306. Sauce-bottle. H. 4 in. 1780 
 
CASE 3 
 
 
 
 2.V6 
 
 Z'tH 
 
 ZbV 
 
 183 
 
 Zi-0 
 
 ise 
 
 V^Xtd^QMLJU 
 
 
 £iJl 
 
 •206 107 ZOi- 20'r Z08 30; 
 
 yt'o^'-atr., 
 
 
 
 \a\ n<j i&i igo 
 
 as-*! 
 
 c 
 
 
 1X2- 14-3 
 
 ZVa i"73 2i"t> Z'li 
 
 xira zii 
 
 !<*? 
 
 lii- Zl<( 
 
 Z39 
 
 Zl"? 
 
 ZI5 
 
 lis 
 
 130 zaS" 221 
 
 lav 
 
 az3 
 
 
 Z3I Z3Z Ziy 22Z 
 
 PROVINCE OF HIZEN 
 
PROVINCE OF HI ZEN 43 
 
 307. Covered jar. H. 4f in. Reddish-brown clay, splaslies of olive-brown glaze, flecked 
 with fawn on cover and shoulder ; on upper portion and cover, squares, dots, jewels, etc. ; 
 and around body running vine, sharply impressed. 1800 
 
 308. Bottle. H. 7I in. Coarse light red clay; underglaze dull reddish-brown; thick 
 black glaze running from neck, ending in long light blue drops. 1840 
 
 309. Bottle. H. 6| in. Light brown clay ; underglaze, around base only, dull brown ; 
 middle glaze, light yellow ; overglaze mottled green running in long streams to base. 1840 
 
 310. Shallow dish. D. 7I in. 1840 
 
 311. Handled tea-jar. H. 2f in. 1850 
 
 KUROMUTA (Case 4) 
 
 On the authority of an intelligent potter of Hizen, the following objects are 
 classed as having been made in the village of Kuromuta. 
 
 312. Bottle. H. 8 in. Globular body, long cylindrical neck. Fine reddish-brown clay, 
 thick gray underglaze ; irregular splashes of light fawn overglaze. 1780 
 
 313- Bottle, with thickened rim. H. 3 in. Fine hard brown clay, cold gray glaze with 
 splashes of dark and greenish-gray overglaze. 1780 
 
 314- Jar. H. 2| in. Fine reddish clay, light brown glaze with irregular splashes of 
 thick white overglaze. 1800 
 
 GOROSHICHI (Case 4 and Plate I. 315) 
 
 The records as given by Ninagawa and others state that Goroshichi Takada, in 
 1530, made the first "blue and white" soft pottery in Hizen. It is also recorded that 
 Goroshichi and his brother Gorohachi were pupils of the famous Shonsui. As regards 
 the last statement, Mr. Hiromichi Shugi5, a distinguished expert in these matters, 
 and a native of Hizen, can find no reliable evidence that Shonsui ever made pottery in 
 Hizen, or taught the art in that province. Goroshichi's pottery is found chiefly in the 
 form of large tea-bowls ; and so famous was this work that the name Goroshichi 
 became synonymous with tea-bowls of large size. 
 
 315- Tea-bowl. D. 5 in. Fine light gray-drab clay, rich white glaze, finely crackled. 
 Underglaze decoration of conventional flowers and scrolls in dark and light blue. 1530 
 
 Type Ninagawa. Part V., Fig. 26. 
 
 316. Tea-bowl. D. 5 in. Light brown clay, thick white glaze crackled. Underglaze 
 decoration of pine, bamboo, and plum in bright blue. Fret about rim in same color. 1530 
 
 317- Tea-bowl. D. 4J in. Brownish clay, white glaze, coarsely crackled. Encircling bands 
 above and below. Clouds, boat, etc., in bright blue. 1530 
 
 318. Tea-bowl. D. Sf\ in. Hard brown clay, thick white glaze, coarsely crackled. Inside, 
 light bluish glaze with washes of white overglaze. Pine, bamboo, and crane in blue. 1530 
 
 319- Tea-bowl, somewhat irregular in shape. D. 5f in. Coarse fawn clay, white glaze. 
 Rough decoration of plum-tree in blue. '53° 
 
 This may have been made by Gorohachi. 
 
44 THE CATALOGUE 
 
 KAMEYAMA (Case 4) 
 
 A hard stone pottery bearing the written m'as\i Kameyama was made at Irahayashi 
 Kuchi, Nagasaki, in the first half of the century. Porcelain was also made, and 
 though many of the pieces were in good taste, the work did not attain special excel- 
 lence. In 1830, or thereabouts, clay was imported from China, and many forms were 
 made. Typical Kameyama pottery has a hard fine reddish clay, and an even pale 
 bluish-gray glaze, with decoration of flowers, diapers, as well as stanzas of poetry, in a 
 darker blue. 
 
 320. Squat jar. D. %\ in. Hard light brown clay ; lower half, light gray 
 glaze; upper half, white glaze in drops creeping on base. Strongly crackled. 
 Spray of plum blossoms in blue. Artist's name written ; obscure. 1800 
 
 321. Bowl. D. 4f in. Light brown clay, thick warm gray glaze. Formal foli- 
 ated design in scalloped panels with irregular cross-lines between in light and dark 
 blue. 1800 
 
 322. Squat jar. D. 2j in. Fine hard brown clay, warm gray glaze highly lustrous. 
 Sketchy design in blue. Kameyama, etc. (written). 1800 
 
 323- Small plate. D. ^-f^ in. Light gray clay, thick dull bluish-gray 
 glaze. Blue decoration, brush-mark of white. Kameyama (writ- 
 ten). 1840 
 
 324. Bottle. H. 10 in. Hard brown clay; broad zone just 
 below neck unglazed and impressed with comb-marked indenta- 
 tions ; light dull bluish-gray glaze. 1840 
 
 325. Cylindrical flower-vase. H. 4I in. Fine light brown 
 clay, thick light gray glaze. Sketchy decoration of flowers in light 
 blue. Kameyama and inscription (written). 1840 
 
 The inscription states that the clay of this piece was brought 
 from China. 
 
 326. Tea-pot. D. 3f in. Fine reddish-brown clay, dull warm gray glaze. Flowers 
 roughly sketched in blue. Kameyama and inscription (written) similar to last. 
 
 1840 ^1 
 
 HIRADO (Case 4) 326 
 
 The name Hirado is widely known throughout the world from the exquisite blue 
 and white porcelain, the best of which was made in the middle of the last century. 
 The following piece of hard pottery is identified as having been made in Hirado. 
 
 327. Plate. D. 5^ in. Coarse light brown clay ; greenish-gray glaze, coarsely crackled. 
 Rugged rocks with trees, distant capes, and boat-sails in dull blue and white. 1840 
 
 • 
 ARITA (Case 4) 
 
 328. Bottle, bulbous body, long neck. H. 8J in. Hard light reddish stone clay, thick 
 dull white glaze. 1800 
 
PROVINCE OF HIZEN 
 
 45 
 
 329. Bowl. D. 4J in. Hard dark brown clay, smooth gray glaze. Around rim zodiacal 
 signs; below these a band of wavy lines and other designs in dull blue. 1800 
 
 UTSUTSUGAWA (Case 4) 
 
 This village is near Yagami, and not far from Nagasaki. In the sixteenth century 
 a Korean potter worked here for a while. In the early part of the seventeenth cen- 
 tury the oven was again started by Tanaka and Shigodomi, and continued until the 
 eighteenth century, when work again ceased. Within recent years a peculiar pottery 
 has been made of fine red clay, chocolate glaze, and white overglaze applied with wave 
 motions of the brush, and with slight decoration in color. 
 
 330- Food bowl. D. 5 in. Fine light brown clay, transparent white glaze. Outside, 
 heavy white glaze applied with brush ; inside, white glaze manipulated with finger. Slight 
 decoration in green and blue. 1820 
 
 33^- Covered bowl. D. 4f in. Clay and glaze similar to last. Decoration of wheel and 
 flowers in white, green, and brown. 1830 
 
 332- Plate. D. i\ in. Similar to last. Pine needles in dark brown. 1830 
 
 333* Plate, rim scalloped. D. 7J in. Decoration and leaf and vine in light blue and 
 brown. 1830 
 
 334- Plate, with edges squared. D. 6 in. 1830 
 
 335- Tea-cup. D. zJ in. Light brown clay, rich cream-colored glaze. Vigorous drawing 
 of pine spray in brown. 1800 
 
 This object was purchased in Nagasaki in 1802, and brought to Salem in the ship Mar- 
 garet, the first ship that went to Japan from America. It is placed here provisionally. 
 
 YAGAMI (Case 4) 
 
 A coarse pottery of dark red clay and thin glaze with splashes of yellow has been 
 . made within fifty years in the town of Yagami. 
 
 33^- Globular jar. H. sf in. Coarse brown clay, roughly turned; patches of trans- 
 parent glaze and spots of thick light fawn glaze. 1840 
 
 337- Jar. H. 3 in. Coarse maroon clay, thick olive-green glaze on upper half. 1850 
 
 BOGASAKI (Case 4) 
 
 An oven was established in the little village of Bogasaki, near Nagasaki, in 1830. 
 The potter's name was Hidekichi Kamachi. He was a poet as well as a potter, and 
 on many of his pieces are incised or written poetic inscriptions. His pieces were 
 made for the tea-lover, and though somewhat rough show considerable taste and 
 skill. The work continued with numerous interruptions for ten years. Some of his 
 unsigned work has been variously identified by Japanese experts as Shigaraki, Soma, 
 and even Izumo. 
 
 338- FiRE-VESSEL. H. 4J in. Light brown clay, warm gray glaze, circles, stars, bands, 
 etc., in white Mishima. 1830 
 
 339- Incense-box. D. z-i^b in. Fine reddish-brown clay; underglaze dark gray, in places 
 nearly black ; splashes of rich blue overglaze on cover concealing decoration. 1830 
 
46 
 
 THE CATALOGUE 
 
 04 
 
 340 
 
 The two preceding pieces were given to me by Mr. Kintiura, an artist, whose father was a 
 friend of the potter. 
 
 340' Square box-like vessel. W. 2| in. Reddish-brown clay; outside, unglazed; 
 inside, thick warm gray glaze ; rim v/ith thick rich blue glaze. On side, poem 
 incised. Bogasaki (inc.). Bo. (imp.). 1830 
 
 34^' Beaker. 3J in. Inscription in blue. Bogasaki (written). 1830 
 
 342- Oblong plate, rim scalloped. L. 6f in. Similar to last. Scrolls, fan- 
 shaped designs, etc., in white Mishima. 1830 
 
 343- Incense-box, in form of bell-tower. H. 4 in. Light brown clay, light gray 
 glaze. Mythological animals, etc., in white Mishima. 1830 
 
 344- Brush-holder. H. 3J in. Fine dull light brown clay, unglazed. Band of fret about 
 rim and base in grayish-white slip. Japanese harp outlined in thick brown and blue glaze, 
 with bats in brown, blue, and white. Bogasaki (inc.). 1830 
 
 345- Tea-bowl. D. 5 in. Coarse light brown clay, thick light gray glaze. Crane and 
 cloud in dark olive-brown. Basal ring roughly notched. 1830 
 
 34^' Small plate. D. 4 in. Thick walls, beveled edge, scalloped inside. Dragon, circles, 
 etc., on inside and edge in white Mishima. Bogasaki (inc.). 1830 
 
 347* Vase. H. 4^ in. Brown clay, warm gray glaze. Decoration of houses and trees in 
 light indigo-blue. 1830 
 
 34^- Oblong cake-dish, with shell supports. L. 6| in. Fine light fawn clay, warm gray 
 glaze. Bunjinga decoration in light blue. Bogasaki and other characters (imp.). 1830 
 
 ^MM 
 
 348 
 
 3S0 
 
 350- Large bowl. D. 6 in. Bogasaki and poem written in blue. 1830 
 
 35^- Cake-dish. D. 5I in. Coarse dark brown clay, dull brown glaze, coarsely seamed. 
 Drops of blue and white enamel scattered inside and out. Bogasaki (inc.). 1830 
 
 AKAHIKO (Case 4) 
 
 Pottery inscribed with the written mark Mikawa and the potter's name Akahiko 
 bears a strong resemblance in clay and glaze to Bogasaki. It is brighter in appear- 
 ance and has more character. The pottery differs from Bogasaki in having white 
 specks in the glaze, and is rarely signed. Pieces are extremely rare. 
 
PROVINCE OF HIZEN 
 
 352. Tea-cup. D. 3 in. Reddish clay, thick gray glaze specked with white, 
 decoration of flowers in brown and blue. Made at Mikawachi. 
 Mikawa, Akahiko tsukuru (written). 1820 
 
 353- Bowl. D. \% in. Fine reddish clay, chocolate glaze. 
 Under-decoration of radish and leaves in black, blue, and white. 
 Made at Mikawachi. 1820 
 
 354- Bowl. D. 4J in. Brown clay, thick gray glaze with 
 white specks. Turnip and leaves in white and blue. 1820 
 
 355- Vase. H. 5f in. Coarse red clay, thick gray glaze with 
 white specks. Large fret below. Zigzag lines and dots above 
 in brown. On body pendent scallops in rich blue. 1820 
 
 356- Square cake-plate, with rounded corners. D. 5I in. Four sides with shallow scal- 
 lops. On corners, outside, four scrolls. Inside, mythological bird. 1820 
 
 357' Cake-dish, rim octagonal. D. 6 in. Rough light brown clay. Outside unglazed, 
 with fringe of formal scrolls in thick olive-brown and blue glaze. Inside, bluish-white glaze 
 coarsely crackled. Mythological animal in light blue. 1820 
 
 358. Rest for cover, cylindrical. D. 2J in. Similar to last, 
 
 359- Vase. H. sf in. Grayish clay and glaze. Scroll pattern in thick blue glaze. 1820 
 
 Outside, scrolls in blue. 
 
 1820 
 
 TOROKU-URA (Case 4) 
 
 Pottery with this inscription is believed to be the work of some potter near Naga- 
 saki It is not unlike some specimens of Bdgasaki. 
 
 360. Oblong tray, corners beveled. L. t^W in. Coarse light brown clay, warm gray 
 glaze, spray of leaves in brown inside. Toroku-ura (written). 1830 
 
 SHOTO (Case 4) 
 
 A bowl of fair age, resembling Karatsu, bears the impressed mark Shoto. A 
 square -handled tray of dark brown, with the same in different characters, is also 
 identified as Hizen, and was probably made by the same potter. 
 
 361. Tea-bowl. D. 4I in. Light reddish-brown 
 clay, light gray glaze, lower part unglazed. Outside, 
 three characters in olive-brown. Three spur-marks 
 within. Shoto (imp.). 1800 
 
 Gift of Denman W. Ross. 
 
 362. Handled cake-tray, diamond-shaped. L. 6^ 
 in. Dark reddish-brown clay, brown glaze mottled with fawn, 
 blue, and white spiral-marks on handle, and on inside radiating 
 figures and leaves impressed. Shoio (imp.). 1800 
 
48 THE CATALOGUE 
 
 SHIROYAMA (Case 4) 
 
 A bowl in the collection, having a somewhat hard clay with bluish glaze and deco- 
 ration, was identified by an intelligent Hizen potter as having been made at Shiro- 
 yama, near Kameyama. The oven ceased baking over fifty years ago. With this is 
 associated a single flower-holder, repeatedly identified by Japanese experts as Hizen. 
 
 363- Bowl, with high basal ring. D. 4^ in. Light brown clay, soft light bluish glaze 
 tinged with clay showing through. Rough decoration of formal flowers in panels in blue. 
 Inside, band of spots, rings, and character in blue. 1830 
 
 364- Single flower-holder, double gourd-shaped. H. 2\% in. Fine brownish clay, rich 
 mellow grayish-fawn glaze coarsely crackled. Trees and houses in blue. Kin-Jin 
 (written). 1830 .^S 
 
 SHOHAKU (Case 4) X, 
 
 The mark Shohaku is found impressed on pottery made in the village of 364 
 Shinomine within recent years. 
 
 365. Wine-cup. D. 2^ in. Fawn clay, warm gray glaze. Under-decoration of vertical brush- 
 marks in brown, representing basketwork. Strong spiral line incised outside. Inside, en- 
 circling spiral and brush marks in brown. Shohaku (imp.) 1880 
 
 SHIBATA (Case 4) ^ 
 
 An unglazed tea-pot of very light fine clay bears the impressed mark of g 
 Shibata Dentaro. It has been made in recent years at Ureshino. 
 
 366. Squat tea-pot. D. 3f in. Light clay, nearly white, unglazed. Boat and trees 
 in high relief. Modeled by hand. Shibata Dentaro tsukuru (imp.). 
 
 i860 
 
 367- Double square trav. L. 8 in. Three looped legs. Fine 
 light fawn clay. Very thin, made on mould, unglazed. i860 
 
 URESHINO (Case 4) 
 
 In the town of Ureshino was formerly produced a porcelain 
 similar to that of Imari Two hundred years ago many forms 
 of pottery were made in this place. 
 
 368. Cake-dish. D. 6| in. Edge, five double scallops. Fine 
 light brown clay, unglazed. Elaborately carved in high relief with design of crenulated 
 scrolls. Band of elongated Greek fret at base. Fine matting as groundwork inside and 
 outside. Around walls, inside, peony flowers and leaves. In bottom, four figures and pine. 
 Rim thick and grooved. Three scalloped supports. 1700 
 
 Gift of Hiromichi Shugio. 
 
 SOHA (Case 4) 
 
 In 1854-59 a Ky5to potter by the name of Soha went to Shiraishi, in Hizen, and 
 made pottery for a short time, following Yeiraku models. His work is extremely rare. 
 

 
CASE 4 
 
 ZZ7 
 
 7TS 2.80 zt, ivifj"? ^*'' ^*''" 
 
 rz'1 
 
 ZZ6 
 
 Ifl"* 
 
 Z60 
 
 Z/6 
 
 '■iX ^^ ^*' ZVl < « U^ VS, ,8f =^88 7=4 
 
 )(*]Mno 
 
 31Z 3Z0 316 3Z3 
 
 l-jl 101 ZZO Z67 
 
 310 
 
 J,'' 
 
 
 
 3i-Z 35-^ 3b-8 3i-7 aVJ- 335 3<»6 3SZ 3V0 3i-0 
 
 33 8 3i-; 
 
 3)Z 
 
 "■^ ^ i^v 3^ 
 
 370 
 
 a/'i 313 3<,i 
 
 36V 
 
 3(o7 
 
 1*8 
 
 PROVINCE OF HIZEN 
 
PROVINCE OF BIZEN 49 
 
 369- Bowl. D. 4f in. Light fawn clay, underglaze cream-colored finely crackled. Out- 
 side, rich red entirely concealing underglaze. Decoration of clouds, scrolls, precious coral, 
 etc., finely outlined in gold. Character in light brown inside. 1854 
 
 Gift of Thomas E. Waggaman. 
 
 MIKAWACHI (Case 4) 
 
 The porcelain of this place, known as Hirado, has been celebrated for one hundred 
 and fifty years for its beautiful blue and white and marvelously modeled and perfo- 
 rated pieces. 
 
 37^- Shallow bowl. D. 5 in. White clay with reddish tinge, white glaze crackled. 
 Chinese figures with flags in blue. 1750 
 
 37^- Bowl. D. 4J in. Thick and heavy. Hard reddish clay, thick greenish-blue glaze 
 coarsely crackled. i860 
 
 PROVINCE OF BIZEN 
 
 This province produces in its hard reddish-brown pottery one of the 
 most characteristic types in Japan. Once recognized, it can rarely be con- 
 founded with the pottery of other provinces. There are many varieties, 
 yet a certain gradation can be seen from the earlier forms, resembling in 
 color an over-burned brick, to the slaty-blue, and through various shades of 
 red to specimens resembling bronze. The evolution of these varieties from 
 a primitive form can be easily traced. The old Bizen, going back six hun- 
 dred years or more, is rough and unsightly, being rudely potted and imper- 
 fectly stoved. From this rude type, with better wheels and ovens, the work 
 gradually improved. 
 
 The kind of objects made varies with every province. In Hizen there 
 is a preponderance of bowls ; in Bizen bowls are the rarest objects. In 
 Hizen wine-bottles are very scarce ; while in Bizen bottles of various kinds 
 are among the most common of objects. 
 
 IMBE (Case 5 and Plate II. 372, 385, 404) 
 
 The name Imbe, as applied to pottery, is derived from the name of the village in 
 which it is made. Pieces recognized under this name are made of a hard dark gray 
 clay, with a dark brick-red or brownish-red exterior, usually with fawn-colored spots of 
 overglaze, and in rarer cases completely covered with this overglaze ; in other instances 
 it may resemble dark bronze, or even appear quite black with glistening and roughened 
 surface. Such are a few of the varying features of this unique pottery. Nearly every 
 piece bears a mark of some kind, usually impressed. These marks are often in the 
 form of circles, squares, and lozenges, within which are the characters for i, 2, 3, 10, 
 etc., and hence called maru icki, mam ni, mani san, mam ju, etc. Pieces almost 
 absolutely identical will often bear different marks. These represent the work of 
 
so THE CATALOGUE 
 
 individual potters who baked in a communal oven. Ninagawa, in a visit to Bizen, got 
 from an old antiquarian a list of these marks purporting to represent successive gener- 
 ations of potters. As I have had access to other lists of marks, equally authoritative, 
 with successive generations indicated, and as there is not the slightest accordance 
 between any of them, either as to name or date, they have all been rejected. A few 
 of the marks are always associated with the best work. The earliest forms are rough 
 and unsightly. The height of the art was evidently attained in the eighteenth cen- 
 tury ; at least specimens assigned to that period are much finer than subsequent work. 
 Those of the best period resemble bronze, or have a rich fawn-colored glaze with a 
 surface like polished wood. The modern objects made for foreign trade are usually in 
 the form of mythological animals or deities. These, while showing some excellence 
 in modeling, do not approach in merit the earlier forms of the same class. Thin 
 shallow plates made on a mould, usually with designs of flowers in high relief, have 
 been produced within thirty years. In 1864-65 an attempt was made to decorate 
 plates of this nature with thin colored glazes of red and green. Specimens of this 
 essay are distinguished only by their rarity and ugliness. With a sufficient number of 
 specimens for comparison, the varieties known as Migaki-te (polished) and Hidasuke 
 (fire cord) run into each other ; while more distinct Ao (blue) Bizen cannot be sepa- 
 rated from the others, as they bear marks identical with those found on typical Imbe. 
 Besides the conventional marks of circles, lines, etc., above mentioned, there are many 
 others bearing the names of potters. Whether these objects were baked in separate 
 or in communal ovens is not known. I can get no record of their history ; and so 
 all pieces bearing such marks are placed under the general name of Imbe, — a most 
 unsatisfactory way of classifying a large number of objects, and yet unavoidable. 
 
 372' Bowl. D. e,\ in. Thick and heavy. Dull fawn clay, thick glaze of light fawn inside 
 and out. Within basal ring strong spiral mark turning to left. Bowl appears moulded by 
 hand. 1370 
 
 Type Ninagawa. Vol. II., Fig. 29. 
 
 Ninagawa says that a document accompanying this specimen states that on the occasion 
 of a great storm the bowl was washed ashore near the mouth of a river in Sado, on the north- 
 west coast of Japan. It was found by a fisherman, who sold it to Kodama Moyemon, of 
 Sawami village j later it came into the possession of Ikuta Senan, and remained in the family 
 for two hundred years. In 1830 Haramiyama Gaho brought it to Tokyo, and 
 afterwards it came into the possession of Ninagawa. 
 
 373* Low JAR, for rinsings. D. 5f in. Rudely potted. Dark reddish clay, 
 glossy reddish-brown glaze, mottled with fawn. Surface roughened. 1370 ^ 
 
 Type Ninagawa. Vol. II., Fig. 30. 
 
 \^ 
 
 374 
 
 374* Low JAR. D. 7I in. Dull red clay, thin dark red glaze, base and lower 
 portion mottled with fawn. Mark impressed. 1570 
 
 Type Ninagawa. Vol. II., Fig. 32. 
 
 375- Water-jar. D. 7I in. Tapering sharply inward from middle to project- 
 ing base, and flaring rim. Upper slope with a circle of round knobs. Blackish- 
 red glaze, smooth and glossy. Large area of fawn. Mark impressed. 1670 
 
 Type Ninagawa. Vol. II., Fig. 31. 375 
 
 O 
 
PROVINCE OF BJZEN 51 
 
 Roughly potted, looped handles. Dull red clay, 
 
 376- Flower-vase, bottle-shaped. H. gf in. 
 dull greenish - gray glaze. 
 Mark impressed. 1500 
 
 377"'379- Bottle and 
 JARS. 1 530-1 580 
 
 380. Water-jar, octago- 
 nal. H. 6 in. Yoshimura 
 (inc.). 1680 
 
 381. Water-jar. H. 7J 
 in. Pottery cover, looped 
 handles. Maru-ji (imp.). Character on cover incised. 1680 
 
 382. Tea-bowl. D. 45 in. Smooth dull red glaze, on one 
 side nearly black with drops of fawn. Ka-ichi (imp.). 1680 
 
 383- Squat bottle. H. 2 in. Bright red glaze, rich over- 
 
 1680 
 
 s e 
 
 382 
 
 381 
 
 glaze of fawn on shiny black area. 
 
 384. Double gourd-shaped bottle, used as Netsuke. H. if in. Purplish-red glaze 
 mottled with darker areas. Drop of light fawn, gold and silver mounting around mouth, 
 and silver band with ring about body. 1680 
 
 An exquisite bit of work. 
 
 385. Wine-bottle. H. 6f in. Square body, slender cylindrical neck, four short supports. 
 Red Bizen glaze, rich fawn second glaze ; light fawn overglaze running from 
 shoulder on one face. Character for longevity on one side in relief. Mark im- ^^a 
 pressed. 1700 ^*^ 
 
 A rare and beautiful example. 385 
 
 386. Incense-burner, in form of Hotel. H. 3} in. Dark reddish-brown clay and glaze mot- 
 tled with areas of fawn. Eight-rayed figure in circle impressed. Yagayemon (inc.). 1700 
 
 387-403- Various forms of Imbe, 1700-1780 
 
 '"l^ 
 
 387 388 
 
 393 394 
 
 399 
 
 400 
 
 401 
 
 402 
 
 (^ 
 
 403 
 
 404 
 
 388 Kaku-ichi, 389 Yotsune, 390 Maru-ichi, 393 Ichi, 397 Maru-san, 398 Cho, 399 Cho, 
 400 MorHYaP), 401 Yei, 402 Teraf 
 
s» 
 
 THE CATALOGUE 
 
 404- Wine-bottle for offerings. H. 8f in. Oviform body, tapering to a long and slen- 
 der neck. Rich dark reddish glaze, glossy and smooth, resembling bronze. Large areas 
 of fawn. Mark impressed. A very remarkable example of Imbe. 1780 
 
 405—425. Various forms of Imbe. 1780-1830 
 
 ± © ^^ /^ d) A 
 
 405 
 
 407 
 
 408 410 
 
 411 
 
 413 
 
 414 
 
 419 
 
 420 
 
 /^ e 
 
 421 
 
 423 
 
 424 
 
 426 
 
 405 Jo, 407 Maru-ni, 410 Yama-jo, 413 Maru-san, 414 Fuji-hachi, 416 75-/, 419 Jo-ichi, 
 420 Kimura-uji, a,z\Riku, 423 /J, 424 Yama-maru. 
 
 426. Wine-bottle, deeply constricted. H. 6| in. Red Bizen, with rich, mottled black 
 overglaze, glossy. Mark impressed. 1830 
 
 427-445- Various forms of Imbe. ,^»B^^ 1830-1870 
 
 08 
 
 ® 
 
 @ 
 
 443 
 
 444 
 
 446 
 
 428 429 43» 432 438 
 
 441 Sada nao, 443 Totei, 444 Ichi Jo. 
 
 44®* Paper-weight (crab). Longest dimension 4f in. Dull reddish clay. Tips of large 
 claws and eyes touched with white. Mctsatomo, Dai Nippon Imbe to (imp.). 
 
 1878 
 447~45^* Various forms of Imbe. 1878 
 
 IMBE, WITH COLORED GLAZES 
 
 451. Little plate. L. 3I in. Moulded. Design of flower inside in 
 relief. Fine light red clay. Design covered with green and red transparent 
 glaze. 1853 
 
 452. Plate, in form of pecten. D. 5^ in. Moulded. Dark Bizen clay. 
 Inside, figures in reUef, glazed white, blue, red, and green. Kamamoto 
 Kimura Kinko do (in relief). i860 
 
 IMBE, WITH MARK TERAMI 
 
 453. Figure of woodsman with axe. Terami Gorobei saku and kakihan 
 (inc.). 1840 
 
PROVINCE OF BIZEN 
 
 53 
 
 454- Hanging flower-vase, in form of two chrysanthemums and leaves, beautifully 
 moulded. W. 5I in. Terami (imp.). 1850 
 
 455- Cylindrical flower-vase, with graceful, looped handles. H. 6J in. 
 Terami (imp.). 1850 
 
 456*. Hanging flower-vase, H. 4| in. Rude trunk of tree. Man (imp.), i860 
 
 456 
 
 4S8 
 
 4S9 
 
 463 
 
 tV 
 
 46s 
 
 ^ 
 
 o 
 
 466 467 
 
 459 Kan, 463 obscure, 465 Roku, 474 Yama. 
 457~474- Tea-jars, showing all the varieties of Imbe. 
 
 468 
 
 f 
 
 I 
 
 474 
 
 1550-1750 
 
 MORI (Case 5) 
 
 In 1840 Mori Rinzo made pottery in the village of Imbe. The mark is rare. 
 
 475* Incense-box, form of Hotel. L. 2J in. Light gray clay, glistening glaze J 
 mottled with dark areas and fawn. Mori (imp.). i86o aSv 
 
 VARIETY MEGAKI-TE (Case 5) 47S 
 
 In this form the clay is finely manipulated, and the color is a steel -gray, either 
 glossy or dull. 
 
 A few pieces only show merit. 
 
 476, 477- Tea-jars. 
 
 1600 and 1680 
 
 478- Plate. D. 8^ in. Flowers in relief inside, moulded. Dull light 
 blue with tinge of red. Mark impressed. 175° 
 
 479' Double gourd wine-bottle, H. 3I in. Greenish-gray and 
 glossy. Encircling lines sharply marked on body. Mark impressed. 
 
 1780 
 
 477 
 
 o 
 
 478 
 
54 THE CATALOGUE 
 
 480. Water-jar, with pottery cover, having section of bamboo for handle. H. sJ in. 
 Surface covered with basket impressions. Hard, fine gray clay, glossy 
 
 light brownish-gray glaze. yj-<V/4/ (imp.). 1800 
 
 481, 482. Wine-bottles. 1830 and 1870 
 481 Maru-ni. 480 431 
 
 VARIETY AO (blue) 
 
 In this variety the color merges into a pronounced slaty-blue. 
 
 483- Low BASKET-SHAPED VESSEL. D. sf in. Light bluish-slate. Inside, thick white 
 
 glaze splashed. Basket design strongly moulded and incised. Tachibana 
 
 (inc.). 1870 %-. 
 
 VARIETY HIDASUKE 
 
 Pottery known as Hidasuke is a coarse unglazed product showing 
 glistening light red marks crossing the surface irregularly. This appear- 
 ance is said to be produced by winding wisps of wet straw around the 
 vessel before firing. Kyoto pottery, bearing the mark of Tsuyen, pre- 
 sents imitations of this style. It is impossible to find the slightest merit in the pot- 
 tery save what its rusticity might suggest, though a Japanese authority in 1700 says 
 that the best forms among the old Bizen, and those most esteemed, are Hidasuke ! 
 The name is derived from tasuke, a cord worn by a girl to keep back her long 
 sleeves while engaged in work, and Hi (fire), as the marks come out red on the 
 vessel 
 
 484-491. TeA-JARS, water-jars, BOTTLE. 1580-1750 
 
 ^ 
 
 483 
 
 484 485 
 
 ■k *^'^- 
 
 © 
 
 4?7 488 491 
 

CASE 5 
 
 tfii- '<36 SS"* "iSs- "lOO 3R6 '•il S-iZ ^16 «,|Z -i?? VSt '"'S 
 
 '"'' -^ "-' ,^ 
 
 
 
 3<tl HIST 3^3 *«Z8 '<V8 HHh 'ti'l HS'i '-"'0 ^T? "i** "f^S 
 
 "in IS'f 
 
 •iva 
 
 396 
 
 'lb'* "iST 
 
 ^^2 »<8^ "jS? 'tisi' 
 
 PROVINCE OF BIZEN 
 

 PROVINCE OF BJZEN 
 
 i& 
 
 VARIETY SHIRO (white) 
 
 In this form the substance is nearly white. The objects are rare and absolutely 
 without merit. 
 
 492. Flower- VASE, with looped handles. H. 7J in. 
 
 1850 
 
 OKAYAMA (Case 5) 
 
 In the early part of this century pottery bearing the impressed mark of Okayama 
 was made in this town. Specimens are extremely rare. In 1878 white clay was 
 either discovered in Okayama or brought there from Satsuma, and an attempt was 
 made to imitate white crackled Satsuma without decoration. The pieces were 
 small, usually in the form of tea-pots and cups. An agency was established 
 in Tokyo, but the essay, from its extreme softness, proved a failure. 
 
 493- Bottle. H. ioJ in. Light fawn clay, light fawn glaze, finely crackled. 
 Okayama (imp.). 
 
 493 
 
 494- Tea-cup. D. z^V in. White clay and transparent glaze coarsely crackled. 
 
 495- Tea-pot. D. 2J in. Same as last. 
 
 1800 
 1878 
 1878 
 
 MUSHIAGE (Case 5) 
 
 In 1830 Igi Sanyensai established an oven in the little seaside village of Mushiage, 
 and invited Makudsu, of Kyoto, to take charge of the work. The pieces were mostly 
 made for the tea ceremony. They bear the impressed mark Mushiage, and some- 
 times the additional mark of Makudsu. 
 
 49^* Tea-bowl, slightly irregular in shape. D. 5 in. Light yellowish clay, with deep 
 orange tinge ; light fawn glaze with light greenish-blue areas. Landscape in brown with 
 white dots. Inside, just below rim, band of stars in white Mishima. Mushiage and Makudsu 
 (imp.). 1830 
 
 497- Tea-bowl, irregular in shape. D. 3f in. Dead fawn clay, clear gray glaze, with rude 
 splash of brown. Roughly made in imitation of Karatsu. Makudsu (imp.). 1830 
 
 49^* Tea-jar. H. 3J in. Reddish fawn clay, rich bright brown 
 glaze, with darker areas resembling Takatori. Stream of rich white 
 overglaze. Mushiage (imp.). 1830 
 
 499- Bowl. D. a,\ in. Thick and heavy. Light yellowish clay, 
 thick white glaze. Rough sketches of figures, bamboo, etc., and 
 encircling bands in dull blue underglaze. Mushiage and Makudsu 
 (imp.). 1830 
 
 500. Bottle. H. 9J in. Thick and ponderous. Fine reddish clay ; thick gray glaze with 
 minute black spots ; thick greenish-blue overglaze on neck and shoulder ; over this thick 
 cream-white glaze running in streams. Mushiage (imp.). 1830 
 
 501. WiNE-BOTTLE. H. 6J in. Hotel moulded and applied on side. 
 This is evidently an Imbe bottle glazed by Makudsu. 
 
$6 THE CATALOGUE 
 
 PROVINCE OF TSUSHIMA 
 
 The island of Tsushima, lying between the southern end of the Korean 
 peninsula and Japan, has been for hundreds of years the home of potters 
 who have followed Korean models in their work. Information in regard to 
 the early potters and their places of work is meagre. Among the contem- 
 porary potters of Enshiu's time, seven potters of Tsushima are mentioned 
 as worthy of recognition. The typical pottery is most characteristic and 
 unmistakable. The clay is soft, light fawn in color, sometimes with pinkish 
 areas, often with white Mishima decoration, rarely black, and glaze gener- 
 ally without lustre. Specimens are occasionally seen which are likely to be 
 confounded with early Satsuma, or with early Tosa, this confusion resulting 
 from the Korean strain, if I may use the expression, which runs through all 
 these essays. 
 
 SHIGA (Case 6 and Plate III. 508, 509) 
 
 The pottery identified as Shiga is very distinct in its character. It is specially 
 marked by pinkish tinges and areas in its glaze. No information is at hand in regard 
 to the early potters of this village. 
 
 502. Bowl. D. 5J in. Light fawn clay, thick light gray glaze, with pinkish areas. Inside, 
 deep pink tinge. Band of fret around rim, and cross-lines, like lattice-work, in white 
 Mishima on body. 1700 
 
 504. Bowl. D. 4I in. Fine reddish clay, thick gray glaze with pinkish areas, crackled. 
 Decoration of bamboo and poem in white slip. 1750 
 
 505. Water-jar, with perforated cylindrical handles, vertical on side. D. 6^ in. Fine 
 warm fawn clay ; underglaze, transparent ; overglaze, grayish, with warm fawn tinges ; within, 
 reddish. Decoration of scallops about rim, and bands below in white slip and olive-brown. 
 
 1780 
 
 506. Square box. W, 2| in. Very thin walls with rounded comers indented. Light fawn 
 clay, fawn glaze with pinkish tinge. On sides, jewels, and on cover mythological animal in 
 white Mishima. 1780 
 
 507*. Bowl. D. 5]^ in. 
 
 508. Hand-warmer (.'), in form of owl. H. 8J in. Fine fawn clay with orange tinge, 
 thick light gray glaze. 1820 
 
 Gift of W, S. Bigelow. 
 
 In 1804 a potter named Yoshida Mataichi opened an oven in Shiga, and made 
 pottery after Korean models. Signatures are rarely seen. He also made porcelain, 
 using the impressed mark of Shiga. 
 
PROVINCE OF TSUSHIMA 57 
 
 509' Bowl. D. 4^ in. Light brown clay, light fawn glaze with gray areas and pinkish 
 stains. Plum-tree in indigo blue. Shiga (imp. and 
 written). 1804 
 
 510. Shallow bowl. D. 4} in. Fine fawn clay; 
 warm yellowish glaze, with pink areas, crackled. Shiga 
 (imp.). 1820 ^\^ *3|)\^* 
 
 
 ^ £ 
 
 YAHEDA (Case 6 and Plate III. 512) 
 
 Among the early potters of Tsushima was one 509 510 
 
 by the name of Yaheda, who made bowls after 
 strictly Korean models. 
 
 512. Bowl. D. 4J in. Fine light fawn clay, light gray glaze with small round pinkish 
 spots, coarsely crackled below. Crane in blue and white Mishima. Basal ring with three 
 notches. 1680 
 
 513- Bowl. D. 4J in. Grayish-fawn clay and glaze. Bands of stars and vertical lines 
 about rim, inside and out and below, and vertical zigzag lines on body in white Mishima. 
 
 1700 
 
 515* Bowl. D. 5J in. Irregular outline. Light yellowish-fawn clay, yellow glaze of same 
 
 color with bluish-gray areas about rim. Right-hand spiral on base. 1790 
 
 This bowl is identified as Yaheda, though it is dated no years after the original potter of 
 
 that name. 
 
 516. Low CUP, with vertical sides and flat bottom. D. 2| in. Light warm gray clay and 
 glaze. 1790 
 
 517- Bowl, one end abruptly flattened. D. 4J in. Fawn clay, warm grayish glaze with 
 fawn-colored areas. Cloud and crane in white and blue Mishima, with brush-marks of 
 white. 1800 
 
 SEN SAKU (Case 6) 
 
 A shallow bowl, bearing the impressed mark of Sen Saku, has been identified as 
 Tsushima. 
 
 518. Shallow bowl. D. sJ in. Fine light brown clay, thick warm gray glaze with dark 
 pink areas. Zigzag lines in basket-work. Inside, stars and swastika, and 
 outside, bands and stars in white Mishima. Sen Saku (imp.). 1750 
 
 TSUSHIMA, IN GENERAL (Case 6) 
 
 The following objects are, with perhaps few exceptions, unquestion- 
 ably Tsushima. Beyond this mere fact, no information can be obtained 
 about them. S'8 
 
 519, 520. Bowls. 1700-1800 
 
 521. Bowl. D. 5J in. Fine fawn clay, light greenish-gray glaze with light orange areas 
 outside and in. Thin walls, roughly turned. 1700 
 
 Gift of Denman W. Ross. 
 
S8 THE CATALOGUE 
 
 522-524. Bowls. 1700-1800 
 
 The three following bowls, though differing widely from typical Tsushima, have been 
 identified as Tsushima, though they certainly resemble some forms of Karatsu. They all 
 bear an impressed mark in the form of a conventional cloud. Two specimens are known 
 outside this collection, — one in the British Museum and the other in the collection of the 
 Royal Worcester works. 
 
 525. Flaring bowl. D. s§ in. Roughly turned, sliced on one side. Fine hard fawn clay, 
 thick gray glaze. Basal ring notched. Right-hand spiral line on bottom. Cloud mark 
 impressed. Eighteenth century 
 
 526. Bowl. D. 4I in. Fine light fawn clay, fawn glaze with grayish tinge. Clouds and 
 crane in white Mishima. Cloud mark impressed. Eighteenth century 
 
 527. Bowl. D. s| in. Rim slightly elevated and indented in three places. Fine (SJO 
 dull brown clay, yellowish-fawn glaze, finely crackled and iridescent. Right-hand 526 
 spiral on base. Cloud mark impressed. Eighteenth century 
 
 528. Bowl. D. 4^ in. Thick walls. Fine hard clay, light gray glaze with washes of thin 
 white overglaze on one side. Decoration of large flowers incised and filled with dark brown, 
 also shaded with brush-marks of brown. This bowl, though not signed, is placed here on the 
 authority of others- 
 
 PROVINCE OF TOSA 
 
 The pottery of this province presents but few types, and these with rare 
 exceptions are unsigned. The usual form is seen in simple bowls with 
 decoration of bamboo, plum, and pine in pale blue, under a yellowish-white 
 or bluish-white glaze. Within recent years large pieces, with bluish-white 
 crackled glaze and elaborate carving, have been made. 
 
 SHOHAKU (Case 6 and Plate II. 530) 
 
 The records are conflicting in regard to Odo pottery. Ninagawa, in one account, 
 says that among the artisans brought back from Korea in 1 598 was a potter named 
 Shohaku, who settled in the village of Odo and made pottery, following Korean 
 models, and shortly after, discovering a good clay near Odo, began the making of 
 tea-bowls with colored enamels. Another memorandum of Ninagawa says that the 
 Korean's name was Butsuami, and his successor was Shohaku, who first studied with 
 the Korean and afterwards with Ninsei. Another expert, Mr. Tanimura, informed me 
 that the first Odo potter was Shohaku, who was succeeded by Saburobe, and that suc- 
 cessive generations were known by the latter name ; finally, the author of Toki Shoshi 
 definitely states that Odo pottery was established by Kuno Sh5haku, a pupil of Ninsei, 
 in 1653. He shortly after went to Osaka, to which place, in 1673, a potter by the 
 name of Morita Mitsuhisa was sent by the lord of Tosa to study under Shohaku. 
 Merita also visited other potteries, and returning to Odo, made tea-bowls and other 
 
PROVINCE OF TOSA 59 
 
 utensils. In 1 804 the oven was removed to Nochazan, and the pottery was known 
 under that name. 
 
 The three following pieces, by their evident age, may be reasonably ascribed to 
 Sh5haku. 
 
 529. Tea-bowl, uneven rim. D. 5J in. Fine fawn clay, decoration of bird and tree in 
 blue enamel. 1653 
 
 It is possible that this bowl may have been made by Ninsei in Odo. 
 
 530. Tea-bowl. D. 4J in. Strongly turned. Fine light fawn clay ; thick yellowish-fawn 
 glaze, finely crackled ; thick white overglaze about rim. Overglaze decoration of lobster in 
 dull thick red, and dwarf bamboo in green vitrifiable enamels. Lobster outlined in gold, 
 which may have been a subsequent addition. 1653 
 
 Type Ninagawa. Part V., Fig. 17. 
 
 531. Bowl. D. i,\ in. Brownish clay, dull light fawn glaze. Decoration of bamboo, 
 plum, and pine in pale blue, delicately drawn. 1653 
 
 ODO (Case 6 and Plate II. 544, S4S) 
 
 532- Square cake-dish. W. 6J in. Corners fluted, rim crenulated. Light fawn clay and 
 
 glaze, strongly crackled. Inside, scrolls and bands in light blue. 1730 
 
 533~535' Bowls and incense-burner. 1730-1750 
 
 The incense burner 534 has the mark Asa written. 
 
 53^' Bowl. D. 5^ in. Hard fine fawn clay, fawn glaze, sharply crackled. 
 Under decoration of bamboo, plum, and pine in blue and white, delicately 
 drawn. Deep right-hand spiral on bottom. 1780 
 
 537* Bowl. D. i,\ in. Light fawn clay and glaze finely crackled. Under decoration of 
 bamboo, plum, and pine, and encircling lines above and below in pale blue. Right-hand 
 spiral below. 1780 
 
 This represents an early form of the typical Odo bowl. 
 
 538, 539- Bowls. 1780 
 
 540- Heavy bowl. D. 8| in. Fine fawn clay and glaze. Rich decoration of tree trunk 
 and plum blossom in indigo blue. 1780 
 
 54^' Tea-bowl. D. 3§ in. Straight sides. Decoration very gracefully drawn. 1780 
 
 Differs from typical bowl in form and in the absence of encircling bands. 
 
 Gift of Bunkio Matsuki. 
 542. Jar. H. 8J in. Exceedingly light and thin. Fine hard light clay, clear cream glaze 
 with faint pinkish areas. Landscape in bright blue. Encircling lines of blue on shoulder 
 and near base. Bottom indented, glazed with double circle of blue lines. Glaze widely 
 crackled and punctured. 1780 
 
 A remarkable example. 
 
 Gift of Denman W. Ross. 
 543' Rest for tea-pot cover. 1810 
 
 544. Bowl. D. 4I in. Fine light brown clay, rich gray glaze finely crackled. Decora- 
 tion consisting of encircling bands, bamboo, plum, and pine in blue, with blossoms in white. 
 Right-hand spiral below. 1855 
 
 Type Ninagawa. Vol. V., Fig. 18. 
 
6o THE CATALOGUE 
 
 545. Screen for writing-table. H. 8f in. Light fawn clay, bluish-white glaze with light 
 fawn areas. Chrysanthemum moulded in high relief. On obverse side, girl with small harp 
 resting on mat, with poem inscribed, and leaves. Edges moulded in lines, border with scroll 
 lines impressed. Recent 
 
 Gift of Tadamasa Hayashi. 
 
 54^' Water-vessel. Recent 
 
 547* Tea-jar. Odo (imp.). Recent 
 
 SOKAN (Case 6) ^' 
 
 Records, apparently reliable, state that an immediate successor of Shohaku was a 
 potter who made Raku, and signed his. pieces with the impressed mark Sokan. His 
 work may be regarded as extremely rare. There is another record of a Sokan who 
 lived in Tokyo fifty years ago. He was a tea-master, built an oven in his garden, and 
 also made Raka The following piece is accredited to the Tosa Sokan on account 
 of its great age. 
 
 548. Incense-box (rabbit). L. 2| in. Coarse dull reddish-brown clay. Outside unglazed. 
 Inside, bright red Raku glaze. Sokan tsukuru and kakihan (imp.). 1680 
 
 it 
 
 KOCHI (Case 6) 
 
 The following objects are known as Kochi, from the name of the 
 town in which they were made. No record is at hand in regard to the 
 potter or the oven. 
 
 549' WiNE-BOTTLE (doublc gourd). H. 8 in. Hard stone clay, lower hdf, 
 rich reddish-brown glaze; upper half, smooth light gray glaze, with under- 548 
 
 decoration of dancing boys in dark gray, roughly sketched. About rim dark 
 gray band notched. 1850 
 
 Gift of W. S. Bigelow, 
 
 55^" Sauce-bottle, after Odo style, with grass and flowers instead of the usual design. 
 
 1850 
 
 551. Oviform vase, with long cylindrical neck. H. loj in. Fawn clay, thick warm gray 
 glaze with darker spots. 185 
 
 o 
 
 552- Small plate. D. 4f in. Light cream white clay, unglazed. Pine, crane, and turtle 
 moulded in relief inside. i860 
 
 An identical form is made in Imado, Tokyo. 
 
 553- FooD-BOWL. D. 45 in. Hard light gray clay, transparent glaze. 1870 ^ 
 
 KOHEI (Case 6) >^ 
 
 No record is at hand regarding Kohei ; he was probably an amateur "TT 
 potter of Odo village. 
 
 554. Box, in form of screen-box. L. 2| in. Fine light fawn clay and glaze. 
 Kohei incised on bottom. Cross incised inside cover. 1850 
 
 Kohei may also be read Takahira. 
 
 
 SS4 
 
PROVINCE OF SETTSU 6z 
 
 YASAN (Case 6) 
 
 Pottery, bearing the impressed mark of Yasan, having no special merit, judging 
 from a single specimen in the collection, has been made recently in Tosa. 
 
 555- Box, in form of mortar, with modeled handle on box-cover. H. 2^ in. Thick 
 walls. Hard reddish-fawn clay, shiny yellow glaze with wood graining in reddish- 
 fawn. Slight decoration of leaves and flowers impressed. Yasan (imp.) on bottom 
 and cover. 1880 
 
 TOSA (Case 6) 
 
 Under this name are grouped the tea-jars. 
 556. Tea-jar. H. 3^^ in. Coarse chocolate-brown clay with rich brown glaze, darker 
 brown glaze on shoulder, running. Said to have been made by Shohaku. 1630 
 
 557- Tea-jar. H. 4I in. Light dead chocolate-brown clay and glaze with a few light 
 fawn spots. 1680 
 
 558-560- Tea-jars. 1750-1800 
 
 PROVINCE OF SETTSU 
 
 The province of Settsu has attained but little celebrity for its ceramic 
 products. In early years the delicate and refined essays of the Naniwa 
 oven, and before these even, the Takahara pottery, following Korean 
 models, were justly appreciated. In later years the Sanda celadon has given 
 some fame to the province; the other potteries have established a local 
 reputation only. Indeed nearly all of these were brought into note by the 
 efforts of Kyoto potters. 
 
 TAKAHARA (Case 6) 
 
 In 1650 a potter known as Takahara established an oven in Osaka, and for a while 
 made bowls and other objects after Korean style. Records inform us that early in 
 the last century Takahara, or a descendant of his, came to Yedo (Tokyo) and made 
 identical kinds of pottery. In the collection are four Takahara bowls. Two of them 
 were identified by Ninagawa as Yedo Takahara (see Musashi). One of the four 
 specimens I have reason to believe is an original Takahara, and is therefore catalogued 
 in this place. 
 
 561. Bowl. D. 5I in. Rim somewhat uneven. Fine brownish clay with finely crackled 
 white glaze. Basal ring flaring. 1630 
 
 NANIWA (Case 6 and Plate III. 563) 
 
 Pottery bearing the mark of Naniwa (the old name of Osaka) was made in Osaka 
 in the year 1680. A form of deep cup known as Choku, with the Naniwa plant as a 
 decoration, is one of the early productions of the Naniwa oven. The National Museum 
 in Tokyo has in its collection a complete set of five, and by good fortune this coUec- 
 
€* THE CATALOGUE 
 
 tion has also a complete set, and I have never seen elsewhere an isolated example. 
 The pottery must be regarded as of extreme rarity. 
 
 562. Small cup. D. 2|J in. Square, with rounded corners. Rim cut down on all four 
 sides. Thin walls. Fine brown clay, light gray glaze. Vertical zigzag and straight 
 
 lines alternating in white Mishima. Circular basal ring. Naniwa (imp.). 1680 
 
 563. Set of five DEEP CUPS. H. 3I in. Light fawn clay, with reddish spiral lines 
 on base. Rich light bluish glaze on upper half; below, light brownish-fawn, 
 crackled. Two zones of impressed scallops; above upper zone, decoration of 
 Naniwa flowers in blue and dark brown. Zones of light brown below. 1680 
 
 564- Bowl for rinsings. D. 4I in. Light brown clay, thick olive-green glaze minutely 
 granulated, resembling certain Chinese glazes. Naniwa (imp.). Uncertain date. 
 
 565. Bowl. D. 4I in. Straight sides. Fine light gray clay and glaze. Over- 
 decoration of square overlapping panels, with various decorations in green and 
 blue enamels and red and gold, behind which is a spray of maple leaves in green 
 and red. Naniwa (imp.). 1830 
 
 KOSOBE (Case 6) 
 
 This pottery is said to have been first made in the latter half of the last century 
 by Shirobei ShimbeL Kyoto models were followed in the work. The second genera- 
 tion, Shinzo Shimbei, used glaze similar to Tamba and Karatsu, and also made imita- 
 tions of Korean worL The third generation, Shingoro Shimbei, imitated the work of 
 Rokubei of Kyoto, The fourth generation, Yosojiro, was at work in 1878. Some of 
 his large cups and bowls were decorated by Komatsuya Tasuke, an artist and writer of 
 Osaka. He signed with the pseudonym Tainen. 
 
 FIRST GENERATION 
 
 566. Deep bowl. D. 4J in. Sides somewhat flattened. Fine fawn clay, thick white 
 glaze strongly punctured. On outside, two areas of green overglaze. 
 
 Lattice-work and scrolls in brown. Kosobe (imp.). 1800 ■■> j < . 
 
 567- Candle-stick. H. ioJ in. Swelling base, narrow cylindrical i^n^ ^/ j 
 
 neck bulging above. Fawn clay, very thick grayish-white glaze. Over- -S^ B 
 
 decoration of overlapping ovals in green, within which are red lines, ^0^ *^B 
 
 flowers, etc., partially worn away. A large scalloped perforation on one ' 
 
 side. Roughly potted. Kosobe (imp.). i8oo ^^ ^6? 
 
 568. Small plate. Signed. 1800 
 
 SECOND GENERATION 
 
 569. Large oval bowl. D. 6J in. Rim slightly notched. Brownish-fawn clay, thick 
 bluish-white glaze mottled, coarse lines representing a rice-bag incised on outside surface. 
 Kosobe (imp.). 1830 
 
 570- Deep bowl. D. 4f in. Vertical sides, flaring at rim. Light reddish-fawn clay and 
 glaze. Four equidistant circles in white and olive-brown Mishima touched with black. 
 Kosobe (imp.). 1830 
 
PROVINCE OF SETTSU 63 
 
 57I« Bowl. D. 5 in. Light fawn clay, cream-white underglaze, thick grayish-white over- 
 glaze coarsely crackled. Rice-bag outline deeply incised. Kosobe (imp.). 1830 
 
 8 
 
 THIRD GENERATION O 
 
 572. Bowl. D. 4J in. Fine fawn clay, opaque underglaze, dull fawn overglaze. :fin 
 Overglaze decoration of fish in red, outlined in deeper red with plant in green and •^ 
 blue. Basal ring notched. Kosobe (imp.). 1850 5^' 
 
 573- Deep bowl. D. 4J in. Yellowish-fawn clay and glaze, with bands of squares about 
 rim, cloud and crane in white and dark brown Mishima. Basal ring with 
 
 three notches. Kosobe (imp.). 1850 
 
 574- Bowl. D. \\ in. Fawn clay, thick bluish-white glaze with rosy areas 
 strongly crackled. Naniwa flower in light blue. Kosobe (imp.). 1850 
 
 575~5^^' Bowls, wine- bottle, stand, tea-cups, etc. 1850 
 
 FOURTH GENERATION (Plate III. 582) 
 
 581. Deep bowl. Sides flattened. D. 4J in. Light fawn clay, thin gray underglaze, 
 thick white overglaze coarsely crackled. Fish, leaves, etc., in olive-brown, with lines scratched 
 through on white. Inscription inside. Kosobe (imp.). 1870 
 
 Type Ninagawa. Vol. III., Fig. 20, 
 
 582. Large bowl. D. s| in. Brownish-fawn clay, opaque white underglaze, thick white 
 overglaze punctured. Crabs and inscription vigor- ^^ 
 ously drawn in brownish-green. Signed Tainen. ■jjty ^^ "A" ^^ wi 
 Kosobe (^m^:). 1870 "^gr -f^ '^' -^ <& 
 
 Mate to Ninagawa's type. Vol. VI., Fig. 25. ^R ?p ^ i^ JW 
 
 583-592- Tea-cups, tea-pot, wine-bottles, etc. ^g^ ^^ ^ ^^ ^^^ 
 All signed Kosobe. 1870 
 
 The work of the fourth generation is fresh and artistic. 
 KIKKO (Case 6 and Plate IIL 593) 
 
 The family of potters using the marks Kikko and /jlsan ken has evidently puzzled 
 the Japanese experts, probably for the reason that the classical collectors and tea- 
 lovers did not consider the pottery of sufficient merit to be recorded ; in which opinion 
 they were justified. Nevertheless, I have been able to get from various sources a 
 number of memoranda about the family, and they all differ. I found among Nina- 
 gawa's papers, for example, three different records of the family : one making three 
 generations, another six, and another thirteen. Diligent inquiries fail to show that 
 Kikko ever baked in lyo, yet the records state that he had an oven there for a time. 
 None of the accounts mention the fact that he was ever in Suo, and yet his Su5 work 
 is the most vigorous and artistic of all his efforts. With this conflicting material it 
 may be stated that in the early part of the century a potter by the name of Jihei 
 Toda, a native of lyo, started an oven in Jusan, Osaka. Here was first used, in 1819, 
 the mark Kikko ; how long he remained in Osaka is not known. Somewhere between 
 1 83 1 and 1834 he had an oven in Iwakuni, Suo, and made hard yellow Nankin with 
 incised decoration, and also Raku pottery, in which he used the impressed marks 
 
64 
 
 THE CATALOGUE 
 
 Kikko and Jiisan hen. (See Suo.) In 1835 he was pursuing his art in Susaka, 
 Shinano. (See Shinano.) After this he went to Tokyo, and baked in an oven at 
 Mukojima. He died in Tokyo in 1861. Now, whether this Kikko was the Kikko who 
 was baking in Osaka in 18 19, or the second or third generation from him, I have never 
 been able to learn. At present a Raku pottery, with white glaze and round stamp of 
 Kikko, is being made in Tokyo, whether by a member of the family or a collateral 
 branch is equally uncertain. 
 
 593- Floating turtle. L. 6| in. Thin walls, scales incised. Light fawn clay. Back, 
 yellowish-fawn glaze shaded with rich brown. Dark brown glossy glaze below, scales lined 
 with white. Kikko (imp.). ^^^^ 1820 
 
 593 594 599 
 
 59^-605. Various forms of Kikko illustrating the variety of the work 
 and the signatures of this oven. 594 Kikko, 605 Jusan, 599 Kosui, 
 Kosuiga and (?) 1820-50 
 
 606. Figure. H. 14 in. Finely modeled. Over-garments dull 
 black, white under - garment showing at neck and wrists. Naniwa 
 Hokuensai Choraku tsukuru (inc.). Seal, Choraku (imp.). 1836 
 
 Gift of W. S. Bigelow. 
 
 SAKURAI (Case 6 and Plate III. 610) 
 
 The oven in Sakurai village was first built by one of the Raku 
 family in the latter part of the last century. (This is the cur- 
 rent opinion, but the annotated copy of Ninagawa's work states 
 that Kyuta first started the oven, and the work was afterwards 
 improved by the assistance of Mokubei and Shuhei.) 
 
 The pottery is simple, some pieces having a rich bright glaze 
 like Takatori, others with a thick white or dull yellow glaze. 
 Upon some objects is a pine tree roughly sketched, with an 
 inscription referring to the historical incident of Kusunoki bidding 
 farewell to his son under a pine tree. This tree was still stand- 
 ing within recent years. The third generation, Kiyomizu Tajuro, 
 was at work in 1 878. The pieces are signed Sakurai no Sato. 
 
 607. Flower-vase. H. 7 in. Rudely turned and roughly dis- 
 torted, sliced below. Light gray clay, thick white glaze 
 with bluish tinge, splash of light green overglaze run- 
 ning from rim. Sakurai no Sato (imp.). 1830 
 
 A unique example of this pottery. 
 
 608. Globular jar, with narrow mouth and pot- 
 tery stopper. H. 3! in. Fine chocolate clay, rich 607 608 
 
 60s 
 
 606 
 
PROVINCE OF SETTSU 65 
 
 dark brown glaze mottled. Bluish-white overglaze on upper portion. Sakurai no Sato 
 (imp.). 1850 
 
 609. Similar to last. 
 
 610. Tea-bowl. D. 4I in. Strongly turned rim, uneven walls, thick. Coarse light brown 
 clay, thin gray underglaze, thick white overglaze, crackled. Under-decoration of pine tree and 
 poem in blue. Sakurai no Sato (imp.). 1850 
 
 611,612. Wine-cups. Sakurai no Sato (^im^.). 
 
 SHOZAN (Case 6) 
 
 The work of Shuzan, evidently an amateur potter, is represented in the col- 
 lection by a Raku flower-vase in the form of a tree trunk vigorously vwought. That 
 he lived in the latter years of the last century is attested by the year period inscribed 
 upon it. "Mi tokobashira yoki" written upon it, was a fitting inscription for so sturdy 
 a piece, — to honorably guard or protect the Tokobashira, the post dividing the re- 
 cesses in the Japanese room, in one of which hangs the picture, or Kakemono, and on 
 its floor stands the flower-vase. 
 
 613. Flower-vase. H. 13^ in. Long and cylindrical. Thick walls, strongly sliced. Soft 
 buff clay, transparent underglaze, rich thick red Raku overglaze, coarsely 
 
 crackled. Anyei go nen Naniwa Shuzan set, mi tokobashira yoki, written in » » 
 white on side. 1776 
 
 Gift of Denman W. Ross. 
 
 KODZO (Case 6) 
 
 Kodzu, in the environs of Osaka, has sustained an oven for over two 
 hundred years. Within recent years pieces in the form of cups have been 
 made with extraordinary black and lustrous glazes. No signature. 
 
 614. Bowl. D. 3^ in. Dull iron brown underglaze, rich deepest brown over- 
 glaze, lustrous. Inside, rich cream-white glaze with pinkish areas, coarsely 
 crackled, this glaze running over rim. Outside richly mottled with olive-brown. 
 
 1850 
 
 615. CtJP. D. 2f in. Brown clay, deep mottled brown underglaze, rich 
 light blue overglaze finely mottled. 1850 
 
 KYOZAN (Case 6 and Plate III. 616) 
 
 In 1 87 1 Shibata KyiJzan built an oven near Osaka and employed a 
 potter from Kyoto for the purpose of making utensils for the tea cere- 
 mony. The only pieces in the collection are two flower-vases, and these 
 show some taste and skill. The work is signed with the impressed mark w^" V 
 Kyuzan set. I am strongly inclined to believe (though I have been other- \^J 
 wise persuaded by Japanese experts) that pottery signed In Kyuzan is 
 the product of this oven. (See Inaba.) 613 
 
 616. Flower-vase. H. 6J in. Fine reddish clay, liver-colored glaze with greenish areas 
 on upper half. KyUzan set (imp.). 1874 
 
66 THE CATALOGUE 
 
 617. Flower-vase, same as last. H. 8 in. Fine light gray clay, very thin green glaze. 
 Kyiizan set (imp.). 1874 „ 
 
 SHOSAI (Case 6) ^ 
 
 It is recorded that in 1 860 a tea-lover of Osaka, named Furoshi Sh5sai, made ^^ 
 pottery at the old oven of Kikko, and produced among other kinds a red Raku 
 pottery with decoration in white. 
 
 618. Wine-bottle. H. 6 in. Sides sliced. Bright red Raku glaze, with greenish-olive 
 areas. Twigs of willow twisted in a loop in white. Shosai (imp.). i860 
 
 Dig. Wine-bottle, similar to last, with bridge and houses in white. 
 SAosai (imp.), i860 
 
 BEIZAN (Case 6) 
 
 A poet and artist of repute made pottery in Osaka in 1830. His 
 work consisted of diminutive figures modeled in clay, bearing the im- 
 pressed marks Beisan and Uji. 
 
 620. HoTEi, with rice-bags. H. ij in. Fine fawn clay, dull blackish glaze. 
 Beizan and Uji (imp.). 1830 
 
 SANDA (Case 6) ^*° 
 
 Ninagawa records, under the name of Arima, the existence of an oven where, 
 in the early part of the century, three potters of Kyoto, Shuhei, Kamesuke, and 
 Kamekichi, pupils of Yeisen, made an imitation of Chinese celadon. The beautiful 
 sea-green celadon made in moulds, the outgrowth of this work, has been produced 
 in great quantities. The efforts of these potters were preceded by an essay said to 
 have resembled Tamba. 
 
 621. Diamond-shaped cake-dish. L. 13J in. Moulded, supported on four short legs. 
 Inside, in relief, two conventional cranes. Hard white stone clay, green celadon glaze. 
 
 1780 
 
 622. Incense-burner, with plum blossoms in slight relief. H. 3 in. White stone clay, 
 light green celadon glaze. 1850 
 
 PROVINCE OF OMI 
 
 The merit of Omi pottery, like that of many other provinces in Japan, 
 is that it has been true to its traditions. The large tea-jars with typical 
 Shigaraki clay have been the dominant form of its pottery for five hundred 
 years. The luminous glazed tea-jars and the delicate glazes seen in others 
 are all good. With the invasion of Kyoto potters at Beppo and Hikone, 
 and a consequent introduction of Kyoto styles, there has, nevertheless, been 
 
CASE 6 
 
 Tjri 
 
 
 ^9 
 
 
 5-'/9 
 
 SV5 yss yVo yi-y s^3 sTb S3 5 ssy s^o yav Jv? sso 51,2, 
 
 i-32 
 
 
 PROVINCES OF TOSA, TSUSHIMA, AND SETTSU 
 

PROVINCE OF OMI 67 
 
 no sign of Omi potters degrading their art by appealing to the extraordi- 
 nary tastes of foreigners. The typical pottery, Shigaraki, and probably the 
 oldest pottery in the province (save that mentioned under early historic 
 pottery), was made nearly a thousand years ago. With the exception of 
 slightly different forms and the grime of age, this varies but little in general 
 appearance from that made to-day. 
 
 SHIGARAKI (Case 7 and Plate IV. 631) 
 
 In the village of Shigaraki are the ruins of one of the oldest ovens in Japan. 
 Ninagawa figures a little plate made of typical Shigaraki clay, dug up on the site of 
 this oven, which he believes to be nearly nine hundred years old. He also figures a 
 rough jar, to which is accorded an age of five hundred years ; and in the collection there 
 are specimens of Shigaraki showing successive periods up to the present day. They 
 are all strikingly alike in clay and rough way of potting. In the latter part of the six- 
 teenth century large jars for holding tea leaves became very popular, as it was believed 
 that the tea preserved better in pottery of this kind. Typical Shigaraki is unmistak- 
 able : the rough slightly reddish tinge to the clay, the coarse granules of silica 
 partially fused, and, in recent specimens, the thin transparent glistening glaze, with 
 sometimes a thicker running overglaze, render the pottery very distinctive. There are 
 many forms of Shigaraki In some the clay is finely sifted, and green, brown, or 
 glistening black glazes are used. These are rarely decorated. The tea-jars are either 
 typical Shigaraki, or glazed after Seto style. 
 
 623. Small plate. D. 3f in. Dull light Shigaraki clay, flecks of light green glaze. 
 Rough base. 1000 
 
 624- Jar. H. 7I in. Coarse Shigaraki clay, dull transparent glaze, splash of light greenish 
 overglaze. Rough impression of two pieces of wood, known as Geta, on bottom. Coarse 
 cracks on surface. Roughly potted. 1380 
 
 Type Ninagawa. Part III., Fig. 4. 
 
 625. Flower-vase. 1400 
 
 626. Tea-jar. H. 2\ in. Fine light brown clay, unglazed. Around rim, dark brown 
 glaze, splash of light olive-green on shoulder. Around neck, eight large drops of silica. 
 Around body, wavy parallel comb-marks. Inside, light brown glaze. 1570 
 
 Type Ninagawa. Part III., Fig. 6. 
 
 627. Tea-bowl. D. 4f in. Modeled by hand. Fine hard Shigaraki clay, thin dull light 
 red glaze, with areas of light fawn. 1680 
 
 Unique specimen on account of its reddish color. 
 Gift of George W. Wales. 
 
 629. Tea-bowl. D. 5i in. Fine light reddish clay, thin transparent glaze, irregular 
 splashes of white overglaze with rosy areas inside. i77'> 
 
 Type Ninagawa. Part III., Fig. 7. 
 631. Large plate, in form of ceremonial wine-cup. D. 9J in. Fine Shigaraki clay. In- 
 side, decoration of formal waves in blue, and flying crane in iron-rust red. 1780 
 
 Gift of Henry O. Havemeyer, 
 
68 THE CATALOGUE 
 
 A most superb example of Shigaraki. Regarded by some experts as the work of Ninsei, 
 in which case one hundred and thirty years would have to be added to the above date. 
 632-644. Cup-rest, water-jars, large tea-jars, bowls, etc. 1780-1800 
 
 645. Water- JAR, with pottery cover. H. 5 J in. Thick walls, roughly turned coarse 
 Shigaraki clay, thick light gray glaze, large over-splashes of red and pale green glaze, flecked 
 with blue, running in long streams of turquoise blue. Over-decoration of plum blossoms in 
 brown. 1800 
 
 A unique example of Shigaraki. 
 
 646-651. Wine-bottle, bowl, jar, incense-box, etc. 1 820-1 830 
 
 652. Wine-bottle. H. 7J in. Clay and glaze resembling Awata. On neck, warm green 
 
 glaze. Chrysanthemums freely sketched in black. 1840 
 A peculiar type of Shigaraki. 
 
 653~672. Flower-vases, bowls, incense-boxes, jars, etc. 1840-1870 
 
 673. Bowl. D. 6 in. Uneven rim, remarkably thin walls. Fine fawn clay, thin, dull 
 light olive-green glaze, with large irregular brown areas showing through. Band of leaves 
 and tendrils in iron-rust color. Inside, vine and trellis in same color. 
 
 Mr. Hiyashi identified this as having been made by Kobori Enshu. This has also been 
 identified as Showo Shigaraki. Takana Showo, a celebrated master of the tea ceremony 
 in the early part of the sixteenth century, is said to have given the potters of Shigaraki 
 many suggestions as to forms and glazes ; and pieces of this period, due to Showo's influence, 
 are known as Showo Shigaraki. It is impossible to believe that this bowl comes within a 
 hundred years of the age demanded by this statement. 
 
 675 • Hanging flower-holder, flattened and curiously out of shape. H. 6 in. Rough 
 reddish Shigaraki clay, with areas of rough fawn and reddish glaze. Vertical 
 comb-marks. Shu (imp.). 1700 
 
 676 . Tea-jar. Yi.2\\n. Rough reddish Shigaraki clay. 5^« (imp.). 1700 
 
 ^n~l^'l' Tea-jars, ranging in date from 1620-1850, representing many 
 forms of shape and glaze. A few are grouped together in the case to show 
 range of variation. 
 
 BAIZAN (Case 7) 
 
 708. Tea-pot. D. 3J in. Fine light Shigaraki clay, light reddish glaze, white overglaze 
 
 running in drops. Design of scrolls and flowers roughly incised. 
 
 Baizan (imp.). 1850 
 
 OYE (Case 7) 
 
 The pottery of Oye has an obscure origin. Early pieces are extant in ' 
 
 which the mark Oye is written in brown glaze with the finger. The tea-jars of a 
 later period are quite distinctive and very rare. 
 
 709. Tea-jar. H, 3J in. Light fawn clay, dull purplish-brown glaze mottled, splash of 
 olive-yellow overglaze running. Left-hand thread-mark. 1630 
 
 Identical with Ninagawa's type. Part VI., Fig. 14. 
 
 Exceedingly rare. 
 
PROVINCE OF OMI 69 
 
 ZEZE (Case 7 and Plate IV. 711) 
 
 The term Zeze, with the local antiquarians of Omi, covers a wide range of ovens 
 and potters. The name is here restricted to certain tea-jars and other forms which, 
 while resembling Takatori, yet vary in certain characters. 
 
 711. Tea-bowl. D. 3J in. Fine hard fawn clay, yellowish-olive glaze, crackled, darker 
 inside. Outside, splash of rich cream-white overglaze, with mottled underglaze showing 
 through, running down to a thick drop at base. 1630 
 
 712. Flattened wine-flask, with nozzle and snout. H. 6| in. Looped handles. Side 
 modeled in high relief in form of mythological animal. Fine light reddish clay, rich dark 
 chocolate glaze mottled with golden-brown flecked with light blue. 1650 
 
 Unique form. 
 
 713' Water-jar. H. 6 in. Fine fawn clay with iron-rust tinge, thin reddish-brown glaze 
 with large areas of rich golden-brown glaze running. 1680 
 
 7I4~72I' Tea-jars. t 1600-1630 
 
 722. Cylindrical tea-jar. H. 2,^ in- Fine fawn clay, rich light brown glaze, with darker 
 overglaze. 1650 
 
 Type Ninagawa. Part III., Fig. 17. 
 723-734. Tea-jars. 1650-1800 
 
 Many of these resemble Takatori, but differ in clay j some of them are exceedingly rich 
 and refined. 
 
 A few of these are not exhibited for want of room. 
 
 SETA (Case 7) 
 
 Records show that pottery was made in the village of Seta three hundred years 
 ago. In 1630 water- vessels and tea-jars were made. 
 
 735- Tea-jar. H. 2^ in. Vertical lines, slightly indented. Fine reddish clay, chocolate- 
 brown glaze mottled, dash of thick olive-green overglaze. 1600 
 736. Tea-jar. H. 2-^ in. Fine fawn clay, thin dull light reddish glaze, on shoulder darker 
 brown, with yellow drops strongly resembling Imbe, Bizen. 1620 
 
 Type Ninagawa. Part VI., Fig. 17. 
 
 Ninagawa records that this tea-jar was handed down in the family of Ishikawa. 
 737- Tea-jar. Similar to last. 1620 
 
 MOMPEI (Case 7) 
 
 Ikeda Mompei began as an amateur, making Raku pottery in the village of Seta. 
 The second generation hired a professional potter from Kyoto, and learned from him 
 the art. For the first time some taste was shown in the work. A number of marks 
 impressed and written were used. 
 
 739- Little dish, in form of two shells, with three short supports. L. 3I in. Fine hard 
 red clay, thick gray glaze, rough sketch of bridge in white slip. Mompeizan 
 (imp.). 1830 
 
 Type Ninagawa. Part VI., Fig. 18. 
 740. Wine-cup. D. 3J in. Dull chocolate clay, dark gray glaze, dull 
 starch-colored overglaze. Outside, brush-mark of white slip. Inside, bands 
 and stars in white Mishima. Mompei (imp.). 1830 
 
70 
 
 THE CATALOGUE 
 
 74^' Shallow bowl. D. 4$ in. Fine light fawn clay, light olive-green underglaze, cream- 
 white overglaze curiously crackled. Bridge post extending inside in light blue. Seta Seki 
 sho (written in blue, on side). ig^o 
 
 741 
 
 742. Haisen. D. 5J in. Strongly turned. Fine yellowish-fawn clay, bluish-white glaze. 
 Spray of chrysanthemum roughly sketched in light blue. Basal ring with 
 three notches. Goshu Seta Kyoto Tokishi Mompei (imp.). 1873 
 
 Type Ninagawa. Part VI., Fig. 19. 
 
 OTSU (Case 7) 
 
 The two specimens in the collection were made by some obscure 
 potter in Otsu, evidently to be sold as souvenirs. 
 
 743- Bowl. D. 3I in. Thick and heavy. Hard gray clay, thin 
 transparent underglaze, thick light gray overglaze. Over-decoration of 
 figure in hideous mask in green, black, yellow, red, etc. 
 Otsu Meisan (unp.). 1830 
 
 744 • Wine-cup. D. z-^ in. Thin walls, fine light brownish clay, light olive-brown glaze, 
 coarsely crackled. Inside, over-decoration of mask, clouds, etc., in red, black, 
 and green. Otsu Meisan and Yorodzu tei (imp.). i860 
 
 7 
 
 744 
 
 BAIRIN (Case 7 and Plate IV. 747) 
 
 In the beginning of the century an oven was built in the hamlet of 
 Beppo, at the southern limit of the old castle-town of Zentokoro. A 
 Kyoto potter was employed ; and while the essays were after Ky5to 
 models, they were original in design and treatment. The objects were 
 usually glazed in two colors, either green and yellow, green and purple, or claret and 
 yellow blending at the point of junction. The Japanese have only recorded the mark 
 of Bairin, which means plum blossom. The mark Okei also occurs on this pottery. 
 This is another poetical name meaning nightingale. The plum blossom and night- 
 ingale are often associated in pictures. One specimen, a plate (No. 747) which has 
 no mark, has in relief a design of a wreath of plum blossoms about the border and two 
 nightingales in the centre. Some of the objects were moulded. Speci- 
 mens are exceedingly rare. 
 
 745- Wine-bottle, moulded in form of egg-plant. H. 6f in. Fine fawn clay, 
 underglaze transparent, rich brown overglaze, clouded ; below calyx, thick white 
 glaze. Kiyomizu Bairin zan (imp.). 1800 
 
 Gift of Charles A. Dana. 
 
 746. Cake-plate. D. 8 in. Moulded. 1800 
 
PROVINCE OF OMT 
 
 71 
 
 t 
 
 752 
 
 747- Cake-plate. D. 10 in. Moulded, rim scalloped. Inside, border of plum blossoms 
 in high relief. In centre, two nightingales, purplish-brown glaze on rim, green glaze on 
 remaining surface. Unsigned. 1800 
 
 Much worn. 
 
 748- Globular comfit-bottle, with cover. H. 3 in. Fine light yellow clay, bright yellow 
 glaze, finely crackled. Cover and shoulder purple glaze. Bairin (imp.). 1800 
 
 749- Fire-bowl. D. i,-^ in. Dark brownish clay, deep yellow glaze with large areas of 
 green and purple overglaze much worn. Bairin (imp.). 1800 
 
 750* Globular water-bottle, with nozzle, looped handle, and stopper. H. 5 J in. Around 
 shoulder band of scrolls impressed, just below scroll-marks incised. Fawn clay, rich yellow 
 glaze on body; warm brown overglaze on neck and shoulder^ running, slightly iridescent. 
 Resembles some forms of Izumo. Bairin (imp.). 1800 
 
 75^" Shallow bowl. D. 5I in. Fine hard fawn clay, thin pale claret underglaze, glisten- 
 ing rich claret overglaze. Lathe-marks strongly cut on lower portion. Bairin (imp.). 1800 
 
 752. Incense box (bird). L. 2§ in. Moulded. Soft cream clay, thin bright green glaze, 
 base of wings light purplish glaze. Inside, glistening white glaze with yellow 
 streaks closely crackled. Irregular cracks showing in clay beneath glaze, — a 
 peculiarity often seen in this pottery. Bairin (imp.). 1800 
 
 753- Bowl. Signed. 1800 
 
 754- Cup-rest. Three Chinese boys moulded as supports. D. \\ in. Bairin 
 (imp.). 1800 
 
 755- Incense-box (badger). Unsigned. 1800 
 75^- Box (turtle). L. 1% in. Moulded. Unsigned. 1800 
 757- Haisen, bowl-shaped, three Chinese boys as supports. D. 6J in. Soft fawn clay. 
 Rich mottled green glaze below; rim, to depth of one inch, orange-yellow glaze; 
 
 similar space within, green glaze ; below this, yellow area, then green, and finally 
 yellow centre. Finely crackled. Okri (imp.). 1800 
 
 75^* Squat tea-jar. H. 2| in. Hard white stone clay; glassy-brown glaze 
 inside and out, coarsely mottled with light brown spots, richly mottled 
 light brown and blue overglaze running from rim. Okei (imp.). 1800 
 
 759- Flattened tea-pot, with looped handle opposite nozzle. D. 3! 
 in. Soft fawn clay ; cover and rim orange glaze, remaining portion 
 green mottled glaze inside and out. Bansei Raku (imp. on handle). 
 
 1800 
 
 757 
 
 f 
 
 KOTO (Case 7) ^'^ 
 
 Pottery known as Kot5 was made at Sawayama, east of Hikone castle, by order of 
 the Hikone family. The oven was started in 1818, and a potter from Kyoto was 
 placed in charge of it. No special merit was shown in the work until within recent 
 years, when a number of potters from Kyoto and Seto were engaged. This accession 
 resulted in a new departure, and pottery after Seto and Kyoto models, with porcelain 
 and celadon as well, and suggestions of green and red Kutani were among the essays. 
 
7* 
 
 THE CATALOGUE 
 
 1850 
 
 The work was of short duration, for, on the assassination, by Mito Renins, of the head 
 of the Hikone family, the oven was abandoned. 
 
 760. Bowl. D. 4I in. Fine reddish clay, transparent underglaze, glistening white over- 
 glaze with pinkish tinges. Sketchy design of grass and round moon in blue. Koto (imp.). 
 
 In Kiyomizu style, 1850 
 
 761. WiNE-BOTTLE. H. 4{ in. Delicately modeled dragons for handles, jeweled 
 diaper in brown. In Awata style. Koto (imp.). 1850 
 
 762. Flower-holder. H. 5J in. Fine grayish fawn clay, light yellowish-brown 
 underglaze mottled, rich thick golden brown overglaze running. In Seto style. 
 Koto (imp.). 1850 
 
 763- CVLINDRICAL TEA-JAR. H. 2,\ >"• 
 
 764. Incense-box, pentangular. D. 2J in. Hard brown clay, delicate light greenish 
 celadon glaze. Koto (inc.). 1850 
 
 765- Flower-vase. H. \\\ in. Looped handles, flowers, scrolls, bands, etc., broadly 
 incised. Hard stone clay, light green celadon glaze. Koto (imp.). 
 
 1850 
 
 766. Cake-plate. D. 8J in. Hard fawn clay, elaborately deco- 
 rated after green Kutani style with panels, diaper, crane, pine tree, 
 bamboo, etc., in dark and light green, purple, blue, and other colors. 
 Ko^ (written). 1850 
 
 767* Cake-dish, high basal ring. D. 7I in. Hard gray clay 
 elaborately decorated after green Kutani style with diapers, flying cranes, fretwork, panels of 
 leaves, flowers, etc., in green, greenish-yellow, light purple, blue, and other colors. Surface 
 covered with decoration inside and out. Basal ring perforated with circular holes running 
 
 into one another. Koto (written). 
 
 768. Similar to last in form. D. yf in. Light gray clay, thick white glaze 
 coarsely crackled. Hydrangea leaves inside and out in rich green lined with 
 black. Flowers in big drops of light blue enamel. Koto (written). 1850 
 
 769. Square incense-burner, fluted corners. H. 2J in. White porcelain. 
 Landscapes and poem in red touched with gold. Thick light blue glaze upon 
 rim. Koto set (written). 1850 
 
 ^^0. Cake-plate. D. 6^ in. Translucent white porcelain ; outside, three panels 
 
 with chrysanthemums in red ; interspaces with wave pattern and broad zones 
 
 Inside, rim panels of landscape, with wave pattern and 
 
 diaper delicately drawn. On bottom, peacock, peony, rock, 
 
 etc., in red. All designs touched with gold. 
 
 Koto Sekisui sei (written). 1850 
 
 771*. Plate. D. 6i in. Koto {vintien). 
 Gift of Mrs. J. J. Glessner. 
 
 772—77^' Plates, flower-pots, bowl, etc., showing various 
 forms of Koto. 
 
 1850 
 
PROVINCE OF OMI 
 
 73 
 
 777' Figure of Hotei, in soft Raku, green and white glazed. L. 9I in. Koto (imp.). 
 Meizan (written). 1850 
 
 Gift of W. S. Bigelow. 
 
 778*-78o*. Bottle, fire-bowl, and tea-jar. 778 bears a peculiar signature 
 of Koto. 1850 
 
 UBAGAMOCHI (Case 7 and Plate IV. 781) 
 
 Pottery bearing the impressed mark Ubagamochi is said to have been made in the 
 village of Kusatsu. The pieces show the work of a vigorous potter of the old school. 
 The pottery strongly resembles Shigaraki, and bears evidences of fair age. 
 
 781. Tea-bowl, irregular. D. 5 in. Coarse dull reddish clay, thin brick red glaze, shiny, 
 large areas of thick olive-green glaze running in thick drops inside and out. 
 
 Two notches on one side of basal ring. On bottom strong left-hand spiral. 
 Ubagamochi (imp.). x68o 
 
 782. Raku tea-bowl. D. 4J in. Coarse light fawn clay, rich maroon 
 glaze with lighter areas, finely mottled, running in thick drops below. 
 Ubagamochi (imp.). 1680 
 
 783- Jar. H. 5 in. Two small looped ears, coarse light reddish clay, thick 
 light grayish glaze, with light reddish tinges. Large olive-brown brush-marks, 
 probably representing birds. Ubagamochi (imp.). 1680 
 
 784. Cylindrical tea-jar. H. 3! in. Resembling No. 781 in clay and glaze. 
 
 1680 
 KAMEYAMA (Case 7) 
 
 Delicate bowls, bearing the impressed mark Kameyama, were made 
 in the village of Shigaraki in the early part of this century. It is possible that the 
 bowl, No. 629, considered by Ninagawa to be 220 years old, is the product of this 
 oven. 
 
 785. Bowl. D. 5 J in. Fine fawn clay, dull white underglaze mottled with the color 
 of the clay beneath, thick white overglaze about rim, crackled. Kameyama (imp.). 
 
 . 1830 
 
 HIRA (Case 7 and Plate IV. 787) 
 
 Pottery bearing the mark oiHira was made in the village of that name on the 
 eastern side of Lake Biwa. The pieces are small, delicately made, and slightly 
 decorated. The clay is yellowish or reddish, glaze thin and dull. Decoration, when 
 present, in iron-rust color. It is said that a pupil of Ninsei first started the work. 
 
 786. Bowl, vertical sides. D. 3I in. Light brown clay, light fawn glaze slightly glistening. 
 Decoration of fisherman (Ebisu) and waves in brown. Hira (imp.). 1830 
 
 787- Bowl, straight sides flaring. D. 4J in. Fine light clay, dull trans- 
 parent glaze, faint brown overglaze forming fringe of drops about rim. Deco- 
 ration of vine in iron-rust brown. Hira (imp.). 1830 
 788. Cup. D. 2\% in. Similar to last. Young ferns in iron-rust color. 
 Hira (imp.). 1830 
 
 786 
 
 788 
 
u 
 
 THE CATALOGUE 
 
 789 
 
 NAGARAYAMA (Case 7) 
 
 In the year 1850 a pottery was started in Miiderayama, and continued for a short 
 time only. Ninagawa in his work figures a broken specimen, and this is the 
 only one that I have ever seen bearing a mark. 
 
 7o9' Cake-dish, rectangular, with short looped supports. L. 5 in. Moulded. 
 Light fawn clay, dull white glaze, dull brown areas across one corner, with brown 
 scrawls on bottom inside. The piece had a looped handle, which has been broken 
 away. Nagarayama (imp.). 1840 
 
 Type Ninagawa. Vol. VI-, Fig. 22. 
 790. Cake-dish, three square openings cut in rim. D. 4f in. Light brown clay, thick 
 gray glaze creeping away from clay. Latticework in three panels in white, gray, and brown 
 inside and out. Unsigned. 1840 
 
 TORAKICHI (Case 7) 
 
 Three pieces in the collection having a dark yellow glaze have been identified as 
 Omi ; if so, they were probably baked in Zeze village, and date back to 1840. Ninagawa 
 in his notes mentions a potter named Torakichi, who came from Ky5to and settled in 
 Zeze. His work was known as Zezetora. The mark Yakitora implies that it was 
 baked by Tora, and presumably by TorakichL 
 
 791- Bowl. D. \\ in. Fine light fawn clay, bright yellow orange glaze. Design of scroll 
 
 lines deeply incised. Yakitora (imp.). 1850 
 
 792. Similar to last, without design. Yakitora (imp.). 
 
 793*' Dish, modeled in form of tub. D. 4I in. Fine reddish clay, deep 
 
 orange glaze. Three lions' heads moulded for supports. Yakitora (imp.). 
 
 _ 1850 
 
 YUKO (Case 7) 
 
 Strongly marked black Raku bowls, bearing the mark Yuko, have been identified 
 as Shigarakl One authority says that they were made by the author of Tokiko 
 in 1850. 
 
 794- Raku tea-bowl. D. 4f in. Coarse clay, thick black glaze with mottled red areas. 
 Yiko (imp.). 1850 
 
 795* Bowl. D. 4 in. Straight sides, thick moulded rim. Hard 
 gray clay, thin bluish-black glaze with light brownish areas. Large 
 circular areas of white glaze, on which is a chrysanthemum roughly 
 outlined in black. Yitko (imp.). 1850 
 
 I 
 
 793 
 
 796*. Shallow CUP. D. 4y'g in. Reddish Raku clay, white under- 
 glaze, thick light reddish Raku overglaze, coarsely crackled. Sil- 
 vered inside. YUko (imp.). 1850 
 
 BASHODO (Case 7) 
 
 Small tea-pots, unglazed, with the written mark of 
 Baslwdd, were made in a small village of that name. 
 The work resembles Tokoname, but has no merit. ^M 
 
 ^ 
 *• 
 
 794 
 
 796 
 
 797* Tea-pot. D. 2| in. Light grayish-fawn clay, un- 
 glazed. Poem and Bashodo written in brown. 1874 
 
 A 
 
 >tf 
 
 { 
 
 197 
 
i 
 
 ■"MS v 
 
CASE 7 
 
 UU7 
 
 WlO 
 
 638 
 
 i^ 
 
 
 G'll (o'ii GtZ 
 
 ®C)f 
 
 ) ;^Q 
 
 e^aML^JJQcS 
 
 
 
 763 760 773 V6¥ 768 
 
 7.67 
 
 ^iiS (,fa8 
 
 76V 
 
 ^::^:=j Hi 7^7 /^''^_ '^ 
 
 ^/« t'l^^i 
 
 fe:7 V~. 
 
 fey? G.vf 
 
 PROVINCE OF OMI 
 

PROVINCE OF HIGO 75 
 
 PROVINCE OF HIGO 
 
 The pottery of Higo, as we know it to-day through the exquisite produc- 
 tions of Koda, began with the introduction of Korean potters after the 
 Japanese invasion of Korea in the last years of the sixteenth century. 
 Before this, tea utensils after Seto models were probably made. Ante- 
 dating these by untold centuries, however, the platycnemic savage had left 
 the evidences of his rude skill in the shell heaps. Hosakawa Sansai 
 brought back from Korea potters who were first settled in Agano, Buzen. 
 Afterwards they were brought to Koda, near Yatsushiro, and here they 
 began the making of pottery which has continued to the present day. At 
 the outset the work was rude. At what date the Mishima type of decora- 
 tion began to be made it is difficult to say. A Japanese authority of 1700 
 says, " Nothing is baked in Higo but tea-jars, and these are made in great 
 quantities." But little reliance can be placed on this statement, as he was 
 a Chajin, and consequently ignored the pottery of the people. 
 
 HIGO (Case 8 and Plate IV. 799) ' 
 
 Under the provincial name must be included the tea-jars, as they represent the 
 earliest glazed pottery in the collection. The Japanese experts identify a number of 
 these tea-jars as Higo-Satsuma, for what reason I could never clearly understand. 
 
 798. Tea-jar (melon-shaped). H. 3 in. Gray clay, dull dark chocolate-black glaze with 
 lighter areas. 1500 
 
 799- Globular tea-jar, H. 2J in. Fine light brown clay, deep chocolate-brown glaze, 
 slight lustre, mottled. Right-hand thread-mark. 1600 
 
 Type Ninagawa. Part III., Fig. 23. 
 
 800-802. Tea-jars. 1600 
 
 803. Globular tea-jar. Very hard light brown clay, overglaze light olive mottled. 1630 
 
 804-810. Tea-jars. 1680-1780 
 
 811. Circular dish, modeled by hand. D. 4 in. Hard fawn clay, thick chocolate-brown 
 glaze with large areas of olive-green glaze mottled. 178° 
 
 HIGO CELADON (Case 8) 
 
 812. Flower-holder. H. 4 in. Dark brown clay, rich greenish celadon glaze, coarsely 
 crackled. Obscure figures rudely impressed. 17°° 
 
 813. Incense-burner (?). D. 4^ in. Hard white stone clay, thin dull green celadon 
 glaze. On sloping shoulder band of flowers and scrolls deeply cut. i73° 
 
j6 THE CATALOGUE 
 
 KODA (Case 8 and Plate IV. 814, 835, 836) 
 
 This pottery is known as Koda In the province it is often called Takata, which 
 is another pronunciation of the same name. Elsewhere in Japan it is known as Yatsu- 
 shiro, for to this place the pottery has, within a hundred years, been consigned for 
 sale. Its origin is due to Korean potters. Early pieces have white brush-marks under 
 ^ gray glaze ; following this came simple conventional lines in Mishima. These two 
 methods were strictly Korean. Finally, Japanese methods brought in exquisite 
 designs of natural objects, usually impressed, rarely incised, of plum blossoms, 
 bamboo, etc., filled with white, rarely black, and of extreme rarity, blue. The pottery 
 is made of finely sifted reddish clay covered with a warm gray glaze, rarely white. 
 The utmost nicety is shown in the fashioning of the pieces, which are usually in the 
 form of small tea-pots, cups, and little plates. Most of the signatures are evidently 
 furnace-marks of different potters who baked in a communal oven. The great merit 
 of the K5da potters is that in addition to the beautiful and attractive character of their 
 work they have been true to themselves and their country's art ; they have never 
 been tempted to make stuff for the foreign trade. 
 
 The work Toki Sh5shi, by Koga Seishu, gives the generations of Koda potters 
 as follows : The first pottery was made in Koda in 1632 by a Korean named Sonkai, 
 who afterwards changed his name to Agano Kizo, who represents the first generation ; 
 second generation Chubei, pseudonym Hosan ; third generation Chubei, pseudonym 
 Ippu ; fourth generation Chubei ; fifth generation Chuzo ; sixth generation Chubei ; 
 seventh generation Saibei, pseudonym Suzo ; eighth generation, the present one, 
 Teizo. 
 
 Mr. J. Tokutomi, the distinguished writer and editor of The Nations Friend, has 
 kindly sent to Higo, his native province, for information regarding certain Higo marks 
 which I sent to him, and to him I am greatly indebted for the following information. 
 
 There appear to have been two branches of the original Kizo. The first Kizo 
 is represented by eight generations. From the second to the sixth the families bore 
 the name of Chubei, the seventh was known as Hosan, the eighth as Teizo. The 
 impressed mark To was used by the sixth, the impressed mark Sai by the seventh, 
 the incised mark Tei by the eighth. The objects in the collection bearing these marks 
 do not accord in age with the probable period of these families. A branch of Kizo had 
 for its founder Tarosuke Agano, and the second, third, and fourth generations bore 
 the same name. The fifth generation was Gentaro, and the sixth was Yaichiro. The 
 impressed mark Gen in two forms was used by the fifth generation. Another branch 
 springing from Kizo was as follows : 2d, Toshiro ; 3d, Kuriyemon ; 4th, Toshiro ; 5th, 
 Soshiro ; 6th, Toshiro ; 7th, Yayei ; 8th, Toshiro ; and 9th, Jirokichi. Of this line 
 the impressed mark To was used by Yayei, the incised mark Katsu was used by one 
 of the Toshiros, and the impressed mark Ka by Jirokichi. It would seem more likely 
 that Ya was the mark of Yayei, and To was the mark of one of the Toshiros. 
 
 As there is no accordance between the memoranda furnished by Mr. Tokutomi 
 and the account as given by Koga Seishu, and, furthermore, as the objects in the 
 collection bearing the above-mentioned marks do not correspond in age with the sup- 
 posed dates of the generations to which they are attributed, I find it impossible to 
 
PROVINCE OF HIGO 77 
 
 separate the families with any certainty, and so they are all grouped under the general 
 name of Koda. 
 
 814. Deep bowl, straight and flaring sides. D. i\ in. Coarse light reddish clay with 
 large white granules, mixed ; transparent glaze, wide brush-marks of white. Made by a 
 Korean potter and dug up near the castle-gate of Kumamoto. 1600 
 
 815. Tea-bowl, with flaring sides. D. 5^ in. Coarse light brownish clay, large white 
 granules intermixed. Gray glaze, brush-marks of white inside and out. Identical with 814. 
 
 Gift of Denman W. Ross. 1600 
 
 816. Incense-burner. D. 6J in. Flaring rim and elaborately wrought silver cover. 
 Hard gray clay, fine hard light gray glaze. On rim, above, cloud and crane and scroll, 
 border impressed in black and white Mishima. Below rim, scrolls incised, and on body, 
 band of scallops impressed in black and white Mishima. Rudely potted and stoved. 1600 
 
 817. Jar, with three ears. H. \o\\ in. Coarse reddish-brown clay, underglaze trans- 
 parent, showing dead reddish-brown ; upper portion covered with thick 
 
 olive-brown glaze running in narrow streams to bottom, flecked with light 
 fawn, iridescent. Chubei (inc.). 1650 
 
 Gift of Henry O. Havemeyer. 
 
 The founder of the Koda pottery, as before remarked, is said to have been 
 Agano Kizo. The second generation (1666), third generation (1700), fourth 
 generation (1733), and fifth generation (1766), were known as Chubei. The 
 jar above described, judging from the iridescent overglaze, was probably made 
 by the second or third generation. It is the only example I have ever seen 
 of the work of these early potters, and the incised mark Chubei is probably 
 unique. 
 
 818. Incense-burner. H. sf in. Globular body, flaring base. Toad on 
 cover. Fine light brown clay, greenish-gray glaze mottled; cranes, dots, 
 scallops, band, etc., in black and white Mishima. Thick overglaze in 
 places. Deep closely wound left-hand spiral on bottom. 1650 
 
 8ig. Pillow-rest, with perforated design. L. 6| in. Fine gray clay, 
 light gray glaze; stars, borders, etc., in white and black Mishima. 1650 
 
 The above four objects are strictly Korean in style. 
 
 820. Flower-vase. H. 9J in. Large body, cylindrical neck with projecting rim, two looped 
 handles rudely moulded. Coarse brownish clay, coarse brown glaze mottled with black. 
 Roughly made. 1650 
 
 821. Screen for writing-table. W. 4J in. Light reddish-brown clay, light grayish glaze 
 with light brown areas. Dragon incised in white Mishima. Naka (inc.). 1720 
 
 822. Flower-vase. H. 7 in. Body square, gracefully tapering to long cylindrical neck. 
 Reddish-brown clay, dark gray glaze. Vertical interrupted lines incised in white Mishima. 
 
 1720 
 
 823. Hanging flower-holder, in form of square wooden bucket. H. 6J in. Fine 
 brown clay, dark gray glaze. Incised wood graining in white Mishima. 1750 
 
 824. Bowl. D. 4J in. Dull light brown clay, gray glaze, vertical crackle. Hosokawa 
 crest in white Mishima. *77° 
 
 Type Ninagawa. Part III., Fig. 24. 
 
78 THE CATALOGUE 
 
 825. Plate. D. 7J in. Fine reddish clay, olive glaze on under side. Poem in square 
 and written characters incised in white Mishima. Inside, large plum blossom in white slip. 
 
 1770 
 826-829. Bowls of typical Koda with white Mishima decoration of various designs on 
 white slip scratched through in basket design. Basal ring grooved on lower face. Evidently 
 made by one potter. 1770 
 
 830. Jar. H. s in. Looped handles, pottery cover. Light reddish-brown clay, warm 
 gray glaze. On each side large peony in white Mishima, evidently made by the same potter 
 as the last. 1770 
 
 Gift of Denman W. Ross. 
 
 831. Paper-weight, block-shaped. L. 3J in. 1780 
 
 832. Fire-bowl. 1780 
 
 833. Paper-weight, in form of long bar. L. 6J in. Beautifully moulded shell and aquatic 
 plant on upper face. 1820 
 
 834. Tea-cloth-holder. H. 2% in. Crane in black and white Mishima. 1820 
 
 835. Bowl. D. 4J in. Dark brown clay, clear light gray glaze. Clouds and crane in 
 white and blue Mishima. Band of oblique lines in white about rim. 1820 
 
 An exceedingly rare type of Koda. 
 
 836. Water-vessel for ink-stone. D. 2^ in. Light fawn clay, light gray glaze. Pine in 
 black and white Mishima. Tei (inc.). 1825 J^ 
 
 Made by Teizo Agano, the eighth generation from Kizo Agano, the founder of the 2 
 family. 8^ 
 
 837-840. Various PIECES. 1820-1840 
 
 841. Tea-cup. D. 2f in. White porcelain body and cream-white glaze. Plum blossom, 
 and about rim Greek fret in black Mishima. 1840 
 
 Made for governor of Yatsushiro. 
 
 842. Flower-holder (?). H. 3I in. Dark reddish-brown clay, dark olive-gray glaze. 
 Sketch of Shimabara Mountains and birds incised in white Mishima. 1840 
 
 843-856. Various pieces. 1840-1850 
 
 857-866. Various pieces, some of them bearing marks of Kodzu (857), Katsu (858), 
 incised, 7^(859), Ka (863), and Higo (865), impressed. 1850-1870 
 
 857 858 859 863 S6s 
 
 867-874' Consisting of plates, jars, flower-vase, paper-weight, bottles, etc., bear the 
 impressed mark Gen {Mitiamotd) and represent the work of the best potter of modern Koda. 
 
 1870 
 
PROVINCE OF HIGO 
 
 79 
 
 875-886. Various pieces, consisting of tea-jars, tea-pots, tea-cup, bowls, etc., with furnace- 
 marks of Matsu (87s), Sai i (876), Ya (881), // (883), Toyo i (884), Yatsushiro and Sogen 
 (885). Some of these are black Mishima on a white ground, and a few have light chocolate 
 glaze. 1870-1880 
 
 -^b. 
 
 875 
 
 876 
 
 883 
 
 It may be well to add the information alluded to under Koda, page 76, which Mr. Tokutomi sent 
 tome regarding the if^^ marks above given. 857; "nothing is known about this." 858; "this 
 mark was used by Toshiro Ueno, who was called Katsuki in his youth." 859; "this mark was 
 used by the sixth heir of Kizo Agano, the seventh heir of Toshiro Agano, and by the eighth heir of 
 Kizo Agano. Kizo Agano himself used this signature." 863 ; " was not able to find out anything 
 about this." 865 ; " not read." 867 ; " this mark was used by Gentaro Agano, the fifth heir <rf 
 Tarosuke Ueno Agano, the younger son of Toshiro Agano, the second heir of Kizo Agano the 
 founder." 868 ; "this mark was used by Gentaro Ueno in his youth, who was the fifth heir of Taro- 
 suke Ueno." 875; "no information about this." 876; "this mark was used by Hosan (who was 
 called Saibei in his youth), the seventh heir to Kizo Agano." 881 ; "this mark was used by Yaichiro 
 Ueno, the sixth heir of Tarosuke Ueno." 883 ; " this mark was used by Jiro Ueno, the ninth heir of 
 Kizo Ueno." 884; "this mark was used by Hosan, the fifth heir of Kizo Ueno." 885; "this mark 
 was used by Nibuzo Yoshiwara, a native of Yashiro Machi, Yashiro County. He was one of the 
 followers of the Agano family." 
 
 AMIDAYAMA (Case 8) 
 
 A pottery having white glaze with blue decoration was made at Amidayama in the 
 latter part of the last century. Imitations of Hizen and also Chinese porcelain were 
 attempted. Specimens of this work are very rare. 
 
 887. Haisen, in form of tsutsumi (a kind of drum). H. 10 in. Hard white stone clay, white 
 crackled glaze. Formal design of clouds, 
 
 waves, scrolls, etc., and encircling bands of 
 fret in light blue. Higo Amidayama no 
 toko, Kansei nensei (written in blue). 1797 
 
 888. Brush-holder. H. 4f in. Fine 
 fawn clay, thick white glaze strongly 
 crackled. Chinese landscape delicately 
 drawn in light blue. Higo, Udo-gori, Ami- 
 dayama set (written in blue). 1797 
 
 889. Tea-pot. . D. ^^ in. White por- 
 celain, circular panels of landscapes in 
 light blue. Mark same as last. 1797 
 
 890. Pear-shaped bottle. H. 33 in. 
 red. White porcelain clay and glaze< 
 green, etc. Mark same as last. 
 
 O-t 
 
 m 
 
 
 ,1 - 
 
 w 
 
 887 
 
 Three short legs. Scalloped handles outlined in 
 Over-decoration of landscape in blue, red, yellow, 
 
 1797 
 
8o 
 
 THE CATALOGUE 
 
 RAKU (Case 8) 
 
 At one time a Raku pottery was made near Yatsushiro. I found fragments of a 
 red Raku pottery near Kumamoto, and these were identical in character with an 
 incense-box upon which is incised the characters Yatsushiro. 
 
 891. Incense-box, in form of lion, delicately moulded. H. 2 in. Light red Raku clay 
 and glaze. Yatsushiro (inc.). 1800 
 
 892. Figure, similar to last in clay and glaze. 1800 JLl^ // 
 
 SHODAI (Case 8) ^' 
 
 The first Shodai pottery was made at Minami-seki, at the foot of a mountain known 
 as Shodaiyama. The present pottery is made by Noda Matashichi, who signs his 
 work Shodai and Kitakoji. 
 
 893. Tea-bowl. D. 5I in. Chocolate-brown clay, thick greenish-white glaze, mottled, 
 without lustre. Basal ring notched. 5//«i/a/ (imp.). 1780 
 
 894. Tea-bowl, D. i\i in. Straight sides, flaring. Dull light brown clay, mottled 
 gray underglaze ; about rim, broad band of thick white overglaze, coarsely crackled. 
 Shodai (imp.). 1840 
 
 895- Flower-holder. H. (>\ in. Surface with oblique incised lines. Reddish-brown 
 clay, thin grayish-blue underglaze, thick bluish-white overglaze. Shodai and 
 Kitakoji (imp.). 1870 
 
 896. Bottle. H. 9 in. Dull brown clay, transparent underglaze, trans- 
 parent olive-green overglaze streaked with bluish-green running. Surface 
 obliquely grooved. Shodai and Kitakoji (imp.). 1870 
 
 897- Tea-bowl. D. 5 in. Dark reddish-brown clay, olive -brown glaze richly mot- 
 tled with greenish-white. Right-hand spiral on bottom. Three spur-marks on 
 side. Kitakoji (imp.). 1870 jmrtj 
 
 893 
 
 
 898 
 
 SHOFO (Case 8 and Plate IV. 902) 
 
 The father of Noda Matashichi started a separate oven and made 
 similar pottery to that of his son. He signed his pieces ShofU, and, rarely, 
 Kitakoji, associated wdth it. 
 
 898. Large basin for goldfish and flowers. D. i2| in. Flaring rim. Three 
 short supports. Dark reddish-brown clay, gray mottled underglaze creeping on rim ex- 
 posing clay, thick white overglaze, minutely punctured. ShofU and Kitakoji (imp.). 1830 
 
 899. Bowl. D. sJ in. Straight sides, flaring. Dark brown clay, 
 deep olive-brown glaze with streams of light blue and fawn over- 
 glaze. Three spur-marks within. Right-hand spiral on bottom. 
 Shd/a (imp.). . 1850 
 
 900-903. Tea-jar and three bowls. ShofU (imp.). 1850 
 
 904. Flower-holder. Unsigned. 1850 
 
UNlVErvSlTY n 
 
 \ Of ^, AT 
 
CASE 8 
 
 7 \^.3^>> 
 
 %il 
 
 fr<JO %«!« 
 
 %I7 
 
 8r^0 
 
 Tg9 
 
 
 «;"7„7 
 
 '»iV 
 
 ^liiif. 
 
 «»3 r7« <if%2 
 
 V30 
 
 l^^ 
 
 Trw'^-"^^ ^''--■ 
 
 SrVZ 
 
 %'<7 
 
 ^3v? Q rIrS %7. ^ 
 
 
 
 
 «'io «%o «7?Twmm6 «3s- 
 
 %ot 
 
 86& 
 
 5Si"X ^zl «ZS 8rZ6 
 
 %1i- VbS" 
 
 IDS' 
 
 "103 
 
 
 PROVINCE OF HIGO 
 
PROVINCE OF NAGATO 8i 
 
 AMAKUSA (Case 8) 
 
 Two rude flower-vases in the collection were secured in Higo, and were there 
 called Amakusa pottery. They are unsigned and have no special merit. 
 
 905. Flower-vase. H. 7^ in. Reddish clay, dark golden-brown underglaze, middle glaze 
 purplish and mottled. On neck rich white overglaze flecked with blue. i860 
 
 906. Flower-vase. H. 5I in. Clumsy in form, dull coarse light red clay, light olive-green 
 underglaze, thick white overglaze flecked with fawn and blue. 1880 
 
 MATSUMOTO (Case 8) 
 
 A potter of Yamaga named Matsumoto has within recent years modeled figures in 
 clay. Among these is a paper-weight in the form of a toad. The life-like color and 
 attitude of the creature indicate a skilful modeler. 
 
 907. Paper-weight (toad). L. 4 in. Dark slate clay, glaze uncertain. Paint evidently 
 used in coloring back. Higo Yamaga Matsumoto Chozo (^'ck^.'). 1880 
 
 908. Incense-box (frog). L. 3^ in. Coarse brown clay, yellowish-white under- 
 glaze, green overglaze. Yama (inc.). 1880 
 
 ss^ 
 
 KINRYOZAN (Case 8) 
 
 A large shallow bowl, with typical clay and glaze of 
 Koda, has been made within recent years by a potter who go8 
 
 has evidently departed from the traditions of the region. 
 
 909. Shallow bowl. D. 5} in. Deep chocolate clay, warm dark gray glaze. Kinryuzan 
 (imp.). 1880 
 
 HIGO IN GENERAL (Case 8) 
 
 910. Tea-bowl, with mark Nochi Asahi impressed, said to have been made in 
 Higo in 1880. 
 
 B 
 
 910 
 
 PROVINCE OF NAGATO 
 
 With the exception of the province of Bizen there is no other province 
 in Japan where there is such uniformity in the general appearance of its pot- 
 tery as in that of Nagato. A hundred — a thousand — specimens brought 
 together only make more striking the sHght variation between them. The 
 Japanese experts seem readily to separate the pottery of Nagato under the 
 names of Hagi, Matsumoto, and Fukagawa, yet these distinctions become 
 confusing when a large number of objects is brought together. The dis- 
 tinctions that they make between Matsumoto and Hagi are frivolous. 
 Fukagawa certainly has a softer clay. An authority of 1700 mentions 
 
82 • THE CATALOGUE 
 
 Hagi only. Ninagawa says Hagi is the general name for Matsumoto and 
 Fukagawa; and yet Fukagawa is a separate town from Matsumoto. To 
 make the discriminations more difficult, Nagato pottery is rarely signed ; 
 furnace-marks even are not seen ; and so in many cases distinctions are 
 impossible. 
 
 HAGI (Case 9) 
 
 Japanese antiquarians make a distinction between Hagi and Ko Hagi, and though 
 the distinction amounts to nothing save as a matter of age, there is yet a marked 
 difference in the appearance of the older forms. Tokiko says that Ko Hagi is often 
 mistaken for early Izumo, and this is doubtless due to Korean influence in both 
 instances. According to Ninagawa and other authorities, the first potter of Hagi was 
 a Korean named Rikei, afterwards called Saka Koraizayemon. The descendants of 
 Rikei attained the rank of Samurai 
 
 gi2. Bowl, flaring sides. D. 5J in. Soft brownish clay roughened, thick white glaze with 
 extra white overglaze running from rim. Coarsely crackled. Four spur-marks within. 1580 
 
 913, 914. Bowls. 1600-1630 
 
 915- Bowl. D. 5J in. Fawn clay, thick cream glaze finely crackled. Under-decoration 
 of light blue bamboo leaves ; over-decoration of dark brown bamboo leaves and plum blos- 
 soms. Sides compressed, rim cut. Basal ring with two notches. 1650 
 
 916—918. BowLS. 1650-1700 
 
 919- Rest for cover, in form of a drum-shaped ring. H. ij in. Light fawn clay, light 
 cream glaze. Thick walls, design perforated. 1780 
 
 920. Cake-plate on three looped legs. D. 8 in. Rim crenulated. Coarse light fawn 
 clay, thick grayish-white glaze strongly crackled. In centre of plate under-decoration of 
 flowers roughly sketched in black and gray. . 1780 
 
 Rare form. 
 921-924. Bowls and bottles. 1780-1830 
 
 925. Tea-bowl. D. 45 in. Rough light fawn clay, buff underglaze, darker overglaze. 
 Sides compressed, one side sliced. Basal ring with two notches. 
 
 Karamine (imp.). 1800 
 
 926. Deep bowl. D. d,\ in. Light fawn clay, much roughened on lower ^L* 
 part, deep fawn glaze, glossy, coarsely crackled. Right thread-mark. 1830 ^ 
 
 927- Deep bowl. D. 3|in. Strongly turned, fine fawn clay, thick light 
 chocolate-brown glaze. Saji (inc.). 1830 927 
 
 928-931- Bottle, incense-boxes, jar. 1830-1850 
 
 MATSUMOTO (Case 9) 
 
 Under this name are included many pieces identified by Ninagawa and others as 
 Matsumoto, and though the division appears artificial, yet those with finer and harder 
 
PROVINCE OF NAGATO 83 
 
 clay, and grayish or greenish-gray glaze, as well as many with fine glaze with pinkish 
 tinges, are here included. It is said that Miwa, a native of Yamato, established a 
 pottery in Matsumoto in 1661-1672, following Korean methods. 
 
 932- Jar. H. 5I in. Heavy and thick. Fine hard light gray clay, light greenish-white 
 glaze coarsely crackled. 1600 
 
 933- Flower-vase, in form of slender flask-shaped bottle. H. 9I in. Light fawn clay, 
 fine cream-white glaze finely crackled. 1600 
 
 934* Bowl. D. 6 in. Fine light fawn clay, cream-white glaze crackled, curdled in por- 
 tions. Rim cut. Base solid and cut through with two simicircular grooves at right angles. 
 
 1600 
 935* Tea-bowl. D. sf in. Dull curdled white glaze. 1650 
 
 936. Tea-bowl. D. 3I in. Side cut and lapped over with two knobs. Coarse fawn clay, 
 thick cream-white glaze running in drops. Roughly made. 1700 
 
 937. Shallow cake-plate. D. \o\ in. Hard gray clay with reddish areas, thick pinkish- 
 white glaze. Inside, cut area through centre, from which three lines radiate to one side ; on 
 opposite side, shallow wide cut to edge. Basal ring cut in three wide notches. 1700 
 
 938. Cake-plate, rim in four scallops with lines drawn to centre. D. 6| in. Rich pinkish 
 glaze ; below, purplish tinges. 173° 
 
 939- Bowl, similar in character. 1730 
 
 940. Cake-plate, rim with four crenulations. D. 8J in. Hard fawn clay, fine light pink- 
 ish-gray glaze with darker areas. Inside, under-decoration, double circle and pine needles in 
 blue. 173° 
 
 941, 942. Tea-jar and Haisen. 1730 
 
 943. Seal, in form of mythological lion resting on ball. H. 2\ in. Figure deeply carved. 
 On raised portions thick white glaze. Unique form. 1730 
 
 944. Jar, four low knobs around shoulder, and fillet just below. H. 14 in. Dark brown 
 clay with white granules, thick light grayish glaze with fine dark spots. Pinkish areas. 1750 
 
 (On top of Case 9.) 
 
 945~9^7' Various pieces, consisting of incense-burner, jars, leaf-shaped cake-dishes, tea- 
 bowls, and bottle, ranging from 1750 to 1840. Of 
 these the mark of 959 has not been read, 960 is San- «■■ 
 
 nose, 967 is Ichi. 
 
 968. Tea-cup. D. 2f in. Fine grayish clay, with 
 light red tinges, irregular stripes of thick white and 
 deep brown glaze on unglazed surface. i860 
 
 969-974- Various pieces, consisting of cake-dishes 959 960 967 
 
 with deeply folded rims, cup-rest, plate for raw fish, 
 
 and other forms, with thick glaze deeply curdled into drops, either white or light brown in 
 color. 1750-1850 
 
84 THE CATALOGUE 
 
 SETSUZAN (Case 9 and Plate V. 975) 
 
 In 1750 the governor of Nagato invited a potter from Yamato to erect a kiln in 
 Matsumoto. This potter was first known by the name of Miwa, and after- 
 wards assumed the name of Dorusuke. He was a direct descendant of 
 Miwa Kiusetsa His work was considered rough, but tasteful. Speci- 
 mens are signed with the impressed mark Setsuzan, and are of extreme 
 rarity. 
 
 975* Bowl. D. f>\ in. Very coarse light brown clay, thick white glaze, ^^' 
 
 deeply tinged with pink, coarsely crackled and pitted. Thick walls, sides flattened. 
 Roughly turned on base. Right-hand spiral. Basal ring with three notches. 
 Setsuzan (imp.). 1750 
 
 976. Squat jar, deeply constricted in middle. D. 8J in. Light buff clay, transparent 
 
 underglaze, splashes of thick pinkish-white overglaze. 
 
 Setsuzan saku roughly incised. 1880 ^ 
 
 This piece is possibly made by a descendant of the first Setsuzan. 
 
 Gift of W. S. Bigelow. 
 
 MICHISUKE (Case 9 and Plate V. 977) 
 
 Saka Michisuke, a direct descendant of the original Korean potter, 
 Saka Koraizayemon, followed the potter's art at a place called Naka- 
 nokura, in Matsumoto. The single specimen in the collection shows 
 the work of a vigorous modeler. 
 
 977- Incense-box, in form of crab. W. j,\ in. Fine light gray clay with 
 red tinges, transparent underglaze, thick white overglaze in areas. 1872 
 
 Type Ninagawa. Part V., Fig. 28. 
 
 
 FUKAGAWA (Case 9 and Plate V. 984) ^ 
 
 The pottery attributed to the village of Fukagawa (pronounced, in 
 the province, Fukawa) has a finer and smoother glaze than Hagi ; its color is warmer, 
 and often pinkish in hue, this being particularly so with recent work. It is difficult to 
 make distinctions in the older work. The pottery of Fukagawa originated from Hagi, 
 and doubtless the same clay and glaze, or similar materials, were used. Certainly the 
 methods were the same. 
 
 978. Tea-bowl. D. 61"^ in. Rough light brown clay, rich fawn glaze. Thick areas of 
 white glaze on rim, lower portion of bowl, and inside basal rim. Within, five spur-marks. 
 
 1600 
 
 979- Bowl. D. 5J in. Fine fawn clay, smooth fawn glaze minutely crackled. Base with 
 three deeply cut notches. 1630 
 
 980-983. Bowls. 1680-1730 
 
 984. Incense-box, in form of branch of biwa with leaves and fruit. L. 6 in. Dull fawn 
 clay and glaze, tips of fruit touched with brown. 1730 
 
CASE 9 
 
 937 
 
 9X0 
 
 f^ 
 
 \^ -m^, — ;> 
 
 9ss SfcZ 1001 <<3<< ^36 ^V3 'jss- "ilo "Jli 
 
 167 / .. >!ilO^®^ 910X^9^8 
 
 973 
 
 PROVINCE OF NAGATO 
 
PROVINCE OF KAGA 85 
 
 985—999- Various pieces, consisting of tea-bowls, cake-plates, deep cups, single flower- 
 holder, covered jar, incense-box, rest for cover, etc. 1750-1850 
 
 1000. Bowl. D. \\\ in. Fine light fawn clay, dark fawn underglaze, cream overglaze, 
 plum blossoms in thick white drops with stems in brown. 1850 
 
 1001. Covered bowl. D. \\ in. Light fawn clay, thick smooth cream-white glaze. 1870 
 This represents the ordinary form of food-bowl of the people. 
 
 1002. Cake-bowl. D. 5I in. Roughly modeled handles. Fine fawn clay, dark fawn 
 underglaze, fawn overglaze within and splashed without. Incised clouds and cross-lines. 
 
 • 1873 
 
 PROVINCE OF KAGA 
 
 The name of this province, like that of Satsuma, has become widely 
 known abroad through its faience and porcelain. The output of the Kaga 
 ovens in furnishing pottery for the world's demand is very great. Yet just 
 in proportion to the effort to fill this demand is seen a corresponding 
 deterioration in the work. One had only to compare the exhibit of Kaga 
 potters at Chicago in 1893 with a similar exhibit in Philadelphia in 1876 
 to realize this deterioration. There is little variation to be seen in the 
 pottery. One piece of the bright red and gold decorated faience of Kaga 
 will stand as a type for the thousands of pieces exported. The difference 
 between this modern stuff and the original red is very striking. 
 
 KAGA (Case 10) 
 
 1003. Tea-jar (flat). H. if in. D. 4 in. Rough brown clay, thick light brown glaze, 
 smooth bottom. 1680 
 
 1004. Tea-jar. H. 3! in. Two knobs on shoulder. Soft fawn clay, mottled blue and 
 fawn glaze, splashes of olive-brown overglaze running. Right thread-mark. L-shaped line 
 incised. 1680 
 
 1005. Tea-jar. H. 3J in. Gray clay, mottled olive-green and gray glaze with bluish-black 
 stream running. Golden-brown showing through on shoulder. 1680 
 
 1006. Tea-jar. H. 3 in. 1680 
 
 KUTANI (Case 10) 
 
 The pottery derives its name from the village in which it was first made. Pieces 
 in the form of tea-bowls, tea-jars, and the like were first made by Tamura Gonzayemon 
 in the first half of the seventeenth century. His work followed Seto models, and it is 
 possible that some of the tea-jars above catalogued were made by him. In 1650 Goto 
 Saijiro began the making of porcelain after his return from Hizen, to which place he 
 had gone to learn the secrets of the art. He worked with Kakiyemon, and went so 
 far as to marry his daughter in order the more readily to learn the mysteries of porce- 
 
86 THE CATALOGUE 
 
 lain decoration. The famous artist, Morikage, came to Kaga at this time and made 
 many designs for porcelain decoration. Mr. Takano, an intelligent citizen of Kaga, 
 told me that Yoshiya Hachiroyemon, a native of Kaga, in the early part of this 
 century, copied designs from an old book in which were pictures of famous Chinese 
 inks. These sticks of ink had in relief pictures of dragons and other mythological 
 creatures, and, hence, in old red Kutani one sees these subjects used as motives in 
 decoration. Native authorities say that green Kutani dates back to 1680 or there- 
 abouts, and that red Kutani began in the early years of this century with Hachiroye- 
 mon. In 1815, owing to a disastrous landslide, the ovens were removed from Kutani 
 to the village of Yamashiro, some distance from Kutani, and here they have remained, 
 though the product is still signed with the old mark Kutani. There are a number of 
 other places in Kaga where red Kutani is made. It is said that the Kutani showing a 
 cloudy or mottled red was decorated in Kaga, while the red applied evenly has been 
 decorated in Tokyo. It is well known that much, if not all, of the modern Kutani is 
 decorated in TSkyo. 
 
 1007. Flask-shaped bottle (possibly for flowers). H. 8J in. Fine light brown clay, rich 
 ivory-white glaze, crackled below and stained light brown. Deep encircling lines from top 
 to bottom. 1630 
 
 1008. Cake-tray. L. 5I in. White porcelain; rim, light brown glaze; margin within, 
 deep blue, with wood graining in black. Inside, bird with dragon mouth, clouds and waves 
 in various colors. Outside, scrolls in light green and red outlined in black. Comb-mark in 
 blue on basal ring. Fuku in blue on square green panel. 1680 
 
 1009. Square dish. D. 4J in. Similar to last. Fuku in black. 1680 
 
 1010. Square incense-burner. H. i\^ in. White stone clay, cloth-marked inside and 
 out ; white porcelain glaze, overglaze red, with reserve areas of flowers and leaves. Flowers 
 outlined in red, leaves with touches of red lined with black. 1680 
 
 IOII-IOI4. Dish, bottle, square box, oblong cake-dish. White porcelain clay, vari- 
 ously decorated. 1700-1780 
 
 GREEN KUTANI (Case 10 and Plate V. 1016) 
 
 Two objects are here introduced as illustrating models from which the Japanese 
 potter derived certain styles known as K5chi. The spiral lines in the decoration of 
 the shallow bowl are seen in the old green Kutani. This bowl was secured from 
 Ninagawa. It has an age of three or four hundred years. Both objects were probably 
 made in China proper. 
 
 IOI4A. Shallow bowl. D. 6| in. Very irregular in outline. Coarse brown clay, bright 
 dark green glaze with quaint fishes inside in light yellow outlined in black and green. Curi- 
 ous design on bottom, inside, with dark pink imbrications, evidently intended to represent a 
 fire beacon, around which the fish are swimming. Entire surface of glaze, inside and out, 
 covered with black spiral lines. Rim black. Basal ring broad and shallow applied and 
 crushed out of shape. 1600 
 
 XOI4B. Incense-burner. D. 3I in. , Fluted body. Fine fawn clay. Outside, rich green 
 glaze. Inside, yellowish fawn glaze iridescent. Upper and lower halves moulded separately 
 and united. / 1600 
 
PROVINCE OF KAGA 
 
 87 
 
 1015. Flower -VASE. H. 6| in. Coarse dark gray-brown clay, light gray glaze, pine in 
 green enamel outlined in black. 1680 
 
 1016. Large bowl. D. 7^ in. Gray clay, gray underglaze. Outside, rich green glaze 
 with scalloped spirals in black. Inside, diapers in green, yellow, purple, and blue. Fruit 
 and flowers in same colors, outlined in black on light fawn ground. Fuku, in black on green 
 panel. 1730 
 
 Type Ninagawa. Part III., Fig. 24. 
 
 1017. Large bowl. D. 8^ in. Hard fawn clay. Outside as in last. Inside, rich yellow 
 glaze with deep brown circles, large leaves and gourd in green outlined in black. Rich 
 purple areas and blue flowers. Fuku, in brown on yellow panel. 1730 
 
 1018. lOig. Square box and plate. 1750-1800 
 1020. WiNE-cup, with high base. D. 2% in. Finzan, written in brown. 1800 
 
 I02I— 1032. Various pieces, with typical green Kutani decoration, consisting 
 of wine-bottles, plates, bowls, cups, tea-pot, incense-box, etc. 1800-1870 
 
 1022 and 1023 are signed Kutani. 
 
 RED KUTANI (Case 10) '°^° 
 
 1033. Box, in shape of five-petaled flower. D. 2^ in. Light cream-white clay and glaze, 
 ground of clouded red, with gold leaves and minute circles. Kutani (written). 1815 
 
 1034*. Square wine-bottle. H. 8| in. Hard fawn clay, white porcelain glaze. Poems 
 and figures in red outline touched with gold. Various panels of diapers in red. 1820 
 
 1035. Cake-dish. D. 7j n. Light fawn clay and glaze. Outside, fine digitated scrolls 
 in red touched with gold. Inside, elaborate decoration of figures, 
 house, etc., and band of panels and other dfpigns in red outlined in 
 
 gold. Kutani (written). 
 
 1036. Tea-cup. D. 3 in. Light gray stone 
 clay, light gray glaze, spray of leaves in dull red -^^ 
 and brown. Kutani (written). 1830 ' , 
 
 Peculiar type. "^^S.. 
 
 1037, 1038. Hexagonal wine-bottles. H. ,036 
 7 J and 8 in. Elaborate decoration of panels, 
 figures, etc., in various colors. Kutani (written). 
 
 1850 
 
 I039~I04^* Cake-dish, tea-pots, etc. Kutani 
 (written and impressed). 1850 
 
 1042. Large bowl. D. i2| in. Light cream- 
 white clay and glaze, fret about border, dragon 
 and clouds in red outlined in gold. Inside, gilded, 
 sacred turtle in red shaded in gold. 
 Kutani (written). 1850 ^039 
 
 Gift of A. D. Weld French. 
 
 (On top of Case 10.) 
 
 1820 
 
 1038 
 
 103s 
 
 1041 
 
88 THE CATALOGUE 
 
 1043. Flower-vase. H. 8f in. Upper portion flaring, middle cylindrical, below spherical, 
 supported on three curved legs. Decoration of diapers, mythological bird, scrolls, flowers, 
 etc., in red and gold. Inside, elaborate drawing of dragons in red and gold. Kutani 
 (written). 1850 
 
 Gift of A. D. Weld French. 
 
 1044. Octagonal cup. D. 2\% in. Semi-porcelain. Elaborate decoration of scrolls, 
 etc., in red, green, yellow, and blue, with black outline. Kutani (written). 1850 
 IO45-IO47. Tea-pot, beaker, covered bottle. 1045 Kutani (imp.). 1850-1860 
 
 1048. Large bowl. D. 6^^^ in. Hard light fawn clay, light cream glaze. Out- 
 side, oblique spiral bands of flowers, diaper, etc., in red and gold. Inside, simi- \Jul 
 lar decoration with four circular panels of flowers in green, black, and red. Kutani W^ 
 (written). i86o 
 
 Gift of W. S. Bigelow. 
 
 1049. Shallow cake-bowl. D. 5I in. Yellowish-white clay and glaze. Outside, maple 
 leaves in red. Inside, mythological bird in red, green, blue, and black. Around border 
 diagonal lappets with diaper, scrolls, etc., in red and gold. Kutani in gold on red panel 
 (written). i860 
 
 Gift of W. S. Bigelow. 
 
 1050. Shallow cake-bowl. D. 55 in. Light stone clay, cream -white glaze. Inside, 
 playing cards of figures and poems. Outside, four panels of flowers and landscape, with wave 
 design between. Kutani (written). i860 
 
 Gift of W. S. Bigelow. 
 
 1051. Ornamental jar, with heavily flanged dome-shaped cover, knobbed. H. 28J in. 
 Decoration of pine, chrysanthemum, mythological animals, etc., in various colors on a white 
 ground. (On top of Case 10.) i860 
 
 1052. Flask-shaped bottle, probably for flowers. H. 13 in. Hard white clay and glaze, 
 cloudy red ground. Leaves and flowers drawn in fine red lines. Scrolls in gold, and leaves 
 outlined in gold. 1880 
 
 1053. Round incense -box. D. 2-/b in. Light clay, hard cream glaze crackled. 
 Circles of alternate red and green outlined in black. Kutani (imp.), Ju in red 
 
 on cover. 1872 
 
 Made by Okura Juraku. 
 
 KUTANI IN GENERAL (Case 10) 
 
 The following pieces differ widely from red or green Kutani, but 1053 
 
 nevertheless are so classed by Japanese experts. 
 
 1054- Cup. D. 4f in. Hard gray clay. One half of bowl vertically glazed a dull light 
 brown ; the other half dull brown Seto glaze. 1800 
 
 I055' Covered jar. H. 8J in. Fine light brown clay, rich deep olive-brown glaze, under- 
 glaze decoration of cloud and crane in green outlined in black. Ornamental border in green 
 around shoulder and base. 
 
 1056. Jar. H. 5I in. Hard brown clay, glistening grayish-brown glaze clouded and 
 iridescent, splash of light reddish-brown overglaze. 1830 
 
PROVINCE OF KAGA 
 
 89 
 
 
 1057. Plate. D. 5f in. Hard brown clay. Two thirds surface brown Seto glaze, 
 remaining portion white porcelain glaze with scrolls in blue, green, and 
 yellow outlined in brown. 1850 
 
 1058. Cake-dish. D. 5^ in. Scalloped sides. Three legs. White 
 stone clay, light brown glaze, white bird with blue shading on deep 
 brown rock. 1850 
 
 1059. Covered cake-dish. D. 6i in. Hard white clay, grayish- 
 white glaze. Under-decoration of bands, scrolls, and circular panels 
 in three radiating divisions in greenish-blue. 
 Dai Nippon Kutani sei (written). , 1800 1059 
 
 1060. Cake-dish, in form of large leaf and melon united, supported on three short legs. 
 L. 7 in. Fine light fawn clay, greenish-white glaze finely crackled. Melon portion, inside, 
 bright green glaze ; on leaf, inside-decoration of vine and flowers in green, yellow, and dark 
 red. 1870 
 
 RENDAIJI (Case 10 and Plate V. 1061) 
 
 In the work Kaga Etchu Toji-Koso it is recorded that Awabuya Aoki Genyemon, 
 pupil of Teikichi, made pottery at Rendaiji village. He signed his work with the 
 pseudonym Toko. The mark must be very rare, as the author of the above work had 
 never seen it. 
 
 1061. Jar. H. 6| in. Fine fawn clay ; smooth light 
 gray glaze, sprinkled with minute black dots. Vigorous 
 drawing of flower and leaves in purple, green, blue, and 
 yellow enamel. 7F/JJ (written). 1806 
 
 SOSENTEI (Case 10) 
 
 A potter and painter named Asai Kohachi, with 
 the pseudonym of Sosentei Ichigo, made pottery in 
 the village of Yamashiro in 1836. He baked in the oven of 
 Miyamoto-ya, successor of Yoshida-ya. Specimens of his work 
 are very rare. 
 
 1062. Flask-shaped flower-vase. H. lof in. White stone clay, 
 white porcelain glaze ; over-decoration of irregular masses in bright 
 red shaded with gold. Peonies in bright red outlined in gold, and 
 leaves drawn in dark red lines. On side, Sosentei Ichigo ga, in gold. 
 On bottom, Kutani sei, in gold. 1836 
 
 Gift of W. S. Bigelow. 
 
 ASANO (Case 10) 
 
 A potter named Asano Metabei (by another authority Gohei) 
 is said to have made, among other kinds, black glazed bowls. 
 The mark Asano occurs on a low square bottle which has some 
 resemblance to Buzen. 
 
90 
 
 THE CATALOGUE 
 
 1063. Low SQUARE BOTTLE, short neck. H. 4 in. Light reddish-brown clay, deep yellow- 
 ish-brown glaze, thick light fawn overglaze, mottled, running halfway down; edge of 
 
 glaze tinged with light blue. Upper portion deeply curdled. Strong cloth-mark 
 impression on bottom. Asano (imp.). 1750 
 
 OHI (Case 10 and Plate V. 1067, 1068, 1070) "^3 
 
 Pottery known as Ohi is made in a village by that name in the eastern part of 
 Kanazawa, which is thirty miles from Yamashiro village. It is said that the first 
 Ohi pottery was made by Chozayemon, a brother of Ichiyu, one of the Raku family. 
 This was in 1683. The earliest pieces had the impressed mark Raku. Early bowls 
 of this potter have a close spiral line cut on the outside of the vessel. The only 
 ones I have seen of this character appear to be imitations. In 1780 the mark Ohi 
 was first used. There is a variety of these marks continuing from that time to the 
 present day. There is one form of the mark Ohi always associated with the earliest 
 and best examples of the work. Ohi pottery is a characteristic soft Raku, usually 
 having a deep rich reddish-yellow, or " honey glaze " as it is called by the Japanese. 
 The pottery which nearest resembles it is a form made at Shizuhata, Suruga, and so 
 closely does this resemble Ohi that in the classical collection brought together by 
 Japanese experts for the Philadelphia Exposition, which formed the material for the 
 famous catalogue of the South Kensington Collection by Dr. Franks, is included a 
 specimen of Suruga, under Ohi, the mark having been interpreted Senki, the Sinico- 
 Japanese way of pronouncing the characters, which should be read Shizuhata. 
 
 1064. Shallow bowl. D. 5J in. Soft fawn clay. Rich purple-brown glaze with glisten- 
 ing areas of reddish-orange. Unglazed areas. Left-hand spiral on bottom. 
 
 Raku (imp.). 1683 
 
 1065. Incense-box (split bell). D. 2f in. Moulded. Light olive glaze, 
 inside, dark brownish areas. Ohi Kambei saku, roku-ju issai. Temmei hachi- 
 nen saru hachi-gatsu ju-go-nichi (incised). 1788 
 
 1064 
 
PROVINCE OF KAGA 
 
 91 
 
 If this is genuine it represents the third generation of Ohi. The specimen does not bear 
 evidences of this age. 
 
 The three following specimens represent the work of the most skilful potter of Ohi, 
 
 1067. Incense-box (Hotei). D. 2^ in. Light fawn clay. Figure unglazed, drapery 
 green glaze ; inside, honey glaze. Lower part of box with incised scrolls. 
 Ohi (imp.). 1830 
 
 1068. Bowl. D. s| in. Fine light fawn clay and glaze. Decoration, 
 branch of biwa with rich green leaves and yellow fruit outlined with dull 
 brown. Left-hand spiral on bottom. Ohi (imp.). 1830 
 
 1069. Bowl. D. 5J in. Soft fawn clay, dark orange-brown glaze with 
 brownish cloudings. Iridescent. Surface roughened and cut. Left-hand spiral on bottom. 
 Ohi (imp.). 1830 
 
 1070. Incense-box, lenticular. D. 3 in. Light red clay, rich light red Raku glaze with 
 light olive areas, scrolls in white on cover. Inside, brownish,yellow glaze, roughened surface. 
 
 1068 
 
 Ohi (imp. inside of cover). 
 
 I07I— 1076. Various pieces of Ohi. 1830 
 
 1077' Incense-box. L. 3f in. Sacred turtle 
 moulded on cover. Soft light fawn clay, golden-brown 
 glaze, surface sliced. Ohi (imp.). 1840 
 
 Said to be the fifth Ohi. 
 
 1078— 1086. Various forms of Ohi. 1850-1875 
 
 1830 
 
 1073 
 
 I07S 
 
 1077 
 
 KASUGAYAMA (Case 10) • 
 
 An exquisite Raku bowl, with blue decoration, is believed to be the work of Ecchiuya 
 Hyokichi, and to have been decorated by Toda Tokuyemon. The pottery is known as 
 Kasugayama, from the name of the village in which it was made. It dates from the 
 early part of this century. 
 
 1087. Bowl. D. 4/5 in. Soft light red clay, rich light red Raku glaze, light blue leaves 
 and buds, inside and out, 1820 
 
 Gift of W. S. Bigelow. 
 
 CHOJU (Case 10) 
 
 Pottery differing in no respect from typical Ohi, but bearing the mark of Chqju, is 
 said to have been made by the son of Kato Chozayemon. 
 
 1088. Deep bowl. D. jf in. Moulded by hand. Dark dull yellow 
 glaze. Irregular margin, rough surface. Slightly iridescent. Choju (imp.). 
 
 Date uncertain 
 
 1088 
 
 MASAKICHI (Case 10) 
 
 A potter named Kato Masakichi, who was also known as Gorin 
 Ken, made pottery in the middle of this century, using the impressed mark Masakichi. 
 This potter died in 1865. 
 
92 THE CATALOGUE 
 
 1089. Box, in fonn of bivalve shell. L. 35 in. Light red clay, rich thick dark honey 
 glaze. Chrysanthemums moulded in high relief on cover. Yellow centre, 
 white petals. Masakichi (imp.). 1850 
 
 TAMAMOTO (Case 10) 
 
 An unglazed jar with basket surface bearing the impressed mark 
 Yamamoto is identical with a specimen in the Waggaman collection 
 which has green Kutani decoration. The object is probably the work 
 of Yoko Yoshikadzu, whose family name was Yamamoto. Yok5 Soyetsu, his succes- 
 sor, died in 1829. The first Yoko died in 1817. Judging by the appearance of the 
 object, this jar was made by the first Yoko in Kanazawa. 
 
 logo. Covered jar. H. 5 in. Four looped knobs on shoulder. Light grayish clay, 
 transparent glaze inside. Outside, unglazed and roughened by impressed marks 
 to imitate basket-work. Yamamoto (imp.). 1800 
 
 ONO (Case 10) 
 
 A potter by the name of Rokuyemon built an oven in the village of 
 
 11 
 
 1090 
 
 Ono in 1841, and signed his pieces Ono Zenroku. 
 specimen in the collection, has no merit. 
 
 The work, judging from a single 
 
 ZOgX. Plate. D. 7J in. Rim with four scallops. Light fawn clay and glaze, 
 seven treasures in red. Inside, fan-shaped and semi-circular panels containing 
 flowers and figures, etc., in various colors touched with gold. Ground, with 
 scrolls in green outlined in black. Ono Zenroku (imp.). ' 1841 
 
 SHOREIDO (Case 10) 
 
 Pottery bearing this mark was made by Uchimi Kichizo, whose pseudo- 
 nym was Shoreido Tozen. 
 
 Outside, 
 
 1091 
 
 1092. Bowl. D. 5 in. Light fawn clay, light grayish glaze with pink areas, 
 inside and outside, cord and bells in silver. Plum blossoms in red lined 
 with silver. Shoreido no in (written in red). 1875 
 
 Decoration, 
 
 1092 
 
 YEIRAKU (Case 10) 
 
 A member of the famous Zengoros of Kyoto, representing the 
 twelfth generation (Wagen), left Kyoto in 1866 at the invitation of the 
 Governor of Kaga, and established an oven in Yamashiro village, and 
 for a few years made pottery and porcelain after Kutani models. He also made a few 
 tea-jars and bowls after his own taste. With the exception of large porcelain bowls, 
 gayly decorated, and which, curiously enough, Jacquemart mentions correctly in his 
 work, his efforts had no special merit. 
 
 1093' Incense-burner. H. 6f in. Lion-head knobs, and lion on cover. Hard #^ 
 light clay. Decoration of formal panels with birds, scrolls, etc., in clear blue. Be- Jfcj^ 
 low, waves and clouds in blue. Kutani (written). 1867 1093 
 
CASE 10 
 
 
 iOSX 
 
 (owtr 
 
 IO(T 
 
 I "S3 
 
 iOZ2. 
 
 (Of't 
 
 lUlO 1033 1027 JU&Z 
 
 1031 
 
 ^ 
 
 ii: 
 
 
 10X7 
 
 
 I06>| 
 
 "Ol3 JOZl I01'» loiy lOI'fA lOiSB 
 
 lOfiV 
 
 1018 luia lusu J02.0 'Odi 
 
 7C_J072 
 
 1083 ef3J , ■-_ ) p ,,, 
 
 lOfaS 
 
 1077 
 101% 
 
 1071 IU8I 1(^10 IU68 1067 
 
 IOl5 
 
 
 1006 
 
 @^ 
 
 I0S7 layg 
 
 V — A-x. 
 
 10X6 
 
 1013 
 
 1003 
 H>q6 , 1(02. 
 
 '0^3 
 
 ^Wa ^^ V-iS^/ ^^ 
 
 io<JS 1(00 
 
 lOS't 1013 
 
 PROVINCE OF KAGA 
 
» 
 
PROVINCE OF KAGA 
 
 93 
 
 %|^»t^«aj^ 
 
 1094 
 
 1095 
 
 Yet and Kutani over- 
 
 1094. Plate. D. 4^% in. Typical red Kutani decoration. Yeiraku (imp.). Kutani (writ- 
 ten). 1867 
 
 1095. Large bowl. D. 7^^ in. 
 Porcelain clay and white glaze. 
 Decoration of flowers and birds in 
 green, red, brown, and gold freely 
 sketched. About rim, inside, dia- 
 per of circles in red, green, and gold. On bottom, inside, mythological bird and clouds 
 in blue. Base roughly sanded. Kutani ni oite Yeiraku tsukuru (written in black and 
 green). 1867 
 
 1096. Oblong tray. L. 7 J in. Typical green Kutani decoration, 
 lapping (imp.). 1867 
 
 1097- Tea-jar, pottery cover. H. 3^ in. Light fawn clay, 
 light fawn glaze mottled with areas of lighter glaze running. 
 Yeiraku (imp.). 1867 
 
 1098. Wine-bottle. H. 6J in. Thin walls, yellowish clay 
 and glaze. Plum blossoms in white slip, branches dark brown, 
 leaves green touched with gold. Yeiraku (imp.). 1867 
 
 I099- Bowl. D. 4f in. Yellowish-white clay and glaze. Light brown and fawn over- 
 glaze running. Outside, two characters in white slip, also character in black with red 
 kakihan. Yeiraku (imp.). 1867 
 
 1100. Tea-bowl. D. 4I in. Dull fawn clay, light brown glaze mottled. Yeiraku (imp.). 
 
 1867 
 
 1101. Jar. H. 7 J in. Section of bamboo, cover with section of bamboo for handle. 
 Very light gray clay, thick Japanese yellow glaze. Over-decoration, bamboo, plum, and pine 
 in green and blue enamels and gold with red flowers. Yeiraku (imp.). 1867 
 
 1 102. Bowl. D. 6 J in. Hard white clay and porcelain glaze. Over- 
 decoration of children at play, and pine, bamboo, etc., in green, yellow, and 
 black outlined in gold on clouded red ground. Inside, on bottom, lion in 
 blue. Around inside, scrolls and flowers in light green and yellow outlined 
 in gold on clouded red ground. Base sanded. Kisaki (imp.). _ 1867 
 
 This bowl is placed provisionally under the work of Yeiraku. 
 
 MOKUBEI (Case 10) 
 
 In 1 807 the famous potter Mokubei visited Kaga, and remained in that province 
 three years. It is possible that some of the Kaga porcelain of that period may have 
 been made by him. A tea-pot in the collection is characteristic of Mokubei's work. 
 The clay is identical with Kaga, and the impressed mark Kinju is said to be 
 a mark used by Mokubei at that time. 
 
 1103. Tea-pot. D. 3J in. Moulded. Flowers and fret in high relief. Thick 
 
 dull greenish glaze. Kinju (imp.). 1807 1103 
 
 ^ 
 
 M 
 
94 THE CATALOGUE 
 
 II04. Incense-box (Hotei). W. if in. Hard gray-drab stone clay, greenish celadon 
 glaze, face unglazed. Kutani (imp.) minute mark. 1807 
 
 SHOTEI (Case 10) 
 
 A bowl roughly made and decorated in red Kutani style bears the signature of 
 Shotei, and is believed to be the work of a pupil of Shokado. 
 
 II05- Bowl. D. 5^ in. Light fawn clay, dull red glaze. Over-decoration 
 of flowers and scrolls in yellow, green, and transparent glaze shaded with black. 
 Flowers, scrolls, and dragons inside and out. Inside, on bottom, circular area 
 of white glaze strongly crackled, with blue decoration. Shotei (imp.). 1840 1 105 
 
 PROVINCE OF ISE 
 
 The modern pottery of Ise is known throughout the world under the 
 common name of Banko, and the objects are almost invariably signed with 
 the impressed mark of Banko. The product is usually in the form of tea- 
 pots, little flower-vases, and the like, either modeled by hand or moulded ; 
 the walls delicate, with twigs modeled in relief, or flowers in a few vitrifiable 
 enamels on an unglazed surface, or the body may be made of different 
 colored clays. The foreign taste has been captivated by the novelty of this 
 pottery and its cheapness. Ninagawa says this modern work for export 
 was not made until after 1868. By the material thrown on the market 
 to-day no one can have the least idea of the remarkable pottery made in 
 this province in past times. There was hardly any method or style that the 
 Ise potters could not successfully imitate ; and if the pottery of this province 
 alone survived, a fair idea of the pottery of Japan would be given. 
 
 ANTO (Case 11 and Plate VI. 1108) 
 
 According to Ninagawa, a brother of Numanami (see Banko) made pottery in 
 Tsu in the first half of the last century, using the mark Anto. Other authorities 
 date the origin of Anto a hundred years earlier. The testimony is conflicting. While 
 Anto lacks the delicacy and refinement of old Banko it is certainly more vigorous in 
 manipulation and more spirited in decoration than the early Banko. From the appear- 
 ance of many of the specimens I am inclined to believe that it goes back to the early 
 part of the eighteenth century. After many years the work ceased, to be revived 
 again in 1830 (see Akogi). The work excels in its originality, diversity, and beauty 
 all other pottery made in Ise. The potters and decorators were skilful artists, but 
 since that time their work, with the exception of that of Yusetsu, has declined in 
 character. 
 
PROVINCE OF ISE 
 
 95 
 
 1106. Square wine-bottle. H. 6J in. Fine fawn clay, dull smooth yellowish glaze. 
 Neck with thick blue glaze. Over-decoration of landscape in brown. Unsigned. 1720 
 
 1107. Oviform wine-bottle, with short neck. H. 5^ in. Fine light clay, green glaze 
 crackled. Neck, Awata glaze, upon which is over-decoration, in red, of waves, scrolls, fret, 
 etc. .4«/^(imp.). 1740 
 
 1108. Large plate, irregular in shape. D. io| in. Strongly turned. Coarse brown clay, 
 unglazed. Inside, flowers and leaves of cockscomb {Celosia cristata) in thick white ^jtj. 
 slip glazed with green, red, and yellow. Poem in white slip. Antb (imp.). 1740 jil 
 
 1 109. Shallow bowl, rim slightly scalloped. D. 8 J in. Soft light brown clay, ^5' 
 thick light fawn glaze. Inside, spray of bamboo in thick light blue, and seal in red. 
 Outside, band of circles and wave-marks in blue. .<^«/J (imp.). 1740 
 
 1 1 10. Deep cup, with flanged rim, flaring. D. 3I in. Light reddish clay, thick greenish- 
 yellow glaze crackled. Anto {xva.^^. 1740 
 
 1111. Deep cup, strong basal ring. D. 31^ in. Light brown clay, light fawn glaze, 
 deeply crackled. Poppy in green and red overglaze decoration. Anto (imp.). 1740 
 
 1112. FiRE-VESSEL. D. \\% in. Fine light fawn clay, rich green glaze. Half circular 
 panel from rim with chrysanthemum in white enamel. Leaves yellowish. Anto (imp.). 1740 
 
 1 1 13. Wine-bottle. H. 6§ in. Dark brown clay, unglazed. Mythological bird, flowers, 
 and rock in green, blue, yellow, and red, thickly applied. ^«/J(imp.). 1740 
 
 III4- Hanging flower-holder, cylindrical. H. 5I in. Roughly turned. Coarse O 
 brown clay, unglazed, dash of thick gray glaze on side. Anto (imp.). 1740 "^ 
 
 1115. Wine-bottle. H. 4^ in. Grayish-white glaze, strongly crackled and stained. '"3 
 Over-decoration of flowers and bird in green and light purple enamel, shaded with black. 
 Anto (imp.). 1740 
 
 1116. Brush-rest (three geese). L. 3f in. Light fawn clay, light greenish glaze. 
 .(4«/<J (imp.). 1780 
 
 1 1 17. Square cup. H. 4 in. Light gray clay, thick light gray glaze, deeply 
 crackled, with brownish overglaze running in long streams. Anto (imp.). 1850 
 
 1 1 18*. Cake-plate. 
 
 1 1 19 
 
 Ilig. Cake-plate, D. 6 J in. Two deep flexures on rim. Dull light reddish- 
 brown clay with transparent glaze below. Inside, on unglazed portion, roses and leaves 
 in green, light blue, light rose, and yellow outlined with black, thickly applied. 
 Anto (imp.). 1850 
 
 II20*. Plate. D. 12 in. Anto (imp.). 
 
 1120 
 
 AKOGI (Case ii) 
 
 This pottery, made within recent years, is said to have been an attempt to revive 
 the Anto pottery. It, however, bears no resemblance to the early Anto, 
 and possesses none of its merits. Over a hundred years ago pottery was 
 made in Akogi, bearing the mark of Banko. 
 
 II2I. Basin. D. 6| in. Fine fawn clay with reddish tinge, thick dull olive- 
 colored glaze with grapevine in blue. Banko (imp.). 1780 
 
96 THE CATALOGUE 
 
 1122. Fire-vessel, jar-shaped. H. 7 in. Coarse grayish clay, dull brown surface, very 
 rough, unglazed. Plum blossom and bird in white slip, glazed green, brown, and black, with 
 touches of red. Akogi (imp.). 1850 
 
 1123. Bowl. D. 3J in. Light yellowish clay, glistening light gray glaze. New Year's 
 decoration in brown. Akogi (imp.). 
 
 1 124. Cake-bowl, rim scalloped. D. 6 J in. Light fawn clay, light gray glaze. 
 Inside, flowers and leaves in pink, green, blue, and red, thickly applied. Outside, 
 rough sketch of bamboo in red. Akogi (imp.). 1870 
 
 1124 
 SAHEI (Case 11) 
 
 Two specimens in the collection bearing the impressed mark of Sahei were identi- 
 fied by skilful judges in Japan as having been made in Ise. Ninagawa, in manuscript 
 notes, states that the fourth Raku (see Yamashiro) was commonly called Sahei, and 
 at one time made pottery in Ise. From other sources I have derived additional testi- 
 mony to that effect. The two pieces bear evidence of age, and are made after Kyoto 
 style. Mokubei, of Kyoto, was also called Sahei, but the pieces are far older than 
 Mokubei's time, and there is no record of his having used this mark. 
 
 1 125. Incense-burner. H. 2^ in. Globular body with hollow walls with circular perfora- 
 tion. Rim flaring and scalloped. Fine light fawn clay, thick white glaze. Flowers in bluish- 
 gray. Sahei (imp.). 1640 
 
 1126. Handled cake-dish. D. 5I in. Brownish-red clay, thick white glaze, over decora- 
 tion of sinuous line with vertical lines pendant in blue. Sahei (imp.). 1640 
 
 BANKO (Case II and Plate VI. 1127, 1x34, 1138, 1139, 1142) 
 
 Great diversity of opinion is found in the various records published and in 
 manuscripts in regard to the origin and the history of the pottery bearing the 
 mark of Banko. A general agreement seems to give the credit of the first 
 making of Banko to Numanami, surnamed Gozayemon, who was a man of wealth, 
 lived in Kuwana, studied flower arrangement, and finally began to experiment with the 
 making of pottery. He is said to have served an apprenticeship .with Kenzan, in 
 Kyoto, and if this is a fact we get a clue to the date of Numanami's work, as Kenzan 
 died in 1743. His skill soon attracted notice, and the attention of the Shogun being 
 called to him, he was invited to Yedo, where he erected a furnace in Kommemura. 
 His first work was made with clay and glazing materials imported from China. He 
 died in the latter years of the last century. One of his sons worked with him for a 
 while, but a servant continued the pottery for some time after the master's death. 
 Three specimens figured by Ninagawa are supposed to have been the work of 
 Numanami in Yedo, and hence called Yedo Banko. As there is no absolute evidence 
 of the origin of the specimens they are here classified with other objects bearing the 
 mark of Banko. The round stamp has also been considered as indicating Yedo 
 Banko, but that mark, varying in character, has been used wathin recent years. 
 
 It would seem that many potters in Kuwana, Yokka-ichi, and other places used the 
 
PROVINCE OF ISE 
 
 97 
 
 common mark Banko, and the relative age of this work can only be judged in the 
 usual way. Of these marks there is a great variety in form, size, and style of writing 
 the characters. With the exception of Fueki and Nihon Yusetsu it is not usual to 
 see other names associated with this mark. In 1 878 there were twenty-one different 
 potters of Ise represented in the Paris Exposition. There is no mark under which a 
 greater variety of pottery is found than that of Banko. This statement does not refer 
 to the variety of form or decoration, but to leading types of pottery, such as Karatsu, 
 certain varieties of Satsuma, Shino, Ki Seto, Raku, Koda, and others. A study of the 
 pottery shows that the oldest forms bear the mark without the oval border. Banko, 
 then, not only runs over a period of perhaps a hundred and fifty years, but must have 
 been made by many potters in many places. There is apparently no way of tracing 
 the origin of the various pieces, and so they are reluctantly included under one name. 
 
 II27< Cake-dish, in shape of folded fan. L. i2| in. Light brown clay, warm light brown 
 glaze. Ribs of fan and edge of vessel thick light blue glaze. 
 Inside, armor disks in white. Banko {mvp.). 17^0 1 .^ 
 
 This specimen is probably Yedo Banko. 
 
 II30' Incense-box (bird). L. 2| in. Light Raku clay, thick 
 dark orange-yellow glaze. Banko (imp.). 1 790 
 
 1127 
 
 1131 
 
 1131*. Hanging flower-vask (jar-shaped). H. 4J in. Rough brownish clay resembling 
 Tokoname. On upper portion, thin transparent glaze with splashes of greenish - fawn. 
 Roughly potted. Banko (imp.). 1790 
 
 1 133. Cake-dish, rim scalloped. D. 6 J in. Light fawn clay, heavy rich green glaze. 
 Inside, flowers and leaves deeply incised with yellow, purple, 
 light green, and white glaze. Banko (imp.). 1810 
 
 1 134- Jar- !!• 3f in- Hard light gray clay, surface 
 roughened by cloth impression ; glistening golden-brown 
 glaze, body indented. Cloth-mark impression on bottom. 
 Banko (imp.). 1830 
 
 Type Ninagawa. Part V., Fig. 22. 
 
 II35' Jar- H- 6i in. Thin walls. Looped handles. Deep reddish-brown clay with 
 white granules. Transparent underglaze ; yellowish-olive overglaze with 
 splashes of deep greenish-olive, running. Wood graining slightly showing 
 in clay. Inside, circular wave -mark impression after Korean style. 
 Banko (imp.). 1830 
 
 1 136*. Flower-vase. Banko (imp.). Koyuno motomeni djite. Kore wo 
 tsukuru (inc.). 1830 
 
 Gift of Miss Lucy Ellis. 
 
 H3S 
 
 II37- Bowl, uneven. D. 4J in. Soft light reddish clay, glistening white glaze strongly 
 
 crackled, figures in blue. * 1730 
 
 This piece was identified by Mr. Hayashi as having been made by Namimura Groroyemon. 
 
j98 THE CATALOGUE 
 
 The following have the mark Banko without oval panel. 
 
 1 138. Bowl. D. 5-i\ in. Solid and heavy. Hard fine gray clay, thick light grayish glaze. 
 Outside, crane rudely incised; small turtle in relief. Banko (imp.). 1780 
 
 Would be mistaken for Shino were it not for the mark. 
 
 1 139- Beaker. D. 3 J in. Fine fawn clay and glaze, mythological bird and flowers deeply 
 incised ; without crackle. Banko {^m^^. 1790 
 
 Type Ninagawa. Part V., Fig. 20. 
 
 1140. Flower-vase, sides flattened. H. 9J in. Panels on four sides with Awata 
 glaze, upon which are flowers with various colored enamels. Around neck band of 
 jewels and scrolls in red. Remaining portion of vase light green glaze, moulded but- (b 
 terflies and flowers stuck on with lacquer. ^a«^o (imp.). 1790 "''° 
 
 Type Ninagawa. Part V., Fig. 19. 
 
 1141. Wine-bottle. H. g^in. Chocolate-brown clay, fawn glaze. Around shoulder, broad 
 band of light crackled glaze with flowers in various colored enamels. Banko (imp.). 
 
 1790 
 
 1 142. Incense-box (bird). L. 3-^ in. Coarse soft light clay. Inside, thick white Raku 
 glaze. Outside, yellow glaze ; wings and tail rich light green glaze flecked with dark 
 green. Banko (imp.). 1800 /»| 
 
 Type Ninagawa. Part V., Fig. 21. y^ 
 
 1143. Bowl. "42 
 Gift of W. S. Bigelow. 
 
 1 144- Large bowl. D. 6 J in. Scalloped rim, circular perforations at junction of scallops. 
 
 Fine fawn clay, rich green glaze, with areas of thick bluish-green overglaze. Banko (imp.). 
 
 A remarkable example. 1800 
 
 II45' Covered vessel, with notch in rim. H. 2| in. Fine fawn clay, Awata glaze ; over- 
 glaze decoration of mythological bird in various colors. Cover with conventional leaves 
 and flowers in various colors. Banko (imp.). 1800 
 
 1 146. Bowl, similar clay, glaze, and decoration to last. 
 
 1 147- Plate, rim turned up in two places. D. 9 J in. Fawn clay, thick fawn glaze, and 
 large area of lighter overglaze. Inside, over-decoration of Chinese figure, fence, rocks, trees, 
 etc, in various colored enamels and red with black shading. Outside, lattice in brown. 
 Banko (imp.). 1780 
 
 II50. Haisen. H. 7I in. Light reddish fawn clay and glaze. Decoration of dragon, 
 clouds, jewel, and waves, in white glaze outlined in blue and brown. Inside, thick white 
 glaze coarsely crackled. Unsigned. 1820 
 
 II5I- Food-vessel, with incurving rim. D. 13I in. Identical to last in clay, glaze, and 
 color of decoration. Inside, decoration of nearly one hundred Chinese boys. Unsigned. 1820 
 
 These two examples, without signatures, have been recognized as Banko by the best 
 Japanese exjjerts. They are made and decorated by the same hand, and are of extreme 
 rarity. 
 
PROVINCE OF ISE 
 
 99 
 
 "57 
 
 !»| 
 
 1 162 
 
 1 163 
 
 II64 
 
 1 166 
 
 II52~^^57' Brush-holder, plate, wine-bottle, incense- 
 box, BOWL, and tea-jar. All signed Banko. 1820-1830. 
 
 II58-I161*. All signed Banko. 
 
 1 162. Square incense-box. Banko (imp.). 
 
 I163— 1166. Deep cup, cover-rest, flower-holder, and 
 
 BOX. All with light bluish glaze. Banko (imp.). 1840 
 
 1167. Cylindrical flower-vase. H. lof in. Fawn clay 
 with reddish tinge, rich bluish-green glaze, entire surface cov- 
 ered with formal waves deeply incised. Unsigned. 1840 
 
 1168. Flower-vase, elephant handles. H. i2| in. Hard gray stone clay, rich bluish- 
 green glaze. Formal flowers, leaves, and scrolls moulded in high relief and applied. Un- 
 signed. 1840 
 
 1 169. Wine-bottle. H. 5} in. Brownish clay, warm olive-brown glaze, under-decoration 
 of circles, basket-lines, etc., in deep brown. Banko (imp.). 1840 
 
 1 170. Water-jar. H. 6 in. Dark fawn clay, light fawn glaze, under-decoration of 
 dragons in scalloped panels, and cross-lines filling remaining surface, all in deep brown, 
 roughly sketched. Banko (imp.). 1840 
 
 II7I' Box, moulded in form of plum blossom. D. 4f in. Light fawn clay, light purplish 
 glaze. Banko (imp.). 1840 
 
 II72. Oval dish. L. 4I in. Coarse light fawn clay, white Shino glaze, splash of thick 
 green overglaze on one side, crests in brown. Banko (imp.). 1840 
 
 1190 
 
 II73-II94*. All signed Banko. 
 
 YUSETSU (Case 11 and Plate VI. 1208) 
 
 The marks Yitsetsti, YUsetsu Banko, and Banko Yusetsu are found on pottery first 
 made by Yogozayemon Mori, in Komai village, in 1835. He was know^n by the 
 pseudonym of Yusetsu. His father was a dealer in waste paper, and in his stock he 
 discovered documents giving the formulae of the glazing materials and other memo- 
 randa of the famous Numanami. Yusetsu being a potter by profession, advantage was 
 taken of this fortunate discovery to improve his art. Securing permission from 
 Numanami's grandson to use the mark Banko, his early work was signed with that 
 character. His pieces are all in good taste, showing great fertility in design, execu- 
 tion, and decoration. To Yusetsu is given the credit of first making interior moulds 
 m radial segments upon which tea-pots were moulded. He was, however, antedated 
 in this process by Mokubei. A descendant of Yusetsu was at work in Obuke, near 
 Kuwana, within recent years, continuing the work of the family and using similar 
 marks. 
 
THE CATALOGUE 
 
 Inside, mythological 
 
 ^^95- Haisen. L. 6J in. Moulded. Thick and heavy. Fine fawn clay, light gray under- 
 glaze, thick green overglaze running over inside. Clouds in high 
 relief. Yusetsu (imp.). 1835 
 
 Iig6. Bottle. H. 5J in. Moulded. With four looped handles. 
 Light reddish clay, white underglaze, dark brown overglaze forming 
 golden-brown areas. Circular panels, stars, fret, etc., in high relief. 
 Nihon Yusetsu (imp.). 1840 
 
 1197. Beaker. D. i\ in, 1840 
 
 Zig8. Wine-cup. D. 4} in. Fine chocolate-brown clay, unglazed. 
 turtle in green enamel. Outside, bamboo and plum blossom in pink, 
 white, green, and yellow enamels. Yusetsu (imp.). 1845 
 
 A beautiful piece of work. 
 
 1201. Incense-burner. H. 6J in. Supported on three legs in form 
 of Chinese boys. Around body three animal's heads holding loose 
 rings. Cover with mythological lion for knob. Walls exceedingly 
 
 thin. All parts moulded. Fine light gray clay, thin light yellow glaze stained with black. 
 Nihon Yusetsu (imp.). 1850 
 
 1202. Same as last. Banko and Nihon YHsetsu (imp.). 1850 
 
 X203> Flower-holder. H. 6| in. Coarse basket-work carved in high relief. Cicada 
 modeled in high relief and applied. Light reddish-fawn clay and glaze with 
 greenish areas. Banko and Nihon Yusetsu (imp.). 1850 
 
 1204*. Group of figures, with low jar. L. 4^ in. Similar to last in clay and 
 glaze. Unsigned. 1850 
 
 Gift of W. S. Bigelow. 
 
 1205. Tea-jar. H. 2|in. Light fawn clay, thick yellow glaze. Fwi-rfjw (imp.). 
 
 1850 
 
 1206. Covered jar. H. i\ in. Deep reddish clay, thick gray glaze, closely 
 covered with vertical interrupted bead-like lines in white Mishima. YHsetsu (imp.). 
 
 1207. Beaker. D. 4J in. Reddish-brown clay, thin gray glaze. Band of 
 vertical scallop lines in white Mishima. Banko and YHsetsu (imp.). 1850 
 
 1208. Deep bowl. D. 5I in. Light reddish-brown clay, thick light olive- 
 brown glaze, dull lustre. Below, band of circles in relief inclosing Chinese 
 characters for happiness and longevity. On sides, vertical and horizontal 
 lines cut. YOsetsu (imp.). 1850 
 
 A notable piece. 
 
 1209. I2I0. Cake-dishes. 
 
 121 1. Fire-bowl. H. 3 J in. Light yellowish-white clay, bright green glaze 
 side imperial badge of Japan in white enamel. 
 Banko Yusetsu (imp.). i860 
 
 1212. Tea-pot, moulded in form of lotus leaf. D. 2f in. 
 Fine light fawn clay, thin greenish glaze above. Characters 
 in white enamel. Sosho and Nihon YOsetsu (imp.). i860 
 
 1203 
 
 1850 
 stars and 
 
 1207 
 
 1208 
 
 On one 
 
 
 ^ 
 
PROVINCE OF ISE 
 
 lOI 
 
 I2I3- Teacloth-holder. H. 2| in. Light yellowish clay, 
 dragon outlined in darker pink. Rim, brown glaze. Inside, 
 light green glaze. All Chinese colors. Yitsetsu {vcw^^ i860 
 
 1214. Incense-burner. H. yf in. Fine fawn clay, 
 light yellow glaze minutely crackled. Decoration moulded 
 and applied, also impressed and perforated. 
 
 Keien set in (imp.) i860 
 
 1215. Plate. D. 4J in. Banko Senshu (imp.). 
 
 Outside, rich pink glaze with 
 
 1213 
 
 1214 
 
 121S 
 
 FUEKI BANKO (Case 11 and Plate VI. 1221) 
 
 This name was used as a mark on pottery by a brother of Yusetsu, whose com- 
 mon name was Yohei, but who adopted the name Fueki for his work. Ninagawa 
 says that the mark Banko Fueki was one of those used by Numanami. With one 
 doubtful exception, however, I have never seen this mark on pottery of sufficient age 
 to warrant the statement. If such should prove to be the fact, then it is possible that 
 a potter by the name of Sato, of Nagashima, made the pieces signed Banko Fueki. 
 Records show that in 185 1 Takagawa Chikusai (see Isaw a) presented the original 
 marks of Numanami to Sato, who began to make what he supposed were imitations of 
 Numanami's work. He furthermore assumed to be in the direct line of Numanami. 
 Among these marks supposed to have been used by Numanami was the round mark 
 of Banko. In Part V. of his work Ninagawa figures a piece (see this Catalogue, 1 1 34) 
 said to have been made by Yusetsu, yet bearing this round mark. It is all very 
 confusing. 
 
 I216. Flower-vase. H. 9 in. Coarse gray clay containing large white granules which 
 roughen the surface, thin transparent glaze. Banko Fueki (imp.). 1830 
 
 I2I7> Cake-dish. D. 5J in. Rim very uneven. Light fawn clay, large splashes of 
 rich green overglaze. Outside, diaper work in brown and a nelumbium in white and 
 brown. Inside, crest in white and brown. Strong cloth-mark impression. 
 Banko Fueki (imp.). 1840 
 
 I218. Large water-vessel, in form of tea-pot. H. 6J in. Bail handle 
 made of willow. Thin walls strongly turned. Inside, semicircular marks im- 
 pressed. Fine brown clay, light brown underglaze, glistening brown overglaze. 
 Banko Fueki (imp.). 1840 
 
 1217 
 
 I2ig. Water-jar, one side sliced and lapped. H. 5I in. Fine light gray clay, cold 
 light gray glaze. Clouds, bands, etc., in white slip. Banko Fueki (imp.). 1840 
 
 1220. Incense-box. D. 2^ in. 
 glaze. Banko Fueki (imp.). 
 
 Moulded. Light cream-colored clay, light robin's-egg blue 
 
 1840 
 
 I22I. Incense-box. D. 2| in. Moulded. Light pinkish clay, dull purple 
 glaze. Rosette and three ribs in high relief glazed a rich lustrous yellow. 
 Inside, rich white glaze. Basal ring scalloped. Banko Fueki (imp.). 1840 
 A remarkable piece. 
 
tot 
 
 THE CATALOGUE 
 
 1223 
 
 Cover, with 
 
 Light red Raku clay and glaze. 
 1840 
 
 Rough surface, 
 i860 
 
 1222. Circular box, with cover. D. 5^5 in. Light red Raku clay and glaze. Nikon 
 Banko (imp.). 
 
 1223*. Box, in form of flat squash. D. 35 in. 
 unglazed. Inside lacquered. Nikon Banko (imp.). 
 
 Xllt^. Bowl. D. 5 in. Thick and heavy. Light gray clay, thin 
 transparent underglaze, thick greenish-gray overglaze deeply punctured. 
 Inside, fret, flowers, etc., impressed. Banko Fueki (imp.). i860 
 
 1225. Covered jar. H. 6J in. Light gray clay, light greenish-blue glaze, 
 chrysanthemum modeled in high relief. Flowers moulded and applied 
 on sides. Upper portion of jar made separately, with uneven scal- 
 loped edge joined to lower portion. Banko Fueki and Banko (imp.). 
 
 1870 
 
 NE-U (Case 11) 
 
 A piece obtained from Ninagawa many years ago was accred- 
 ited to Ne-u, Ise. It has painted upon it the Tori-i and pines 
 associated with the celebrated shrines at Ise. It was evidently 
 made as a souvenir of the place. 
 
 I227> Shallow BOWL. D. 4} in. Light yellowish clay, thick light yellowish glaze. Inside, 
 Tori-i, pines, and mountain in green, yellow, and brown. Outside, characters in red. 1780 
 
 1228. Same as last. Decoration much more rude than last. 1840 
 This piece is interesting as illustrating the deterioration which has taken place since the 
 
 earlier piece was made and decorated. 
 
 TAMAGAKI (Case 11) 
 
 A soft pottery with yellow glaze and brighter yellow decoration was made in the 
 little seaside village of Tamagaki in the early part of the century. The work is 
 extremely rare. 
 
 1229. Deep bowl. D. 3I in. Light yellowish clay and glaze. Over-decora- 
 tion of fret, bands, and zigzag lines in bright yellow. Black spots about rim. 
 Tamagaki tsukuru (imp.). 1820 
 
 SETOSUKE (Case 11) 
 
 Ninagawa learned that a descendant of the Echizen Setosuke (see 
 Echizen) came to Tokyo, and either followed the potter's craft or kept 
 pottery for sale. It is said that he ordered pottery to be made for him 
 by Takahara, of Yokka-ichi, Ise, and caused the work to be signed Setosuke. 
 was sold by him in Tokyo. The pottery was also known as Takahara. It 
 had nothing to commend it. 
 
 1229 
 
 This 
 
 1230. Bowl. D. 4^ in. White stone clay and glaze. 
 
 Setosuke (imp.). 
 i860 
 
 ^ 
 
 1232. Bowl. D. 3I in. White stone clay and glaze, splash of yellowish- 1230 1232 
 
PROVINCE OF ISE 103 
 
 brown overglaze on side, also characters in high relief colored bluish - brown. Setosuke 
 (imp.). i860 
 
 ISAWA (Case 11 and Plate VI. 1235) 
 
 Takagawa Chikusai, of Isawa, claims that his grandfather worked with the celebrated 
 Numanami Gozayemon, and not only derived the secrets of his art from him, but came 
 into possession of his original stamps. Takagawa was a man of wealth, and connected 
 with his villa was a garden, with the poetical name of Sekitokuyen, and a court-yard 
 named Unkin-an. His pottery bore the mark Isawa and also the name of his gar- 
 den or his court-yard. These latter marks, however, are very rare. If it is true, as 
 stated, that he gave the original marks of Banko, including the round mark, to the 
 maker of Fueki Banko, then he must have given the mark Sekitokuyen also, as both 
 these marks occur on the same piece. The preservation of old marks, or revival of 
 them, has led to great confusion in Banko pottery, and the unraveling of the tangle 
 is, in respect to Isawa pottery, hardly worth the trouble. 
 
 1233. Flask-shaped flower-vase. H. 6^ in. Fine light brown clay, warm light gray 
 glaze. Cranes in white Mishima. Isawa (imp.). 18 10 
 
 1234. Globular tea- jar. H. 2J in. Fine light gray clay, purplish-brown 
 glaze. Isawa (imp.). i8io 
 
 1235. Cake-bowl. D. 6J in. Rim scalloped. Hard fawn clay, rich green 
 glaze. Imitation of green Kaga in decoration and color. Isawa (imp.). 1810 
 
 1236. Wine-bottle, sbc-sided. D. SJ in. Thick and heavy. Panels of formal scrolls 
 moulded in high relief. Hard light stone clay, thick cream-white glaze, resembling Nagato. 
 Isawa (imp.). 1810 
 
 1237. Square wine-bottle, with round neck. H. 9J in. Fine fawn clay, light brown 
 underglaze, white overglaze covering half the bottle, upon which are designs of egg plants 
 and butterflies in blue and brown. Unsigned. 18 10 
 
 1238. Rest for cover, similar to 1233. 
 
 1239. Bowl. D. 4J in. Light brown clay, glossy olive glaze. Flowers and poem delicately 
 incised in white Mishima. Banko Fueki xaA Sekitokuyen sei iyca.^^. 1810 
 
 1240*. Cup-REST. D. a,\ in. Reddish-brown clay, thick olive-green glaze. 
 Flowers strongly incised in white Mishima. Banko (imp.). 1810 
 
 1241. Large SQUARE BOTTLE. H. iijin. Looped handles above, short nozzle 
 in corner. Light brown clay, thick olive-green glaze. Below, waves and dots in 
 white Mishima. Above, white slip scratched through. Unsigned. 1810 
 
 1242. Haisen. 
 
 KASUKE (Case 11) 
 
 In 1865 a potter by the name of Kasuke made Banko pottery modeled by hand. 
 He was somewhat noted for his cigar-holders in the form of lotus calyx, flower, and 
 
 1234 123s 
 
104 THE CATALOGUE 
 
 leaf. Some of these were glazed. Ninagawa considered a specimen of his work of 
 sufficient importance to figure and describe. Though showing considerable skill in 
 modeling the work is not specially attractive. Kasuke exhibited his work in Paris in 
 1878. 
 
 1244. Cigar-holder, in form of lotus calyx, flower, and leaf. H. 5 in. Hard reddish- 
 brown clay. Calyx unglazed, leaf thick green glaze, flower white and purple glaze. Un- 
 signed. 1865 
 Type Ninagawa. Part V., Fig. 23. 
 
 I245- Same as last, unglazed. Banko and Hideno (imp.). 1870 t7 ' 
 
 1246*. Similar TO LAST. Meiji AaM nen tsukuru (^ac). 1876 ^ 
 
 MORI (Case 11) "'*5 
 
 During 1875-76 a potter by the name of Yogozayemon Mori made a light earthen 
 pottery with plain yellow glaze. The pieces were for common domestic use. 
 
 1247. Shallow bowl. D. 4J in. Fine yellowish-white clay and glaze. Inside, obscure 
 design in light indigo. Mori (imp.). 1875 
 
 HANSUKE (Case 11) ?^ 
 
 A potter by the name of Hansuke Ogawa, of Yokka-ichi, was at work in 
 1879 making the most dainty tea-pots entirely with his hand. 
 
 There were many imitators of his work, but none attained the delicacy of manipu- 
 lation, or made such thin walls to his pieces, as Hansuke. 
 
 1248. Tea-pot. D. 3^ in. Light fine grayish clay, unglazed, closely covered _,^ J»» 
 with inscriptions outside. Finger-marks over all. Perforated and ring in jlj <^it 
 handle. Revolving knob on cover. Hokusei Ensosha Shujin set {inc.). 1875 ' ^ 
 
 1249*. Tea-pot. D. 2| in. Ensosha Shisei QlTic). 1875 
 
 ASAHI-KEN (Case 11) 
 
 1248 
 
 Tanakichi Asahi-ken made pottery in the village of Yamada in 1879. y 
 His work was a weak imitation of Koda. The marks were Banko, im- ^^^^^>» 
 pressed, or Asahi-ken tsukuru, incised. The work consisted of tea-pots, "^ 
 tea-cups, etc. 
 
 1250*. Tea-cup. D. 2^ in. Fine pale brown clay, light gray glaze coarsely crackled. 
 Storks and poem in white Mishima. Inside, white glaze coarsely crackled. ^^^ 
 
 Asahi-ken tsukuru (inc.). 1880 ftBA 
 
 I25I*- Tea-pot, same as last. ^^ ^^ 
 
 ODD FORMS OF BANKO (Case 11) if ^ 
 
 1252. GouRD-SHAPED FLOWER-VASE. H. 'i\ in. Brown clay, unglazed 
 surface, roughened, slightly blistered. Gourd vine cut on surface. 12^0 12^ 
 
 Banko and Shazan tsukuru (imp.). 1870 
 
 Gift of Rufus E. Moore. 
 
UNIVERSITY 
 
CASE 11 
 
 H67 IIS7 USf<< iZ'i^ Il-fi- II yo 
 
 IIZI Ili-Z 1170 n6» 
 
 Wb^l 
 
 nc>3 
 
 fe fn >^(^ ^IP.^ w ^ wi:-'-^ 
 
 11^6 •It,'* 116^ iZS^ il'tZ ll4-y Il!r6 in» /I3? »l*f3 II3S ll*l«f IZJ'Z 
 
 » IJtO » li*! 
 
 iioq 
 
 nofi 
 
 tl'rS- U'<«6 112.1 IIZ3 
 
 II-Z9 
 
 1113 (III 
 
 1117 "'o >ii6 iiiiT iiiz 
 
 1130 JJ^ 
 
 » ^, fSS3I tX2a. lii? 1,37 1130 J *• " *■■> 
 
 MX6 IIZV 
 
 ns.6 '^g.^ "ga ■'•g 
 
 iisy 
 
 IllS" 
 
 n<i& iZo>> IZ03 
 IZ37 
 
 Wbl IZOa IZI3 
 
 IZIb' JZIZ 
 
 IU8 m't IZ33 '^'^^ '^^^ 1236 
 
 II3S' 1130 
 
 IZZO IZZI 
 
 PROVINCE OF ISE 
 
PROVINCE OF YAMATO 
 
 loS 
 
 I253~I26o. Tea-pots, incense-burner, flower-vase, bowl, etc., bearing the marks of 
 Nihon Banko Hori Tomonao tsukuru (1253*), Banko and Gando [Sanjin ?] (1254), Banko and 
 Seitoken (1255*), Banko and Mine (1256*), and Baigetsu-ga (1257*). Nothing is known about 
 the potters who made these objects, and the pieces are not on exhibition. 
 
 I: 
 w 
 
 1253 
 
 ^ 
 
 ■254 «) 
 
 I2SS 
 
 1256 
 
 I2S7 
 
 PROVINCE OF YAMATO 
 
 This province has within its limits the time-honored town of Nara, 
 famous from having been the ancient capital of Japan and the residence 
 of a long line of emperors. Within its borders are temples, royal tombs, 
 and precious antiquities. With the exception of Nara there are but few 
 towns of any size or importance in the province, and the sparsely settled 
 country has not favored the growth of the pottery industry. 
 
 NARA (Case 12) 
 
 Under this name may be placed a little tea-cup said to have been made in Nara in 
 1730. It was evidently made to be sold as a souvenir of the place. 
 
 I261. Tea-cup. D. 2\ in. Fine reddish clay, dull light reddish glaze, thick yellowish over- 
 glaze around rim. Around the sides the following characters are written in olive-green : 
 Nara Dai Butsu Ogane (written). 1730 
 
 AKAHADA (Case 12) 
 
 According to authorities, pottery was made in Akahada as early as 1624, though 
 the site of the oven is not known. (This does not include the earlier historic pottery 
 already catalogued.) In 1761 an oven was started by potters from Kyoto, and in the 
 early part of the present century the mark Akahada was first used. In Tokiko, how- 
 ever, it is stated that the ovens of Akahada were reopened in 1789, and the old marks 
 were used in signing the pieces. The earlier marks were incised, and the first pottery 
 made might easily be mistaken for Bizen. The first impressed mark was in the form 
 of a symmetrical double gourd ; later an asymmetrical double gourd formed the 
 outline. Successive marks of the same form, but varying in outline and size, were 
 
io6 
 
 THE CATALOGUE 
 
 W. If in. Dull fine 
 
 used. From the great variety in the form of these marks, it would seem that each indi- 
 vidual potter had his own mark. Other signatures occur, but there are no records at 
 hand in regard to their significance. 
 
 1262. Square incense-box, with a little crab modeled on. cover, 
 gray clay, dull light brownish glaze, with splashes of 
 yellowish-white and brown overglaze. Akahada (inc.). 
 
 1730 
 
 I263> Bowl. D. 4f in. Light reddish-brown clay, 
 dull yellowish glaze with vertical bands of red, blue, 
 and green overglaze. Cross-marks in brown under- 
 glaze. Akahada in symmetrical double gourd (imp.). 
 
 1790 
 
 I264> Deep dish, hexagonally compressed. D. 7J in. 
 glaze. Areas of square impressions and of incised 
 Akahada, in asymmetrical double gourd (imp.). 
 
 1265. Shallow tea-bowl. D. 5^ in. Reddish-brown clay, 
 grayish-green glaze. Inside, stars and dots impressed, and 
 lines incised in white Mishima. Outside, broad brush-mark of white slip. 
 Akahada (imp.). 1820 
 
 1266. Bottle, with long tapering neck. H. 11 J in. Brown clay, olive- 
 brown glaze. On neck, thick white glaze flecked with brown running. 
 Ornamental design incised on body. Fret in square impressions on basal 
 
 Coarse brown clay and thin brown 
 lines. 
 1800 
 
 ^ 
 
 1820 
 
 1266 
 
 ring. Akahada and Tsuna and mallow leaf (imp.). 
 
 1267—1270. Various forms, with Akahada impressed. 
 
 1830 
 
 I271. Large bowl. D. 7 in. Coarse brown clay, areas of 
 light brown, light green and white glaze. Spiral line in blue 
 inside. Akahada yama (imp.). 1840 
 
 1272—1275- Various forms, with Akahada yama impressed. 
 
 1276. Cover-rest (?), in form of garden stool. H. 1/5 in. Sides perforated 
 fawn clay, light fawn glaze. Unsigned. 
 
 I277~I28o. Various forms, with Akahada and Akahada yama impressed. 
 
 I281. Bowl, rim indented with small knob outside. D. 5f in. 
 Fawn clay, thick white glaze on one half, and rich dark brown 
 glaze on the other. Akahada (imp.). 1870 
 
 Type Ninagawa. Part IIL, Fig. 19. 
 
 1282— 1287- Various forms, with Akahada and Akahada yama 
 impressed. 1870-1876 
 
 1288. Flower-vase, basket decoration, roughly incised. H. 13! 
 
 in. Large swimming crab modeled and applied on side. Light red clay, light grayish glaze 
 
 with thick white overglaze. Cloth impression on base. Unsigned. 1877 
 
 1850 
 
 Fine light 
 1856 
 
 1860-1870 
 
PROVINCE OF YAMATO 
 
 107 
 
 1289— 1292. Various forms, with Akahada impressed. 1880 
 
 The following pieces bear the impressed mark Ki, usually associated with 
 Akahada. The mark may be the furnace sign of an individual potter baking ^/j^ 
 with others in a common oven. 1291 
 
 1293. Bowl. D. 6f in. Light fawn clay, underglaze purple, and clouded with areas of 
 rich green glaze. Akahada and Ki (imp.). 1845 
 
 1294. Flower-holder (.'), in form of pestle. H. ii| in. 
 Light fawn clay, thick cream-white glaze. Inside, trans- 
 parent glaze. Ki (imp.). 1850 
 
 INOUYE (Case 12) 
 
 This potter may be properly separated from Akahada, 
 as he signed his work with his name as well as the mark 
 Akahada. 
 
 1293 
 
 1294 
 
 I295- WiNE-BOTTLE. H. 6J in. Coarse light fawn clay, thick grayish-white glaze pitted. 
 Akahada and Inouye sei (imp.). i860 
 
 MOKUHAKU (Case 12) '^95 
 
 In 1850 Kashiwaya Buhei, of Koriyama, established a pottery at Akahada, and 
 signed his pieces Mokuhaku, associated with the marks Akahada or Akahada yama. 
 The reasons for separating this work from Akahada are that the pottery is definitely 
 known, his work is more recent, less in accordance wi th Japanese tastes, and some 
 of it is decidedly bad. 
 
 1296. Deep Raku bowl. D. 4 in. Coarse light clay, thick lustrous black Raku glaze. 
 Equisetum in white glaze shaded with blue. Mokuhaku, written in blue on irregular white 
 panel, inside. i860 
 
 I297-1299. 
 
 above. 
 
 Various forms, 
 
 marks as 
 i860 
 
 1300. Incense-box, modeled in form of rat. 
 L. ij in. Fine yellowish - white clay, thick 
 creamy-white glaze. 
 
 Mokuhaku and Akahada yama (imp.). 1865 
 A fine example of modeling. 
 
 I3OI-I303. 
 
 marks. 
 
 Various forms, 
 
 with same 
 1865-1870 
 
 ^ 
 
 1297 
 
 1300 
 
 1302 
 
 1303 
 
 1304- Boat-shaped dish. L. 6| in. Fawn clay, transparent underglaze, thick white over- 
 glaze. Inside, scrolls, etc., in blue, coarsely crackled. Mokuhaku and Akahada (imp.). 1870 
 Unusual form of glaze and decoration. 
 
to8 
 
 THE CATALOGUE 
 
 1305* Bowl. D. 4^ in. Fine yellowish-white clay and glaze. Lobster in browa 
 Mokuhaku and Akahada yama (written 
 in brown on side). 1870 
 
 1306. Bowl. D. 4J in. Fine yellow- 
 ish-white clay and glaze. Men towing a 
 boat, in blue, green, and black, with gold 
 tinges. Mokuhaku and Akahada (imp.). 
 
 1870 
 
 This bowl is interesting as being the 
 
 only object in the entire collection in 
 
 which a design has been directly copied 
 
 from Hokusai. 
 
 1307, 1308. Bowl and pot for sweet sake, with similar marks. 1870 
 
 1309' Raku tea-bowl. D. 44 in. Flaring below, con- 
 stricted at mouth. Yellowish-white clay, white underglaze. 
 Light red Raku overglaze with olive-green areas. 
 Mokuhaku (imp.). 1870 
 
 1310*. Hand- WARMER, carved in form of priest's drum. 
 D. 9^ in. Coarse light fawn clay, thick grayish-white glaze. 
 Mokuhaku and Akahada yama (imp.). 1880 
 
 •307 
 
 '309 
 
 1310 
 
 GOJO (Case 12) 
 
 A rough black Raku pottery was made here in 1879. It was unsigned and had no 
 
 merit. 
 
 131 1. Tea-bowl. D. 5 J in. Raku clay, glistening black Raku glaze. Rough area repre- 
 senting Fuji in grayish-white. 1878 
 
 KOCHIUTEN (Case 12) 
 
 In 1874 an oven was erected in Soyeshimon district, Yamato. The work was 
 signed with the impressed mark Kochiuten written in Chinese style. The pieces were 
 evidently made after Chinese models. 
 
 I312. Flower- HOLDER. H. 3I in. Hard stone clay, 
 thick olive-brown glaze mottled. Kochiuten (imp.). 1874 
 
 13^3- Tea-pot. D. 5^ in. Blunt nozzle, looped handle 
 opposite nozzle. Coarse reddish-brown clay, thick grayish- 
 white glaze. Kochiuten (imp.). 1874 
 
 1314- Flower-holder. H. 3,^ in. Fine light brown 
 clay, thick opalescent glaze, large areas of brownish under- 
 glaze exposed. Blistered. Kochiutm (imp.). 1874 
 
 i3'3 
 
 
 i3'4 
 
PROVINCE OF ECHIZEN 109 
 
 YAMATO IN GENERAL (Case 12) 
 
 I3I5' Large bowl. D. si in. Coarse light fawn clay, thick grayish-white glaze pitted. 
 Clay dark reddish at junction of glaze. High basal ring notched. 
 Kakihan impressed. 1840 
 
 I316— 1324. Tea-jars. These are all modern, and 
 have little or no merit. 
 
 1325* Incense-box, bird. L. ij in. Fine fawn clay, 
 
 thick green glaze clouded. Yamato ? (imp,). 1830 1325 1315 
 
 PROVINCE OF ECHIZEN 
 
 There are but few records available concerning the potteries of this 
 province. A potter from Fukui, having learned the art of pottery-making 
 in Kyoto, built an oven in the village of Mikuni in 1750, and signed his 
 work Mikuni. There is no example in the collection. In the town of 
 Fukui pottery was made in the middle of the seventeenth century bearing 
 the mark Setosuke. Of this work also the records are conflicting. 
 
 SETOSUKE (Case 12 and Plate VII. 1326, 1327, 1330) 
 
 From Ninagawa I derived the statement that in 1665 a potter from Seto, Owari, 
 was invited by Yamada, a wealthy man, to erect a kiln in Fukui. His work, though 
 peculiar, was somewhat after the style of Seto pottery of that date. It is said that 
 the remains of the old oven are still to be seen. The work is of great rarity, and 
 shows the evidences of a skilful potter. 
 
 1326. Tea-bowl. D. 4^^ in. Vertical sides, thick and heavy. Light gray clay, dull fawn 
 underglaze, thick heavy gray overglaze with light bluish tinges, flecked with brown spots. 
 Highly lustrous. Around rim a band of conventional flowers in white Mishima. Low basal 
 ring with two notches. Setosuke (imp.). 1665 
 
 Type Ninagawa. Part VII., Fig. 22. 
 
 1327- Tea-bowl. D. 4^ in. Thick and heavy. Light fawn clay, light fawn glaze mottled 
 with darker dots. Lower portion with encircling lines. Two notches in base. 
 Setosuke (imp.). 1665 
 
 Type Ninagawa. Part VII., Fig. 21. 
 
 1328. Bowl. D. 5^ in. Thick and heavy. Hard fine fawn clay, olive glaze finely 
 mottled with minute dark spots. Setosuke (imp.). 1665 
 
 Gift of Henry O. Havemeyer. 
 
 1329. Bottle. H. 9I in. Large cylindrical body, nar- 
 row neck. Light fawn clay, thick grayish-white glaze, band 
 
 of scrolls in blue around shoulder. Setosuke (imp.). 1665 
 
 1328 1329 1330 
 
 I330' Flower -vase. H. 8J in. Constricted below, widely 
 flaring above. Sides squeezed together. Hard fine warm gray clay, light gray glaze, warmer 
 overglaze. Setosuke (imp.). 1680 
 
 1329 
 
iio THE CATALOGUE 
 
 I33I' Bowl. D. 4^ in. Light fawn clay, dull transparent glaze, thick white overglaze 
 about rim. Unsigned. j58o 
 
 FUKUI (Case 12) 
 
 The following bowl, though of fair age, bears the mark Fukui, and is placed here 
 from its resemblance, in clay and glaze, to modern examples of common 
 pottery made in this place. Ggi /g\ 
 
 1332- Bowl. D. 4J in. Light fawn clay, light olive fawn glaze, coarsely [gj Ity 
 crackled. Kaseyama and Fukui (imp.). 1840 1332 
 
 JINOKA (Case 12) 
 
 In 1885 a potter was at work in Sakai making pieces after modern style of glaze, 
 though strictly in accord with Japanese taste, and intended for home use. The single 
 piece in the collection shows the work of a good potter. 
 
 1333- FiRE-VESSEL, with handles and three legs, imitating bronze form. H. 7^ in. Hard 
 light fawn clay, brown underglaze ; light fawn overglaze flecked and running. 
 Jinoka tsukuru in (imp.). 1885 
 
 Gift of his excellency Mr. Kuki. 
 
 ^ 
 
 15. 
 
 TSURUGA (Case 12) '333 
 
 A common pottery for wines and cordials is made to-day in Tsuruga The work 
 is interesting only from the fact that in clay and glaze it resembles the old Setosuke 
 pottery. 
 
 1334* Bottle. H. \\ in. Light gray clay, warm gray glaze speckled with brown. 1890 
 
 ECHIZEN IN GENERAL (Case 12) 
 
 1335- Tea-jar. H. 3J in. Soft light red clay, light orange Raku glaze with greenish area, 
 stream of olive-black glaze on one side. Recent 
 
 PROVINCE OF CHIKUGO 
 
 Scant information is available concerning the pottery of this province. 
 Brief references are made to it by Ninagawa, and allusions to it are found 
 in the book Tokiko. The enormous quantities of blue and white porcelain 
 made in the adjacent province of Hizen doubtless overshadowed the efforts 
 of the Chikugo potters. A white stone pottery in the form of incense- 
 boxes, with moulded diaper and light blue glaze, is said to have been made 
 within recent years in the town of Kurume. A single piece in the collec- 
 tion is believed to be Kurume, but the evidence is conflicting, and it is 
 therefore included among the doubtful objects. 
 
PROVINCE OF lYO iii 
 
 YANAGAWA (Case 12) 
 
 A number of bowls in the collection, suggesting Karatsu, and bearing the 
 impressed mark Yanagawa, were made in the town of that name in the early part of 
 this century. Mr. Takawara, a native of the province, told me that the oven was 
 established by order of Prince Yorimori Arima. A potter was employed who first 
 learned the art from one of the Kyoto Raku potters. A kakihan of the prince also 
 occurs on some of the pieces. 
 
 133^' Tea-bowl. D. 4I in. Hard light fawn clay, lustrous transparent glaze, with traces 
 of overglaze flecked with light blue around rim and inside. Unsigned. 1815 
 
 1337' Tea-bowl. D. 4I in. Thick and heavy. Hard brown clay, thick gray glaze with 
 splashes of whitish overglaze. Strong comb-marks through glaze. Basal ring flaring and 
 wide, notched. Kakihan impressed. 1825 
 
 I338. Tea-bowl, flaring. D. 5I in. Hard reddish-brown clay, thick clear gray glaze, 
 mottled and shiny. Kakihan impressed. 1825 
 
 1339- Deep tea-bowl, vertical sides. D. 3I in. Thick and heavy. Clay and a^\. ^ 
 glaze similar to last. Kakihan impressed. 1830 #^?|^^ 
 
 1340. Tea-bowl, flaring. D. 6 in. White stone clay with pinkish tinge, 1338 
 thick bluish-white glaze. Unsigned. 1830 
 
 1341. Tea-bowl. D. \\ in. Dull brownish clay, gray glaze. Lathe-marks distinct. 
 Yanagawa (imp.). 1830 
 
 1342. Shallow bowl, with straight and flaring sides. D. 5^ in. Hard ffff] vf^\ 
 chocolate-brown clay, thin transparent glaze, olive overglaze running and l>6) \jSt] 
 forming a fringe inside and out. Yanagawa (imp.). 1840 v3i/ V.^ 
 
 1341 1342 
 
 PROVINCE OF lYO 
 
 The records are scant regarding the pottery of this province. The 
 older pottery is exceedingly rare. The few potters who worked in the 
 province came from other parts of the empire, and judging from the objects 
 in the collection the pottery had no special merit. 
 
 MATSUYAMA (Case 12) 
 
 In 1790 the governor of lyo invited a potter from Kiyomizu, Kyoto. 
 The oven was erected in a garden east of the castle of Matsuyama, 
 and the work following Kyoto models continued for a short time. The 
 pieces bear the impressed mark Yoshu Matsuyama, and are of extreme 
 rarity. 
 
 1343' Dish. D. 4^^ in. Dull fine brown clay, warm gray glaze, light gray 1343 
 
 overglaze running inside. Yoshu Matsuyama (imp.). 1790 
 
»I2 THE CATALOGUE 
 
 SHINSHIROYAMA 
 
 A covered jar modeled with some skill is believed to be the work of a potter who 
 established an oven near the mountain village of Urabe. The clay closely 
 resembles that of Suyehiroyama. 
 
 1344*. Covered jar. H. 6J in. Sides ribbed by vigorous lathe-marks inter- 
 rupted by nine indented vertical lines. Shoulder rounded with six deep indenta- 
 tions. Fine hard light brown clay, brown Seto glaze, white overglaze flecked 
 
 with light fawn running. Inside, transparent glaze. Shinshiroyama (imp.), i860 
 
 •344 
 
 SUYEHIROYAMA (Case 12) 
 
 In 1867 a potter by the name of Jensuke Kawano came from Bizen and established 
 a pottery at Minatoyama, near Imabari. He made flower-vases, small tea-pots, bowls, 
 etc., signing them with the impressed mark Suyehiroyama. In 1874 he made pottery 
 at Shiroyama, and worked for a few years, when he abandoned his pottery and went to 
 Osaka. 
 
 ^345" Large bowl, rim compressed in outline of peach. D. 7 J in. Dull light brown clay. 
 Piece dipped successively in light fawn, white and green glaze, overlapping, 
 forming three distinct areas inside and out. Three spur-marks inside. 
 Suyehiroyama (imp.). 1867 
 
 1346*. Large bowl. D. 6 in. Similar to last. Suyehiroyama (imp.). 
 Small mark. 1867 
 
 1347* Jar. rapidly swelling above. H. 6J in. Fine light grayish fawn 
 
 clay, unglazed. Large irregular splashes of white, green, and steel-blue glaze on shoulder 
 
 running. Unsigned. 1867 
 
 TOBIMURA (Case 12) 
 
 A potter by the name of Tobimura has recently made, among other forms, a semi- 
 porcelain of fine consistency and tasteful designs. Its glaze suggests Balleek. The 
 oven is in Matsuyama. 
 
 1348. Tea-cup. D. 3 in. White stone clay, ivory-white glaze. Band of ornamental 
 scallops impressed just below rim. 1892 
 
 PROVINCE OF SHIMOTSUKE 
 
 With the exception of a few centres in Iw^aki, Sado, and Iwashiro, the 
 pottery industry is found in but few places north of the latitude of Tokyo. 
 Many ovens have been started only to fail after a short time. It has been 
 a matter of extreme difficulty to secure essays of the ovens of some of these 
 northern provinces. With few exceptions the work has nothing to com- 
 mend it except rarity. 
 
PROVINCE OF SHIMOTSUKE 
 
 "3 
 
 KOSUNA (Case 12) 
 
 In 1854 Hanbei Fujita, by order of the governor of the province, established an 
 oven in the village of Kosuna. On his work he was instructed to record the place 
 and date of fabrication. The son of Fujita continued the oven for a short time. 
 Judging from the single piece in the collection the pottery had no special merit. 
 
 1349' Square bottle. H. ioJ in. Hard light fawn clay, thick white glaze. Decoration 
 of pine in clear blue, roughly sketched. Bottom 
 glazed, on which is written in blue the mark, Ansei 
 san run, Shimotsuke no kuni nasu-gori Kosuna-mura 
 ni oite kore wo tsukuru. 1854 
 
 KICHIROKU (Case 12) 
 
 A potter named Ida Kichiroku made pottery 
 for a short time in the village of Sano. A few 
 pieces were decorated after Kenzan style. In 
 i860 he came to Tokyo and opened a bric-i-brac 
 shop in Asakusa, and also started an oven. 
 Among other objects he made little figures after 
 Ky5to style. Ninagawa records Kichiroku as 
 coming from Shimosa. Another 
 authority states that he came 
 from Sano, Kozuke. This diver- 
 sity of opinion arises from the 
 juxtaposition of the three pro- 
 vinces. A piece of Kichiroku 
 bears the inscription of Sano, 
 Shimotsuke, which may be re- 
 garded as settling the question. 
 Ninagawa further says that after 
 Kichiroku's experience inTokyS 
 he went to Ise, where he made 
 pottery after Oribe style. From 
 here he went to Kameyama, 
 Hizen, where he made " blue 
 and white." In the Waggaman 
 collection is a piece marked 
 Kitsuroku Kameyama, and this 
 specimen closely resembles a 
 square dish from Ninagawa's 
 collection (see below. Cat. No. 
 1351), said to have been made 
 by Kichiroku in ShimSsa. I 
 am not able to say whether 
 Kichiroku and Kitsuroku are 
 the same or different potters. 
 
 ■35' 
 (see p. 114) 
 
 it 
 
 1349 
 
 
 
 W\§: t. 
 
 1350 
 (see p. 114) 
 
114 THE CATALOGUE 
 
 1350- VVater-jar. H. 8 in. Light soft clay, thick white glaze. Overglaze, decoration of 
 formal chrysanthemums and leaves in green, brown, and yellow on a dark brown ground. 
 Wave-marks in blue on the white glaze. Written in brown, on the bottom, is the mark 
 Ya no Kashiu Sana Shomatsu-mura Koseibaku-tei nite Yoshu Kenzan^toin Shinsei tsukuru 
 Kichiroku kore wo bosu. (Reduced one half; see p. 113.) 1858 
 
 I35I' Square cake-dish. W. 6J in. Fine dark fawn clay. Thick dark brown Seto glaze 
 across one half, on other half, thick white glaze. Outside, decoration of wheels and waves in 
 brown and blue. Inside, leaves and flowers in light fawn. Riujiu Kitsuroku zb (written ; see 
 p. "3)- 1858 
 
 PROVINCE OF KOZUKE 
 
 The collection contains a very few specimens known to have been made 
 in this province. They are absolutely without merit, and most of them 
 seem to have been made for souvenirs. 
 
 ISOBE (Case 12) 
 
 Agano Kiyomizu made pottery in the village of Isobe. The output consisted of 
 common dishes and the like. 
 
 1352. Cake-dish. D. 8J in. Dull light brown clay, thick fawn glaze. Inside, areas of 
 rich dark green overglaze. 1840 
 
 SENKA (Case 12) 
 
 In the village of Ikao, within twenty-five years, a potter, signing himself Senka, made 
 a soft Raku pottery with yellowish glaze and coarse crackle. As Ikao is 
 a famous place of resort on account of its hot springs, the pottery is made 
 expressly for souvenirs. The pieces are signed Senka tsukuru, and 
 also Senka with a square mark which has not been deciphered. 
 
 ^353- Plate, irregular. D. 4J in. Light fawn clay and glaze. Inside, 
 poem in white with red seal. Ikao yaki (imp.). Inside, Senka tsukuru, 
 written in red. 1880 '^53 «3S4 
 
 1354- Wine-bottle, with looped handle. H. 6J in. Soft grayish white clay, light green- 
 ish - yellow Raku glaze, coarsely crackled. Tori-i and tree rudely sketched in brown. 
 Senka Ikao (written). Impressed mark illegible. 
 
 ^355- Cake -DISH. L. s| in. Soft whitish-gray clay, thick light /^^ 
 
 salmon Raku glaze, coarsely crackled. Cloth mark impression on ^ 
 
 bottom. Ikao Senka tsukuru (written). 1880 
 
 SUWA (Case 12) 
 
 The single bowl in the collection, bearing the mark of Suwa, 
 is said to have been made in Kozuke in 1870. Nothing is known 
 about the potter or the oven. 
 
 135^- Tea-bowl. D. 4^ in. Light brown clay, dark brown glaze. 
 Suwa (imp,). Hachi-ju san (inc.). 1870 
 
 
 I3SS 
 
PROVINCES OF HIDACHI AND MING 115 
 
 PROVINCE OF HIDACHI 
 
 Few records are available regarding the pottery of this province. A 
 number of ovens have existed in the past, but the character of the pottery 
 cannot be judged by the few objects in the collection. 
 
 KAIRAKU (Case 12 and Plate VII. 1357) 
 
 A pottery was started in the town of Mito in 1830. The pieces, consisting of 
 utensils for the tea ceremony, were signed with the impressed mark Kairaku, and are 
 of great rarity. The two specimens in the collection are so remotely unlike in clay, 
 glaze, and design that they might have been made at the two extremities of the 
 empire. 
 
 1357' Cake-plate. D. 5^ in. Moulded. Fine light brownish clay, thick olive-green 
 
 lustreless glaze. Inside, design of a flower in high relief. Within, five spur-marks. 
 
 Cloth -mark impression on bottom, which shows five or six parallel gouges. 
 Kairaku (imp.). 1835 
 
 135^- Shallow cup. D. 5-^ in. Light yellowish clay, thick yellowish-white 
 glaze. Inside, Tokugawa crest, large and small, in brown. Kairaku (imp.). 1835 1357 
 
 KASANA (Case 12) 
 
 Within recent years a common pottery has been made in Kasana. The output, 
 consisting of jars, teapots, and the like, is for domestic use. 
 
 ^359- Jar. H. 4J in. Light brick-red clay, light brown glaze flecked with light fawn, 
 thick fawn overglaze around rim. 1885 
 
 1360. Bottle. H. (>\ in. Similar to last. 
 
 PROVINCE OF MINO 
 
 Two hundred years ago white stone pottery and porcelain were made in 
 this province. The famous egg-shell porcelain, so well known to collectors, 
 was also made here. Within forty years little delicate porcelain wine-cups 
 were made in Mino and decorated in Tokyo with the thickest and brightest 
 of blue painting. These often had an envelope of bamboo basketry inclos- 
 ing them. Pottery has been made in the province from ancient times, and 
 various allusions to it are met with in Japanese books. 
 
 KUJIRI (Case 12 and Plate VII. 1363) 
 
 A double gourd-shaped bottle, which might be mistaken for Tamba or Seto, has 
 an incised inscription on its base indicating that it was made in the ninth year of 
 HSreki in the oven of Kujiri village. This date is equivalent to 1752. In the work 
 
ii< THE CATALOGUE 
 
 Toki Shoshi it is recorded that a potter named Kato Yosobei Kagamitsu established 
 an oven in Kujiri village, Mino, in 1574. He came from Seto. His son introduced 
 Karatsu methods. It is possible that the object under consideration is the work of 
 a descendant of this potter. Gift of S. Bing. 
 
 1363- Double gourd-shaped bottle, with fillet representing a cord around centre and 
 
 forming a looped handle. H. sJ in. Fine brown clay, 
 
 transparent underglaze. Iridescent seal-brown overglaze, \ 
 
 with irregular areas of lighter brown. Kujirimura Kama t -^^ 
 
 HSreki Ku-tun Uno Shichi-gatsu Kichi nichHyac^. 1752 ^"'"^ ^^ 
 
 YOYAMA (Case 12) 
 
 I 
 
 -^ . • "^ w^^ 
 
 A potter by the name of Yoyama Shichiyemon ^C^ jt*^^ T^^ 
 made black Raku bowls and other objects for the tea \'\ * i^^T 
 ceremony in Gifu in i860. He signed his work 
 Uho. 
 
 1364- Tea-bowl, irregular in form. D. 3^ in. Hard 
 coarse light gray clay, black Raku glaze. 
 Uho (imp.). i860 
 
 
 1365- Incense-box, rice-bag with Daikoku. 1364 1363 
 
 H. 2| in. Light yellowish clay and glaze. 
 
 Uho (imp.). i860 
 
 TAIGA (Case 12) 
 
 A potter by the name of Kono Taiga made pottery at Akasaka in 1867. Among 
 other objects were unglazed tea-pots and ink-stones of hard brown unglazed pottery. 
 He signed his pieces Taiga Sanka etc. 
 
 1366- Ink-stone. L. 2^ in. Fine brown clay, unglazed. Scroll slightly carved on sides. 
 Taiga Sanka Seifutei tsukuru (imp.). jgg 
 
 The characters Taiga have also been read Irusa. 
 
 ONKO (Case 12) jMlll^ 
 
 Onko of Kiyomizu, after visiting many places, came to Akasaka, when /Si, i A.| 
 
 Koku Sen of that place suggested his erecting an oven, and for a while J^ f=~ 
 pottery was made after Banko models. He was a skilful and delicate 1366 
 
 artist, as shown by the refinement of his work. 
 
 1307. Tea-pot. D. af in. Fine chocolate-brown clay, unglazed. Around rim, delicate 
 fringe of robin's-egg-blue glaze. Cover with same glaze. Pine and plant in black, 
 poem in gold. Cloth-mark impression on bottom. Onko (imp.). 1877 /^^ 
 
 1368. Tea-pot. D. 2{ in. Fine light pinkish-brown clay. Surface roughened. ^^ 
 Cover and upper portion tinged with gold. Bamboo and poem in gold.^ Onko (imp.). '^^ 
 
 1880 
 
^ 
 
 Ww^lC 
 
 s 
 
 
 CASE 12 
 
 
 :-.?'^q 
 
 <^^ »?' 
 
 1171 iny 
 
 »m afc<i 
 
 ms 
 
 JZ8» 1142 ab8 1163 lit,^' '1<>7 
 
 )Z^^ 
 
 ISI"! 1313 iSli ~ /3iS U^y IZ8Z 1X86 1216 1187 lX<f8 l3/( 
 
 JSll '31* "i? '5i& 
 
 ni 
 
 depots 
 
 1303 I30Z 130S |30^ 1306 iSOb" I2S6 )30K liS't 
 
 At 
 
 J^ i C' I l> "Jill 13A1, 1311 >33 6 }P~K 
 
 ia?2, 133a 13^7 'sy? . 
 
 lyr? 1326 1317 
 
 IzTl TSTT 
 
 
 U70 
 
 
 •3^.8 CS,.::^ 1 369 
 
 r^ig^ 
 
 I3S-Z 
 
 usv 
 
 iS'fT il'lS 
 
 l3b-6 
 
 1350 i3i-| iS-tS '^" '^''*' '366 I3S-3 '-^77,,^ )3'r3 '3'/8 
 
 PROVINCES OF YAMATO, ECHIZEN, CHIKUGO, lYO, SHIMOTSUKE, KOZUKE, 
 
 HIDACHI, AND MING 
 
/r^ 
 
PROVINCE OF SUO I17 
 
 SEKISEN (Case 12) 
 
 This potter was a younger brother of Onko, and made pottery after the same 
 models, using the impressed mark Sekisen. 
 
 1369- Water-cooler for tea. D. 2f in. Fine light brown clay, unglazed. Flower and 
 poem strongly incised. Inside, rich green glaze. Rim, gilded. Cloth-mark impres- 
 sion on bottom. Sekisen (imp.). xZZo p^\ 
 
 GENKO (Case 12) 1369 
 
 This potter evidently belongs to the family of Onko, and followed the methods of 
 Onko in making pottery. 
 
 I370' CoMFiT-BOTTLK D. 3J in. Fine light brown clay, roughened surface unglazed. 
 Genko (imp.). 1886 
 
 AKASAKA (Case 12) 
 
 Within recent years a very durable and bright glazed pottery for common utensils 
 has been made in Akasaka, the name of the place being used as a signature. 
 
 I37I*- Low COVERED JAR. D. 6^ in. Light reddish clay. Bright reddish-brown Jte 
 glaze, strongly mottled with black. Akasaka (imp.). 1870 1371 
 
 PROVINCE OF SUO 
 
 Su5 is surrounded on all sides by provinces famous for the extent and 
 variety of their fictile products. It has evidently been difficult for Suo to 
 compete with her neighbors in pottery-making, and to-day but few ovens 
 are found within her borders, and in past times but few were known. The 
 old pottery, so difficult to obtain, was either a hard stone product or a semi- 
 porcelain. The clay was finely manipulated, and the work shows great 
 skill and taste. For the following information I am almost entirely indebted 
 to old potters and antiquarians of Su5, to whom I was presented by Mr. 
 Kikkawa of that province. 
 
 TADA (Case 13 and Plate VIII. 1372, 1374, 1375) 
 
 As early as 1690 a pottery was established at Tada by order of Kikkawa, Daimyo 
 of Suo. A potter named Nishimura was called from Kyoto, and he acted as teacher 
 to Kawada Seihachi, a Tada potter. At the outset the products were sent to Kyoto. 
 For one hundred years the pottery was active, and various forms were made. The 
 material was hard, the glaze in some cases very beautiful, the taste severe. The semi- 
 porcelains, with white glaze and blue decoration, were unique. The marks were 
 Tada Iwakuni, or Iwakuni set, impressed or written. The oven became extinct one 
 hundred and thirty years ago. 
 
ii8 
 
 THE CATALOGUE 
 
 »372 
 
 1372. Tea-bowl. D. 4I in. Fine fawn clay, light gray glaze. At junction of glaze, clay 
 tinged a deep orange. Vertical and irregular lines incised in white Mishima. 
 Iwakuni 7ada, impressed in fan-shaped panel. 1770 
 
 1373' Hanging flower-holder, in form of spiral shell (Terebra). L. i8| in. 
 Hard fawn clay, thick warm gray glaze, not crackled. Iwakuni Tada, im- 
 pressed in fan-shaped panel. 1770 
 
 1374* Flower-vase. H. 10 J in. Hard light fawn-colored clay unglazed. Figure holding 
 gourd for wine, and horse escaping, in light blue, green, and white enamel, with brown out- 
 lines. Iwakuni sei iy/ntiGw). 1770 
 
 I375' Globular jar for cake, fiat cover, beveled edge, section of bamboo for handle. 
 H. 7^ in. Heavy and solid. Hard white stone clay very coarsely crackled and stained. 
 Decoration of bamboo and pine in blue. Iwakuni set (written in blue). 177° 
 
 Gift of Sir William H. Van Home. 
 
 M i 
 
 
 1374 
 
 1375 
 
 V 
 
 K 
 
 y 
 
 1376 
 
 
 '377 
 
 1■Z^^• Bowl. D. jf in. Hard light fawn clay, rich light gray glaze coarsely crackled. 
 
 Nagaya (or Hase) tsuchi han to kore wo awase (inc.). '^IT^ 
 
 1377. Bowl. D. 3J in. Hard light gray clay, light greenish glaze resembling celadon. 
 Nagaya (or Hose) tsuchi bakari (inc.). 1770 
 
 1378— 1381. Gourd-shaped bottle and bowls. 1770 
 
 1382. Flaring bowl. D. sJ in. Light salmon clay, warm gray glaze, with delicious 
 tints of purple, light blue, and gray, coarsely crackled. 1770 
 
 1383-1385- Bowls and bottle. 1770 
 
 1386. Flower -VASE. H. 8 J in. Elephant handles, light yellowish clay, transparent 
 underglaze, light gray overglaze coarsely crackled. 1770 
 
PROVINCE OF SUO 119 
 
 1387' Bowl. D. 5^ in. Light gray clay and glaze coarsely crackled. 1770 
 
 1388. Cake-dish, on three legs, five-lobed, leaf-shaped. L. 12J in. Hard stone clay, 
 light greenish glaze. Under-decoration of brush-marks in blue near end of lobes. 1770 
 
 1389. Bowl. D. 5 in. Light salmon clay, rich warm light gray glaze, tinged with clay 
 below. Formal radiating flower design incised in white Mishima. 1770 
 
 1390* Flower -VASE, cylindrical. H. 11 in. Light clay, thick white glaze coarsely 
 crackled. Bottom indented and glazed brownish-gray. 1770 
 
 X39X> Cup, exceedingly thin walls. D. 3I in. Fine brick-red clay unglazed. 1770 
 
 1392. Bowl. D. 5 in. Hard gray clay with dull brown surface, thick 
 olive glaze lustrous. Rim glazed brown. Conventional flowers and 
 scrolls below rim, and zigzag lines on sides in white Mishima. 
 
 This was obtained in Suo, with the information that it was Iwakuni 
 pottery. It strongly suggests Koda. *770 
 
 1393- Bowl. 
 
 ^ 
 
 CHOZAN (Case 13) 
 
 One of the earliest potters of Suo of which we have any record 
 produced a hard bluish-white semi-porcelain. It was made by 
 Chozan, an Iwakuni potter, but differs so much from the work of ^ 
 
 the Tada oven, that it is separated from it under the name of the >^> 
 potter. /^ 
 
 1394- Square trav-shaped cake-dish, on four long octagonal legs. • 
 
 W. 71^ in. Heavy bluish-white porcelain with light blue panels. Design ^^^ 
 
 scratched out. Rim dark blue. Iwakuni set Chosan tsukuru (written in blue). 1700 
 
 KIKKO (Case 13) 
 
 Kikko, from Osaka, opened an ^^ 
 
 oven a few miles from Tada in 1832. Tf^ 
 
 He made, among other kinds of pot- 
 tery, a yellow Nankin semi-porcelain ^> M^^ 
 with incised decorations. Some of 
 these pieces were signed with his 
 name and date. He also made the 
 usual Kikko forms, black Raku bowls 
 and the like, with marks similar to 
 those used in Osaka. The oven re- 
 mained active until 1837, when he 
 moved to Shinana 
 
 1395- Water-jar, indented in melon 
 form. H. 7 in. Hard white stone clay and 
 glaze. Decoration in indigo blue, con- 
 sisting of band of fret at top and at base, 1395 
 
 
120 
 
 THE CATALOGUE 
 
 Hakuden-an kore wo. 
 1835 
 
 Konomu Iwakuni yama Kikko 
 
 1398 
 
 and poem. Tempo kinoyesaru haru. 
 tsukuru (written). 
 
 I396' Square covered box, with looped 
 handle. W. 5! in. Soft light fawn clay. In- 
 side, light fawn glaze. Outside, greenish-white 
 glaze strongly crackled. Over-decoration of 
 pine in brown. Incised inscription on cover 
 filled with gold. Kikko (imp.). On cover, 
 Toshun ishoku nashi (inc.) (in Case 6). 1835 
 
 1397- Black Raku bowl. D. 4I in. Jusan-ken (imp.). 
 
 1832 
 1398. Raku tea -bowl. D. 4^ in. Light warm gray 
 clay, rough thick black Raku glaze, with small whitish areas 
 showing through. Jusan-ken (imp.). Iwakuni ni oite kore 
 wo tsukuru (inc.). 1835 
 
 1399- Deep Raku tea-bowl. D.- 4 in. Light red Raku glaze coarsely crackled with 
 grayish area on one side. JOsan-ken (imp.). 1835 
 
 1400— 1403. Various pieces. JOsan-ken (imp.). 1835 
 
 1404. Box, fan-shaped. W. 4^ in. Soft light salmon-colored clay 
 and glaze. Over-decoration of leaves in green and yel- 
 low shaded with red outlined with black. JUsan-ken 
 (imp.). Iwakuni ni oite kore wo tsukuru (inc.). 1835 
 
 I405- Box, fan-shaped. W. 3} in. Thick yellowish 
 glaze. Outside, rich green glaze. On top deep orange 
 glaze, with over-decoration of flattened spirals in red. 
 Characters in relief, gilded. JOsan-ken (imp.). 1835 
 
 A fine piece of work. 
 1406. Deep bowl. D. 3I in. Heavy white semi-porcelain clay, thick deep orange 
 glaze. Design of dragon and flames deeply incised. Inside basal ring, dark brown glaze. 
 Iwakuni ni oite JOsan-keti tsukuru (inc.). 1835 
 
 1407' Cylindrical flower -vase. H. 9^ J in. Light drab clay, rich orange glaze, 
 crackled, iridescent. Clouds, flames, and dragon vigorously incised. 
 Tsuru, in hexagonal panel (imp.). 1835 
 
 Gift of Henry O. Havemeyer. 
 
 1407 
 
 1404 
 
 I408-14II. Various pieces similar to last. Unsigned. 
 
 183s 
 
 AJINA (Case 13) 
 
 In the little village of Ajina, on the Iwakuni River, an oven was built in 1869, and 
 
 continued active until 1882. The work was vigorous and in good taste. With one 
 exception none of the pieces in the collection are signed. 
 
 I412. Large flaring bowl, flattened in form of square above. D. 6J in. Hard fine 
 brown clay, thick light gray glaze. Rough over-decoration of flowers, leaves, and vine in 
 
 brown and grayish-blue. Resembles old Nagato. 1869 
 
PROVINCE OF SADO i2i 
 
 I4I3- Bowl. D. 4J in. Fine light fawn clay grained with darker colored clay, clear 
 shiny transparent glaze. Decoration of flower and leaves in white slip outlined in brown, 
 and brown pine needles. 1869 
 
 I414. Flattened globular bottle, long cylindrical neck. H. 6 in. Fine brownish clay, 
 rich fawn glaze coarsely crackled. Vigorous drawing in dark brown of fruit and leaves. 
 
 1869 
 
 I4I5- Square cake-tray, corners flattened. L. 6 in. Fine cream-white clay. Inside, 
 ornamental border and landscape in purple, green, and yellow lined with black. 1869 
 
 I416. Rectangular cake-tray, four short fluted legs. L. 7J in. Soft yellowish clay, 
 thick white glaze glistening, with splash of bright green glaze. Landscape in purple. 
 Choraku (imp.). 1869 
 
 KIMPEIZAN (Case 13) 1416 
 
 A potter named Kimpeizan started an oven near Iwakuni early in 1874, and con- 
 tinued for some years. The pottery was of white' clay and white glaze. 
 
 1417. Flower-vase, elongate oval. H. 8J in. Wnite clay and glaze crackled. Two 
 bands of formal leaves moulded and applied. Scallop around border in relief. 1874 
 
 1418, I4I9- Plate and flower-holder. White clay and glaze. 1874 
 
 PROVINCE OF SADO 
 
 • 
 
 Though the island of Sado has produced little in the way of pottery, 
 yet the work of Kintaro is regarded as having considerable merit. It 
 certainly is most distinctive in its character. Kintaro 's work appealed to 
 the severest tastes of the tea cult. In latter years Jozan and Tomitaro have 
 also made a distinctive pottery less severe in taste. 
 
 KINTARO (Case 13) 
 
 In the early part of this century Kintaro, of Aikawa, went to Kyoto to learn from 
 its potters the higher secrets of the art. Before leaving his native place he had made 
 a form of hard pottery as well as a kind of Raku. The hard pottery of the first 
 Kintaro is very characteristic. It is made of yellowish-white clay, with greenish or 
 brownish glaze, and gives out a ringing sound. The pieces are usually in the form of 
 bowls, or shallow dishes, moulded, and bear the incised marks of Sa Kin, or Sashu 
 Kintaro tsukuru. Specimens of the above description may be accounted as the work 
 of the first Kintaro, with an age of ninety years or more. Native records state 
 that Gombei, of Niiho, brought six potters from Shigaraki, Omi, to Sado, and here 
 they worked for several years. To these potters must be attributed pieces bearing 
 the impressed mark Kintaro. These pieces were invariably identified as Shigaraki, 
 Omi, by experts in Japan, until the obscure mark was deciphered. They are 
 
123 
 
 THE CATALOGUE 
 
 extremely rare. The Kintaro pottery continued for three generations, when the work 
 was abandoned, and the potters then worked for Miura Jozan. I have not been able 
 to separate the work of the three generations. 
 
 1420. Bowl. D. 4f in. Hard ringing yellowish clay, dull whitish underglaze, light brown 
 overglaze without gloss. Sashu Kintaro saku (inc.). 1800 
 
 1421. Incense-box (Bull). L. 2J in. Hard stone clay, light fawn under- 
 glaze, dark bright brown Seto glaze. Sa Kin saku (imp.). 1800 
 
 X422. Hanging FLOWER- HOLDER. H. 3,% in. Roughly 
 modeled. Dead brown clay, dark greenish glaze with 
 blue drops. Sa Kin saku (imp.). 1800 
 
 I423> Boat-shaped dish. L. 7} in. Moulded. Hard 
 brown clay, thick opaque greenish - gray glaze. Band 
 of flowers about rim, and a mass of flowers on side in 
 reUef. Unsigned. 1800 
 
 A unique example. 
 
 1424. Deep fan-shaped dish. 
 gray glaze. Star-shaped fig- 
 ures in relief. Sa Kin (inc.). 
 1820 
 
 L. 7j in. Moulded. Dark reddish stone clay, thick 
 
 -^jft ^A 
 
 m 
 
 1424 
 
 -('!> 
 
 1425. Circular cake-dish, 
 D. 6i in. Moulded, fluted 
 Light fawn clay, opaque greenish-gray glaze, 
 flowers in high relief. Sa Kin saku (inc.). 
 
 1830 1425 
 
 1426. Melon-shaped dish, resting on rounded knobs. 
 L. 7f in. Hard light brownish clay, green underglaze, green- 
 ish-white overglaze. Sashii Kintaro saku (inc.). 1837 
 
 1427. Shallow boat-shaped dish. L. 6^ in. Hard red- 
 dish clay, greenish-gray glaze. Sashii Kintaro saku (inc.). 
 
 1842 
 
 jOZAN (Case 13) 
 
 Miura Jozan, though employing some of the last 
 Kintaro potters, made pottery of an entirely different character. In some 
 of his work he used the clay from the gold mines of Sado. One form has 
 a reddish clay with thick white curdled glaze. Another essay is a sake 
 bottle copied directly from a Tamba form, even to the drawing of a stork 
 after Okyo. The work bears the impressed marks Sado, Jozan, etc. 
 
 1428. Low JAR. H. 4^ in. Fine warm brownish-gray clay, transparent under- 
 glaze, gray overglaze, showing white in wide cracks. Daiboku Jozan tsukuru (inc.). 
 
 187s 
 
 1429. Flower-holder. H. 4^ in. Thick and heavy. Coarse reddish clay, fat 
 white glaze, curdled. Encircling and vertical lines incised. Jozan (imp.). 1875 
 
 1428 
 
PROVINCE OF SADO 
 
 123 
 
 1430. Wine-bottle, oviform, short neck and spout. H. 6 in. Coarse dark brown clay, 
 transparent underglaze, dark warm gray overglaze mottled. Crane in white with 
 brown underglaze showing through for tail feathers, neck, and legs. 
 Sado Jozan (imp.). 1875 
 
 1431. Tea-cup. D. 3,'^ in. Fine red* clay, thick cream-white glaze 
 contracting in fissures exposing red clay beneath. 1431 
 Jozan Mumei-i To (imp.). Gift of S. Takenaka. 1880 
 
 1430 
 
 TOMITARO (Case 13) 
 
 In i860 Tomitaro Ito opened an oven in Aikawa, and made little wine-cups and 
 tea-cups of red clay and transparent glaze. The sides of the cups have poems written 
 in deeply impressed characters, accompanied by the impressed mark Tomitaro. 
 
 1432. Tea-cup. D. 2^ in. Fine red clay, transparent glaze. Inscription impressed : 
 SasAu Kinginzan Mumei-i wo motte tsukuru and Tomitaro. 
 
 1433- Wine-cup. Yi.2\ in. Mask inside and out. 
 Bright light red clay and glaze. In- 
 side, face in white and blue. Mumei-i Mk^ 
 and Keitando Sekisui (imp.). 1875 
 
 1434. Wine-cup. D. 2| in. Fine 
 light red clay unglazed. 
 
 Sado Kinginzan Mumei-i Saku 
 
 Sekisui (imp.). 1880 
 
 4 
 
 
 
 '433 
 
 >432 
 
 KIMBEI (Case 13) 
 
 A potter named Kimbei, some fifty years ago, made pottery at Aikawa for a short 
 time. From the resemblance of his work to Shigaraki, he was probably one of the 
 Omi potters brought to Aikawa by Gombei. 
 
 ^435- OiL-BOTTLE. H. 2)\ in- Dull light reddish brown clay, fawn glaze 
 running down from neck in long streams ; fret impressed about shoulder. 
 Kimbei (inc.). 1835 
 
 SADO IN GENERAL (Case 13) 
 
 Other specimens recognized as Sado, but not specifically 
 determined, are here included. 
 
 1436. Receptacle for sweet sake, in form of mythological turtle. 
 
 L. 6| in. Reddish clay resembling Bizen, thin transparent glaze. 
 
 Poem incised. Kinrin Godaibo and kakihan (inc.). 1820 
 
 1437- Plate. D. 6 in. Modeled by hand. Hard 
 
 warm gray clay, ringing, dull red glaze. Scrolls deeply 
 
 incised. Slightly crenulated rim. 
 
 Tdshi Nobushige (imp.). 1840 1437 
 
 M3S 1436 
 
124 THE CATALOGUE 
 
 143° • Large bowl. D. 4I in. Thick and ringing. Dark brownish clay, warm grayish 
 glaze. Base with cross-grooves. On side, Kinkei (inc.). 1800 
 
 1438 
 
 PROVINCE OF AWAJI 
 
 But few records are obtainable concerning the pottery of this province. 
 In the last twenty years an enormous amount of pottery with clear green 
 and yellow glazes undecorated has been made for the foreign market. The 
 province can preserve with pride the memory of Mimpei, one of the great 
 potters of Japan. 
 
 MIMPEI (Case 13 and Plate VII. 1439) 
 
 In 1830 Shuhei, the Kyoto potter, went to Igano village, and there became 
 acquainted with a doctor named Mimpei, who, interested in the potter's art, studied 
 with Shuhei, and traveled about Awaji in search of clays. In this experience Mimpei 
 became a potter. His work shows taste and originality, though the Kyoto influence 
 is strongly marked. Examples of his work are extremely rare. 
 
 1439- Cake-plate, thick walls. D. 6^ in. Coarse dark reddish-brown clay, transparent 
 underglaze, thick clear white overglaze, lustrous. Very coarsely crackled. Over-decora- 
 tion of bird and vine in brown showing light olive-brown in thinner portion. Outlines 
 scratched through brown, exposing white glaze below. Mimpei (imp.). 1830 
 
 Type Ninagawa. Vol. V., Fig. 18. 
 
 1440- Similar to last. D. 7J in. Mimpei (imp.). 1830 
 
 I44^- Flower-vase. H. ioJ in. Long looped handles with ani- 
 mals' heads. Coarse grayish clay, thick dull reddish-brown glaze. 
 Outside, roughened surface and strong lathe-mark. Inside, thick light gray glaze. Wide 
 left-hand spiral on bottom. Mimpei (imp.). 1830 
 
 These three specimens are of great rarity. 
 
 SECOND GENERATION 
 
 The first Mimpei died when his son was an infant, and a nephew of Mimpei, 
 named Sampei, carried on the work for a while. When the son, in 1865 or there- 
 abouts, finally assumed control of the pottery he used marks similar to, if not the 
 same as, those used by his father. His work was in Awata style, and bowls with light 
 
 1439 1440 1441 
 
CASE 13 
 
 1373 
 
 — 1=» — y \g8&/ 
 
 1390 i3fZ 1386 ^i^^ mi )3<it i378 i388 
 
 '381 137^ 
 
 ,.<«>.. 
 
 jSliT 
 
 iifc 
 
 1^ 
 
 '^S^ 
 
 j2jvvK33r^\ 
 
 \ J38^ ^ I37Z .i^^ .iM5- 
 
 ISIZ ttiH I3<i<t 
 
 1 
 
 IVS6 I'l'tt i»,i,b l^'rb )1'<6 
 
 PROVINCES OF SUO, SADO, AND AWAJI 
 
) 
 
 A H 
 
 or THE 
 
 UNiVtr.SHY 
 
1442 1443 
 
 PROVINCE OF AWAJI 125 
 
 glaze and decoration in bright colors may be regarded as second Mimpei. These 
 bowls have high basal rings with single notch, dull glaze, and well executed designs, 
 usually of flowers. The form of bowl most highly esteemed, and the rarest, has for 
 its decoration a red prawn. 
 
 1442. Bowl. D. 4J in. Fine fawn clay, yellowish-white glaze. Over-decoration of prawn 
 in bright red, green eyes, back touched with gold. Mimpei (imp.). 1865 
 
 1443. Bowl. D. \\ in. Clay and glaze similar to last. Cranes and pine 
 in green, dark brown, and red touched with purple and gold. Mimpei (imp.). 
 
 1444. X445- Bowls. Mimpei (imp.). ' ^ 
 
 1446. Set of five tea-cups. Each one decorated with different flowers in bright colors. 
 
 1447, 1448. Bowls. Mimpei (imp.). 1865 
 
 1449- Water-jar, with twisted handles. H. 6J in. Elaborate drawing of 
 flowers in bright colors. Mimpei (imp.). 1865 
 
 1447 1449 
 
 1450- Water-holder, for ink-stone, m form of tea-pot. D. 2f in. Hard 
 
 white porcelain clay, bright yellow glaze. Dragon, flames, etc., incised. Mimpei (imp.). 
 
 1865 
 
 SAMPEI (Case 13) 
 
 Sampei established an oven of his own, and his work, so far as known, is a hard 
 ringing pottery with bright yellow, rarely green, glaze. He also made similar pottery 
 with bright yellow, blue, and purple glazes. The mark Sampei is rarely seen. Within 
 recent years the western market has been flooded with bright yellow and green dishes 
 known as Awaji. These are unsigned, and are probably a product of Sampei's oven. 
 
 I45I. FooD-BOWL. D. 6-^ff in. Fine cream-white clay, rich dark yellow glaze crackled, 
 Nippon Awaji Sampei (imp.). 1880 
 
 1452- Box, drum-shaped. D. 3^ in. Fine cream-white clay, cover and bottom ^ i^ 
 
 light fawn glaze. Body showing fine wood graining in red and orange. 
 
 Nippon Awaji Sampei (imp.). 1885 ~^t^ 
 
 145' 
 AWAJI IN GENERAL (Case 13) 
 
 The following pieces consisting of incense-burner, brush-holder, wine-bottles, lamp- 
 rest, etc., are identified as Awaji. Some of them may be by the original Mimpei, but 
 they are unsigned and nothing is known about them. 
 
 1453- Incense-burner, supported on three short legs. H. 2\ in. White porcelain clay, 
 light yellow glaze with irregular areas of green glaze on separate portions of surface. Inter- 
 spaces in green glaze in the form of chrysanthemum leaves, gilded and outlined in red. 1840 
 
 This may be the work of the first Mimpei. 
 
 ^454~^459- Various pieces of Awaji. 1840-1880 
 
126 THE CATALOGUE 
 
 PROVINCE OF BUZEN 
 
 Though little pottery is made in Buzen to-day, yet in past times its first 
 important advance, like that of Satsuma, Higo, and other provinces, dates 
 from the advent of Korean potters in the latter years of the sixteenth 
 century. Since that time potteries have been started in Kaharu and other 
 places. 
 
 AGANO (Case 14 and Plate IX. 1460, 1469) 
 
 The pottery known as Agano takes its name from the town in which it originated. 
 Kijo, a Korean potter brought from Korea with Hideyoshi's army, built an oven 
 in Agano, and began making pottery with coarse clay and black glaze after Korean 
 models. Later a reddish clay was used and a thick purplish-brown glaze with a 
 surface which the Japanese in their descriptions likened to a melon. No signature is 
 known. This early oven became long since extinct. 
 
 Within sixty years an oven was started in Agano, where large bowls of extraordi- 
 nary lightness were made of a light yellow clay and transparent glaze. Other bowls 
 were of a harder clay and white glaze. In some is seen an overglaze of robin's-egg- 
 blue running from the rim or radiating inside from the centre, sometimes alternating 
 with a rich brown glaze. These pieces are unique in character and unmistakable. 
 
 The characters for Agano may be read Ueno and also Kozuke, the name of a 
 northern province. 
 
 1460. Tea-bowl. D. 44^ in. Light brick-red clay, thick reddish-brown glaze strongly 
 curdled. 1600 
 
 Type Ninagawa. Part V., Fig. 25. 
 
 1461. Deep cup. H. 2| in. Rim with five slight indentations. Dull light brownish 
 clay, thick light olive glaze. 1630 
 
 1462. Covered vessel. H. 4 in. Thick and heavy. Mythological lion and ball forming 
 knob for cover. Brownish clay, light warm gray glaze, surface roughened. Slight vertical 
 impressions. 1650 
 
 1463. Bowl. Similar to 1460, though differing in form. 
 
 1464. Flower-vase. H. 8| in. Light brownish clay, light olive underglaze, large areas 
 of light olive and golden-brown overglaze. 1750 
 
 1465. Jar. H. 3f in. Thick and heavy. Fine reddish-brown clay, thick light olive glaze 
 with thick splashes of overglaze of same color. i7S° 
 
 1466. Jar, with pottery cover. H. 6^ in. Dull brown clay, thick greenish-yellow glaze 
 running halfway down from rim in thick drops. Inside, glazed. 1780 
 
 1467. Bowl. D. 3I in. Light brick-red clay, coarse white particles intermixed. Rich 
 chocolate-brown glaze spotted with green and light fawn overglaze. 1800 
 
 1468. Shallow bowl. D. sf in. Light yellow clay and glaze, greenish-blue overglaze 
 
PROVINCE OF BUZEN 
 
 127 
 
 in irregular areas about rim, bordered by dark olive-green in places. Inside, same over- 
 glaze radiating from centre. 1820 
 Type Ninagawa. Figured on unpublished plate. 
 
 1469. Bowl. D. 4^^ in. Light yellowish clay and glaze. Rich greenish-blue overglaze 
 in large areas running from border, flecked with blood-colored areas mottled with dark spots. 
 Inside, same glaze radiating from centre. 1820 
 
 1470* Bowl. D. 4I in. Dull yellowish clay and glaze. Inside, radiating lines of green- 
 ish-blue, and rich dark golden-brown overglaze alternating. 1820 
 
 1471. Bowl. D. s| in. Exceedingly light and thin. Fine light yellowish-fawn clay and 
 glaze, not crackled. 1830 
 
 1472. Bowl. D. 4J in. Light reddish-fawn clay, clear, light gray glaze, 1830 
 1473,1474. Bowls. Similar to 147 i. 
 
 1475' Flower-vase, elephant handles. H. 9I in. Light fawn clay, rich fawn glaze with 
 lighter fawn overglaze mottled with golden-brown and blue. i860 
 
 1476. Flower-vase. H. \\\ in. Thick and heavy. Hard light brown clay, lustrous 
 light brown glaze with light gray overglaze running. i860 
 
 JOZAN (Case 14) 
 
 Jozan made tea-pots with olive-gray Agano glaze. No information is at hand 
 regarding the potter. 
 
 1477' Water-holder, in form of tea-pot. H. 3 in. Fine chocolate-brown cLiy, /3J\ 
 olive-gray glaze. Jozan (imp.). 1840 t^j 
 
 _ 1477 
 
 HOSHO (Case 14 and Plate IX. 1478) 
 
 In 1758 Hoko, a descendant of Totoki Hoko, obtained a government monopoly 
 for the sale of pottery. In 1801 a descendant of Hoko, 
 calling himself Hosho, studied the art of pottery in Kyoto. 
 Returning to Agano, he made pieces signed with the char- 
 acter Ho in panel, and usually a spiral line separately im- 
 pressed. The character Sei, instead of Ho, is sometimes 
 met with in his work. The mark Taka is also seen. His 
 pottery has evidently been stored away, as only within recent 
 years has it appeared. Whether .the fresh appearance of 
 some of the pieces is due to storage, or whether 
 they are recent copies, it is difficult to say ; at 
 all events the apparently new pieces are not 
 uncommon. 
 
 1478. Hanging flower-holder, roughly turned. 
 H. 7 in. Coarse hard brown clay with white gran- 
 ules. Large splash of very dark brown glaze 
 with narrow running streams of thick white glaze j 
 
128 
 
 THE CATALOGUE 
 
 crackled. Front depressed, and cross-lines deeply cut. Gionen hachi-ju san-sai Totoki Hosho 
 kore wo tsukuru incised, and Ho in digitated square panel and spiral line impressed. 1801 
 
 1479- Gourd-shaped tea-jar. H. 2 J in. Hard light fawn clay, light reddish tinge; 
 thick lustrous dark brown glaze, with rich mottled brown overglaze and flecks of 
 thick white glaze crackled, A four-petaled figure in relief on side. Ho and 
 [kakihan ?] (inc.). 1801 
 
 1480. Flower-vase. H. ioJ in. Modeled in form of tree- 
 trunk. Rough and heavy. Brown clay, rich deep maroon brown 
 glaze, irregular splash of light greenish-blue and fawn over- 
 glaze. Fine thread-mark. Ho and spiral (imp.). 1801 
 
 Gift of Thomas E. Waggaman. 
 
 This object is interesting as being identical in glaze 
 to the bowl No. 1467, which is unquestionably Agano, 1479 
 
 Buzen. 
 
 1481. Flower-vase. H. i2f in. Light fawn clay, thick bluish-green glaze with 
 areas of olive mottled. Ho and spiral (imp.). 
 
 Gift of W. S. Bigelow. 
 
 k 
 
 1480 
 
 large 
 1801 
 
 DENKO (Case 14 and Plate IX. 1483) 
 
 An oven was started in the village of Kaharu, in the district of Takawa, in 1856 
 or thereabouts. A variety of pottery was made. The mark Denko arises from a con- 
 ceit peculiar to the Japanese of taking a character from each of two different words, 
 as illustrated in Toshiro, Ninsei, and others. In this case the first character of the vil- 
 lage and of the district are taken, and, pronouncing them in the Chinese way, we have 
 Ka=Den and Ta=K6. 
 
 1482. Cylindrical flower -vase. H 
 of green glaze running down one side. 
 
 (On top of Case 14.) 
 
 Gift of W. S. Bigelow. 
 
 X483> Cake -DISH. D. 7 in. Moulded. Rim with five 
 deep scallops representing a flower. Dull light drab clay, 
 rich light green glaze flecked with gold and yellow. 
 Denko (imp.). 1856 
 
 1484. Jar. H. si ^^- Coarse light drab clay, richly crackled 
 Denko (imp.). 
 
 i8f in. Coarse gray clay, white glaze, splash 
 Denko (imp.). 
 
 1856 
 
 ffl 
 
 1482 
 
 Satsuma-like glaze. 
 1856 
 
 KU-KEN (Case 14) 
 
 A deep dish bearing the mark Ku-ken has all the appearance in clay 
 and glaze of Buzen pottery, and so is placed here provisionally. 
 
 1485. Bowl, for rinsings. D. 5 in. Roughly modeled in form of bag with fillet 
 
 of clay around it to represent cord. Light brown clay, light greenish-olive glaze, 
 
 with rich bluish-green overglaze flecked with white and golden-brown. Cloth impression on 
 
 bottom. Ku-ken (imp.). 1800 
 
 ^ 
 % 
 
 148s 
 
PROVINCE OF IZUMI 129 
 
 BUZEN IN GENERAL (Case 14 and Plate IX. i486) 
 
 The tea -jars are quite distinct from those of other provinces, though a few 
 approach in appearance those of Chikuzen. 
 
 i486. Tea-jar. H. 3J in. Light dull reddish-brown clay, thick fawn glaze without lustre, 
 splash of rich brown overglaze around shoulder running, lustrous. 1600 
 
 Type Ninagawa. Figured on unpublished plate. 
 
 1487. Tea-jar. Similar to last. 1600 
 
 Type Ninagawa. Figured on unpublished plate. 
 
 1488-1495' Various forms of tea-jars. 1600-1780 
 
 PROVINCE OF IZUMI 
 
 The pottery ovens of this province are limited to Sakai and its imme- 
 diate neighborhood. The myth that Gy5gi first introduced the potter's 
 wheel into Japan mentions Sakai as the place where he first used it. 
 
 MINATO (Case 14 and Plate X. 1501, 1505) 
 
 The founder of Minato pottery is said to have been Doraku, known as Kichibei, a 
 brother of the third Raku. He came to Sakai in 1655. Having no son to succeed 
 him, he adopted a Kyoto potter named Yahei, who is recognized as the second genera- 
 tion. The third generation, known as Kichiyemon, died in 1750, the fourth in 1787, 
 the fifth in 183 1, the sixth in 1849, the seventh in 1852. All these were known as 
 Kichiyemon. The eighth generation assumed the name of Kichibei, and died in 1861- 
 1864. The present generation resumed the family name of Kichiyemon. For these 
 statements I am indebted to Mr. Yamanaka. Ninagawa says that in the latter half of 
 the eighteenth century the yellow glazes were introduced, and the mark Minato was 
 first used. Still later the mark Minato Yaki was impressed upon the pieces. I have 
 not been able to separate the work of the various generations, and have classified 
 them simply by their appearance of age. The pottery was after the nature of Raku, 
 being soft and light, and usually having a transparent underglaze and a dull dark 
 yellowish overglaze. In some cases a bright green glaze occurs, and in the smaller 
 pieces white, yellow, and green glazes are seen together. The rarest are the early 
 gray and the purple and blue glazes. Unglazed specimens are also known. 
 
 1490. Shallow beaker. D. sJ in. Fine fawn clay, glistening gray underglaze, yellowish 
 below. Brush-marks in white turning to deep gray. Lathe-marks strongly marked. 
 Minato (imp.). 1800 /f^N 
 
 ^497*- Ash-holder. D. 6f in. Fine light fawn clay. Outside, unglazed. In- "iBv 
 side, light yellow transparent glaze. Lattice-work impressed on opposite sides. '496 
 Minato yaki (imp.). 1830 
 
 1498. Flower-holder, bottle-shaped. H. 6f in. Fine yellowish clay, deep orange glaze. 
 Rough vertical grooves about neck. Minato yaki (imp.). 1830 
 
ISO 
 
 THE CATALOGUE 
 
 1499. Dish, in form of Haliotis. D. 8 in. Liglit fawn clay, deep dull yellowish-brown glaze. 
 Inside, splash of rich green glaze glistening. Minato yaki (imp.). 1830 
 
 1500. Incense-box, in form of priest's drum. D. i J in. Moulded. Shiny salmon-colored 
 glaze with greenish streaks. Minato yaki (imp.). 1830 
 
 1501. Handled beaker. D. 3J in. Strong lathe-marks. Fine f^^ /«^^ 
 fawn clay and glaze, green overglaze on rim. Under-decoration L'S] ( S>l 
 of fern sprouts in black. Minato (imp.). 1830 '1^9' V^/ 
 
 Unique specimen. 1500 1501 1502 
 
 1502. Shallow beaker. D. 4I in. Fine fawn clay, rich blue and purple glazes. 
 Minato yaii (imp.), 1840 
 
 Rare form. 
 
 1503- Vessel FOR candle-snuffings. H. 2fin. Minato yaki (imp.). 
 
 1840 
 
 1504- Box, in form of peach. L. 2J in. Moulded. 1840 
 ^5°S Jar, shape of money-bag, with fillet of clay in form of cord 
 around constricted neck. H. 6^ in. Yellowish-white clay, thick light yellow glaze, darker 
 areas. Minato yaki (imp.). 1850 
 
 150^15^^- Various pieces of Minato. 
 Signed. 1840-1870 
 
 I512. Square box. Mark obscure. 
 
 15^3' Leaf-shaped dish, with leaves in 
 
 1 50s 
 
 1510 
 
 1512 
 
 relief inside. D- SJ in. 
 fan-shaped panel (imp.). 
 
 Glistening rich brown glaze, bottom rough. 
 
 1850 
 
 Minato Ryoko, in 
 
 KICHIYEMON (Case 14 and Plate X. 1514, 1515) 
 
 In the early part of the century one of the Kichiyemons, prob- '5'3 
 
 ably the fifth, made a peculiar light, thin pottery in the form of large vessels for 
 serving food, wine-vessels, flower-holders, eta These were impressed with a square 
 mark giving the name of the province and village, with the further information that 
 the object was the true Minato bake of Kichiyemon. As the objects in the collection 
 having this mark appear to be recent issues, I have ventured to regard them all as 
 belonging to the work of the ninth generation. The collection possesses one object 
 with the mark Kichibei, and if the preceding account is true, he must be considered 
 as of the eighth generation. 
 
 I5I4- Cake-dish, in form of shallow wooden box on three short legs. D. e^in. Dark orange 
 clay and glaze. Inside, white glaze strongly crackled, with decoration of 
 hut and trees in black. Outside, conventional flowers in white slip. 
 Decoration of leaves and scrolls in silver and gold. f ♦ ' 
 
 SenshU Sakai ffon-Minato yaki Kichibei (irap.). 1780 *&-' 
 
 Mark extremely rare. z^ ^^ ' 
 
 1515* Holder for sweet sake, in form of mythological turtle, tail ^• 
 turned over back to form handle. L. yf in. Light fawn clay. Under- ^ — 
 
 glaze transparent, overglaze rich green. Back of turtle moulded; tail '5'4 
 
PROVINCE OF IZUMI 
 
 131 
 
 and legs incised. Murex on cover moulded in high relief. Senshu Sakai Hon-Minato yaki 
 Kichiyemon (imp.). 1850 
 
 Pieces of this character are not uncommon, but are rarely signed. 
 
 1516. Similar to last. Thin light greenish glaze, light brown overglaze above. Scales 
 on back glazed with white, green, purple, and yellow. Unsigned. 1850 
 
 1517. Bowl, very thin. D. 4^ in. Light reddish clay, thin transparent 
 glaze, showing salmon color, with warm gray areas. Plum and nightingale 
 in black and white overglaze. Unsigned. 1850 
 
 1518. Screen. H. s| in. 1880 
 X5ig. Water-vessel, in form of tea-pot. D. 8J in. 1880 
 1520*. Covered dish. D. 8 in. 1880 
 
 Last three signed Senshu Sakai Hon-Minato yaki Kichiyemon (imp.). 
 
 I52I*. Dish, in form of Haliotis, thin flat cover, with section of bamboo for handle. 
 D. 9 in. Light orange clay, thick orange glaze. Cover with chrysan- 
 themums in relief glazed green, white, and yellow. Haku unzan and 
 YUraku (imp.). 1840 
 
 This is placed here provisionally. 
 
 1519 
 
 
 KITANI (Case 14) 
 
 A peculiar unglazed pottery, made of the finest sifted clay, 
 clouded with salmon and slaty tints, was identified by Ninagawa as 
 having been made in Izumi. The pieces bear the impressed mark Kitani. 
 
 1 521 
 
 1522. Small jar, with flat pottery cover. H. 3 in. Fine fawn clay, large areas of dark 
 
 slate and bright reddish tinges. Inside, light gray unglazed. Kitani (imp.). 
 
 IS^S- Rest for cover, in form of 
 thick ring. H. i J in. Similar to last. 
 Kitani (imp.). 
 
 1524. Round 
 BOX. D. 2 J in. 
 Similar to last. 
 Kitani (imp.). 
 
 1855 
 
 1523 
 
 1524 
 
 1525*, 1526*. Comfit-bottles, iden- 
 tical in clay and 
 glaze with 1523. 
 Akagi (imp.). 
 
 i860 
 I527-153O. Hai- 
 sen, tea-bowl, bot- 
 tle for sweet sake, and large bowl. 
 These are identified as Sakai, Izumi. 
 The bowl (1528) bears the mark of Raku. 
 
 
 2. 
 
 
 t^ 
 
 
 4^ 
 
 1^ M 
 
 'S2S 
 
 1526 
 
 t 
 
 1531 (see p. 132) 
 
 
ija THE CATALOGUE 
 
 IIMURO (Case 14) 
 
 In 1848 a potter of Sakai, signing himself limuro Tadayuki, made, among other 
 forms, large shallow plates with basket-work woven around the rim. 
 I53I. Shallow plate, with basket-work woven about rim. D. gj in. Salmon clay and 
 glaze with gray areas. Inside, overglaze decoration of stork, tortoise, bamboo, plum, and pine 
 in green, black, white, red, and blue. On bottom, 
 written in black (see p. 131) : 
 
 ,, . -, ( raku limuro Tadanobu 
 
 ° (_lo limuro ladayukt . 
 
 Hakusai Kanhiro hachi jissai ga. 
 
 set. 
 
 IZUMI IN GENERAL (Case 14) 
 
 I532. Cake-dish. D. 7 in. Mark obscure. 
 
 i860 
 
 **. Incense-box, square, looped han- 
 
 Dull green glaze, fluted sides. H. 2^ in 
 
 1533 
 
 dies. 
 
 On bottom of cover, Zamakiu Shimpo utsushi Shiamu 
 Shdsei set and kakihan. On bottom, Kan Kenei ni 
 nen tsukuru (imp.). 
 
 1 533 
 
 PROVINCE OF SHINANO 
 
 The pottery of Shinano is exceedingly rare. One never finds pieces in 
 the bric-^-brac shops, and it was only by good fortune that Mr. Bunkio 
 Matsuki, a native of Shinano, secured, through the efforts of his father, a 
 number of specimens, with memoranda about the potters. 
 
 IGARA (Case 14 and Plate XI. 1535) 
 
 In the latter years of the last century a hard 
 pottery was made in the little village of Igara 
 Among other objects a hundred bowls were 
 made for the temple of Kaizenjl These bowls 
 had inscribed upon them, in black, Kaizenji and 
 Hiaku No-uchi. 
 
 1535* Bowl. D. a,\ in. Thick and heavy. Hard 
 light stone clay, thick light fawn glaze crackled. 
 
 1780 
 Characters on side as above. Specimen and 
 memoranda were obtained from Ninagawa. 
 
 FDYA (Case 14) 
 
 Sujihei built an oven near Matsumoto, and 
 made, among other kinds, Raku pottery. He 1535 
 
PROVINCE OF SHINANO 
 
 ^ZZ 
 
 signed his pieces with a written mark, Fuya. A bowl in the collection resembles 
 Sumidagawa as influenced by Kenya. (See Musashi.) 
 
 1536- Deep tea-pot, with curious looped handles, loose double ring in cover. H. 5 in. 
 Thin walls, fawn clay, rough surface unglazed, with small round spots of yellow glaze. 
 Fuya (inc.). 18 10 
 
 1537- Bowl. D. 41*^ in. Completely covered with thick white 
 glaze. Outside, bands of lines in diaper, in blue. Two bands 
 of characters for happiness, longevity, etc, in blue, green, yellow, 
 and dark brown. Inside, circles, etc., in blue. Rather thick 
 and heavy. Fuya (written). 18 10 1530 1^37 
 
 BOKUSAI (Case 14 and Plate XI. 1538) 
 
 Denzo Yoshida lived in upper Suwa in 1830 or thereabouts. He was master of 
 horse to the lord of Suwa. Interested in pottery, he built an oven, and made a kind 
 of Raku with rich green glazes. He signed his work with the pseudonym Boku. 
 
 1538. Oblong stand. L. gf in. Light reddish Raku clay, heavy white underglaze, 
 covered with thin green overglaze. Upper sur- 
 face, thick white glaze with gray and fawn 
 colored stains, scaling. Below, strong ribs cross- 
 ing from opposite corners. 
 Bokusai zoi, Temponen sei (inc.). 1830 
 
 ^539- Oblong box-shaped dish. L. 3J in. 
 Raku clay, heavy white underglaze, thick green 
 overglaze. Unsigned. 1830 
 
 1540. Incense-box, bell-shaped. H. 2\ in. 
 Moulded. Rich green glaze. Panels of scrolls 
 and characters in high relief. Corner panels 
 gilded. Unsigned. 1830 
 
 IKICHIRUYA (Case 14 and Plate XI. 1541) 
 
 A Raku pottery was made in Suwa in 
 the early years of this century by a potter 
 who was knovm as Ikichiruya. Examples of 
 his work are exceedingly rare. 
 
 I54I- Figure, mythological lion in heavy 
 Raku pottery, strongly modeled. L. 9J in. 
 H. 6J in. Rich thick glaze in green, brown, 
 and light yellow, blending. Eyes red and black. 
 Unsigned. 1820 
 
 Gift of Meiki Matsuki. 
 
i^ THE CATALOGUE 
 
 YUKICHIRUYA (Case 14 and Plate XL 1544) 
 
 Iwanami Kizan, being fond of the tea-ceremony, learned the art of making Raku 
 pottery from Kichizayemon, who chanced to be in Suwa in 1840. A small oven was 
 built, and various forms of Raku were made for the tea-service. His pieces were 
 signed with the written mark Yukichiruya, which was a poetical name of his house, 
 or with his pseudonym Tosd. 
 
 1542. Tea-pot. D. 2\ in. Open nozzle, looped handle opposite. Modeled by hand. 
 Dark Raku clay, rich pinkish-fawn glaze splashed with 
 green. Rim and knob gilded. Yukichiruya (written). 
 
 1840 
 
 1543' Round TEA-JAR, very thick. H. if in. Dark 
 brown clay, robin's-egg-blue glaze coarsely crackled. 
 Unsigned. 1840 
 
 1 544- Square box. H. 4 in. Four short legs at 
 corners ; flat pottery cover with square knob. Coarse 
 brick-red Raku clay, thick white underglaze, thin light 
 green overglaze. Biwa fruit and leaves in black, 
 green, and yellow. Toso tsukuru (written). 1840 
 
 
 1542 
 
 TAKATO (Case 14) '^'^^ 
 
 In the village of Takato a common pottery has been made within thirty years 
 which has some resemblance to Takatori. 
 
 1545' Flower- HOLDER. H. sJ in. Dark reddish clay, dull brown glaze with darker 
 streaks. Light fawn overglaze around neck, streaked with blue. Rough surface. 1870 
 
 KIKKO (Case 14) 
 
 After working at his art in the province of Suo, Kikko moved to Susaka, in this 
 province, in 1837, and made pottery quite unlike his former work. The only examples 
 in the collection are two shallow dishes, one somewhat after Oribe style, the other 
 with decoration of flowers. The mark Kikko is different from his Osaka, Suo, or 
 Tokyo mark. 
 
 1546. Shallow plate, with rim lapped over on four sides. D. 7^^ in. Light brown clay, 
 thick light chocolate glaze below. Inside, cream-colored overglaze running over rim, with 
 splashes of green glaze. Decoration of grass in brown and light red. Heavy 
 spiral on bottom. Kikko (imp.). 1837 
 
 1547. Rectangular tray, comers beveled, broad flat rim. L. 6^ in. Light 
 fawn clay, thick white glaze, over-decoration of flowers, dragon, clouds, scrolls, 
 etc., in yellow, blue, green, and pink enamels outlined in black. Kikko (imp.). 
 
 1837 
 
PROVINCE OF IWAMI 135 
 
 PROVINCE OF IWAMI 
 
 But little information can be gleaned regarding the pottery of this 
 province. At the present time only coarse kitchen utensils and roofing 
 tiles are made. 
 
 NAGAMI (Case 14 and Plate XII. 1548) 
 
 Fifty years ago a potter by the name of Nagami made a soft Raku pottery in the 
 form of tortoises, deer, and mythological figures. These pieces show great skill in 
 modeling, and large objects are extremely rare. 
 
 1548. Incense-burner, in form of sacred tortoise, with Jurojin 
 seated on cover. L. 263 in. Fine light gray clay, rich golden- 
 yellow and golden -brown glaze, nearly black in portions. 
 Jwami Kuni Sangai San Ka Nagami [.'] kore wo tsukuru (inc.). 
 Gift of Henry J. Bigelow. ■ 1840 
 
 1549' Incense-burner, in form of tortoise. L. 7J in. Similar 
 to last. Iwao (imp.). 1840 
 
 ^55^" Figure of monkey, with small monkey on shoulder. 
 H. II in. Light fawn clay, dark gray, nearly black glaze. Face, 
 light brown, shaded with bright red and black, hairs incised. 
 Nagamilwao kore wo cho-kokusu (inc.). 1840 
 
 
 !! <•-• 
 
 ^^- 1550 iSS' iss* 1548 >J 
 
 155^* Figure of goat. L. 5 in. Light fawn clay, rich golden-brown glaze with dark 
 areas. Iwao (imp.). 1840 
 
 1552- Circular dish, moulded in form of fish. L. 4f in. Dark red- 
 dish Raku clay and glaze. Iwa Koshi (imp.). 1840 .^«<?T 
 
 SEKIYO (Case 14) x _}^ SflL 
 
 Within recent years a potter, evidently a successor of Nagami, J^^ f^ 
 has made tortoises and other objects after the old style. The work 
 
 is much poorer, and the glaze is not good. | I » 
 
 1553- Tortoise. L. 7I in. Light fawn clay, rich golden-brown glaze • 
 with light areas. Sekiyo Iwayama (inc.). 1870 
 
 >S<9 
 
i36 
 
 THE CATALOGUE 
 
 PROVINCE OF SURUGA 
 
 It is difficult to get reliable information about the pottery of this 
 province. The few pieces in the collection possess but little merit. They 
 all seem to have been made in the town of Shizuhata. The little informa- 
 tion herein given I got from an old antiquarian in Shizuhata. In this town 
 a kiln has been active for sixty years. The pottery consists of a soft Raku, 
 usually in the shape of incense-boxes and the like, with brown and green 
 glazes. The brown glazed ones closely resemble Ohi, Kaga. 
 
 SHIZUHATA (Case 14) 
 
 1 554- Tea-jar, with nozzle and handle roughly modeled, 
 glaze. Shizuhata (imp.). 1800 
 
 ^555- Round box. D. 2J in. Cover with Tokugawa 
 crest. Salmon clay and glaze. Rims of box and cover 
 gilded. Shizuhata (imp.). 1850 
 
 I556' Incense-box (badger). D. i| in. Modeled by 
 hand. Light brown clay, rich dark brown glaze mottled. 
 Shizuhata (imp.). i860 
 
 1557- Incense-box (turtle). L. 2\ in. Fine light fawn 
 Shizuhata (inc.). i860 
 
 1558. Bowl. D. 4I in. Reddish-orange clay and glaze, 
 clouded with olive-green overglaze, lustrous. 
 Shizu (imp.). 1875 
 
 1559' Flaring cup, square rim. D. 3I in. 
 Light yellow clay, with graining of light brown 
 in clay, transparent glaze. Shizu (imp.). 
 
 1875 ISS9 ISS7 
 
 1560. Rectangular tray. L. 9J in. Flar- 
 ing sides, slightly scalloped rim. Light fawn clay and glaze. Inside, 
 white glaze coarsely crackled. Decorations of scrolls and flowers in 
 various colors. Shizuhatayama no tsuchi wo motte tsukuru (imp.). 1820 
 
 This piece is placed here provisionally. 
 
 CHIKU-MEI (Case 14) 
 
 An amateur potter, with pseudonym Chiku-mei, made 
 incense-boxes and the like after the style of Shizuhata. 
 
 1561. Incense-box (in form of Fuji). D. \\^ in. Salmon clay 
 and glaze, white overglaze running down from top, representing 
 snow. Fuji fumoto no tsuchi wo motte tsukuru Chikumeido (inc.) 
 (made with clay found near bottom of Fujiyama. Chikumeido). 
 
 H. 2 J in. Light fawn clay and 
 
 clay, thick light green glaze. 
 
CASE 14 
 
 K^^^n^^^nDfigk 
 
 i*»8'» J'itf3 'Sft8 i«iJi« ii^o itsi "'>n 1113 I't'f') ii<ii- l',^^ )S6z ''•ay 
 
 I!>"31 
 
 
 ISZ) 
 
 iyo3 i<,S6 ">■«>' '*■"'' """<"> 
 IS-07 >!>'j8 
 
 IS30 '?!? Lil? 
 
 IS-/"* 
 
 )jro2 itco 
 
 itni 
 
 I VI 3 
 
 n"i& 
 
 («-«-/i-r7'"' <5-i-<? '"'6 
 
 PROVINCES OF BUZEN, IZUMI, SHINANO, IWAMI, AND SURUGA 
 
UNlVtrSlTY I 
 
 «l..i 
 
 
PROVINCE OF KII 137 
 
 OTA (Case 14) 
 
 In 1870 a potter by the name of Ota Manjiro, at the age of seventy years, was 
 making sake cups in the form of masks. 
 
 1562. Large cup (mask form). D. 64 in. Light fawn clay ; lower surface, 
 rich green glaze. Inside, thick white glaze, with hair and eyes purplish-brown, 
 and mouth red. Shizuhata and Ota Manjiro shichi-ju-o kore wo tsukuru (imp.). 
 
 1870 
 SURUGA (Case 14) 
 
 Under the provincial name may be placed the single tea-jar attributed 
 to this province. 
 
 1563. Tea-jar, double gourd. H. 2| in. Light reddish clay, thick mottled 
 
 i 
 
 fawn glaze, with mottled-bluish overglaze running. 1830 156a 
 
 PROVINCE OF KII 
 
 The pottery of this province is widely known abroad through the clear 
 light blue and other colored glazes, notably the yellow, green, and purple, 
 with which the western market has been flooded. Pottery similar to this, 
 though of poorer quality, has been made elsewhere in Japan, but the stuff 
 originated in Wakayama. The early work had considerable merit. 
 
 KAIRAKUYEN (Case 15 and Plate XIII. 1564, 1567) 
 
 At Nishihama, a little west from Wakayama, was the villa of a former Daimyo of 
 the province. The garden of this place was known as Kairakuyen, and here, in the 
 beginning of the century, an oven was built, and pottery was made for the tea-service. 
 Precisely what kinds were made before the advent of Zengoro Hozen, in 1828, I have 
 not learned. With the advent of Hozen (the eleventh Yeiraku) it is said an improve- 
 ment took place in the character of the pottery ; at all events 
 the Daimyo of Kii, in acknowledgment of the new glazes 
 introduced by Hozen, presented this celebrated potter with |^%I 
 
 two seals, a silver and a gold one, on which were the charac- "^jr Mm^ 
 
 ters Kahin Shiriu and Yeiraku respectively. Whether these B f# jK 
 
 were impressed on pottery made in Kairakuyen, or were used ^n^ ^^ 
 
 after he returned to Kyoto, I have never clearly ascertained. m^^ ^r 
 
 .^nppimpriQ thiiQ Qicrnpri arp nlarf^H wif-Vi fVif* fnmilv'Q u/nrU nndpr ^mX^ ' 
 
 Specimens thus signed are placed with the family's work under 
 
 Ky5to. Authorities say that on the death of the Daimyo, in 
 
 1844, the oven was closed. I learned, however, at the place 
 
 that the work continued until 1868. The pottery is also known 
 
 as Oniwa (Honorable Garden), but the name Kairakuyen is ^^ 
 
 retained, as all the pieces are thus signed. ^^^^ 
 
 1564. Fire -VESSEL. H. 4J in. Dull drab clay, Jinko leaves 1564 
 
 
«S8 THE CATALOGUE 
 
 outlined in white slip and glazed a light blue. Ground, thick purplish - blue glaze. 
 Kairakuyen set (imp.). Tempo ju-ichi nen Shocho hodo ye (written in olive glaze). 1840 
 
 Type Ninagawa. Part V., Fig. 29. 
 
 IS^S- Haisen. D. si in. Thick and heavy. Fawn clay, light turquoise-blue glaze out- 
 side. Under-decoration of waves in white slip. Inside, deep purplish 
 glaze blending with blue on rim. Kairakuyen sei (imp.). 1830 (^X i^ 
 
 1566. Cake-bowl. D. 6^ in. Band of , ^ » 
 
 diaper perforated about rim. White stone »»g 
 
 clay, light greenish-blue glaze. "IS 
 
 Kairakuyen sei (written). 1840 ^ 
 
 1567- Bowl. D. 4 in. Yellowish-fawn ^ ^J ^^ ^ 
 
 clay and glaze. Inside, yellowish-white , "^ 
 
 overglaze. Outside, finely crackled; in- '^ 
 
 side, coarsely crackled. Over - decoration of simple flowers in blue, exquisitely drawn. 
 Kairakuyen sei (imp.). 1830 
 
 A remarkable example. 
 
 1568. Incense-box (boat). L. 3 in. Dark purple glaze. Kairakuyen sei (imp.). 1840 
 
 I5D9' Tea-bowl. D. 4I in. Light salmon clay and glaze. Irregular brush-marks of 
 thick white overglaze. Character and fungus in light purple. Kairakuyen sei (^im^.). 1840 
 A curious example. 
 
 I570' Bowl. D. 45 in. Thick and solid. Fine drab clay and glaze, encircling lines and 
 vertical zigzag lines in white Mishima. Inside, bands and circles the same. 
 Kairakuyen sei (imp.)i 1840 (S> M^ 
 
 157^- Bowl. Same as last. Purple glaze, lines not filled. 1840 
 
 1572. Bowl. D. 3J in. White stone clay, white porcelain underglaze, ex- 
 posed on bottom. Light blue overglaze running thickly from rim. '57° 
 Kairakuyen sei (written in purplish-blue). 1840 
 
 1573- Haisen. D. 7 in. Flowers, etc., in white slip glazed purple and blue. 1840 
 
 1574' Jar. H. 3I in. Flowers in white slip. Purple glaze. 1840 
 
 1575' Fire-vessel. D. 6J in. Designs in white slip, glazed purple and blue. 
 
 All signed Kairakuyen sei. 1840 
 
 1576- Globular jar, with overlapping cover. H. 4J in. Dark brown clay, dull trans- ^ 
 parent glaze. Kairakuyen sei (imp.). 1850 
 
 1577- Jar- H. 13I in. Thick and heavy. Lathe-marks strongly showing. Coarse warm 
 gray clay, roughened surface, thick very dark purplish glaze. Kairakuyen and 
 Kairaku (imp.). 1850 
 
 On top of Case 15. 
 
 1578. Cylindrical flower-vase. H. 8 J in. Strongly turned. Hard fine 
 light gray clay, light golden-brown underglaze, deep brown overglaze running. 
 Long streams of light blue glaze flecked and running. Coarse thread-mark. 
 Kairakuyen, in double gourd (imp.). A rare form of mark. 1850 
 
 Gift of Frederick S. Dickson. 1578 
 
PROVINCE OF KII 
 
 »39 
 
 KAIRAKUYEN RAKU (Case 15) 
 
 Records from the Raku family show that RiySniu (ninth Raku) accompanied 
 Zengoro Hozen when he was invited to Kii. From the same source I gathered the 
 additional information that the prince of Kii gave to Tanniu (tenth Raku) a stamp with 
 one form of Raku engraved upon it. The Raku signed Seinei is said to have been 
 made by Tanniu. The question arises as to which member of the Raku family made 
 Raku pottery in the castle of Wakayama. 
 
 1579 • Tea-bowl, flattened on four sides. D. \% in. Rough light fawn clay, transparent 
 underglaze. Thick dark brown overglaze, coarsely pitted, areas of underglaze showing 
 through. Lines incised on sides. Kairakuyen set and Raku (imp.). 1840 
 
 1580. Tea-bowl. D. 4J in. Coarse gray clay, thick black Raku glaze. Seinei and 
 crest of Tokugawa (imp.). 1840 
 
 1581. Shallow bowl. D. sf in. Coarse light pinkish-fawn clay, thick light reddish 
 Raku glaze with greenish-yellow and whitish areas, 
 coarsely crackled. Seinei and crest of Tokugawa 
 (imp.). 1840 
 
 X582. Tea-bowl. D. 4} in. Fine fawn clay, 
 light red Raku glaze showing whitish about rim. 
 Kairakuyen sei and Ya (imp.). 1840 
 
 1583- Leaf- SHAPED dish. L. 7J in. Moulded, 
 strongly scalloped. Drab clay. Outside, dull ochre 
 lines incised. Inside, shining overglaze. Ya (imp.). 
 
 1584. Incense-box. D. 2% in. Moulded in spiral. 
 
 buff clay, coarse orange-brown Raku glaze, olive -green in 
 
 portions. Kairakuyen sei and scroll (imp.). 1840 
 
 Sides 
 
 glaze, 
 
 1840 
 
 Light 
 
 MEPPOTANI (Case 15 and Plate XIII. 1588) 
 
 The oven was opened in the village of Meppotani in 1790 or thereabouts. It is 
 said that Mokubei, of Kyoto, and Heikichi, directed the character of the work, and 
 later introduced the celadon glazes. A great variety of pottery was made, and the 
 influence of Mokubei is seen in the moulded forms and rich brown glazes. The work 
 is in pure Japanese style, and forms an exceedingly interesting group of pottery. The 
 pieces are signed with the impressed, written, or incised mark Zuishi. 
 
 1585- Water-jar. H. 5! in. Drab clay, grayish-drab glaze strongly crackled, 
 with houses in brown. Zuishi (imp.). 1700 
 
 Type Ninagawa. Part VI., Fig. 29. 
 
 1586. Tea-bowl, irregular. D. 5 in. Hard light brownish clay, 
 thick greenish-white glaze coarsely crackled. Under-decoration of 
 blue circles with greenish characters. Strong basal ring notched. 
 Zuishi (written in blue). 1790 
 
 1587' Shallow dish, with snout. D. 7J in. Thick and heavy. 
 Coarse drab clay, thick white glaze. Over-decoration of flowers 
 inside and out roughly drawn in red and green. Zuishi (imp.). 1790 
 Mate to type Ninagawa. Part VI., Fig. 30. 
 
 
 Landscape 
 
 1583 
 
 1586 
 
I40 THE CATALOGUE 
 
 1588. Hemispherical bottle. Diameter at base 7 J in. Fine gray drab clay, lustrous 
 rich dark brown glaze with splashes of light fawn overglaze flecked with blue, running. 
 Zuishi (imp.). lygo 
 
 Gift of Thomas E. Waggaman. 
 
 1589. Shallow tea-bowl. D. 4f in. Light fawn clay, transparent underglaze, dull 
 light reddish Raku overglaze. Zuishi (imp.). lyoo 
 
 1590- Incense-box (bag). D. 2^ in. Fine fawn clay, thick blue glaze, scrolls incised 
 and filled with gold. Cord in relief, light greenish. Zuishi (imp.). jygo 
 
 1591- Small dish. D. 3^ in. Moulded. Sides strongly fluted. Fine 
 fawn clay, rich olive -green glaze, bluish overglaze around rim. 
 Zuishi (imp.), lygo 
 
 1592. Incense-box, D. 2% in. Fluted crab in relief on cover. Iden- 
 tical with last in clay and glaze. Crab in golden-brown glaze. Spurious 
 mark Kenzan (written). lyqo 
 
 Mistaken by Ninagawa for the work of Kenzan, 
 
 1590 I 591 
 
 1593- Octagonal ink-stone. D. sf in. Moulded. Upper surface, scrolls in relief. 
 White stone clay, light green celadon glaze. Zuishi (imp.). 1790 
 
 ^594~^598. Various forms. Zuishi (imp.). 
 
 BUKKADO (Case 15) 
 
 In 1875 an attempt was made to revive the 
 Kairakuyen glazes. The pieces were signed BukkadS. 
 
 IS97 
 
 1599- Cylindrical cup, slightly flaring rim. H. 3J in. 
 
 White clay ; bottom, dull white glaze, splashed with light blue. Outside, purple glaze, under 
 decoration of cranes in white slip, splashed with light blue glaze. Inside, light 
 blue glaze. Bukkado (imp.). 1876 
 
 KISHO (Case 15) 
 
 Under this name is included a single specimen bearing the impressed 
 mark of Kijo no set, which means Kii castle, Samurai made. 
 
 1600. Flower-pot. D. 4J in. Flaring rim, under side scalloped, flaring base with 
 
 three semi-circular spaces. Sides with ornamental panels, conventional scrolls, 
 
 etc. Fine drab clay, light bluish underglaze, thick overglaze running, 
 
 Ktj'o no set (imp.). 1850 
 
 
 nxi 
 
 1^, 
 
 KOCHI (Case 15) '600 
 
 It is important to distinguish between the raw bright green-blue and purple 
 glazed pottery, unsigned, made within twenty years in Wakayama, and similar, though 
 brighter colored, glazes made in former times, known as Kairakuyen. The present 
 pottery is known as Kochi, also as Bezaiten, from the name of the immediate place of 
 
PROVINCE OF KIT , 141 
 
 baking ; also as Shin (new) Kairakuyen. In 1877 the oven was in charge of Okamoto 
 Yoshichika, and large quantities of pottery were being made solely for export. The 
 potter had in his possession the old moulds and other appliances of the origmal 
 Kairakuyen. 
 
 1601-1607. Various forms of Kochi with rich blue, purple, and other glazes. 1880 
 
 OTOKOYAMA (Case 15) 
 
 The oven was open in the early part of the last century. A variety of pottery was 
 made, including blue and white porcelain. The work ceased in 1830. In 1850 an 
 attempt was made to produce typical Kairakuyen signed with the mark Nanki 
 Otokoyama. This work shortly after stopped. In 1870 a new company was formed, 
 and Tanzan, of Kyoto, was placed in charge of the work. After a year's trial, and 
 failure, the oven was closed again. After this the old potters of Otokoyama began 
 again, only to close shortly after with loss. The sequence of the work is as follows : 
 Blue and white, beginning of the century; Kairakuyen style, 1850 ; Awata-like bowls, 
 under Tanzan, 1870. 
 
 
 
 1608. Water-jar. H. 6| in. White porcelain clay and glaze. Decoration of trees and 
 
 houses in blue. Band of fret above and below. 
 
 Nanki Otokoyama (written). 1830 
 
 x6og. Cup. D. 4 in. White porcelain clay and glaze. Band of fret 
 above and below, and Chinese boys in indigo blue. 
 Nanki Otokoyama (written). 1830 
 
 1610. Shallow dish. D. 6 J in. Moulded. Light stone 
 clay. Inside, scrolls, flowers, etc., outlined in white slip 
 and glazed purple. Ground light blue. ■^'° **** 
 Nanki Otokoyama (imp.). 1850 
 
 1611. Bowl. D. 4J in. Light fawn clay, buff glaze, thick whitish overglaze around rim. 
 Over-decoration of bats in opaque black. Nanki (imp.). Kairakuyen, in red lacquer. 
 
 1870 ^ 
 
 JkC7 
 
 1612. Bowl. D. 4f in. Fine light fawn clay and glaze. Over-decoration of ^gjj 
 flowers and grasses in various colored enamels touched with gold. Nanki (imp.). 1870 
 
 l6l3- Cup-rest. H. 2% in. Modeled by hand. Fine fawn clay, thick white glaze with 
 gray areas. Designs and characters in olive-green. Otokoyama (written). 
 
 Gift of Rufus E. Moore. 
 
 This may be one of the earliest forms of Otokoyama. 
 
 Ota (Case 15) 
 
 In the village of Ota, near Wakayama, in 1878, simple flower-vases and 
 other objects were made. Ninagawa figured some of this work. It had no special 
 merit. 
 
1 
 
 J42 THE CATALOGUE 
 
 1614. Handled flower-holder. H. 6 in. Light fawn clay, pinkish-white underglaze, 
 thick splashes of green, white, and brown overglaze, running. 1880 
 
 X6l5- Flower-vase. H. 4J in. Fine light fawn clay, brown underglaze, thick white over- 
 glaze flecked with brownish-blue, running in large scale-like imbrications. 1880 
 
 NAKUSA (Case 15) 
 
 A cheap kind of pottery, bearing the impressed mark Nakusa, has been made in 
 Nakusa district, KiL 
 
 1616. Rest for cover. H. i| in. Modeled by hand. Light soft clay, thin green 
 glaze. Na/tusa (imp.). 1840 
 
 AKAGI (Case 15) '^'^ 
 
 A pottery bearing the mark of Akagi is placed here provisionally from its general 
 resemblance to Kairakuyen. 
 
 1617. Box. D. 2} in. Moulded. Light buff clay. Flowers and scrolls in relief. 
 Flowers glazed deep yellow, scrolls dull purple. Ground light green. Inside, trans- 
 parent glaze. Akagi (imp.). i860 1617 
 
 PROVINCE OF IGA 
 
 The pottery of Iga is very characteristic. It is extremely plain, usually 
 undecorated, and often rough and primitive in appearance. The close 
 resemblance between the pottery of Iga and Omi arises from the similarity 
 of the clay used in the work. The clay of Iga pottery is not so reddish as 
 that of Omi, and in some cases the material is almost a clayey-white. 
 
 In the village of Makiyama a serviceable unglazed pottery, in the form 
 of kitchen utensils, braziers, and the like, has been made within twenty 
 years. Examples of this work are placed in that portion of the collection 
 representing different objects made in pottery. 
 
 MARUBASHIRA (Case 15 and Plate XIII. 1640, 1658) 
 
 Pottery was made in the village of Marubashira more than eight hundred years 
 ago. Small plates have been dug up near the ruins of ancient ovens. These are 
 lathe-turned and show the thread-mark made in separating them from the lathe. Six 
 hundred years ago rude flower-vases were made of the coarsest clay, with thick 
 blistered glaze about the rim. Three hundred years ago the marks Iga and 
 Marubashira were used on the best pieces. The work Banipo Zensho records that tea- 
 jars, water-jars, flower-vases, etc., were made in large numbers. These resemble 
 Shigaraki, OmL This was in 1 70a Within a hundred years a potter named Okamoto 
 
PROVINCE OF IGA 
 
 143 
 
 Johachi used the mark Iga, and at different times since the mark Iga has been used 
 by different potters. Among the early forms are rough pieces called Geta Okoshi, 
 the name arising from two deep impressions on the bottom of the vessel resembling 
 the foot prints of the Japanese clogs or Geta. The pottery, while still soft, was placed 
 to dry on two pieces of wood resting parallel At present the most common kitchen 
 utensils are made for the local market. 
 
 1618. Flower-vase. H. 10^ in. Thick and heavy. Coarse gray stone clay, white 
 granules intermixed, splashes of thick brown glaze, running from rim, blistered. Body 
 unglazed. Very rudely made. 1300 
 
 1619. Rough flower-holder. H. 8f in. Thickened rim, front depressed and cut. 
 Coarse light fawn clay with light granules, thick greenish - white glaze with splashes of 
 brown. Rudely made. 1380 
 
 Type Ninagawa. Part III., Fig. i. 
 
 1620. Jar for sprouting seed. H. 6^ in. Thick and heavy. Pottery cover and handles. 
 Coarse light fawn clay with light granules, thin white glaze, large splash of light green 
 overglaze. 1480 
 
 1621. Wine- bottle. H. \\ in. Roughly made. Coarse light brownish clay, trans- 
 parent underglaze, cream-white overglaze with splashes of brown. 1480 
 
 1622. Flower-vase. H. iiJ in. Looped handles. Roughly made. Coarse light gray 
 clay, large white granules, splash of light gray overglaze with stream of dark brown. 1580 
 
 1623. Water-jar. H. 5f in. Pottery cover with looped handle. Strongly turned. 
 Coarse light drab clay, thin transparent glaze, splashes 
 of greenish-white overglaze. Iga no kuni and Maru- 
 bashira mura (imp.). 1600 
 
 1624. Water-jar. H. 6 in. Pottery cover, with 
 looped handle. Flaring base. Side knobs. Hexag- 
 onal and cross marks impressed. Clay and glaze simi- 
 lar to 1622. 1650 
 
 1625. Tea-bowl. D. sJ in. Clay and glaze similar 
 to 1623. 1680 
 
 1626. Plate. 
 dented. Light 
 brownish areas. Iga and ? (imp.). 
 
 1627. Jar. H. 3f in. Thin walls, 
 gray clay, dull gray glaze. 
 
 1628. Cup-rest. D. \\ in. Thick and heavy, 
 overglaze. 
 
 1629. Bottle. H. s| in. Roughly made. White clay, thick greenish-white glaze. 1680 
 
 1630. Incense-box (hut). H. 2 in. Modeled by hand. Light fawn clay and glaze. 1700 
 
 1631. Cup. D. 2| in. Thick walls. Light fawn clay, light buff glaze inside, splashes of 
 
 1700 
 
 D. 4I in. One side in- 
 gray clay and glaze with 
 1680 
 
 Light 
 1680 
 
 1626 
 
 1623 
 
 Coarse gray clay and glaze, dull brown 
 
 1680 
 
 same outside. 
 
144 
 
 THE CATALOGUE 
 
 163a. Globular jar. H. sJ in. Looped handles. Hard fawn clay, transparent glaze. 
 Surface closely covered with short raised white lines in pairs. Unique treatment. 1700 
 
 1633. Jar. H. 9f in. Four looped handles. Light fawn clay, transparent underglaze, 
 brown overglaze, with splashes of deep brown glaze, running. 1730 
 
 1634. Water-jar. H. 6} in. Long looped handles. Light fawn clay, greenish-white 
 glaze. White granules on surface. 
 I^35> 1636. Flower-holders. 
 l637» Incense-box. L. 3J in. 
 Light fawn clay, transparent glaze, 
 
 Fine example of modeling. 
 1638. Water-jar. H. 9J in. 
 
 1730 
 
 1780 
 
 Section of branch with cicada modeled in high relief. 
 
 Insect, dull brown glaze. 1780 
 
 Basket handle. Sides flattened. Light fawn clay, thick 
 
 1780 
 
 J 639 
 
 Close encircling lines. 
 Neck and shoulder transparent and light fawn 
 
 1800 
 
 white underglaze with areas of reddish-fawn overglaze. Inside, thick white glaze. 
 
 1639. Shallow bowl. D. sf in. Finely cut encircling lines outside. Fine light 
 brownish clay. Outside unglazed ; inside, fawn underglaze. White overglaze coarsely 
 crackled, running over rim. Iga and ? (imp.). 1800 
 
 1640. Tea-bowl. D. 5 in. Dull brown clay. Outside, unglazed, river-bank protec- 
 tion, waves, and birds outlined in white slip ; inside, greenish-gray transparent glaze running 
 over rim in long streams. Iga (imp.). 1800 
 
 1641. Similar to 1639. 
 
 1642. Jar, with looped handles. H. 8 in. Coarse brownish clay. 
 Transparent glaze about neck, shoulder, and inside ; splash of white 
 overglaze on shoulder, running in long streams on unglazed body. 
 Jga and Iwa (imp.). 1800 
 
 X643- Bowl. D. 5J in. Light drab clay, cream-white glaze. 1800 
 
 1644. Bottle. H. 8J in. Hard light fawn clay. Body unglazed. 
 bamboo and chrysanthemums deeply incised 
 glaze. 
 
 1645. Little plate, four-lobed. L. 3^ in. Moulded. Light bufi clay and glaze, 
 plum blossoms, etc., in relief. Iga (imp.). 1820 
 
 1646. Tea-jar. H. 3! in. Light buif clay, thick deep purple glaze, V^^ 
 pitted. Iga (imp.). 1830 O 
 
 1047. Bottle, pear-shaped. H. 4I in. Rudely turned. Light fawn clay, 
 
 with white granules intermixed; large splashes of white, brown, and transparent glaze. 
 
 Iga (imp.). 1830 
 
 1648. Incense-box. D. 2J in. Roughly modeled. Coarse light fawn clay, light buff 
 glaze, with streams of yellowish-brown glaze running from top. 1830 
 
 1649. Water-jar. Oval. H. 7 in. Broad shallow groove running spirally 
 from base to top. Coarse buff clay, thin transparent glaze. Inside, 
 greenish glass glaze running over rim. Iga (imp.). 1830 
 
 1650. Incense-box. Figure of Daruma. H. 2 in. 
 dull reddish glaze, face light buff. Iga yaki (inc.). 
 
 l65I> Gourd-shaped bottle. Thick white glaze. 
 
 Inside, 
 
 1646 
 
 Light buff clay, 
 1840 
 
 1840 
 
 1650 
 
 
 164Q 
 
PRO VINCE OF IGA 145 
 
 1652. Jar. H. 3J in. Light gray clay, closely covered with thick drops of grayish- 
 white glaze. 1850 
 
 Gift of Miss Lucy Ellis. 
 
 1653. Flower-holder. H. 3J in. Plum blossoms modeled and applied. Light gray 
 clay and glaze, olive-green glaze running from rim. Flowers touched with white slip and thick 
 brown- glaze. 1850 
 
 1654. Incense-box (fish). L. 2% in. Yellowish-white clay and glaze, touches of olive- 
 brown overglaze. 1850 
 
 1655- Cup. D. Zt'V '"• Fine light buff clay. Inside, light buff glaze ; outside, narrow 
 vertical streams of thick white glaze on unglazed surface. . 1850 
 
 1656. Wine-bottle. H. 6| in. Same as last. 1850 
 
 1657. Small covered jar. H. 3! in. Fine light buff clay, thick white glossy glaze, 
 coarsely crackled, thick purple overglaze, running in long streams. 
 Jga and Ko \ju ?] (imp.). 1850 
 
 1658. Single flower-holder. Pomegranate with rupture on side exposing seed. 
 H. 2^ in. Whitish clay, thin light olive-green glaze; seeds stained ochre. 1850 
 
 1659*. Dish for condiments. W. 9 in. Yellowish clay and glaze. Cylindrical tube 
 with red lacquer rim, for chop-sticks, with three vessels adhering. One in shape of jar 1657 
 with roughened surface unglazed ; one in form of Haliotis shell ; one in form of 
 bowl with perforated diaper about rim. Iga, Hosokawa Masatsugu (inc.). i860 
 
 This object shows the work of a clever potter. 
 
 TOKUSAI (Case 15 and Plate XIII. 1665) 
 
 In the early part of the seventeenth century a skilful potter was at work in Iga 
 making bowls, tea-jars, and similar pottery for the tea-ceremony. He used the 
 impressed mark Tokusai, and possibly Tokuhin. The work is very rare. 
 
 1665. Tea-bowl. D. 4} in. Strongly turned. Reddish clay, splash of light green glaze 
 
 inside and out. Thick basal ring, notched. 
 
 Tokusai (imp.). Mokumoku an (written in brown). 1620 
 
 X 
 
 1665 
 
 1666. Tea-bowl. D. 4J in. Hard fawn clay and glaze, thick greenish-white overglaze 
 Straw and pine decoration in dark gray. Basal ring, notched. Tokuhin (imp.). 
 
 ni 
 
 ac i6i;o 
 
 1007. Similar to last. 
 
 These two bowls were identified as Kyoto, but as they bear a strong resemblance 
 
 to Iga in clay and glaze, they are placed with Tokusai provisionally. ^ 1666 
 
 s? 
 
146 THE CATALOGUE 
 
 SHINJIRO (Case 15 and Plate XIII. 1668) 
 
 A contemporary of Tokusai, known as Shinjiro, attained great repute as a potter. 
 His tea-jars were signed with the incised mark Shin or Shinjiro. Bowls strongly 
 resembling Hagi pottery were also made by him. Those having thick, running light- 
 blue glaze with a drop of glaze inside the basal ring were considered best. 
 
 1668. Tea-bowl. D. 4 in. Uneven rim. Thick walls. Coarse light brown clay, very 
 thick greenish-drab glaze strongly flecked with light blue, drop of 
 same glaze on bottom. Kio (imp.). 1620 
 
 1669. Tea-jar. H. 3I in. Light reddish-brown clay, splash of 
 rich golden-brown glaze. Roughly made. Shin (imp.). 1620 /v|^ 
 
 TOTEI (Case 15) '^ 
 
 Within recent years a potter of Marubashira has made small objects, signing his 
 work with the written mark Totei. 
 
 1670. WiNE-ctn>, bell -shaped. H. i| in. Moulded. Light 
 buff clay and glaze. Inscription in black. Totei (written). 1850 ^ jfe 
 
 1671. Squat jar. D. 2| in. Fine light drab clay, glistening ^ 
 cream-white glaze. Brown rim. Crest in brown. 
 Totei (written). 1850 , 
 
 1672. Dish, leaf shape. D. 5I in. Moulded. Iga (imp.), i860 
 
 IGA (Case 15 and Plate XIII. 1676) 
 
 Under the provincial name Iga are included the tea-jars of the province. 
 
 l674- Tea-jar, globular. H. 2| in. Solid and heavy. Light brown clay, dark brown 
 glaze flecked with black, splash of light fawn and golden-brown overglaze. 1630 
 
 1676. Tea-jar. H. 3,^ in. Fine drab clay, rich brown glaze, area of light golden-brown 
 overglaze. 1650 
 
 Type Ninagawa. Part III., Fig. 3. 
 
 l679' Tea-jar. H. 3 in. Light brown clay and glaze, mottled with dark brown, splash of 
 thick greenish-white overglaze crackled. Rosettes impressed around shoulder. 1680 
 
 1680. Tea-jar. H. 3I in. Fine light brown clay, mottled light brown glaze, nearly black 
 overglaze running. Diamond-shaped areas impressed near base. 1680 
 
 1681. Tea-jar. H. 3^ in. Light fawn clay, deep yellow glaze, narrow splashes of deepest 
 brown overglaze. 1680 
 
 1682. Tea-jar. H. 2J in. Light fawn clay, thick white glaze, coarsely crackled, run- 
 ning into thick bottle-green drops below. 1680 
 
 1683-1698. Tea-jars. 1680-1750 
 
 1699. Tea-jar. H. 3^ in. Thick and heavy. Encircling and vestical grooves. White 
 clay, lustrous light olive-green glaze, shading into olive-brown. Iridescent. 1780 
 
CASE IS 
 
 
 ifeosr 
 
 IS-68 Ttoi /600 lb' Sri IS'SS liTJfl ISSI TslTo Ibll 1613 /60? jtn 
 
 
 ls-70 
 
 IS- 67 
 
 IS"»b" 
 
 li-66 li"72. 
 
 JVSg 
 
 
 ]i'9o 
 
 
 / S \. 
 
 tA) ^^^"i:::^ / ■^^' U 
 
 1611 <£>34- )6 2.3 
 
 'Ml^ l&fcy 1666 
 
 ^^^S/. 
 
 1667 
 
 
 
 I6V7 ^ 162b- 
 
 IbXH 
 
 7^^^ 
 
 16V& 
 
 j^^^ /53 
 
 l'^1638 ; 
 
 (611 IfaKb Itav 1697 1676 '683 '637 (647 
 
 '«>-f 
 
 ^■^- 
 
 IGS*? 
 
 /62.0 
 
 163^ 
 
 1632. 
 
 \\l<J6 1639 t67b- l68J.'^,6l /^ Ib79)69<, '^9f 
 
 li696 
 
 
 167V 1686 I&77 
 
 ItrV lbS-0 16*14- 1630/670 167/ 
 
 PROVINCES OF KII AND IGA 
 
^VnUv) 
 
PROVINCE OF TOTOMI 147 
 
 PROVINCE OF TOTOMI 
 
 The pottery of this province up to within recent years has rigidly 
 adhered to the traditions of the tea-cult. It is absolutely without decora- 
 tion. Simple forms, quiet autumn browns and yellows for colors of glaze, 
 with surfaces like the inside of a nutshell, are among the characteristics of 
 this pottery. I have been unable to get records of the individual potters, 
 though there must have been many of them, as the work covers at least 
 three centuries. Yet, with rare exceptions, the pottery bears only the 
 impressed mark Shidoro. 
 
 SHIDORO (Case 16 and Plate XIV. 1708, 1710, 1711, 1734, 1738) 
 
 Pottery known as Shidoro has continued to be made since the time of Tokugawa 
 lyeyasu. Records show that this wise Shogun wrote to Enshu, of Shidoro, in 1589, 
 giving him permission to make pottery, and from that time to the present the mark 
 Shidoro has been used. As a matter of fact the oven was estabhshed at Yokuoka 
 village, not far from Shidoro, where the pottery had been made in ancient times. 
 The older forms, as in so many instances, are the finest, the latest specimens 
 being very poor. The only mark I have ever seen associated with Shidoro is that of 
 Tetsugi. This is found on a slender tea-jar with an age of forty or fifty years. Many 
 years before the time of Enshu a pottery was made, bearing an impressed mark 
 which has never been deciphered. Old books publish the mark, and Tokiko repeats it 
 with little resemblance to the original. The only two specimens of which I have any 
 record are in the collection. Ninagawa confessed to me that he had never seen a speci- 
 men, nor had he heard of the existence of one. Recent Shidoro covers two distinct 
 types : the one in the form of thin double gourd-shaped wine-bottles with medallion 
 decoration in black, unglazed or partially glazed with transparent green ; the other con- 
 sisting of heavy forms of deep cups or double gourd-shaped bottles with bright orange 
 and green glaze intermixed. These latter bear the impressed mark Shidoro. 
 
 1706. Jar. H. 8} in. Four looped handles. Fine gray-drab clay, rich light brown Seto 
 glaze, large irregular splashes of golden-brown glaze. 
 Mark indecipherable. 1500 
 
 1707. Jar. H. II in. Similar to last. Mark indeci- 
 pherable. 1500 
 
 Gift of Thomas E. Waggaman. '7o6 1707 
 
 1708. Jar, wide mouth. H. 2| in. Reddish-brown clay, transparent underglaze, splashes of 
 light fawn and olive-brown overglaze. Rosettes impressed on shoulder. 1670 
 
 Type Ninagawa. Part III., Fig. 15. 
 
 1709. Shallow tea-bowl. D. sf in. Dull ochre clay, warm brown glaze, nearly con- 
 cealed by thick ochre glaze. 1680 
 
148 
 
 THE CATALOGUE 
 
 Z710. Comfit-bottle. H. 2^^^ in. Fine dark drab clay, transparent underglaze, flecked 
 with ochre glaze, rich lustrous dark brown overglaze running from neck. 
 Shidoro (imp.). 1720 
 
 Type Ninagawa. Part III., Fig. 16. 
 
 1711. Wine-bottle. H. 6f in. Fine fawn clay, rich, thick dark ochre glaze, with 
 light brown showing through in spots. • 1730 
 
 An exquisite example. 
 
 X712. Roughly turned jar. H. 4f in. Dull brown clay and glaze. 
 
 1710 
 
 1730 
 1730 
 
 17^3' Wine-bottlk, in form of bag. H. 7! in. 
 
 I7I4- Double gourd-shaped bottle. H. 7J in. Thick and heavy. Grayish-brown clay, 
 dark ochre glaze, thick greenish seal-brown overglaze around upper part. 1730 
 
 I7I5' Incense-burner. D. 2| in. Brown clay, thick ochre glaze. 1750 
 
 I716. Incense-box, tortoise shape. L. 3f in. Gray clay, dull ochre glaze, lustrous dark 
 brown and light fawn glaze on back. 
 
 I7I7' Tea-bowl. D. 4 in. Ochre clay and glaze. Shidoro (imp.) 
 
 I718. Jar. H. 5I in. Light gray clay, light ochre glaze, narrow 
 streams of brown overglaze. Shidoro (imp.). 1780 
 
 I7I9' Hanging flower -holder, moulded in form of cicada. 
 H. i\ in. 1780 
 
 1720. Tea-bowl. D. 4J in. Sides indented. Brown clay and 
 glaze, irregular splashes of thick ochre glaze. Shidoro (imp.). 
 
 2j in 
 
 
 1780 
 
 
 1780 
 
 fS 
 
 I7I8 
 
 I 
 
 1720 
 
 
 1780 
 
 Dull ochre clay and glaze, finely mottled with brown. 
 
 1800 
 
 IF 
 
 
 r^ 
 
 /o« 
 
 
 <cs» 
 
 i 
 
 
 i 
 
 I72I 
 
 1722 
 
 1721. Cup. D. 
 Shidoro (imp.). 
 
 A beautiful example. 
 
 1722. Water-jar. H. jf in. Cover with looped handle, sides undu- 
 lating. Ochre clay and glaze. On one side splash of greenish-ochre glaze. 
 Shidoro (imp.). 1800 
 
 1723- Pentagonal-shaped dish. D. 3I in. 1820 
 
 1724. Tea-bowl. D. i\i in. Fine drab clay, ochre glaze with streams of light olive-brown 
 overglaze. Shidoro (imp.). 1820 
 
 A remarkably fine example. 
 
 1725. Wine-bottle, neck twisted. H. 6 in. Light brown clay and glaze, mottled with 
 ochre glaze, rich lustrous brown glaze running from neck. Shidoro (imp.). 1820 
 
 1726. Jar. H. 2|f in. Fine warm gray clay, rich light brown glaze. 
 Shidoro and Tetsuji (imp.). 1830 
 
 1727. Tea-bowl. D. 3J in. Sides indented, cut down and lapped, with knobs. 
 Light brown clay and glaze, flecked with light fawn running into deep brown over- 
 glMC. Shidoro (^m^:). 1830 1726 
 
r 
 
 PROVINCE OF HARIMA 
 1728— 1732. Beaker, hanging klower-holder, and bowls. Shidoro (imp.). 
 
 1733' Bowl. D. 3^ in. Dull, dark fawn clay, light brown 
 glaze, with dashes of light fawn overglaze. Decoration of kiri- 
 mon, strongly impressed. Shidoro (imp.). 1850 
 
 149 
 
 1830-1850 
 
 173' 
 
 '733 
 
 tut. 
 
 1736 
 
 1734. Wine-bottle, neck strongly twisted. H. 7^ in. Dark 
 
 ochre clay, yellowish-ochre glaze, with dashes of rich dark green 1731 1733 
 
 and golden-brown over-glaze. Unsigned. 1850 
 
 ^735- Wine-bottle, double gourd-shaped. H. 6J in. Buff clay, with splashes of deep 
 yellow and rich green glaze. Shidoro (imp.). i860 
 
 1736' Deep cup, rim indented. H. 3^ in. Buff clay, transparent 
 glaze. Rich dark yellow and green overglaze running. Shidoro (imp.). 
 Type Ninagawa. Part VI., Fig. 4. i860 
 
 ^737 • Wine-bottle, double gourd -shaped. H. 8J in. Thin walls. 
 
 Light gray clay. Figures of flowers, scrolls, etc., in dull seal-brown, 173S 
 
 on unglazed surface. Unsigned. i860 
 
 1738' Wine-bottle, double gourd-shaped. H. 7^ in. Grayish-white clay, emblems, etc., 
 in circles in seal-brown, splashes of glistening light olive-green glaze on body. Light green 
 glaze on neck. 1870 
 
 Type Ninagawa. Part VI., Fig. 5. 
 
 The tea-jars of Shidoro are, for the most part, identical in clay and glaze with the 
 pottery already described. A few might be mistaken for some forms of Takatori, 
 but the pieces are usually thick and heavy. Some are glazed with velvety seal-brown, 
 and one tea-jar is signed with the impressed mark Shidoro. 
 
 I739-I756. Tea-jars. 
 
 1600-1780 
 
 ^757- Tea-bowl. D. 5I in. Thick and heavy. Dull brown clay, rich brown glaze, with 
 splashes of olive-green and greenish-fawn overglaze. Unsigned. 1700 
 
 This is placed here provisionally. 
 
 PROVINCE OF HARIMA 
 
 The pottery of this province is most characteristic. Surrounded as 
 Harima is by provinces famous for their pottery, such as Bizen on the 
 south, Tamba on the west, Settsu on the north, Yamashiro but a few 
 leagues away, and Awaji just off the coast, it is somewhat remarkable that 
 up to within a few years its pottery, with the exception of that of Tozan, 
 has remained unaffected. Indeed, one has to go four hundred miles north 
 to find the nearest approach to it. The pieces are readily identified, as 
 
ISO THE CATALOGUE 
 
 most of the work bears a mark of some kind, though sometimes two marks 
 are combined on one piece in a puzzling manner. 
 
 AKASHI (Case i6 and Plate XIV. 1760) 
 
 Akashi pottery is said to have been first made by Seisuke, a pupil of Ninsei. The 
 oldest specimens in the collection date back over two hundred years. The early 
 work is superior in every way to the more recent products, and bears evidences of a 
 skilful hand. 
 
 A bucket-shaped piece bearing the mark Akashi was identified by Ninagawa as 
 the early work of Seisuke while still with Ninsei as a student. See Cata- ^-^ 
 logue, No. 3083. m3o)| 
 
 1759- Cake -PLATE. D. 6 J in. Flaring edge with three equidistant folds. V^^' 
 Fine light fawn clay, coarse crackle, stained. Bamboo in gray. Akashi Qxwp?). 1700 '759 
 
 1760. Haisen. L. 7^ in. Curved handle on one side. Elephants, bands, knobs, etc., in 
 high relief applied. Grayish-drab clay. Handle, elephants, bands, and in- 
 terior, rich dark green glaze running into black. Akashi-ura (imp.). 1 700 /^"qV 
 
 I761. Bowl. D. 2| in. Thick and heavy. Fine brown clay, light 
 
 ^ 
 
 V^ 
 
 gray glaze, finely crackled. Strongly turned, sliced, and indented. 
 Akaura and Kigetsu an (imp.). 1700 
 
 1762. Wine-bottle, square. H. 8J in. Moulded. Yellowish-olive- TtCo 
 brown clay and glaze. Tree, scrolls, etc., in high relief. 1800 
 
 17^3' Flower-holder. H. 4f in. Moulded in form of flattened ring standing 
 on edge with circular base and small neck. Yellowish-olive-brown clay and glaze. 
 Surface closely covered with flowers in relief. 1830 '761 
 
 X764- Diamond-shaped dish. L. 3J in. Moulded. Gray-drab clay, grayish-drab glaze 
 inside, running over rim. Inside, scrolls. Cloth-mark below. Akashi Minato (imp.). 
 
 1840 Jm 
 
 1765*- Tea-cup. D. 2-^ in. Light brown clay, gray glaze, spotted. Inside, thick 5 
 white overglaze, with brush-mark of same on the outside. Akashi and Mikuni (imp.). (S 
 
 i860 '7^4 
 
 RYOSHI (Case 16 and Plate XIV. 1766) 
 
 Pottery bearing the mark Ryushi is identified as having been made in the village of 
 Akashi in 1 730 or thereabouts. 
 
 1766. Fire-vessel, octagonal. H. 3 in. Thick and heavy. Hard light reddish 
 clay, fawn glaze. Fret, diaper, rude flowers, etc., in brown. Ryushi (imp.). 1730 
 
 Exceedingly rare. ^"7? 
 
 ASAGIRI (Case 16) 
 
 An antiquarian in Harima declares that the mark Asagiri is one of the oldest in 
 Harima. The pottery is said to have been in existence since 1700. The appear- 
 
PROVINCE OF HARIMA 151 
 
 ance of the specimens thus signed does not bear out this statement. Some forms 
 resemble Awata. The place is about two miles distant from Akashi, near the Nakatani 
 Mountains. 
 
 1767. Cake-plate. D. 6 in. Flaring edge, slightly crenulated. Drab clay, light fawn 
 glaze. Inside, formal designs in brown. Asagiri i^nv^.). 1700 
 
 1768. Cake-dish. D. 6 in. Rim with four deep scallops, 
 indented. Drab clay, yellowish-white glaze. Inside, sprays 
 of flowers and leaves in brown. Asagiri (imp.). 1750 
 
 1769. Tea-bowl. D. 4J in. Coarse brownish clay, dark 
 gray glaze, lighter gray around rim. Asagiri (imp.). 1830 
 
 1770. Cake-dish, octagonal. D. 8 in. Moulded. Thick walls. Light fawn clay and 
 glaze. Panels of diapers and various designs coarsely impressed, with large areas of green 
 and brown glaze. In centre, deep blue glaze. Roughly made and in poor taste. 
 
 Asagiri (imp.). 1830 
 
 WAFUKEN (Case 16) 
 
 The first potter using the mark of Wafuken was named Hashimoto. He came 
 from the town of Akashi in 1740, and built an oven in Maiko, using a sandy clay, 
 and signing his pieces with the impressed mark Wafuken, and sometimes with the 
 additional mark Maiko. After two generations, a priest by the name of Maisen (see 
 Hoyen) carried on the pottery for a while, when the Hashimoto family 
 agaui assumed control of the work, and, since the resumption, four gen- 
 erations have succeeded. The present potter is Takada 
 Chiyomatsa 
 
 'VJ'JX. Boat-shaped dish, with partitions. L. 9 in. 
 Modeled by hand. Light brown clay, warm gray glaze 
 mottled with brown. Wafuken and Maiko (imp.). 1800 
 
 1772 . Chopstick-holder. L. si in. 
 Wafuken and Maiko (imp.). 
 
 x8oo 
 
 1772 
 
 1771 
 
 HOYEN (Case 16) 
 
 Pottery signed Hoyeti was made by a Buddhist priest named Maisen. The work 
 bears evidences of his skill as a potter. He succeeded to the oven of Hashimoto (see 
 Wafuken) in 1790-18CX). His work while following the models of Maiko was far 
 superior to them. Mr. Matsuki, to whom I am indebted for much information on 
 Harima potters, has suggested an ingenious explanation in regard to the pseudonym 
 Hoyen used by Maisen in signing his work. The sobriquet for Buddhist priests is 
 Yencho H5-ho, referring to their appearance, Yencho meaning round head, and Ho-ho 
 square robe. By taking the first character of each word the name Hoyen is derived. 
 Maisen was a teacher of flower arrangement and of the tea-ceremony, and in these 
 professions developed refined tastes. His pottery was considered unique and was highly 
 admired. 
 
»S2 
 
 THE CATALOGUE 
 
 "^nZ- Rough boat-shaped dish. L. 7I in. Coarse brown clay, thick greenish-gray 
 glaze mottled with brown, portions flecked with blue. Hoyen (imp.). 1800 
 
 1774. Tea-jar. H. 2fV in. 
 ish-brown overglaze. 
 
 Rich brown clay, olive-brown glaze mottled, splash of green- 
 
 1800 
 
 ^77S Cake-dish (bat-shaped ?), supports in the form of pine cones, 
 brown clay, light grayish glaze. Maiko and Hoyen (imp.). 1800 
 
 177^* Cake-dish, shape of roofing tile (imbrex). L. 7J in. 
 Gray -drab clay mottled with brown, transparent glaze richly 
 mottled with brown. Hoyen and crest (imp.). 1800 
 
 1777- Incense-box (pine cone). L. 2^ in. Light gray clay, 
 dash of transparent glaze on top, mottled with brown ; light blue 
 in portion. Maiko and Hoyen (imp.). 1800 
 
 MAIKO (Case 16 and Plate XIV. 1778) 
 
 W. 8^ in. Grayish- 
 
 1775 
 
 1776 
 
 The origin of this pottery dates from the middle of the last century. The clay is 
 usually grayish in color, the glaze olive-brown or gray mottled with brown dots. Many 
 of the pieces are modeled by hand, and are in the form of dishes with crenulated 
 edges, leaf-like forms of irregular contour, etc. The pottery is unique in many ways. 
 Within recent years there has been made some pottery after Awata style, which is, 
 however, without merit. 
 
 1^^^^ boat -shaped dish, with handle. L. 7 in. Moulded. Fawn clay and glaze. 
 Flowers and leaves, fluting, etc., in relief. Maiko (imp.). 1750 
 
 1778 
 
 1779 
 
 I 
 
 1780 
 
 1779- Shallow plate. D. 3J in. Moulded. Gray-drab clay 
 unglazed. Radiating design in centre inclosing character. 
 Maiko (imp.). 1780 
 
 1780. Cake-dish, leaf-shaped, with fruit at one end. L. 9J in. 
 Light drab clay, light gray glaze spotted with brown, dash of rich 
 brown glaze on fruit. Maiko (imp.). 1800 
 
 1781, Cake-dish, edge crenulated. D. 9J in. Dark drab clay, fawn-colored glaze, splash 
 of light green and white overglaze. Inside, flowers modeled and applied, covered with white 
 slip. Maiko (imp.). 1800 
 
 1782*, 1783. Cake-dishes. 1783 unsigned. 1800 
 
 1784* Small cup. D. 2 yV in. Modeled by hand. Drab clay ; cream-white underglaze 
 flecked with golden-brown, light blue, and yellow ; transparent overglaze. Maiko (imp.). 1800 
 A unique example. 
 
 1785. Cup, modeled in form of cuttlefish. D. 3J in. Unsigned. 1820 
 
 1786. Incense-box (bird). L. i\ in. Drab clay with brick-red areas, splashes of 
 thick light gray glaze on back. Maiko (imp.), 1820 
 
 1787' Two SMALL PLATES. Moulded, unglazed. Rosette in centre. 1820 1787 
 
 PI 
 v." 
 
PRO VINCE OF HARIMA 
 
 153 
 
 1788 
 
 1788*. Bowl. D. 4^ in. Strong right-hand spiral on base. Maiko (imp.). 
 
 1789. Water-jar. H. 6J in. Modeled by 
 
 hand. Light reddish - brown clay, light gray 
 glaze showing pinkish tinges closely spotted 
 with brown. Boat sails, etc., in white slip. 
 Maiko (imp.). 1830 
 
 1790— 1795. Various forms, signed Maiko. 
 
 1830-1840 
 
 1796. Wine-bottle, attenuated, double gourd-shaped. H. 9 in. Modeled by hand, 
 clay, greenish-drab glaze thickly flecked with brown. Characters in thick 
 
 white slip. Unsigned. '^4° 
 
 1797. Incense-box (duck). L. 2}^ in. Light gray clay, thick cream- 
 white glaze, bill tinged with brown. Maiko (imp.). 1840 
 
 A unique example. 
 
 1830 
 
 1798.* Brush-holder. Maiko (imp.). 
 
 1850 
 
 1798 
 
 1800 
 
 1800-1805. Various forms. 
 
 1800, 1801, 1805*, Maiko (imp.) ; 1803*, 1804*, Maiko (written in white slip). 
 
 850 
 
 ,"k 
 
 / 
 
 IT 
 
 1801 
 
 i860 
 
 1807 
 
 1803 .1804 
 
 1806. Dish for condiments, in form of shells delicately moulded. L. 5 in. 
 1807? 1808. Cup-rest and cup. Maiko (imp.). i860 
 
 1809. Tea-bowl. D. 4^ in. Strongly turned. Grayish-brown clay, 
 olive-brown glaze, mottled with brown ; streaks of bluish-white overglaze. 
 Maiko (imp.). 
 
 1810*, 1811*. Dishes. Maiko (imp.). 1870 
 
 1812. Covered JAR. H. 2^in. 1870 
 
 1813. Wine-bottle. H. 6f in. Tree, torii, houses, figures, 
 etc., rudely modeled by hand and applied. Drab clay and glaze 
 mottled with brown. Maiko (imp.). 1875 
 
 1814- Wine-cup, wine-glass form. D. 2| in. Light yellow- 
 ish clay and glaze. Fern and flowers in brown, blue, and white. 
 Maiko (imp.). 1875 
 
 1815- Beaker. D. 2{[ in. Similar to last. 18S0 iSu 
 
 1805 
 
 i860 
 
 I8IO 
 
 1813 
 
154 THE CATALOGUE 
 
 SOHEI (Case i6) 
 
 Pottery bearing the mark of Sohei is said to have been made by Sohei Ikasa 
 in 1799. At present a descendant of the family, named Ikasa Hiyakutaro, continues 
 the work. 
 
 I816. Beaker, irregular form. D. 5^ in. Drab clay, large splashes of greenish-white glaze, 
 running in thick drops. Sohei and Asagiri (imp.). 1800 
 
 l8l7< Tea-bowl. D. 4I in. Coarse brown clay, thick greenish- 
 gray glaze, with lighter overglaze about rim. Strong basal ring 
 deeply notched. Sohei and Maiko (imp.). 1800 
 
 1818. Tea-cup. D. 2J in. Drab clay, dull light brown glaze, 
 spots of fawn-colored overglaze outside, running light bluish glaze 
 inside. Basal ring notched. Sohei (imp.). 1820 ,8,g ,3j. 
 
 l8ig. Shallow tea-bowl. D. 5} in. Modeled by hand. Drab 
 
 clay, lustrous brown glaze, strongly flecked with dark brown. Sohei and Maiko (imp.). 1870 
 
 TOTOKEN (Case 16) 
 
 This pottery is not so old as that of Wafuken, and, when it was first made, was 
 regarded as an imitation of Wafuken. 
 
 1820. Incense - BURNER, in form of house with slatted windows, modeled figures, etc. 
 L. 9 in. Cream-white clay and glaze, portions of house with rich chrome-yellow, green, and 
 purple overglazes. Totoken (imp.). 1840 
 
 1821. Haisen, form of well. W. 5J in. Clay and glaze same as last. 
 Totoken (imp.)* 1850 
 
 1822*. Haisen. D. 55 in. Grayish -drab clay, olive -brown glaze, 
 flecked with brown. Totoken and Maiko (imp.). 1850 
 
 1823. Haisen, in form of well. W. 5 in. Drab clay and glaze flecked with 
 brown. Inside thick masses of white, green, and brown overglaze. In bottom 
 turtle modeled and applied. Totoken and Maiko (imp.). 1850 
 
 SUMA (Case 16) 
 
 A modest gray or light brown pottery in the form of bowls, cups, etc., bearing 
 the mark of Suma, was made in a village of that name about five miles from Akashi. 
 Examples are not common. 
 
 7|] 
 
 1821 
 
 Drab clay and glaze. 
 
 1825. Tea-cup. D. 2i in 
 cup. Suma (imp.). 
 
 1826. Cup-rest. D. 2^ in. Perforated sides. Drab clay, dark 
 brown glaze. Pine cone supports. Suma (imp.). 1800 
 
 1827- Incense-box (bird). L. 2/^ in. Drab clay and glaze, 
 mottled. Eyes in white slip. Suma (imp.). 1840 
 
 1828. Tea-bowl. D. 4^ in. Drab clay and glaze mottled with brown. Sumaiymip.). 1840 
 
 Two brown bands of color encircling 
 1800 _._ 
 
 1825 
 
PROVINCE OF HARIMA 
 
 '55 
 
 1829. Pentagonal dish. D. 4} in. 
 slip. Suma and Totoken (imp.). 
 
 Dralj clay and glaze mottled. Characters in brown 
 
 1850 
 
 KISAN (Case 16) 
 
 A potter, signing himself Kisan, made pottery in Suma after typical Maiko style. 
 The single specimen in the collection is modeled by hand, and bears the incised char- 
 acters Suma and Kisan on the bottom. 
 
 1830 
 
 1830. Wine -BOTTLE, double gourd - shaped. H. 5^ in. Modeled by hand. 
 Grayish-drab clay and glaze mottled. Characters in white slip. 
 Suma Kisan sei (inc.). 1800 
 
 ICHIBEI (Case 16) 
 
 A potter of Maiko, signing his pieces Ichibei, showed considerable skill 
 as a modeler. The pottery is after Maiko style, but more pretentious. 
 
 1831. Dish. D. 8| in. Modeled in form of three shells adhering. Drab clay, spotted with 
 
 dark brown. One shell with greenish-gray glaze, the other two shells with 
 
 rich dark brown glaze, mottled with golden - brown. Splashes of thick 
 white overglaze. Maiko and Ichibei (imp.). 
 
 1832. Cylindrical flower -vase. H. ii| in. 
 Drab clay, light drab glaze clouded with dark drab, 
 thick cream-white overglaze around rim. Dragon and 
 clouds vigorously modeled in high relief. 
 Akashi Ichibei (imp.). 1880 
 
 
 1880 
 
 ^ 
 
 V5^ 
 
 TOZAN (Case 16) '^3' 
 
 A pottery was established in the town of Himiji in 1826, by order of the governor. 
 Dohachi wras invited to take charge of it. The work is not without merit, though the 
 best feature is the vigorous decoration in blue seen on some of the bowls. 
 The name, Tozan, is derived from a mountain of that name from whence 
 the clay was obtained. Specimens are rare. 
 
 
 1833 
 
 1833. Bowl. D. 4^ in. Drab clay, warm light gray glaze. Decoration of 
 flowers, panels, etc., in blue. Dull brown glaze inside high basal ring. ^^ 
 Tozan (written in blue). 1830 ^J 
 
 1834. Tea-jar. H. 3 in. Light brown clay, light olive-brown glaze. ^ 
 Tozan (imp.). 1830 ' ^'* 
 
 1835. Tea-jar, pyriform. H. 3 in. Light brown clay, rich brown Seto glaze, mottled with 
 darker brown. Tozan (imp.). 1830 
 
 1836*. Tub -shaped dish, with cover fitted inside. 
 
 body, pale green celadon glaze. 
 
 Tl)zan, on bottom (inc. ?). Koyoshida, on cover (inc. ?). 1830 
 
 «83S 
 
 D. 4^ in. White stone 
 
 
1870 
 
 Inside 
 
 156 THE CATALOGUE 
 
 OKIAKU (Case 16) 
 
 A tea-pot delicately modeled by hand, unglazed and of recent origin, has incised 
 upon it with other characters the inscription of North Himiji. 
 
 1837- Tea-pot, delicately modeled. D. i\ in. Light fawn clay darkened by 
 use, unglazed. Trees, etc., in relief, Himiji ni oite Okiaku sei (inc.). 
 
 1838. Haisen. D. 5} in. Modeled by hand. Fine dark brown clay, 
 thick grayish glaze coarsely crackled running over rim in splashes. 
 Sea-shells, with dull glaze modeled in high relief, applied on one 
 side. Okiaku ro (imp.). 1870 
 
 HONOBONO (Case 16) 
 
 Pottery with this mark had always been a puzzle to the Japa- 
 nese expert, until Mr. Matsuki ascertained that it was made in Akashi, and sold as 
 souvenirs of the place. A temple in Akashi was erected to the memory of 
 Hitomaro, the great poet. His famous poem beginning " Honobono to 
 Akashi no urano Asagiri " gave to the potter the suggestion of the mark 
 Honobono. 
 
 1839. Leaf-shaped dish. L. 4J in. Modeled by hand. Drab clay with red- 
 dish tinges, pearl-gray glaze, characters in white slip. Honobono and Kado, — the 
 snail representing Ka (imp.). 1830 
 
 1840. Cup. D. 2| in. Moulded. Drab clay with pearl-gray glaze, splashes in white. 
 
 1830 
 RIOZAN (Case 16) 
 
 A jar of peculiar form, with thin walls and lustrous glaze, bears the 
 incised mark, Rydzan and Ban, the first character of the province Banshu, 
 or Harima It resembles early Maiko, and may be one hundred years old. 
 No information is at hand in regard to the potter. 
 
 1841. Jar. H. 75 in. Thin walls. Fine fawn clay, light fawn glaze, lustrous, 
 coarsely crackled. Splashes of light brown overglaze. Ban Rydzan no saku 
 nari {inc.). 1780 
 
 M 
 
 184X 
 
 PROVINCE OF IZUMO 
 
 NiNAGAWA in his work and manuscript notes recognizes among Izumo 
 pottery three kinds, namely: Fujina, Rakuzan, and Shina or Gombei. 
 Other authorities mention only Izumo and Rakuzan ; still others record 
 Izumo and Fujina. This uncertainty has arisen by the continuance of cer- 
 tain ovens in which successive potters have baked from time to time. With 
 a small collection there seem to be a number of well-defined types, yet with 
 
UNlVtKSITy j) 
 
CASE 16 
 
 J730 
 
 
 ,7i9 I7J.3 
 
 "^ '"^i^ niy n33 
 
 nnQ 
 
 
 
 J- 
 
 
 ;»C 
 
 * 
 
 ^r-i 
 
 1790 '779 /787 
 
 i&0<t lf(0| ISIV 
 
 PROVINCES OF TOTOMI AND HARIMA 
 
Or rMfc 
 
PROVINCE OF^mmio^^^ 157 
 
 a large number of specimens the distinctive characters are difficult to sepa- 
 rate. The larger number of objects are without marks. This is especially 
 true of the older work, and here there is much uncertainty. The following 
 kinds may be defined. A gray Izumo, possessing the characters ascribed 
 to Gombei's work, may be properly known as Gombei. Gombei and his 
 immediate successors were succeeded by Zenshiro, who left his ma.rk"Zen" 
 upon his work, and the memory of this skilful potter and his successors should 
 be perpetuated under the name of Zenshiro. A bright yellow glaze, varying 
 with reddish-brown, or with both combined, may be known as Fujina. Pot- 
 tery, departing from the above forms, yet bearing the evidence of skill and 
 age, and usually identified by the Japanese as Rakuzan, may be classified 
 provisionally under this name. 
 
 GOMBEI (Case 17) 
 
 In the latter part of the seventeenth century the governor of Matsuye invited a 
 potter from Hagi, Nagato, to establish an oven at Matsuye. This potter was Gombei 
 Kurisaki, pupil of the famous Korean potter Korizayemon. Gombei brought with him 
 clay and glazing material from Hagi. Pieces attributed to Gombei closely resembling 
 those of Hagi are rough with gray glaze, sometimes showing granules cracking through 
 the glaze. Gombei worked for eighteen years, and was succeeded by Hanroku Kada, 
 and after him by his son. The oven closed in 1695, and was again opened in 1 716 by 
 Juyemon Nagaoka, who began the work of making tea-utensils after Korean models. 
 Many of the pieces attributed to Gombei may have been made by his immediate 
 successors, or by Nagaoka. 
 
 1842. Tea-bowl. D. 5 in. Rim slightly flaring. Hard drab clay, gray glaze with pinkish 
 areas, large white granules breaking through glaze. 1680 
 
 1843. Jar. H. 6J in. Light gray clay and glaze, rough surface. 1680 
 
 1844. Bowl. D. 4I in. Lathe-marks vertical. Brown clay, greenish-gray glaze, scrolls 
 in black. 1750 
 
 1845. Bowl. D. sJ in. Warm gray clay and glaze. Roughly made. 1750 
 
 1840. Jar. H. 4i in. Gray-drab clay, smooth lustrous dark gray glaze. *77o 
 
 1847- Tea-bowl. D. 4J in. Roughly made. Dark drab clay, warm gray glaze. Under- 
 decoration, rough designs of wheels, etc., in dark brown. 1770 
 
 1848. Hanging flower-holder. H. 5! in. Elaborately modeled and carved in basket 
 form. Drab clay with brownish areas, warm gray glaze. 1780 
 
 1849. Tea-bowl, irregular contour. D. 5^^^ in. Light brown clay, yellowish-brown glaze. 
 Touch of white slip outside, brush of white inside. 1780 
 
 A remarkable form. 
 
»5« 
 
 THE CATALOGUE 
 
 ZENSHIRO (Case 17 and Plate XV. 1850, 1853) 
 
 Pieces of fair age and quality, having the mark Zen, in hexagon, or Unzen in 
 double gourd, were made by Tsuchiya Zenshiro Yoshikata, whose pseudonym was 
 Hoho. He was called to Fujina in the middle of the last century. His work not 
 only excelled that of his predecessors, but has never been equaled in the province. 
 The low dish figured by Ninagawa, and believed to be two hundred years old, is prob- 
 ably the work of Zenshiro in Fujina. Zenshiro's work consisted of utensils for the 
 tea-ceremony. A second generation succeeded under the same name. The third and 
 fourth generations were known as Zenroku ; the present generation is Zentaro. 
 
 L. sJ in. Fine light gray clay, thick 
 
 1750 
 
 1850. Oblong cake-dish, sides deeply scalloped 
 white glaze. Scrolls, flowers, etc., in indigo blue. 
 Type Ninagawa. Part III., Fig. 29. 
 
 l85I- FiRE-BOWL, square, with flattened corners. D. 4 in. Light fawn clay, transparent 
 
 underglaze, white overglaze, with decoration of birds, flowers, scrolls, etc., in black and blue. 
 
 Unzen (imp.). 1750 
 
 These two objects in white and blue are exceedingly rare forms. 
 
 1852. Tea-bowl. D. 4^ in. Dull brick-red clay, warm gray glaze. Over- 
 decoration of prawn and plant in red, green, and gold. High basal ring with 1851 1852 
 
 1750 
 Thick and heavy. 
 
 Fawn- 
 
 deep notch. Unzen (imp.). 
 
 1853. Square dish, supports in form of pine cones. W. 9 in 
 colored clay, thick straw-colored glaze with large splashes 
 of dark green and light brown overglaze. Decoration of 
 stripes and irregular figures in olive-green. Cloth-mark 
 impression on bottom. Zen (imp.). 1750 
 
 1854. Bottle. H. 5 in. Thick and heavy. Fawn clay, 
 thick light gray glaze, large splash of whitish-gray glaze with olive-brown 
 glaze running. Zen (written). 1750 1854 
 
 1855. Flower-vase, square. H. 13J in. Thick and heavy. Swelling sides. Coarse deep 
 red clay, thick purplish-black glaze. Fret about rim and bamboo on sides in 
 white slip glazed bright green. Zen (imp.). 
 
 1856. Boat -SHAPED dish, supported on three flattened loops. 
 L. 6| in. Drab clay, yellow glaze with splash of greenish overglaze at 
 one end. Rude decoration in brown. Cloth-mark impression inside 
 and out. Unzen (imp.). i860 
 
 The last two specimens are probably the work of Zentaro. 
 
 RAKUZAN (Case 17 and Plate XV. 1864) 
 
 The oven at Matsuye, which Gombei first established, vras near a tea-house by the 
 name of Rakuzan, known locally as Giozan. Pieces of great refinement and beauty, 
 showing evidences of age, and differing from the work of Zenshiro, are recognized 
 by the Japanese as Rakuzan. Specimens bearing this mark may be regarded as 
 Rakuzan. Beyond this the distinctions seem artificial, and it is not improbable that 
 
PROVINCE OF IZUMO 159 
 
 many objects regarded as Rakuzan may have been made by one of the Zenshiro gen- 
 erations. One of the two specimens in the collection bearing the mark of Rakuzan 
 resembles a poor imitation of Gombei 
 
 1857. Plate. D. 1% in. Light fawn clay, rich lustrous dark brown glaze. Around rim 
 inside steel-colored and crystalline. 1780 
 
 1858. Cake-dish, lozenge-shaped. L. 12J in. Moulded. Gray-drab clay, warm bluish- 
 g^ay glaze. Inside, in relief, two interlocking cranes conventionalized. 1780 
 
 1859- Oblong dish. L. 9I in. Modeled in basket-work inside. Fawn clay, transparent 
 underglaze, thick fawn overglaze inside and out, splash of mottled green and white glaze 
 on inner sides. 1780 
 
 i860. Tea-bowl. D. 4J in. Fawn clay, rich lustrous dark brown glaze with lighter areas. 
 Raku (imp.). 1780 
 
 1861. Tea-bowl. D. f>\ in. Rough yellowish clay, yellowish-buif 
 glaze, slightly iridescent within. 1780 
 
 1862. Tea-bowl, irregular. D. 5 in. Dull fawn clay, warm gray 
 glaze, thick brush-mark of white glaze inside and out. Rakuzan (imp.). 
 
 A very rare mark. 1780 
 
 1863. Dish, in form of two shells (Pecten and Cardium). L. 6J in. Light fawn clay, 
 dark maroon glaze. Inside, rich golden-yellow and light maroon. 1820 
 
 1864. Bottle, elongate oval, short neck. H. 7I in. Light buff clay, rich dark orange 
 glaze coarsely crackled, clouded with dull purplish-brown. Rakuzan (imp.). 1830 
 
 Gift of Thomas E. Waggaman. 
 
 1865. Flower-vase, oviform. H. 7^ in. Thick and heavy. Light yellowish clay, 
 transparent underglaze, rich reddish-brown overglaze with golden-yellow splashes on 1864 
 shoulder. Streams of light fawn overglaze. 1830 
 
 1866. Cake-dish. D. 5I in. Light warm reddish clay, warm gray glaze. Rough sketch 
 of bridge, birds, scrolls, etc., in dull blue. 1830 
 
 1867. Oblong cake-dish. D. 6^*5 in. Brown clay, warm gray glaze, splashes of thick 
 white overglaze. Over-decoration of plum blossoms in blue. 1840 
 
 FUJINA (Case 17 and Plate XV. 1875) 
 
 The early bright yellow and fiambe glazes were first made at Fujina, and the older 
 and better kinds of these are known as Fujina by the Japanese. At the present day 
 large quantities of a similar yellow pottery made for export bear the mark of Izwno 
 Wakayama. As it is difficult to make any distinctions in these so far as paste and 
 glaze are concerned, they are here included under the original name, Fujina, though 
 this is arbitrary. 
 
 1868. Cake-plate, wavy rim. D. 5 J in. Fawn clay, thick yellowish - straw glaze with 
 large splash of thick olive-green glaze on one side, without lustre. 1780 
 
 A fine example. 
 
l6o THE CATALOGUE 
 
 z86g. Flower-vase, flask-shaped. H. 9J in. Fawn clay, light straw-colored glaze, minutely 
 crackled. 1780 
 
 1870. Tea-bowu D. sJ in. Dull fawn clay and glaze. Strongly turned. 1800 
 
 1871. Bowl. D. 4I in. Fawn clay, dull light gray glaze. Over-decoration of flowers and 
 leaves in green, white, and dull blue. Basal ring notched. 1800 
 
 1872. Bowl. D. \% in. Light gray clay, light drab glaze. Over-decoration of flowers 
 and grasses in green, red, and yellow, touched with gold. Ninsei (imp.), imitation. 1800 
 
 l873' Oblique rectangular dish, diagonal corners flattened. L. i\ in. Straw-colored 
 clay and glaze. On one side splash of brown overglaze. Inside, plum blossoms in relief 
 moulded. 18 10 
 
 1874- Cake-dish. D. 6 in. Rim deeply scalloped in three heavy folds. Fawn clay. 
 Outside, thick greenish glaze. Inside, thick grayish-white glaze. 1820 
 
 1875- Tea-bowl, D. 5 in. Coarse fawn clay, straw-colored glaze. Broad brush-mark of 
 white inside and out. 1830 
 
 Type Ninagawa. Part III., Fig. 30. 
 
 1876. Cake-dish. D. 6 in. Rim slightly scalloped. Fine straw-colored clay, smooth 
 lustrous straw-colored glaze. Inside, over-decoration of pine, bamboo, and plum in blue, 
 green, purple, and white. 1830 
 
 1877- Bowl, symmetrically and gracefully turned. D. 4I in. Yellowish straw-colored 
 clay and glaze, coarsely crackled. 1830 
 
 1878. Tea-bowl. D. s^V in. Buff clay, light ochre glaze. Crane 
 in white and brown Mishima. Basal ring, three notches. 1850 
 
 1879- Bowl. D. 7-,^ in. Fine light fawn clay, thick opaque 
 white glaze. Over-decoration of ornamental band, flowers, etc., in 
 green, red, yellow, and blue, touched with gold. 1850 
 
 The following objects represent modern Izumo. The clay 
 and glaze is pale yellow or rich lustrous brown, sometimes 
 with flaming red and golden-yellow, the yellow glazed ones 
 often splashed with green. Rarely decorated. 
 
 1880. Figure of Fukurokuju, with staff. H. 20J in. Fine buff 
 clay, rich deep reddish-yellow glaze with rich reddish areas and 
 mottling. Design of drapery impressed and glazed green and red ; 
 sash thick blue; lines of thick white glaze on beard. Kei-o san 
 unotoshi ju-ichi gatsu. Unyei kore wo tsukuru. Seal, Unyei (inc.). 
 
 A remarkable piece of modeling. 1867 
 
 Gift of Denman W. Ross. 
 
PROVINCE OF IZUMO i6i 
 
 1881. Flower-vase, in shape of bamboo. H. 4} in. Yellowish-straw clay and glaze, small 
 splash of light green overglaze. Unyei (imp.). 1868 
 
 1881 1886 1887 1892 1894 
 
 1882-1896. Jars, bottles, fire-vessels, bowls, plates, tea-pots, etc. 1870-1880 
 These are variously signed, Zen (1886, 1887), Unzen (1888), Izumo Wakayama (1889), 
 Gmstwsai Ho in (1892), Izumo Wakayama and Dai (1894). 
 
 IZUMO IN GENERAL (Case 17) 
 
 Pottery, unquestionably Izumo yet differing from the above kinds, is here grouped 
 under the general name of Izumo. Some of this work is signed, yet the marks give 
 no clue to the potter or place of baking. It is a confession of ignorance thus to bring 
 together a number of dissimilar kinds of pottery, some of which were doubtless made 
 by the later Zenshiro, others possibly baked in Fujina or Rakuzan ovens ; yet until 
 further information is available they will be thus grouped. 
 
 1897- Bowl. D. 4f in. Fawn clay, dull dark brown underglaze, straw overglaze punc- 
 tured, narrow strip of underglaze exposed at middle and at base. Rough sketch in brown. 
 
 1700 
 
 1898. Flaring bowl. D. 4} in. Similar to last. 1700 
 
 l899- Oil-bottle. H. 4J in. Fawn clay, straw-colored glaze with splashes of olive-green 
 overglaze running. Curious crackle. 1750 
 
 I900-1903. Jar and bowls. 1770-1800 
 
 With the exception of 1902, of doubtful attribution. 
 
 1904. Incense-box. H. 2tV in. Light gray clay and glaze, mottled with brown. Bands 
 and diaper in brown. Calyx in relief on top. 1820 
 
 Identified by Ninagawa as Izumo. 
 
 1905. Square dish. W. 6J in. Light brownish clay, hard gray glaze. Maple leaves 
 impressed inside and colored dark gray. Coarse cloth-mark impression inside. 1830 
 
 1906. Bowl. D. 4^ in. Coarse brownish clay, light yellow glaze, splash of very dark 
 brown glaze, tinged with light green. Seiwodo (imp.). i860 
 
 1907-1925. Tea-jars. 1700-1860 
 
 The tea-jars of Izumo have drab, fawn, or buff clay, rich lustrous dark brown 
 or rich ochre glazes ; in recent specimens, splashed with red or yellow, resembling 
 in this respect the Izumo pottery made within thirty years. 
 
ifo THE CATALOGUE 
 
 PROVINCE OF AKI 
 
 The pottery of this province has never attained any celebrity among 
 connoisseurs. No records have been met with in Japanese books or manu- 
 scripts respecting its potters. The few notes here presented concerning 
 the pottery of this province were obtained by me from antiquarians at 
 Hiroshima and from a learned priest at the temple of Miyajima. 
 
 MIYAJIMA (Case 17) 
 
 In 1830 a potter named Keisai Fujiya built an oven at Ebamura, near Hiroshima, 
 and made wine and tea cups, which were sold as souvenirs at Miyajima. The pieces 
 were signed Miyajima, or Miyajima yaki, and rarely with the crest of the temple of 
 Miyajima. The objects were usually decorated (overglaze) with a tori-i, bridge, or 
 with flowers. The clay, which was loose, and light red or yellow in color, was 
 brought from Mito Konoura, about seven miles west from Miyajima, and mixed with 
 other clay in certain proportions. The potter and his pupils continued to work 
 for ten years. Another oven, baking similar pottery, was situated at Takeyacho, 
 Hiroshima. Of this oven but little was known. Shallow plates, resembling Akatsu, 
 Oribe, and others closely resembling certain light yellow pottery made by Fujimi, of 
 Nagoya, are sold as souvenirs at Miyajima. They bear the written mark Miyajima sei, 
 yet I am inclined to believe that they were made by Fujimi, in Nagoya. 
 
 1926. Shallow tea-bowl. D. 5J in. Light reddish clay, glistening greenish glaze, 
 mottled with yellow spots and streaks of brown. Miyajima yaki, 
 and crest of the deity of the temple of Miyajima (imp.). 1840 
 
 I927' Tea-bowl. D. 4J in. Light reddish clay, glistening trans- 
 parent glaze with greenish tinges. Tori-i and characters in dark 
 brown. Mijajima yaki, and crest of the deity of the temple of 
 Miyajima (imp.). 1840 
 
 1928. Tea-bowl. D. 3I in. Light reddish clay, deep reddish glaze. Tori-i in brown. 
 Miyajima yaki (imp.). 1840 
 
 1929. Tea-bowl. D. 4J in. Light reddish clay, glistening green glaze, mottled 
 with yellow. Tori-i in brown. Miyajima yaki (imp.). 1840 
 
 1930. Shallow tea-bowl. D. 5 J in. Fine yellowish clay, yellowish glaze. Sur- 
 face rough. Inside, tori-i in dark brown. Bottom with deep spiral mark. Un- 
 signed. i860 
 
 I93^- Wine-cup. D. 2| in. Fine yellowish-white clay, transparent glaze with greenish 
 tinges. Inside, landscape in brown. Miyajima yaki (\mY>.). i860 
 
 1932. Tea-cup. D. 2-j^ in. Fine light yellowish clay, transparent glaze. Landscape in 
 brown, red, and green. Strongly iridescent inside. Miyajima yaki (\m^.). i860 
 
 1933' Shallow plate. D. 4-fV in. Hard light yellowish clay, yellowish glaze, thick 
 
 splash of green overglaze. Decoration of curtain in dark brown. 
 
 Miyajima sei (written in brown). 1870 
 
PROVINCE OF AKI 
 
 163 
 
 1934- Shallow plate. D. 4 in. Yellowish clay and glaze. Maple leaves and characters 
 inside in dark brown. Miyajima yaki (imp.). 1870 
 
 ^935- Shallow plate. D. 4J in. Fine yellowish clay, transparent glaze. In- 
 side, pine incised. Miyajima sei (written in brown). 1870 
 
 193^' Tea-cup. D. 2| in. Hard white clay, transparent glaze 
 coarsely crackled. Under-decoration of leaves in rich brown. 
 Miyajima, Osuna yaki (yixxXX.&vi). 1870 
 
 Osuna means honorable clay. 
 
 'a 
 
 1936 
 
 t. 
 
 >93S 
 
 SHOKA (Case 17) 
 
 An extraordinary fabrication in pottery, with a written mark which shows it to 
 have been made by Shoka and decorated by Dotei, and a year period which gives its 
 date as 1820, was identified in Hiroshima as having been made in Takeyama. 
 
 1937' Wine-vessel, in form of a square box, 
 corner and in centre. Walls extremely thin. 
 Soft light reddish clay, warm dull grayish 
 glaze with round yellowish spots. Over- 
 decoration of branches, leaves, and plum 
 blossoms in red, green, and gray. Bunsei 
 inu-doshi Geiyo Takeyama Shoka sei, Dotei ga 
 
 H. 9 in. On top a small opening in one 
 
 (written). 
 
 1820 
 
 EBAMURA (Case 17) 
 
 A potter of this village produced, 
 among other objects, cups of fine red 
 clay with transparent glaze and decora- 
 tion in green, yellow, and purple. 
 
 1938. Tea-cup. D. 2^^ in. Hard white 
 clay, transparent glaze. Over-decoration of 
 landscape in green, yellow, and purple. 1850 
 
 1939. Bowl. D. 35 in. Fine light red 
 clay, transparent glaze. Outlines of leaves 
 and melons in white slip. Melon with green 
 glaze. Fine dull gold scroll. 1850 
 
 1940- Deep cup. D. t,^ in. Hard reddish clay, bright transparent glaze, 
 tion of gourd vine in green, white, and yellow glazes. 
 
 1937 
 
 Over-decora- 
 1850 
 
 KAKIMAYACHI (Case 17) 
 
 A hard white semi-porcelain with dull indigo-blue decoration is said to have been 
 made in Kakimayachi in 1840. The two objects in the collection have no special 
 merit 
 
l64 THE CATALOGUE 
 
 1941. Square bottle, with square nozzle in one corner. H. •j\ in. Hard white clay and 
 glaze, indigo-blue splashes about rim and base representing clouds. Pine branch and leaves 
 moulded on top. 1840 
 
 1942. Fire-vessel. H. 6J in. White porcelain clay and glaze. Dull blue decoration of 
 ornamental band, mythological bird, and waves. 1840 
 
 YENAMI (Case 17) 
 
 A coarse wrhite pottery with thick white glaze and decoration in bright blue bears 
 the written mark Yettami. 
 
 1943- Deep dish. D. 6 in. Coarse white clay, thick white glaze. Decoration of bamboo 
 and fungus in bright blue. Hiroshima Yenami sei (written on side in orange- yellow). 1850 
 
 C I^ 1^ 1^ 
 
 1943 
 KAWAKAYA (Case 17) 
 
 A soft earthen pottery of light reddish clay and dull green glaze, in the form of 
 common household utensils, was identified in Hiroshima as Kawakaya pottery. 
 
 ^944* MosQuiTO-SMOKER. H. loj in. Cylindrical in shape, perforated by numerous holes 
 above. Light reddish clay, dull greenish glaze. i860 
 
 HIROSHIMA (Case 17) 
 
 The two following pieces were identified in Hiroshima as Hiroshima pottery. 
 Nothing could be learned about the potter or the oven. 
 
 1945* Bottle, in form of account-book. H. s| in. Light gray clay and glaze, splashes of 
 white overglaze. Characters in brown. 1870 
 
 1946. Flower-holder, disk-shaped. D. iij in. Heavy dark tile clay, nearly black. 
 Roughly finished, unglazed. 1870 
 
 PROVINCE OF CHIKUZEN 
 
 In the latter part of the sixteenth century two potters from Korea were 
 brought to Chikuzen, and erected an oven in Takatori village. These pot- 
 ters were known as Hachizo and Shinkuro. They were afterwards assisted 
 by a skilful potter, named Igarashi Jizayemon, who is said to have resigned 
 his position in Karatsu, Hizen, and come to Chikuzen as a wanderer. 
 According to Ninagawa, Hachizo with his son journeyed to Kyoto, or more 
 accurately to Fushimi, and there came under the influence of the great 
 master of the tea-ceremony, Kobori Enshia. By his advice the Chikuzen 
 
2^^., 
 
 OP THE 
 
 UNlVtlnSn Y 
 
CASE 17 
 
 ("iOO \^Tt IS03 i»7Z l»7l 18'iS: iSoz t8S& l»<7 )S^9 
 
 iSTiTS 
 
 I »b-3 
 
 
 
 lSrs-6 l«76 HOI I860 '•*'» 'SIS- i^^g ,5,77 ,,(57 j ^^,3 
 
 l»»3 
 
 I &y7 
 
 PROVINCES OF IZUMO AND AKl 
 

PROVINCE OF CHIKUZEN 165 
 
 potters carried back with them, either the veritable objects, or the sugges- 
 tions of the kinds of pottery and forms of utensils most desirable in the tea- 
 ceremony. Thus it was that the early productions of Takatori took so high 
 a rank. Records show that the descendants of these potters moved from 
 place to place. 
 
 There are many forms of pottery, with many marks, recognized as Taka- 
 tori ; but little information, however, is at hand to separate the material into 
 distinct ovens and makers. Many of the marks are evidently for the same 
 purpose as those of Bizen, namely, single characters or conventional marks 
 of individual potters who baked in some communal oven. 
 
 Typical Takatori is a most characteristic pottery. Its fine clay, rich 
 brown glaze, and delicious overglaze readily distinguish it from other kinds 
 of pottery. The tea-jars are particularly refined and delicate, though these 
 objects have been successfully paralleled in other provinces, notably in Zeze, 
 Omi, and in Agano, Buzen. In late years there have been produced large 
 numbers of pieces, among which may be found mythological figures made 
 for the export trade. Some clever modeling is seen at times, but their 
 recent issue may be recognized at a glance. 
 
 TAKATORI (Case 18 and Plate XV. 1967, 1971, 1988, 1989, 2001) 
 
 1947. Plate. D. 6 in. Rim slightly crenulated on one side. Light brown clay, thick 
 ochre glaze, with splash of brown glaze on one side. Impression of shells on base. 1640 
 
 1948. Flaring bowl. D. sf in. Thickened rim. Light-brown clay, thick gray glaze, 
 splashes of thick white overglaze. Decoration of bag, boat, and waves in brown, inside. 
 Pine needles outside. 1680 
 
 1949*. Jar. H. 7f in. Vertical sides, beveled below and at shoulder. Dark brown clay, 
 thick olive-brown glaze, splashes of fawn overglaze, flecked with blue. 1700 
 
 1950. Jar. H. 6i in. Coarse buff clay, rich thick dark lustrous ochre glaze, with thick 
 white overglaze running from shoulder in delicate streams. 1750 
 
 1951. Water-jar. H. 5I in. Drab clay, rich mottled brown glaze, with streaks of golden- 
 brown glaze intermixed, thick light ochre overglaze running from rim. 1770 
 
 Type Ninagawa. Part III., Fig. 21. 
 
 1952. Water-jar. H. 5^ in. Reddish-brown clay, lustrous dark brown glaze, with green- 
 ish-yellow overglaze streaked with light greenish-blue and flecked with yellow. 1780 
 
 ^953- Tea-bowl. D. sJ in. Fawn clay, rich brown glaze clouded with fawn and brownish- 
 blue. 1780 
 
 1954. Tea-bowl. D. 5 in. Dull light drab clay, thick alternate splashes of ochre, light 
 drab and olive-brown glaze flecked with blue. Inside, large splashes of nearly black and 
 cream-white glaze coarsely crackled. 17^0 
 
i66 THE CATALOGUE 
 
 ^955- Flower-vase, on three leg^ modeled in form of animals' heads. H. 9J in. Coarse 
 dull brown clay, thick grayish-white glaze with streams of dark brown running from neck. 
 
 1780 
 1956. Hanging flower-holder (fish). L. 9^ in. Fine chocolate clay, thick grayish- 
 violet glaze. . 1780 
 ^957- Jar. H. 5^ in. Similar to 1950. 1780 
 
 195°' Water-jar. H. 6f in. Upper portion flattened on four sides, forming lozenge 
 shaped mouth. Brown clay, gray glaze strongly crackled. Decoration of grass, birds, etc., in 
 black. On bottom concentric circles. 1780 
 
 1959- Bottle, double gourd-shaped. H. 12 J in. Upper bulb with cross-lines incised, 
 
 lower bulb with leaf design incised, and three depressed areas. Light brown clay and glaze, 
 
 thick cream-white overglaze running to bottom in streams of greenish-yellow fiecked with blue. 
 
 A remarkable example. 1800 
 
 i960. Cylindrical jar, slightly flaring. H. 7I in. 1800 
 
 I961. Water-jar. H. 6J in. Twisted handles. Rim lozenge-shaped. Drab clay, yellow- 
 ish-fawn glaze, light olive and brown overglaze. 1800 
 
 1962*. Globular jar. H. sf in. Thick and heavy. 1800 
 
 1963. Leaf-shaped dish. L. 7I in. 
 
 1964. Oil-bottle. D. sJ in. Light fawn clay, very light brown glaze resembling copper. 
 
 1800 
 
 1965. Bowl, irregular in outline. D. 5 in. Thick and heavy. Cross-lines cut on side. 
 Coarse brick-red clay, olive-brown glaze, splash of thick white overglaze covering half the 
 bowl inside and out. Basal ring notched. 
 
 X966. Oil-bottle. D. fs\ in. Dark reddish-brown clay, thick rich mottled fawn glaze, 
 running, with large areas of mottled white with small deepest brown areas, iridescent. Rough 
 base. 1800 
 
 1967. Incense-burner. H. t,\ in. Round body, gracefully blending into three legs. Fine 
 light brown clay, light brown glaze resembling copper, dashes of grayish-white overglaze. 
 Cover perforated, with mythological lion on top moulded. Band of scrolls impressed about 
 shoulder. 1800 
 
 A unique example. 
 
 1968. Water-holder for ink-stone. 
 
 1969. Bowl, with bail. 
 
 1970' Dish, in form of Haliotis. D. lof in. Maru-kAt (imp.). 
 
 I971. Tea-bowl. D. 4I in. Fine dark brown clay, thick warm gray glaze. Clouds and 
 
 cranes in white Mishima. 1820 
 
 A rare form. 
 
 1972-1978. Various forms. 1830-1850 
 
 1979- Traveler's flask, canteen-shaped with looped handles. H. 4I in. Exceedingly 
 light and thin. Fine drab clay, yellowish-drab glaze. Bamboo in brown. Cloth-mark 
 impression on surface. 1850 
 
 e 
 
 1970 
 
PROVINCE OF CHIKUZEN 
 
 167 
 
 Fine hard brown clay, trans- 
 Yo (imp.). 1770 
 
 igoo. Bowl. D, 4J in. Sides deeply crenulated. Light gray clay with reddish tinges, 
 thick cream glaze with splashes of rich brown. 1850 
 
 1981-1984. Oil-bottle, wine-bottle, deep bowl, and covered bowl. Identical with 
 last. 1850 
 
 ^985-1987*- Brush-holder ; wine-bottle, egg-plant form ; and tea-pot. 1860-1880 
 
 TAKATORI WITH MARKS 
 
 1988. Wine-bottle. H. 6^ in. Fine gray-drab clay with reddish tinges at edge of glaze, 
 light grayish glaze with areas of fawn. Over-decoration of plum branch and bios- err 
 soms in black. Takatori yo (imp.). 1770 (^^ 
 
 Type Ninagawa. Part III., Fig. 22. l^g, 
 
 1989' Mate to above with aster decoration. '^ 
 
 I990- Jar, oviform. H. rzf in. Four looped handles 
 parent underglaze, thick brownish-olive overglaze, running. 
 
 Gift of Denman W. Ross. 
 
 A very remarkable example, and probably made by the potter who used the 
 signature Takatori Yo in the Ninagawa tjrpe described above (No. 1988). The 
 character Yo is the same, though written in Tensho style. 
 
 199^- Plate, strongly folded on edge. D. 8f in. Fine fawn clay, gray-drab glaze, 
 decoration of chrysanthemum and leaves in red, green, ochre, and black. 
 Ken (imp.). 1770 
 
 1992. Leaf-shaped dish. L. i\ in. Three supports in form of chestnuts. 
 Fawn clay. Outside, rich deep brown glaze mottled. ^ ^^^ 
 
 Inside, fawn glaze with splashes of thick light green jl f^ "^fin 
 glaze around border. Ka (imp.). 1780 ^^ «• *-* 
 
 1992 1993 
 
 1993- Similar to 1992. Yama Ka (imp.). 1800 
 
 1994- Cake-dish, in form of two bivalve shells. L. 9J in. Gray-drab clay, 
 lustrous dark brown glaze. Inside, gray glaze flecked with fawn 
 about rim. Sen (imp.). 1800 
 
 199s Deep bowl. D. 5I in. Sen (imp.). 1820 
 
 1996. Cup. D. 2 in. Light gray clay, deepest lustrous '994 i99S '996 
 
 brown glaze, golden-brown glaze flecked with fawn showing through. Inside, rich fawn glaze. 
 Seti (imp.). 1820 
 
 X997. Shallow bowl. D. sf in. Lower half with encircling grooves. Fawn clay. On 
 one half light fawn glaze, remaining portion rich dark brown glaze. Notched base. 
 Jiu (imp.). 1800 
 
 Certain pieces of pottery bearing the impressed mark Ki were variously identified 
 by Ninagawa and others as Izumo, and in one case a jar with the incised mark Ki was 
 grouped with Satsuma. Two of these pieces are without the slightest question Taka- 
 tori, and those wrongly identified as Izumo bear marks impressed from the same stamp 
 as is found on the Takatori The pieces show the work of a skilful artist and potter. 
 Some of the objects are unquestionably old, while others seem comparatively new. 
 
 1991 
 
 Outside, rich 
 
i68 
 
 THE CATALOGUE 
 
 Fawn-- 
 
 1998. Haisen (section of tree trunk). D. 4I in. Light grayish clay, dull light brown glaze, 
 mottled with light fawn. Inside, thick white glaze. Ki, in circle 
 (imp.). 1800 
 
 ^999- Jar, looped handles. H. io| in. Thick and heavy. Gray- 
 drab clay, dull ochre glaze with lustrous splashes of golden-brown and 
 light fawn overglaze flecked with blue. Ki (imp.). i8?o 
 
 2000. Cake-dish. L. gf in. Inside, moulded in form of bamboo sprout. Fawn clay, 
 greenish-drab glaze. Outside, dull brown glaze. Inside, flecked with dark brown 
 running over in drops outside. Root end thick whitish-fawn glaze. Ki (imp.). 
 
 1820 
 
 2001. Haisen, boat-shaped with coil of rope on deck. L. \o\ in. Light gray 
 clay. Outside, rich brown glaze, mottled with darker brown, near rim golden- 
 brown. Inside, grayish-white glaze. Decks green glaze. Rope light fawn glaze. 
 
 A very beautiful example. 1800 
 
 2002. Square dish, flaring sides. W. 6f in. Basket pattern moulded inside. 
 Light fawn clay, light gray glaze. Around rim, inside, thick mottled green glaze. 
 Ki (imp.). 1800 
 
 2003. Haisen. H. 4J in. Inside and rim strongly moulded in shape of dragon, 
 colored clay and glaze with brush-marks in brown outside. Inside, thick green glaze. 
 .ff«(inip.). 1780 
 
 2004. Flower-vase. H. 10 in. Ringed handles adherent. Fine light fawn clay, rich 
 bluish-green glaze densely mottled in portions with light 
 fawn spots. Designs of scrolls, fret, etc., deeply incised, 
 .^/(imp.). 1780 
 
 2005. Incense-burner, square. H. 6f in. Cover with 
 moulded lion resting on ball. Light buff clay, rich brown 
 glaze flecked with lighter spots, lustrous. .^/ (imp.). 1780 
 
 2006. Jar. H. 44 in. Ki (inc.). 1800 
 
 2007. Water-vessel. H. 8J in. Globular body, long cylindrical neck. Taka (imp.). 1840 
 
 2008. Incense-box (rat). L. 3 in. Red- 
 dish-fawn clay, dull thick white glaze shaded 
 with drab. Inside, olive-green glaze. 
 Taka (imp.). 1840 
 
 2009. Deep bowl. D. 2,\\ in. Light drab 
 clay, light gray glaze. Crane and character 
 in circle, in brown. Taka (imp.). Ho-itsu 
 (written). The signature resembles that of 
 Ho-itsu, the artist. 1820 
 
 2010. Bowl, compressed in 
 pointed oval. L. 5 J in. Light gray 
 clay and glaze. 
 Taka Yoshiwa (imp.). 1820 2009 
 
 2004 
 
 2006 
 
 2007 
 
J. 
 
 PROVINCE OF CHJKUZEN 169 
 
 2011. Flower-vase. H. 9J in. Dark fawn clay, light olive-green glaze, large splash of 
 greenish-drab overglaze running into lustrous 
 
 brown and dark olive -green 
 
 Taka (imp.). Shigekata (inc.). 1850 ^^^E^ (/^^ 
 
 2012. Bowl. D. 4jin. Same marks. 1850 ttf > 1^ 
 
 2013. Square box. H. \\^ in. Beveled " ^ _ d? a 
 corners. Looped handles. Fine light brown V3Pl . -P- #1 
 clay, dull light drab glaze clouded, splash of light 
 brown glaze on cover. Taka Teiten (mc). 1850 
 
 2014. Square TRAY, one corner indented in 2011 2012 2013 2014 
 two right angles. L. 4J in. Fine light brown 
 
 clay, light olive-green glaze with dark brown glaze running from rim. Takatori Teiten (inc.). 
 
 1850 
 
 2015. Shallow bowl. D. 5I in. Dull light brown clay, dull brown glaze, lustrous brown 
 overglaze, darker around rim. 
 
 Taka (imp.). Arashi Tanemune (inc.). 1840 
 
 2016. Paper-weight, in form of mythological turtle. ti 
 L. 6J in. Light brown clay, olive-green glaze, dark J ^f) 
 brown glaze on back. Taia (imp.). Teiichi{mc?). 1870 ^» y, 
 
 2017. Figure (Hotei, sitting on bag, with mask in -''^l» t J 
 right hand). H. 9^ in. Light brown clay, light olive- fc»> ^^ 
 green underglaze. Drapery, lustrous dark brown over- ■■I * - * 
 glaze running. Bag, bluish-white overglaze. ^°'S 2016 2017 
 Taka (imp.). Yeigen (inc.). 1870 
 
 2018. Tea-pot. D. 3J in. Square handle perforated. Fine light grayish-fawn clay, dull 
 light brown underglaze, lustrous greenish - white and rich brown overglaze in 
 splashes. Taka (imp.). 1878 /o\ 
 
 2019*. Flower-vase, cylindrical. H. •j\ in. Warm fawn clay, pearl 
 
 white underglaze, warm fawn overglaze running. 
 
 Taka and Matsusaburo (imp.). 1890 
 
 "m 
 
 iS 
 
 The work of a potter showing considerable merit. -°'^ 2019 
 
 The Takatori tea-jars must be considered the most delicate and refined of all. The 
 usual form is cylindrical, slightly tapering below, often with two ears or knobs on the 
 shoulder. The thread-mark is right-handed and finely cut. Other forms occur, some 
 short and wide, others globular ; the double gourd form is not unusual. The clay is 
 very fine, usually a gray-drab, though sometimes a light or dark brown or fawn. The 
 glaze is rich, dark brown, often subdued in lustre. All shades of brown are seen, 
 such as olive-brown, golden-brown, purplish-brown, etc. Sometimes a light fawn 
 glaze occurs. A splash of fawn overglaze is usually seen on one side. The only tea- 
 jars that are likely to be confounded with Takatori are certain forms of Buzen and 
 Zeze. An expert has pronounced the collection of tea-jars herein catalogued a tnost 
 remarkable symphony in low tones. 
 
 2020-2059. Tea-jars. 1680- 1840 
 
170 
 
 THE CATALOGUE 
 
 SOSHICHI (Case 18) 
 
 In the village of Hakata a number of potters were at work in the early years of 
 this century. Among the most noted was one Masaki Yukihiro, with the pseudonym 
 Soshichi. His work consisted of hand-warmers, braziers, incense-boxes, etc., and the 
 few specimens of his work in the collection show great skill and originality. 
 
 2060. Hand-warmer, in form of Daruma. H. 9I in. Light fawn clay, garment rough- 
 ened, surface colored red. Face unglazed. SoshUhi, Masaki Yukihiro and Bunsei Jissai. 
 Inu ju-icAi-gatsu (ym^.). 1827 
 
 2001. Water-boiler, in form of segments of char- 
 coal. H. 8J in. Fine dead black clay. Roughened 
 surfaces. Cut portions smooth. Soshichi (imp.). 1827 
 Gift of W, S. Bigelow. 
 
 2062. Incense-box (bird). L. 3 in. Fine soft light 
 fawn clay. Head, breast, and tail dark reddish-brown 
 lacquer. Eyes black, with red border. Inside, thick honey glaze. 
 
 2063. Incense-box (Hotei). D. 2J in. Light reddish-fawn clay, unglazed. In- 
 side, greenish glaze, pitted. Soshichi (iva^.). 1827 
 
 
 
 2060 
 
 2061 
 
 Soshichi (imp.). 1827 
 
 SHUNZAN (Case 18) 
 
 A potter of Ky5to, named Shunzan, made pottery in the village of Su-o. 
 pieces were designed for the tea-ceremony and are extremely rare. 
 
 2064* Tea-bowl. D. 4^ in. Indented below, deep encircling lines on side. ' *-*-** 
 Thick and heavy. Grayish clay, light brown underglaze, rich dark brown over- 
 glaze exposing underglaze in portions. Shun (imp.). 1780 
 
 PROVINCE OF SANUKI 
 
 Sanuki pottery seems to be entirely unfamiliar to the Japanese col- 
 lector. The name of the province has rarely appeared in Japanese works 
 on pottery, and never in books on the subject published abroad. Even 
 Ninagawa has no reference to it in his classical work, though, had he lived 
 to publish another part, a few plates for which had been prepared, Sanuki 
 would certainly have been included, as among his manuscript notes he had 
 references to a number of Sanuki potters. I have seen in collections Sanuki 
 pottery identified by Japanese experts as Izumi; Awaji; Kyoto; Suruga; 
 and Ohi, Kaga. The shallow green glazed plates made on moulds have 
 been invariably identified either as Awaji or Izumi. As a number of 
 potters have at various times established ovens in the province, I have 
 made special efiforts to clear up the sequence of these potters and their 
 relations to one another, and to identify their work. 
 
CASE 18 
 
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 PROVINCE OF CHIKUZEN 
 
PROVINCE OF SANUKI 171 
 
 INARIYAMA (Case 19) 
 
 In 1690, or thereabouts, an oven was started in Takamatsu. The first potter, 
 Rihei, is said to have been a pupil of Ninsei ; and it is further recorded that Ninsej 
 was invited to Takamatsu, where he remained for three years, Rihei working with him 
 during that time. The first generation used no marks ; the second generation used 
 the marks Taka, and rarely tsukuru. These marks and the name Rihei continued 
 through succeeding generations. It is not known how long the work went on. In 
 the early part of this century the oven was revived, and a descendant of the family, 
 under the guidance of Dohachi, made many interesting pieces. The oven, being near 
 an Inari shrine, was named Inariyama. The pieces usually bear the mark Taka, from 
 Takamatsu. 
 
 2065. Tea-jak. H. 2,\ in. Dull brown clay, brown glaze with darker splashes, coarse 
 granules in clay showing through glaze ; blistered. 1690 
 
 The work of the first Rihei. 
 
 2066. Square wine-bottle. H. 8| in. Fawn clay, light fawn glaze. Over-decoration of 
 vine and flowers in red, leaves in thick green enamel. Taka (imp.). 1740 , 
 
 This possibly represents the second generation. Jtil 
 
 2067. Incense-box (bird). L. 3^ in. Light fawn clay, thick whitbh-f awn glaze, ^"/ 
 tail and bill touched with brown. Taka (imp.). 1780 
 
 2068. Shallow dish. D. s| in. Yellowish clay and glaze, without lustre. Taka (imp.). 
 
 1780 
 
 2069« Bowl. D. 4J in. Fine fawn clay, lustrous light fawn glaze 
 coarsely crackled. Under-decoration of flowers and leaves in brown, blue, 
 and white. Taka (imp.). 1780 *o68 2069 
 
 2070. Bowl. D. 5J in. White stone clay, yellowish-fawn glaze, coarsely crackled and 
 pitted. Minute brownish spots in glaze. Taka (imp.). 1780 
 
 2071. Water-jar (drum). H. 6^ in. Brick-red clay, dark gray glaze with greenish-gray 
 tinges, clouded. Taka (imp.). 1780 
 
 2072. Tea-bowl. D. 4j in. Lustrous black Raku glaze, with large areas of maroon, 
 mottled. Taka (imp.). 1780 
 
 The last six objects represent the third generation. 
 
 2073. Tea -bowl. D. 4J in. Coarse grayish-drab clay, light fawn glaze, rough surface 
 without lustre. Over-decoration of calendar in black. Taka (imp.). 1855 
 
 2074. Mosquito - SMOKER, six-sided. H. 8f in. Perforated cover. Soft light pinkish- 
 fawn clay, thick white glaze with greenish tinges. Tokugawa crest and scrolls in thick deep 
 blue overglaze. Taka (imp.). i860 
 
 2075* Mosquito-smoker, with bail. H. 11 in. Clay and glaze as in the last. Over- 
 decoration of chrysanthemum in dark blue, green, and yellow. Taka (imp.). i860 
 
 2076. Bowl. D. 4J in. Thick white glaze. Over-decoration of leaves in thick blue. i86o 
 
172 
 
 THE CATALOGUE 
 
 SHIDO (Case 19 and Plate XVI. 2092) 
 
 A pottery, which may be known under the name of Shido from the place of the 
 oven, was first made by Hiraga Gennai in 1780. His work was in the form of round 
 or square plates, haisen, etc., moulded, with green or yellow glazes. The impressed 
 marks Min, Shuntnin, Shido Shunmin, and Hiraga Shunmin are found. This work 
 is generally identified by the Japanese as Izumi or Awagi. Hiraga Gennai went to 
 Yedo for a short time, and it is barely possible that pottery of a similar nature, 
 accredited to Tokyo, may be his work. 
 
 2077*- Square cake-plate. W. 7J in. Light fawn clay, under surface rich green glaze, 
 
 upper surface light fawn glaze. Basketwork and 
 
 flowers moulded in relief. Flowers, leaves, etc., glazed 
 
 green, yellow, and purple. 
 
 Nishiki and \Kasugi i~\ (imp.). 1 780 
 
 2078. Incens&box. D. 2f in. 
 
 1780 
 
 2077 
 
 2079. Haisen (Case 40), boat-shape, with looped 
 handle at end. L. 7J in. Fine brownish clay, green 
 and yellow glazes. Moulded, with crazy scrolls and 
 diapers in thin sharp relief outside. Leaves incised inside. 
 Shunmin and Hiraga (inc.). Mark extremely rare. 1780 2079 
 
 2080. Rectangular cake -dish. L. ii| in. Moulded. Light 
 
 fawn clay, bands of scrolls, circles, landscape, etc., in high relief, with green, yellow, light 
 red, and purple glazes. 1780 
 
 2081. Flower-vase. H. 8 J in. 1780 
 
 2082. Stand, on four elaborately moulded incurved legs, resting on a base. H. 9J in. 
 Light straw clay, under surfaces transparent glaze, legs, base, and top rich dark yellow and 
 green glaze, outlined in red and gold. 1780 
 
 2083. Flat quadrangular dish, with elaborately moulded legs at corners, circular 
 depression in centre. L. loj in. White glaze, thick dark yellow overglaze clouded. 1780 
 
 2084> Dish, form same as last. L. 1 1 in. Fawn clay, below and above rich green glaze. 
 Rim bordered with blue. Central depressed area rich yellow glaze. Min (imp.). 1780 
 
 2085. Same as last. Thin greenish glaze, dragon in light purple and white. 
 
 Shido Shunmin (imp.). 1780 
 
 2086. Comfit-bottle, octagonal. H. 3J in. White porcelain clay, conventional leaves in 
 relief white glazed ; ground rich blue. Min i (imp.). 1780 
 
 2087- Flower-vase, six-sided. H. 12 in. Looped handle. 
 Light fawn clay, yellowish glaze, purplish-brown borders, green 
 ground. Panels of diaper moulded. Shunmin (imp.). 1780 
 
 2088. Cake-dish. D. 6J in. Moulded. Various forms of 
 diaper. ' 1780 2086 
 
 S 
 
 2087 
 
PROVINCE OF SANUKI 
 
 173 
 
 2089. Square cake-dish. H. 8J in. Four legs in form of shells. Rim scalloped. Light 
 buff clay, under surface transparent glaze. Inside, scrolls, etc., in high relief. 
 Fukurokuju with stag, purple, green, and yellow glazes. 
 Raku xa/ and Shunmin (imp.). 1780 
 
 2090. Square cake-dish, coiled shells as legs. W. gf in. Glaze green, 
 yellow, purple, and white ; under surface transparent glaze. Scrolls and cha- 
 racter in high relief moulded. 1780 
 
 2091. Flower-vase, elephant handles. H. 8J in. Light fawn clay, light 
 
 green glaze with yellow band on shoulder. Bands of scrolls, diaper, etc., on 
 
 body moulded. 1820 
 
 2089 
 
 2092. Plate. D. iiJ in. Light fawn clay, rich green glaze clouded. 
 
 Border with diaper and basketwork all in high relief moulded. Yellow glaze in portion of 
 fret. In bottom, figure leading mythological lion. Shido Shunmin (imp.). 1 780 
 
 This is a most beautiful example of Shido. 
 
 2093- CaIce-dish. D. 6J in. Light fawn clay, light green glaze below. Inside, frets, 
 scrolls, and basketwork in high relief, moulded. Glaze yellow, white, purple, and green. 
 Shido Shunmin (imp.). 1780 
 
 2094- Dish. D. gf in. Similar to last. Shido Shunmin (imp.). 
 
 2095- Haisen, six-sided, flaring. D. 8J in. Similar to last. 
 Shido Shunmin (imp.). 
 
 2096 
 
 1780 
 
 1780 
 
 2093 
 
 Incense-box (lion). L. 3I in. Fawn clay, deep yellowish-brown glaze. Min (imp.). 
 
 1800 
 
 2097- Haisen. D. 8J in. Flaring rim scalloped. Outside, basketwork half- 
 way up, moulded and glazed dark green. Inside, bands of fret glazed green and 
 deep yellow. Rim perforated. Various colored glazes. Min (imp.). 1800 2096 
 
 2098. Covered vessel. D. 5J in. Light fawn clay, thick yellowish-brown glaze, base 
 and inside transparent glaze. Outside a mixture of scrolls, etc., in relief 
 
 moulded. Cover having five circular openings with perforated diaper. 
 Min (imp.). 1850 
 
 2098 2099 
 
 2099. Fan-shaped dish. W. gf in. Min (imp.). 1850 
 
 2100. Cake-dish. D. 8J in. Inside, fan decoration and scroll in brown, yellow, and green. 
 Under surface transparent glaze. Rakuto (imp.). 
 
 This is placed here provisionally. 
 
 TOMITA (Case ig) 
 
 The origin of the oven in Tomita village is not known. It was abandoned in 1780. 
 Within fifty years there has been a revival of the oven, and objects of considerable size 
 have been made resembling Inariyama. The mark Tomita is very rare. 
 
 2I0I. MosQuiTO-SMOKER. H. 81 in. Fine fawn clay, very light fawn glaze. Overglaze 
 
 or rue ' vv 
 
 UN^vt^,s^rY ! 
 
174 
 
 THE CATALOGUE 
 
 decoration of grapevine vigorously drawn in blue, purple, and green. Cover perforated in 
 flower pattern. Tomita (imp.). 1850 
 
 1\Q'2,. Compartment-box, hexagonal, resting on handled stand. H. ii^ in. 
 
 Light fawn clay, white glaze, overglaze decoration in light blue, green, and purple ; 
 
 below, transparent glaze ; handle and knob deep brown glaze. Sides perforated 
 
 in flowers and lattice-work. Tomita (imp.). 1850 
 
 2101 
 
 2103. Napkin-holder, unsigned. i860 
 
 2104. Tea- JAR. H. 2j in. Rough light fawn clay, very thick seal-brown glaze, mottled 
 with yellow. 17^0 
 
 MINZAN (Case 19 and Plate XVI. 2106) 
 
 Minzan was the pupil and successor of Hiraga Gennai, who first opened an oven 
 in Shido in 1780. Minzan was far more skilful than his master. At first he made 
 moulded pieces, but later followed the style of DohachL His work is in excellent 
 taste, and may be accounted rare. 
 
 2105. Cake-bowl. D. ^\ in. Made on mould after Shido style. Light fawn clay, trans- 
 parent glaze below. Flowers and leaves incised outside, glazed green, 
 yellow, and brown, on a brown ground. Inside, leaves, lion, etc., in 
 relief glazed green, purple, and yellow. Minzan (imp.). 1825 
 
 2106. Jar, oviform. H. 4 in. Light fawn clay, rich lustrous white 
 glaze, stained crackle. Flowers in dull blue. Minzan (written). 1830 
 
 2107*. Deep bowl. D. 4} in. Fluted sides, scalloped edge. White glaze, irregular splashes 
 of purple, blue, green, and yellow overglaze. 
 
 1830 
 Light fawn clay, thick 
 
 % 
 
 2107 
 
 Minzan (written). 
 
 2108. Tea-pot. D. 4,^ in. 
 
 lustrous white glaze. Decoration of clouds and dragon 
 
 in blue. Minzan (written). 1830 
 
 2I0g. Shallow Raku bowl. D. 6J in. Rough fawn 
 clay, light reddish - brown and yellow glaze mottled. 
 Roughened surface. Minzan (written). 1830 
 
 21 10. Deep bowl. D. 4J in. White clay, white underglaze, light green 
 on branch in dull blue and white. Minzan (written). 
 
 The two following pieces are placed with Minzan provi- 
 sionally. 
 
 21 1 1. Covered BOWL. D. s| in. Light brick-red clay, thick 
 white glaze. Scrolls and flowers in thick blue. 
 Raku Ryosuke (written). 1830 
 TiVll. Plate. D. 12 in. Very thick. Inside, border of waves 
 in high relief moulded. Rim deeply scalloped, following design. 
 White underglaze, light green overglaze. Inside, circular area 
 of white glaze with landscape in purple. Shinzan (written). 
 
 1830 
 
 2109 
 
 overglaze. Owl 
 1830 
 
 » 
 
 r- 
 
 sua 
 
PROVINCE OF SANUKl 
 
 ns 
 
 YASHIMA (Case 19 and Plate XVI. 2 117) 
 
 This oven was first opened by Mitani Rinso in the beginning of the century. Rinso 
 first baked at Shido. In 1880 the third generation was 
 at work. Green, yellow, and red glazes were used on 
 a soft loose clay. There were two branches of this 
 family, Mitani Rinso and Yotsuya Soshiro, and this may 
 account for the variety of marks impressed, incised, and 
 written, which are found on the pieces. 
 
 2113. Box (peach). L. 2} in. Light fawn clay, Cf^i 
 deep yellow glaze, leaves incised and glazed green, |s 
 with modeled branch in brown. VS-' 
 Yashima (imp.). 1800 21x3 
 
 2114. Covered jar. H. 45 in. Long looped 
 handles. Body with encircling lines. Reddish clay, thick 
 light brown glaze. Band of stars and fret impressed around 
 shoulder. Yashima (imp.). 1800 
 
 2II5- Brush-holder, cylindrical. H. 3 jf in. Glaze and 
 clay similar to last. On side, panels containing elephant, 
 figure, clouds, etc., in relief moulded. Band of fret below. 
 Band of stars around rim, impressed. Yashima (imp.). 1800 
 
 2116. Dish (fish). L. 14 in. Coiled shells for supports. 
 Inside, scales, gill, eye, etc., moulded in high relief. Thick 
 light brown glaze. 
 Yashima fyvi^^. KH-jU-ni-o, Rinso saku {v\c^. 18 11 21 16 
 
 2117. Incense-box (helmet). L. 2^f in. Moulded. Light fawn clay, dull brick-red 
 underglaze, transparent overglaze with large greenish areas. 
 
 Yashima. KH-jii-roku-d Rinso tsukuru {yiniten). 1815 
 
 
 }'\ 
 
 i^ 
 
 2117 
 
 2118 
 
 2II8. Wine-cup. D. 2/^ in. Light fawn clay, brilliant yellow glaze. Landscape outside 
 tinged with green. Yashima Rinso, etc. (inc.). 1817 
 
176 
 
 THE CATALOGUE 
 
 
 o 
 
 2119. Deep CAKE-PLATE. D. 10 in. Scalloped rim. Fawn clay, rich lustrous brown glaze. 
 Scalloped moulding above basal ring. Inside, landscape, scrolls, formal 
 
 leaves, etc., in relief, moulded. Yashima ku-jii-hachi-o Rinso dan 
 shkhi-ju-ichi. Rinso tsukuru (inc.). Only Yashima and Rinso tsukuru 
 are here figured. 1817 
 
 2120. Tea-pot. D. 5} in. Light fawn clay, transparent underglaze, 
 rich g^een overglaze clouded. Band of scallops impressed around 
 shoulder. Yashima (imp.). 1840 
 
 2121. Incense-box. D. 2| in. Light fawn clay, dull white 
 underglaze, thick greenish-white overglaze coarsely crackled. 
 Cross-lines and radiating figures in blue. Yashima (imp.). 
 
 1840 
 
 2122. Jar. D. 5 J in. Pinkish-fawn clay, brilliant orange- 
 yellow glaze. Cover perforated, lustrous brown glaze. "" 21 19 
 Yashima (imp.). 1870 
 
 YOHACHI (Case 19 and Plate XVI. 2123) 
 
 The successor of Minzan was Mitani, who was in turn succeeded by Hidehachi, 
 who was afterwards called Yohachi. This potter studied in Owari and Kyoto, and his 
 work indicates a skilful potter. With one exception his marks were in so disguised a 
 character that only within a few years have they been deciphered. His Raku bowls 
 have invariably been identified as Kyoto Raku, though I had always placed them in 
 Sanuki, from their resemblance to a Raku piece made by a successor of Yohachi. It 
 was due to this attribution that the curious marks were finally deciphered. Yohachi's 
 work dates from the beginning of this century. 
 
 Fine light fawn clay, light fawn glaze, finely crackled. 
 Yohachi (imp.). 1810 
 
 2124. Incense-box (flower bud). H. jf in. Light brown clay, rich 
 dark and light green glazes. Unsigned. 1830 
 
 2125. Raku tea-bowl. D. 4J in. Thick and heavy. Undulating 
 rim. Light fawn clay, transparent underglaze ; bright red overglaze, 
 underglaze showing through. Rough design of bird in olive-green. Yohachi (imp.). 1830 
 
 2126. Incense-box, fungus modeled. L. 2-^ in. Light fawn clay, lower part transparent 
 glaze. Cover reddish and green glaze. Yohachi (imp.). 1830 
 
 2127. Raku tea-bowl. D. 4J in. Light gray clay, lustrous black Raku glaze. 
 
 2123. Tea -bowl. D. 4^ in. 
 Radishes in white and soft blue. 
 
 Yohachi (imp.). 
 
 2128. Cup. D. 2j in. Coarse light grayish clay and glaze. 
 Yohcuhi (imp.). 1830 
 
 TXI^. Raku tea-bowl. D. 4J in. Soft Raku clay, pale red Raku 
 glaze, coarsely crackled. Bamboo broadly incised. Splashes of 
 white overglaze. Yohachi (imp.). 1830 
 
 2130. Inro (three sections). L. 2| in. Light fawn clay, trans- 
 parent underglaze, red overglaze with large splashes of olive-green. 
 
 i-S^o 
 
 EC^ 
 
 2130 
 
 Kichi in (imp.). 1830 
 
PROVINCE OF SANUKI 177 
 
 NAOHACHI (Case 19 and Plate XVI. 2131) 
 
 Jirosaburo Okada was the successor of Yohachi, and though in the earlier part of 
 his work he was known as Naoichi (according to a letter from him to Ninagawa), he 
 used the mark Naohachi exclusively in his work. He showed considerable skill in 
 modeling. His signature is extremely rare. 
 
 213I. Paper-weight, mythological turtle. L. 7J in. Fawn clay. Plastron dull yellow 
 glaze, upper surface rich green glaze, toes blue. Naohachi (imp.). 1850 
 
 1\'>)1. Square tray with scalloped corners, resting on fluted knobs. 
 W. 1 1 J in. Light fawn clay. Lower surface light fawn glaze. Upper 
 surface flowers and leaves in high relief glazed rich blue, green, brown, 
 and white. Ground orange. Naohachi (not given) and [.'] (imp.). 1850 2131 2132 
 
 TAKAMATSU (Case 19) 
 
 Pottery was made in the town of Takamatsu in the middle of this century. The 
 two pieces in the collection might be mistaken for coarse blue and white Kiyomizu. 
 
 2133- Bucket-shaped vessel. H. gj in. Light grayish-fawn clay, thick white glaze pitted 
 and coarsely crackled. Pine in bright blue. 1840 
 
 2134- Flower -vase, bucket -shaped. H. \o\ in. Light fawn clay, thick white glaze. 
 Over-decoration of flowers in dark blue. 1840 
 
 TOMIKAWA (Case 19) 
 
 A large plate in the collection resembling Shido bears the impressed mark Tomi- 
 kawa. It is quite unlike Tomita. Nothing is known about the potter or oven. 
 
 2I35' Large plate. D. lof in. Rim slightly flaring, edge crenulated. Light fawn clay, 
 under surface transparent glaze. Inside, border, scrolls, formal leaves, etc., glazed 
 green. Centre, rude landscape in high relief in green and brown on light fawn 
 ground, moulded. Tomikawa (imp.). 1800 
 
 SANUKI (Case 19 and Plate XVI. 2138) 
 
 The term Sanuki may well be applied to those pieces which bear the mark Sanyo, 
 which means Sanuki, rough pottery. They do not show an age of over forty or fifty 
 years, and it is possible that some of them may have been baked in Minzan's oven. 
 Two of the objects strongly resemble the work of Yohachi. 
 
 2136. Cake-dish, with three props. L. 6^ in. Light brownish clay, dull white glaze. 
 Inside, two large chrysanthemums outlined in light blue with yellow centres, with brown 
 shading. Ground rich green glaze. San yd (imp.). 1840 
 
 2^37' Jar. with handle. H. 4f in. Fawn clay, lustrous light fawn glaze, strongly * 
 
 crackled. White chrysanthemums in high relief, leaves in green and gray. _J^ 
 
 San yd (inc.). 1840 2137 
 
178 
 
 THE CATALOGUE 
 
 2138. Bowl. D. 4I in. Light fawn clay, pinkish-gray glaze. Over-decoration of flowers 
 in greenish-blue and red touched with gold. Aw* jo (imp.). 1840 
 
 2138 
 
 2139 
 
 2139. Double bottle. H. 7J in. White 
 porcelain clay and glaze. Outer shell lined 
 in lozenge-shaped panels with scalloped per- 
 forations. .Saw j/o (written). 1840 
 
 i'^ 
 
 
 2140 
 
 4 
 
 /t 
 
 
 m:\ ;n ^ 
 
 2140. Square tray. W. 9^ in. Light 
 fawn clay. Lower surface dull greenish 
 glaze. Sides, yellowish-fawn glaze. Inside, 
 thick white glaze. Landscape in purple, 
 green, blue, and yellow. Gu (imp.). In- 
 scription says made from clay taken from foot of Kuriyama, summer of ? San yd. 
 
 2141. Plate. D. 7^ in. 
 
 1800 
 
 PROVINCE OF TAMBA 
 
 The pottery of this province in past times, while adhering to the simple 
 severity demanded by the more insistent devotees of the tea-cult, possessed 
 a richness of glaze and depth of color unequaled by any pottery in Japan. 
 The old tea-jars, particularly, combined the beauty of Takatori, the sobriety 
 of Seto, and the solidity of Shidoro, and superadded to these qualities a 
 variety of features in form and glaze, which have made them most attractive 
 objects for the collector. 
 
 ONOHARA (Case 20) 
 
 The earliest forms of glazed pottery were made in Onohara. Large-bodied jars 
 with brown glaze and blistered surface are known as Ko (old) Tamba, and are said to 
 date back to 1 5 50. Specimens are exceedingly rare. Pieces equally old have reddish 
 clay, light fawn glaze, with simple decoration in gray under the glaze. They are all 
 stained by age, and bear evidences of considerable antiquity. These are probably the 
 
CASE 19 
 
 2102 
 
 2 075" 
 
 207^ 
 
 2103 
 
 ZIOH 
 
 2072 
 
 2132 
 
 ZIQS 
 
 
 
 2076 to6f 2067 
 
 2n9 
 
 
 
 2106 2H0 2)08 
 
 
 XH8 ZII3 lin 
 
 1/21 2122 
 208^ 
 
 20^3 
 
 Z0S7 X0?6 
 
 20'J9 
 
 20^7 
 
 '•"Ul 
 
 ■>/•'>- 
 
 li - -. A ^ //^<;yov^^\\ 2.13 9 p^/ 
 
 rn TTmrrnmy*^ 
 
 
 Z06S- 
 
 -'Z)37 
 
 2/33 zo«?r 
 
 208^2 
 
 2/36 
 
 2086 213^ 
 
 PROVINCE OF SANUKI 
 
PROVINCE OF TAMBA 179 
 
 ones mentioned in Tokiko as resembling old Hagi. This resemblance is doubtless 
 due to influences from the same source, namely, Korea. Tea-jars also were made at 
 Onohara before i6cx). These were glazed in Seto style. 
 
 2142. Jar. H. 9i in. Four looped handles on shoulder. Brown clay, rich brown Seto 
 glaze with splashes of lustrous brown, mottled with greenish-yellow. Large blisters in 
 glaze. 1580 
 
 This is known as Ko Tamba. 
 
 2143. Tea-bowl. D. 4J in. Brown clay, thick grayish-white glaze, tinged with color of 
 clay. Rough decoration of landscape in brown. 1600 
 
 2144. Boat-shaped dish. L. 9J in. Brownish clay, grayish-white glaze, rim brown. 
 Inside, flowers and scrolls outlined in blue and brown. Cloth-mark impression. 1600 
 
 2145- Square dish. W. sJ in. Deep brown clay, thick grayish-white glaze with dark 
 gray and yellowish stains. Inside, fish in bluish-gray, rudely drawn. Rim brownish- 
 gray. 1600 
 
 2146. Rectangular dish. L. 6| in. Brown clay, thick fawn glaze with grayish-brown 
 stains ; rim dark brown. Inside, flowers in blue and brown. Four spur-marks inside. 
 Cloth-mark impression on lower surface. 1600 
 
 2147. Tea-bowl, irregular contour. D. 5 in. Brownish clay, light fawn glaze with grayish 
 stains. Sides sliced, base notched, strong spiral mark below. 1600 
 
 The preceding specimens are extremely rare. 
 
 2148. Water-jar. H. 7 in. Vertical sides. Modeled shells as handles. Light gray 
 clay, brown glaze, richly mottled with seal-brown and yellow. Surface highly iridescent. 
 
 1630 
 
 2149- Water-jar. H. 7| in. Two long-looped handles on sides at different heights. Brown 
 clay, light brown Seto glaze with dashes of deep brown and golden-brown, mottled. 1660 
 
 2150-2152. Flower-vases and wine-bottle. 1670-1700 
 
 2153- Wine-bottle, square. H. 94 in. Light brown clay, light fawn glaze with streams 
 of greenish-white overglaze. Ornamental designs on sides, moulded. 1750 
 
 TACHIKUI (Case 20 and Plate XVI. 2x57, 2158, 2163) 
 
 In 1660 the Onohara oven was removed to Tachikui, and here were made many 
 forms of tea-utensils beside the curious floating wine-bottles. These latter objects 
 bear a variety of marks, evidently the signatures of individual potters baking in a 
 common oven. As no information has been obtained in regard to these marks they 
 will be considered under Tachikui, as they were probably made in this village. The 
 Japanese also recognized, under the name of Kenjo (/. e. present to a superior) Tachikui, 
 pottery of a more delicate and refined character. The two specimens of this nature 
 in the collection bear a heron, after Okio, vigorously portrayed. 
 
 2154- Bottle, cylindrical. H. 8| in. Brown clay and glaze, long streams of lustrous 
 greenish-brown overglaze running to base. 1680 
 
i8o THE CATALOGUE 
 
 2155* Shallow bowl. D. 6i in. Brown clay, light gray glaze, white overglaze with 
 grayish tinges. 1780 
 
 2156. WiNE-BOTTLK H. s| in. Grayish-brown clay, rich dark seal-brown glaze. 1800 
 
 2157- WiNE-BOTTLE, elongate oviform. H. 7 in. Short neck, flaring, with flexure in rim 
 for spout Light gray clay unglazed. Vigorous drawing of heron in dull white and brown, 
 after Okio. Inside, transparent glaze. 1815 
 
 Type Ninagawa. Part VII., Fig. 23. 
 
 2158. Mate to last. Heron in different attitude. 1815 
 
 Type Ninagawa. Part VII., Fig. 24. 
 
 2159- Wine-bottle. H. 5J in. Brown clay, greenish glaze. Bamboo and figures in relief 
 moulded. 1830 
 
 2160. Bottle, flask-shaped. H. 7^^ in. Grayish-fawn clay, light gray underglaze, ivory- 
 white overglaze coarsely crackled. Deep fawn stains. 1830 
 
 2161. Bottle, oviform, body tapering into long neck. H. 11 J in. Light brown clay, 
 warm gray glaze. Closely encircling spiral lines and wavy lines in white slip. 1830 
 
 2162. Wine-bottle. H. 7I in. Light drab clay, light gray-drab glaze with darker stains. 
 Sai (imp.). 1830 
 
 2163. Wine-bottle. H. 6 in. Grayish-drab clay, lower half light fawn glaze (-i>) 
 clouded. Upper half rich dark brown glaze running. 1830 >--«• 
 
 Type Ninagawa. Part VII., Fig. 26. ^'^^ 
 
 2164- Wine-bottle. H. 6| in. Warm gray clay, brown glaze beautifully flecked with 
 darker brown. 1830 
 
 2165- WiNE-BonxE. H. 7t^ in. Grayish clay, rich lustrous nearly black glaze. 1830 
 
 2166. WiNE-BOTTLE. H. i\ in. Dark drab clay, lustrous dark maroon 
 
 glaze. Ryo (yctv^^. 1830 ^3 2S^ 
 
 2167. Wine -BOTTLE. H. 76 in. Gray clay, rich lustrous dark brown "^ 
 
 \ IT- r \ J ■" 2166 2167 
 
 glaze. Hira (imp.). 1830 
 
 2168. WiNE-BOTTLE. H. 6^ in. Slender neck. Light drab clay, light yellowish-olive 
 glaze. Decoration of leaves in white slip with brush-marks in brown. 1840 
 2l6g. WiNE-BOTTLE. H. 5J in. Thick and heavy. Reddish-brown clay, thick, very light 
 fawn glaze. Characters incised on side. Jin (imp.). 1840 
 
 2170. WiNE-BOTTLE. H. 6f in. Light gray clay, seal-brown glaze. 
 Jin (inc.). 1850 
 
 2171. Jar. H. 7f in. Dark drab clay, warm gray glaze with splashes ^^^^ 
 of white and olive-brown overglaze, running. 1850 
 
 2172. Bottle, body six-sided. H. 8f in. Light drab clay, light gray glaze. Hotel and 
 chrysanthemums on opposite sides in white, stenciled. 1850 
 
 2173. Bottle. H. 6| in. Drab clay ; lower half, drab glaze ; upper half, thick white 
 glaze with splashes of dark brown. i860 
 
 *i 
 
PROVINCE OF TAMBA 
 
 i8i 
 
 NAOSAKU (Case 20 and Plate XVI. 2175) 
 
 In 183 s Masamoto Naosaku made oil-bottles, but more particularly wine-bottles 
 of a peculiar form, so that when filled with wine they would float in hot water. 
 Similar forms have already been described above. These bear the definite mark 
 Naosaku, and his work may properly be separated from similar pottery classified as 
 TachikuL 
 
 Dark drab clay, olive-green glaze with splashes of 
 
 183s 
 Around 
 
 2174* Wine - BOTTLE. H. 6 J in. 
 reddish-brown. Naosaku (imp.). 
 
 2175. Wine-bottle. H. 6| in. Dark drab clay, thick white glaze clouded, 
 shoulder light olive-green glaze running, beautifully mottled with dark 
 green and red. Naosaku (imp.). 1835 
 
 2176. WiNE-BOTTLE, double gourd-shaped. H. 6 in. Thick and heavy. 
 Grayish-drab clay with reddish tinges, unglazed. Naosaku (imp.). 1835 
 
 The following objects bear the marks Mosaku and Konosakti. 
 They are probably related to Naosaku, but no information is at hand in regard to 
 them, and they will be included under Naosaku provisionally. 
 
 2177. WiNE-BOTTLE. H. 6J in. Gray-drab clay, dark slate glaze mottled 
 
 2175 
 
 2176 
 
 Mosaku (inc.). 
 1850 
 
 2178. Bottle, with curved handle and long nozzle. H. 6J in. 
 Light gray clay, very light gray glaze, spotted with brown above, 
 Konosaku (imp.). i860 
 
 2179' Bottle, curved handle and nozzle. H. 7 in. Warm 
 light gray clay and glaze. Konosaku (imp.). i860 
 
 2177 
 
 2178 
 
 2179 
 
 2180. Wine-bottle, double gourd-shaped, sides indented. H. gf in. Gray-drab clay, rich 
 lustrous brown glaze. Kono (imp.). i860 
 
 2181. Wine-bottle. H. i\ in. Light gray clay, thick white glaze. 
 Hinoshita ichi Kono (imp.). i860 
 
 2182. Wine-bottle, double gourd-shaped. H. 9J in. Neck cut obliquely. feV^ 
 Moulded figure of Hotel applied on side. Reddish-drab clay, thick gray \f\i 
 glaze. On shoulder white glaze clouded ; on neck rich bluish - green 
 glaze. Hinoshita ichi \Fusa ?] (imp.). 2,81 
 
 I 
 
 2182 
 
 TAMBA IN GENERAL (Case 20 and Plate XVL 2215) 
 
 Under the name Tamba are included all the tea-jars and a number of other objects 
 of which the place of baking is uncertain. 
 
 2183- Tea-jar. H. \\ in. Brown clay, rich brown glaze with darker brown areas, 
 blistered. Known as Ko Tamba. iSS" 
 
 2184-2186. Ko Tamba tea-jars. 1550-1580 
 
 2l87> Tea-jar. H. i-^-^ in. Brown clay, brown glaze mottled, large area of greenish ovei^ 
 glaze. Band of knobs around middle. Peculiar form. 1600 
 
 XT- 
 
 "r THE \\ 
 
 UNIVERSITY )) 
 
 ■OrtN\' 
 
CASE 20 
 
 Zl'iZ 
 
 1Z30 
 
 ZCfS 
 
 Zli'O 
 
 2Z39 
 
 2IS:S 
 
 ilS-3 2(S-7 
 
 2118. 5^ 57 ^'■'J' 2,'^^ 
 
 llh'i XI.68 220Z 22(tr ZZl"* Xllb liiO IISS 1107 US'! ZUZ 
 
 Z/61 
 
 2li-3 
 
 2-167 1165 
 
 2166 
 
 M77 ZI70 zn** 2-'''*" 
 
 2162 2181 
 
 ai 9 
 
 Zi8o zni znz 
 
 2152 
 
 XZ06 X^'3 Zia*! ^20) t^QO Zl*?!!' Zl'iiS 
 
 Z2IS 2/8? ZI98 Xiy/ 
 
 PROVINCE OF TAMBA 
 
PROVINCE OF OWARI 183 
 
 probably is that Kyoto, being the art capital of the empire, the former resi- 
 dence of the Mikados and court nobles, with all the elegance and luxury 
 accompanying their surroundings, the potters possessed an added dignity 
 by being within this great circle. Owari, on the other hand, with its small 
 and scattered villages of Tokoname, Akatsu, Inuyama, Narumi, represented 
 the country, so to speak. The capital of Nagoya, a great commercial city, 
 did no more to foster the potter's art than did commercial Osaka or Tokyo. 
 Outside the oven established under princely patronage in the castle of 
 Nagoya, this city has hardly produced a potter whose name is worth pre- 
 serving. Gempin, it is true, worked in Nagoya, but he came from abroad. 
 Nagoya being the centre of distribution of the " blue and white " industry 
 of Seto, has availed itself of these avenues to foist on the market discredit- 
 able imitations of Kaga, certain kinds of Kyoto, and other pottery. It has 
 been difficult, and in some cases impossible, to ascertain the history of 
 certain signed pieces by no means uncommon, many of which are of fair 
 age and quality. As an example, the well known mark of Shuntai is seen 
 on a variety of forms, yet I have never met with a Japanese expert, even 
 in Owari, who could tell me whether there was one or several generations 
 of this family; and as to the relations of Shuntan, Shunzan, and many 
 other Shuns, whose various essays bear the mark of strength and origin- 
 ality, the testimony varies as much as the pottery. A variety of opinions 
 may be gathered, from sources apparently trustworthy, in regard to nearly 
 every kind of pottery in the province. Even Toshiro, the "father of 
 pottery " in Japan, to whom a monument has been erected in Seto, comes 
 in for this share of doubt. A recent native authority says that the 
 opinions vary even as to the manner in which Toshiro acquired his know- 
 ledge of the art. (See Toshiro.) These statements are made, not as an 
 excuse for the very imperfect and fragmentary history of Owari potters here 
 presented, but rather to show the disjointed and unreliable material that 
 one must study to gain even a glimmer of light regarding the early Owari 
 potters, their dates, and their relation to one another. Only those who have 
 pored over the vague, confused, and unsystematic methods of native 
 chroniclers will appreciate the difficulties of straightening out the tangled 
 mass of misinformation. 
 
 TOSHIRO (Case 21 and Plate XVII. 2240, 2241, 2242, 2243, 2244, 2252, 2253) 
 
 The " Father of Pottery," Toshiro, as he is known in Japan, erected an oven in 
 the village of Seto in the early part of the thirteenth century. Of this fact there can 
 be no doubt. The accounts vary greatly as to his life and the influences that led him 
 to become a potter. One opinion is that the Shogun ordered Kato (the head of the 
 
i84 THE CATALOGUE 
 
 family to which Toshiro belonged) to make tea-bowls and other forms, and througn 
 these efforts Toshiro acquired the art. Another opinion is that in 12 14 one Eisei 
 returned from China, bringing home the art of pottery-making, which he imparted to 
 Toshiro. Yet another account, and the usually accepted one, is that after Toshiro 
 learned the rudiments of the art, he went to China, and there acquired a full know- 
 ledge of all the secrets of the potter, and upon his return brought back clay and 
 glazing materials, from which the early pieces accredited to him were made. The 
 great historian, Rai Sanyo, says that in the time of the Ashikaga Shogunate, Shiro, of 
 Seto (Toshiro), imitated foreign glaze and methods, and gives a much later date than 
 that usually ascribed to Tdshiro. 
 
 It is perhaps safe to say that Kato Shirozayemon, a young potter of Seto, made a 
 perilous voyage to China in the year 1223 for the sole object of learning the secrets of 
 the potter's art, that he remained in China six years, and on his return brought back 
 with him clay and glazing materials. The records say that even on shipboard he 
 made a few bowls. A monument erected to his memory, in Seto, records that Toshiro 
 as a boy was fond of modeling in clay and making earthen vessels, and always lamented 
 that his skill was inferior to that of foreign potters. On his return from China he 
 traveled extensively in search of proper materials, and after testing clays in various 
 places he finally discovered a clay of the right quality in Seto. The name Toshiro is 
 compounded of the last character of his name Kato, and the first character of Shiro- 
 zayemon. His name is justly honored in Japan, and pieces attributed to his hand are 
 deservedly held in the highest veneration. Only those animated by the true spirit of 
 a collector can appreciate this feeling, as witness in Europe the eager competition 
 for early printed books, rude wood cuts, and primitive essays of early ovens. All the 
 types of Toshiro and his successors, as figured by Ninagawa, are with but one excep- 
 tion in this collection. A water-jar figured by Ninagawa is said to have been made 
 by Toshiro before he went to China. It was baked upside down, the rim being 
 ground after baking to remove the dripping glaze. The specimen certainly bears 
 evidence of great age. The two tea-jars attributed to Toshiro also bear indications 
 of high antiquity. The one with brown spots of glaze on a crackled yellow glaze is 
 unique. The tea-jar, Cat. No. 2242, has been repeatedly imitated in every century. 
 
 2240. Water-jar. H. 6f in. Hard brown clay, underglaze transparent, thin brown over- 
 glaze, flecked with golden -brown areas. Baked upside down. Rim ground. Roughly 
 potted, much worn. Said to have been made by Toshiro before he went to China. 1200 
 
 Type Ninagawa. Part II., Fig. 14. 
 
 2241. Tea-jar. H. 2 J in. Brown clay, brown glaze, richly mottled with dark brown. Fine 
 left-hand thread-mark. 1230 
 
 Type Ninagawa. Part II., Fig. 15. 
 
 2242. Tea-jar. H. i\ in. Fine reddish-brown clay, lustrous reddish-brown glaze. Fine 
 left-hand thread-mark. 1230 
 
 Type Ninagawa. Part II., Fig. 16. 
 
 2243. Tea -jar. H. 2^ in. Dark gray clay, dark brown glaze with yellowish tinges. 
 Roughly made. Fine thread-mark. 1230 
 
 Type Ninagawa. Part II., Fig. 17. 
 
PROVINCE OF OWARI 185 
 
 2244* Tea-jar. H. i|J in. Grayish-brown clay, brown glaze mottled with darker brown. 
 Evidences of looped knobs ground away. Coarse thread-mark. 1230 
 
 Type Ninagawa. Part II., Fig. 18. 
 
 2245-2251. Tea-jars of ist Toshiro. 1230 
 
 2252. Globular tea-jar. H. aj in. Thin walls. Fine brown clay, straw-colored under- 
 glaze with light bluish tinges, coarsely crackled. Irregular splashes of dark brown glaze. 
 Transparent overglaze. Smooth bottom. 1240 
 
 Type Ninagawa. Part II., Fig. 19. ^ 
 
 2253- Globular tea-jar. H. 2\ in. Thin walls. Fine brown clay, lustrous brown glaze 
 strongly mottled with dark seal-brown. Fine left-hand thread-mark. 1240 
 
 Type Ninagawa. Part II., Fig. 20. 
 
 2254* Tea-jar. H. 2\ in. Light fawn clay, straw-colored underglaze, irregular splashes 
 of dark brown glaze. Smooth bottom. 1240 
 
 Gift of Henry J. Bigelow. 
 
 SUCCESSORS OF TOSHIRO (Case 21 and Plate XVII. 2255, 2256, 2257) 
 
 It seems almost hopeless to attempt to divide the unquestionable antiques among 
 the Seto tea-jars and allot them to their respective makers. The types figured by 
 Ninagawa were accompanied by documents probably attesting to their origin. The 
 resemblance of these types to tea-jars which I have seen in the collections of the prince 
 of Kuroda, the governor of Yatsushiro, and others, is a further proof of the correctness 
 of these attributions. If the third generation of Toshiro had made only the kind 
 known as Kinkazan, and the fourth generation had made only the type known as Hafu- 
 gama, the difficulties would be less, but these two potters by no means confined their 
 work to one kind of tea-jar. Furthermore these kinds have been made in every suc- 
 ceeding century. The difficulties with first and second Toshiro are equally great. 
 The custom of the Japanese antiquarian of identifying all tea-jars within two hundred 
 years of Toshiro's time as hon no mono (true thing) Toshiro does not render the task 
 any easier. Such as can be with any reason of probability catalogued under first 
 Toshiro, second Toshiro, third Toshiro, and fourth Toshiro (Tosaburo), will be so 
 catalogued with no assurance that others will not be inclined to modify the sequence. 
 
 SECOND TOSHIRO 
 
 2255. Tea-jar. H. 2 J in. Dark brown clay, brown underglaze with splash of dark brown 
 and light fawn overglaze. Smooth bottom. 1250 
 
 Type Ninagawa. Part II., Fig. 21. 
 
 THIRD TOSHIRO (T5jiro) 
 
 2256. Tea-jar. H. 2f in. Reddish-brown clay, lustrous deep brown glaze mottled with 
 golden-brown. 1300 
 
 Type Ninagawa. Part II., Fig. 23. 
 
 2257. Tea-jar. H. 2J in. Light brown clay, reddish-brown glaze with darker brown 
 areas. 1300 
 
 Type Ninagawa. Part II., Fig. 24. 
 
i86 THE CATALOGUE 
 
 2258. Tea-jar, similar to last. 1300 
 
 FOURTH TOSHIRO (Tosaburo) (Case 21 and Plate XVII. 22.59, 2260, 2265) 
 
 2259' Tea-jar. H. 3J in. Light brown clay, fawn glaze richly mottled. Roughly made. 
 Type Ninagawa. Part II., Fig. 25. 1350 
 
 2260. Tea-jar. H. 3 in. Fine warm gray clay, light reddish-brown glaze with lighter over- 
 glaze. Smooth bottom. 1350 
 
 Type Ninagawa. Part II., Fig. 28. 
 
 This is known as Nochi Junkei. 
 
 2261-2264. Tea-jars, Similar to last. 1480 
 
 2265- Tea-jar. H. 2| in. Light brown clay, dark brown glaze blistered. Coarse double 
 thread-mark. 1480 
 
 Type Ninagawa. Part II., Fig. 26. 
 
 Known as Sobokai. Not to be confounded with later Sobokai. See No. 2728. 
 
 2266. Tea-jar. H. 2| in. Light brown clay, purplish-brown glaze, splash of darker over- 
 glaze. Rough surface. 1480 
 Known as Sobokai. 
 
 2267-2287. Tea-jars, variously identified as ist, 2d, and 3d Toshiro. 1250-1380 
 
 2288. Tea-jar. H. 3J in. Dark brown clay, dark purplish-brown glaze with two rows of 
 irregular splashes of mottled fawn overglaze. 
 This tea-jar is known as Daikakuji. 
 
 2289-2298. Tea-jars. Similar to last. 1380 
 
 HAFUGAMA (Case 21) 
 
 2299. Tea-jar. H. 3J in. Light brown clay, light brown glaze, light fawn overglaze. 
 Roughly made. 1480 
 
 The outline of the glaze below forms a fanciful resemblance to the end of the roof (Hafu) 
 of a Japanese house. 
 
 2300. Tea-jar. Similar to last. 1480 
 
 ASAHI SHUNKEI (Case 21) 
 
 2301. Tea-jar. H. 3I in. Brownish - drab clay, brown glaze mottled with touches of 
 darker glaze on side. 1480 
 
 2302. 2303. Tea- JAR, same as last. 1480 
 
 TOBI-KUSURI (Case 21) 
 
 2304. Tea-jar. H. 2\ in. Gray clay, brown glaze, strongly mottled with splashes of 
 golden-brown overglaze running into dark drops on unglazed surface. Smooth bottom. A 
 peculiar appearance in the glaze is said to be due to gold. 1480 
 
 The name Tobi-kusuri (jumping glaze) refers to the successive splashes of overglaze. 
 Many of the objects are very beautiful. 
 
PROVINCE OF OWARI 187 
 
 2305* Tea-jar. H. 3J in. Light fawn clay, brown glaze with irregular splashes of golden- 
 brown overglaze. 1480 
 This is the typical form, 
 
 2306—2313. Various forms of Tobi-kusuri tea-jars. 231 i has concentric circles cut 
 on bottom, the others have smooth bottoms. 1480 
 
 KINKAZAN (Case 21) 
 
 2314. Tea-jar. H. 3J in. Reddish-brown clay, rich brown glaze with splash of dark 
 brown overglaze running. 153° 
 
 Kinkazan refers to name of oven. 
 
 2315-2318. Tea-jars, similar to above. 1580-1680 
 
 TAMAGAWA (Case 21) 
 
 2319- Tea-jar. H. 3 in. Fawn clay, dark brown glaze with large area of golden-brown 
 glaze. 1580 
 
 SETO (Case 21) 
 
 2320-2376. Tea-jars. 1400-1500 
 
 Among these are many rare shapes and glazes. 
 
 2377-2390. Tea-jars. 1530-1580 
 
 239^' Tea-jar. H. 2,%in. Fine reddish clay, light olive glaze on one side. Inside, olive- 
 brown glaze, deep vertical incised marks on body. Band of knobs about neck. 1580 
 This tea-jar is known as Majuko. 
 
 2392. Tea-jar, tall and slender. H. 4 in. Brownish-fawn clay, seal-brown glaze beauti- 
 fully mottled. Bottom concave and smooth. Rare form. 1580 
 
 2393-2492. Tea-jars. 1580-1800 
 
 2493— 2505. These numbers include a form of tea-jar, tall, irregularly cylindrical in shape, 
 sides usually sliced or cut. Rude designs in brown with dashes of white glaze occurring on 
 some and many with incised lines on bottom. These are usually known as Seto Oribe. 
 
 1580-1850 
 CHINESE BOWLS (Case 21) 
 
 The three following bowls, exhibited with the early Seto, were made during the 
 Sung dynasty at a place called Kien-gan in China. Captain F. Brinkley, in a cata- 
 logue of pottery exhibited by him at the Boston Museum of Fine Arts in 1886, says 
 that the work flourished until the close of the Yuen dynasty of the Mongols (1270- 
 1367). The bowl catalogued 2505^ dates from 1250 to 1300, and is known as Kien-yo. 
 The bowls 2505^ and 2505^ are known as Temmoku, andareprobably of thesame period. 
 These Chinese bowls are introduced in this place to illustrate types of pottery which 
 served as models for Toshiro and the early Seto potters, and which they despairingly 
 sought to imitate. It is needless to say that the peculiar technique displayed in glaze 
 and decoration has never been approached by the Japanese potter. Indeed the Chinese 
 potters have never been able to imitate these old pieces, and objects of this nature are 
 of great rarity. 
 
i88 THE CATALOGUE 
 
 2505^. Bowl, small base, flaring sides. D. 5I in. Very light and thin. Fine grayish- 
 fawn clay, deepest rich brown glaze. Outside, round, comma-shaped, and irregular spots of 
 fawn glaze. Inside, closely sprinkled with fawn glaze with spray of plum blossoms and 
 mythological bird in deep brown made with stencil. 1 250-1300 
 
 Gift of W. S. Bigelow. 
 
 2505^. Bowl, with brass rim. D. 4I in. Thick and heavy. Deep brown clay, rough sur- 
 face, thick light brown glaze with fine, long running streaks of blackish-blue inside and out, 
 on outside accumulating in thick drops at edge of glaze below, and inside forming a uniform 
 thick mass of nearly black glaze on bottom. 
 Gift of W. S. Bigelow. 
 
 2505*^. Bowl, small base, flaring sides. D. 8^^ in. Thick and heavy. Deep brown clay, 
 thick bluish-black glaze flecked with light blue streaks merging into brown on rim. 
 Gift of Denman W. Ross. 
 
 SETO (continued) 
 
 2506. Tea-bowl, with metallic rim. D. 4I in. Brown clay, strongly mottled brown under- 
 glaze. Middle glaze lighter brown strongly mottled with very dark brown. Around rim 
 inside and out thick grayish-yellow overglaze running. 1380 
 
 2507*. Incense-burner. D. 2\ in. 1380 
 
 2508 . Jar. H. II in. Four looped handles. Light brown clay, rich light brown glaze 
 with large splashes of thick dark brown overglaze flecked with fawn. This is known as Ko 
 Seto. 1400 
 
 2509. Tea-bowl, irregular in shape. D. 5^ in. Light drab clay, thick light fawn glaze inter- 
 mixed with golden-brown, flecked with blue, strongly iridescent. 1400 
 
 2510. Double gourd-shaped bottle. H. 9 in. Dull brown clay, rich mottled brown 
 underglaze, thick deep fawn overglaze running nearly to base, slightly iridescent. 1480 
 
 Gift of Miss Lucy Ellis. 
 
 2511. Shallow tea-bowl. D. 6| in. Reddish-brown clay, rich brown glaze, strongly 
 marked with irregular splashes of dark brown and golden-brown glaze inside and out. 1480 
 
 An exceedingly rare object. 
 
 2512. Cup, six-sided. D. 2f in. Clay and glaze similar to last. 1480 
 
 2513- Shallow bowl, with deep constriction midway showing two curves in profile. 
 D. 7J in. Warm gray clay. Inside, green glaze flecked with greenish-blue, circular inter- 
 space inside unglazed. Rare form copied from Korean model. (See Catalogue, No. 70.) 1500 
 
 2514- Bottle. H. 7I in. 1580 
 2515* Beaker. D. 5 in. Very thick and heavy. Light gray clay, thick richest dark 
 brown glaze. Outside, strong oblique and vertical lines in series, deeply incised, leaving 
 interspaces of flowers. 1580 
 
 2516. Bottle. H. 6J in. Thick and heavy. Two looped handles. Brown clay and 
 glaze, with large areas of dark brown overglaze, flecked with golden-yellow, strongly irides- 
 cent. 1580 
 
 2517. Deep bowl. H. sJ in, 1580 
 
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 PROVINCE OF OWARI 
 

PROVINCE OF OWARI 189 
 
 2518. Tea-bowl, supported on three rude legs. D. 4 in. Drab clay, thick yellowish-gray 
 glaze, pitted and coarsely crackled. Made of Narumi clay. 1580 
 
 Rare form. 
 
 2519. Cake-dish. D. 8J in. 1580 
 
 2520. Shallow bowl. D. 4 in. Fine brown clay, rich finely mottled brown glaze. 1580 
 Also identified as Kinkazan, an early Seto oven. 
 
 2521. Ink-stone. D. 6| in. Hard gray clay with brown surface, olive-brown glaze with 
 darker areas. 1580 
 
 2522. 2523. Water-jars. 1630 
 
 2524. Cup. 1630 
 
 2525. Bowl. D. 4J in. White clay, thick dead white glaze. Decoration of flowers, scrolls, 
 and fret in light blue. 1650 
 
 2526. Bowl, six-sided. D. 6^ in. Moulded. Thick and heavy. On outside three butter- 
 flies in high relief. Light fawn clay, dark glistening yellow glaze. 1680 
 
 2527. Bowl. D. 4 in. Hard light reddish-brown clay, olive-gray glaze, large area of 
 white overglaze, upon which is decoration of leaves in brown and dull blue. 1680 
 
 2528. Flaring bowl. D. si in. Gray clay, firm light gray glaze, rough decoration of tree 
 in dark gray. Delicate basal ring. 1680 
 
 Rare object. 
 
 2529-2547- Jars, bowls, etc. 1680-1780 
 
 2548. Water-jar. H. si in. Thick and heavy looped handle on cover. Light gray clay, 
 greenish-gray celadon glaze. Dragon roughly carved on surface. Strongly turned. 1780 
 
 This has also been identified as Izumo. 
 
 2549. Round incense-box. D. 2{ in. Dragon fly modeled in relief on cover. Light 
 brown clay, brown glaze mottled with dark brown and fawn overglaze. Wings of insects 
 unglazed. The box containing this object had written upon it, "Copy by Chojiro of the 
 Kogo made by noted maker Togoro, of Seto, the original belonged to Prince of Owari." 
 
 1780 
 
 2550-2579. Bowls, plates, jars, bottles, flower-vases, figures, etc. 1 780-1870 
 
 2580-2608. The following pieces of Seto, consisting of incense - boxes, cake-plates, 
 covered bowls, beakers, bottles, etc., are signed with the impressed, written, or incised 
 marks of Shigenori (2580), Uma (2581), Sei (2S82), Rikishin (2S83), ? (258s*), Ko (2586*), 
 
 ^ 
 
 >• 
 
 If ,j| 
 
 2580 »s8a 2383 «S8S 2586 
 
»9» 
 
 THE CATALOGUE 
 
 Kano (2587), Kinoye-ne (2588), Densho (2589), Shin itsu sei (2590), Shunsendo (2591), 
 Sakusuke sei (2592), Hanji (2593), Kiyohiro (2594), Magoku (2596), Kuyemon (2597), 
 
 ^ 
 
 2591 2592 2593 2594 
 
 2596 
 
 Shunyetsu (2598), Bunshi (2599), Toyotsune (2600), Hachi-ju-ichi-o and Bakesuke (2601*), 
 Makusa ? (2602), Shunka (2603), .S/4«« //j-m (2604), Akebono (2605), Shimon (2606), 
 
 + 
 
 2598 2599 2600 
 
 2601 
 
 afet 
 
 2605 
 
 2606 
 
 2607 
 
 2608 
 
 Bunro (2607), and Yamaguchi (2608). Some of these are not on exhibition, and the marks 
 of 2581, 2590, 2597, 2602, and 2603, are not figured. They are simply identified as Seto. 
 No information is at hand as to the potters or their place of baking. A few have Shino 
 glaze, others are typical Seto. 1 780-1880 
 
 SETOSUKE (Case 24) 
 
 A rough-looking bowl with thick rim, having Seto clay and glaze, bears the im- 
 pressed mark Setosuke. The mark is quite different from the Setosuke of Echizen, 
 and the pottery widely different. It is possible that the piece represents the work of 
 Setosuke in Seto, where he worked before he went to Echizen. It is placed here 
 provisionally. 
 
 2609. Bowl. D. 6J in. Thick and heavy, roughly turned. Hard dark brown j** 
 clay, brown glaze, with olive-brown overglaze running in dark brown streams. vy 
 
 Setosuke (imp.). 1650 ^« 
 
 2609 
 SHINO (Case 22 and Plate XVIII. 261 1, 2618, 2624) 
 
 Pottery commonly known as Shino is a rough hard pottery with coarse white 
 crackled glaze, and, if decorated, showing hasty brush-marks in black. The work is 
 
W U N » •/ ■ • >" / 
 
 usually seen in the shape of bowls, plates, and incense-boxes, rarely water-jars, tea-jars, 
 or bottles. The earliest forms look archaic, and some of them are attractive from their 
 quaint and distinctive qualities. Records state that the earliest pieces recognized under 
 the name of Shino date back to 1700 or before, and are due to Shino Saburo or Shino 
 Oribe (pseudonym Shino So-on), a tea-lover who made them by order of his prince. 
 The type of pottery must have been made long before this date, as the gray, white- 
 inlaid Shino is accorded an age of three hundred and fifty years. The older pieces are 
 very thick and heavy. The name Shino Oribe is usually applied to objects departing 
 somewhat from the black decorated ones in being less rough and heavy and in having 
 brown decoration with splashes of green glaze. Red Oribe is still more refined, and 
 has a dull or rich orange-red glaze with slight decoration. Black Oribe is also known 
 on account of its black glaze with white decoration. The names, Seto Oribe, Akatsu 
 Oribe, Narumi Oribe, etc., are applied to forms supposed to be made after Oribe's taste 
 in these respective places. The productions within the last hundred years have hope- 
 lessly confounded all these distinctions. Shino, as known by the Japanese to-day, is a 
 typical form, the minor distinctions are not of sufficient interest to separate, and all 
 pieces may be roughly classed as Shino. 
 
 2610. Deep cup, square, corners grooved. H. 3! in. Hard stone clay, coarsely crackled. 
 Leaves and grasses in white Mishima. 1530 
 
 2611. Square tray. W. 9 in. Flaring sides. Thick and solid. Hard stone clay, thick 
 dark gray glaze, coarsely crackled. Leaves and border in white Mishima. 1530 
 
 The two preceding objects are exceedingly rare. They have been identified as Shino 
 Sotan. 
 
 2612. Similar to last. 1630 
 
 2613. Tea-bowl. D. 5J in. Light brown clay. Oblique parallel lines at various angles 
 strongly incised in white Mishima inside and out. • 1650 
 
 2614— 2616. Tea-jars and shallow bowl. 1580-1600 
 
 2617. Cake-dish. D. 6f in. White clay and glaze. Inside, rude decoration of flowers, 
 bands and birds in dark brown. 1600 
 
 2618. Bowl, beaker form. D. 5J in. Fawn clay, white glaze. Vertical brush-marks, 
 inside and out, of yellow, bluish-green, and brown. • 1600 
 
 Type Ninagawa. Part V., Fig. 27. 
 
 2619. Tea-bowl, 1630 
 
 2620. Single flower - holder, double gourd-shaped, irregular in form. H. 3I in. 
 White clay, white Shino glaze, zigzag lines, encircling bands, and circles in brown. 1630 
 
 2621. Tea-bowl. D. 5^ in. Thick and massive. Light fawn clay, thick white Shino 
 glaze, coarsely pitted and crackled. 1630 
 
 2622. Tea-bowl. D. 4J in. Whitish-fawn clay, white Shino glaze, vertical 
 brush-mark and diaper in bluish-gray. Hiaku (inc.). 1650 
 
 2623. Comfit-bottle. 1650 2622 
 
 ^ 
 
I9« THE CATALOGUE 
 
 2624. Tea-bowl. 1680 
 
 2625. Incense-box (duck). L. 3 in. Gray clay and glaze, beak and wing touched with 
 brown. 1680 
 
 A beautiful example of modeling. 
 
 2626. Square cake-tray, opposite corners squarely indented. W. 8^ in. Light brown 
 clay, warm gray glaze. Rough decoration inside and out, in green, red, black, blue, and 
 yellow- 1680 
 2627-2630. Cake-dish, incense-box, bowl with perforated shelf on rim inside, and tea- 
 bowl. 1680 
 
 2631' Fire- vessel. H. 8 in. D. 8| in. Square body, corners chamfered, circular 
 opening. Brown clay, lustrous buif glaze with splashes of olive-green and bluish-white over- 
 glaze running. 1680 
 A remarkable specimen. 
 
 2632. Comfit-bottle. H. 3J in. 1700 
 Gift of Miss Lucy Ellis. 
 
 2633. Cylindrical flower-vase. H. 9J in. Light brown clay, light fawn glaze, thick 
 bluish-green overglaze. 1700 
 
 2634-2648. Bottles, cake-dishes, incense-boxes, water-jars, plates, etc. 1 700-1 780 
 
 2649. Incense-box, round and pyramidal. D. ij in. Light fawn clay, white glaze, broad 
 spiral band in dark brown running from top to bottom. Ichi hiaku (inc.). 1780 
 
 2650. Covered jar. (On top of Case 22.) H. 14I in. Looped handle on cover. (^ 
 Light fawn clay and glaze. Scrolls and flowers in light brown, shaded. 1780 I© 
 
 Gift of W. S. Bigelow. 2649 
 
 2651-2654. Square trays, fire-bowl, and bottle. 1700-1830 
 
 RED SHINO, known as RED ORIBE (Case 22 and Plate XVIIL 2656) 
 
 2655' Tea-bowl. D. 5} in. Fawn clay, buff glaze. Decoration of wheels, insects, etc., 
 inside and out, in liglit yellow outlined in brown. Basal ring, inside and out, glazed light 
 yellow. 1650 
 
 An exceedingly rare form. 
 
 2656' Tea-bowl. D. 4J in. Light drab clay, thick dark buff underglaze, pitted, very 
 thick greenish-blue overglaze about rim. 1680 
 
 A unique specimen. 
 
 2657- Tea-jar. H. 2\ in. Fawn clay, thick reddish-buff underglaze. Thick dark green 
 mottled overglaze running from neck and partially covering decoration of checks and scrolls 
 in white, thickly outlined in brown. 1680 
 
 2658. Bowl. D. 3^ in. Brown clay, deep orange glaze, glistening, coarsely pitted. 1700 
 A unique example. 
 
 2659. Oval dish, scalloped edge. D. 4J in. Dark fawn clay, dull buff glaze. Inside, 
 radiating bands in white. Cloth-mark impression. 173° 
 
PROVINCE OF OWARI 193 
 
 2660. Incense-box, lozenge-shaped, sides indented. L. 2| in. Gray-drab clay and glaze, 
 thick splash of olive-green glaze on cover. Decoration of lines in white outlined in 
 brown. i7S° 
 
 2661. Tea-bowl. D. 45 in. Light brown clay. One half bowl vertically, glazed deep 
 orange ; other half, white Shino glaze. On white surface, three large circles in deep brown 
 interrupting vertical lines in brown. Deeply pitted. 1800 
 
 A remarkable specimen, 
 
 BLACK SHINO, known as BLACK ORIBE (Case 22) 
 
 2662. Tea-bowl, irregular. D. 4^ in. Hard light gray clay, glistening black glaze, with 
 square and triangular space in white glaze. 1700 
 
 2663. Low TEA-BOWL. D. s in. Roughly turned. Thick walls. Coarse 
 light gray clay, black glaze with large area of white glaze. On white sur- 
 face, circles, flowers, etc., in black glaze ; on black surface, square figure, 
 sprouts, etc., in thick white glaze. Kakihan (inc.). 1580 
 
 This may possibly be the work of Rokubei, of Seto. 
 
 AKATSU ORIBE (Case 22) 
 
 2664. Flower-vase. H. 7J in. Very coarse, and roughly potted. Brownish clay, coarse 
 white glaze, splash of thin green glaze with cardinal-reddish stains. Rough decoration of 
 radiating figure in dark brown. 1580 
 
 2665- Bowl. D. 3} in. Vertical sides. Scalloped rim. Basket lines incised. Drab 
 clay, thick olive-green glaze. On bottom, inside, white glaze with chrysanthemum outlined 
 in brown. 1600 
 
 2666. Flat tray, with opposite sides turned up. L. 8 in. W. 7J in. Gray-drab clay, 
 dull light yellowish glaze, splashes of thin green glaze on edge. Chrysanthe- 
 mums incised. Circular mark with line through centre incised. 1600 
 
 The mark may be that of Tomokichi. 
 
 2667. Deep bowl, eight-sided. D. j,\ in. 1600 2666 
 
 2668. Tea-bowl. D. 6| in. Flaring sides. Light drab clay, large areas of green glaze, 
 large surface outside unglazed. Inside, light fawn glaze with splashes of green glaze. 
 Decoration of circles, etc., in reddish-brown inside. 1630 
 
 On box containing this bowl was written, " Oribe bowl, written by Shimidsu Chogen." 
 This bowl was obtained at Kenninji Temple by Ninagawa. 
 
 2669. Tea-bowl, irregular. D. 4I in. Thick and heavy. Drab clay, thick nearly white 
 glaze, mottled green overglaze. About rim curved brush-marks in olive-brown. 1650 
 
 2670. Fan-shaped trav. L. 8| in. 1650 
 
 2071. Low cup-rest. D. 6J in. Drab clay, thick light fawn glaze, rim successively dipped 
 in rich brown, light green, and bluish-gray glaze. Decoration of flowers, etc., in thick green, 
 brown, and red. 1680 
 
 8 
 
194 
 
 THE CATALOGUE 
 
 2672-2678. Various FORMS. 2676, cake-dish; D.6i in. ; /Tawaf^/yJ/ (written). 1680-1780 
 
 2679- Tea-bowl. D. 5 in. Sides compressed. Gray- 
 drab clay, light brown glaze strongly mottled. Flower, 
 swastika, and character in white glaze. Curved mark 
 incised. 1780 
 
 2680. Haisen, in form of conventional lotus petal. 
 L. lo in. Light gray clay, brilliant white glaze tinged 
 with gray, splash of brilliant olive-green overglaze run- 
 ning into light blue. Decoration of net and scrolls in 
 olive-brown. 1780 
 
 2681-2695. Various pieces. 1780-1850 
 
 No. 2688 is a beaker, and bears the mark, Kikunojo tsukuru (inc.). 2688 
 
 2676 
 
 BLACK SETO (Case 22) 
 
 2696. Tea-bowl, irregular. D. 4J in. Thick rim. Grapsh-drab clay, thick black glaze 
 divided inside and out by broad area of thin white glaze. White area having cross-lines, 
 etc., in black. 1680 
 
 2697- Tea-bowl. D. 4^^ in. Thick and heavy. Thick deep brown glaze strongly pitted. 
 Formal chrysanthemums in white glaze. 1680 
 
 2698. Bottle. H. (>\ in. Thick and solid. Light brown clay, brown underglaze, darkish 
 brown nearly black overglaze. Round interspaces with white glaze, outlined in brown, 
 representing chrysanthemums. 1780 
 
 2699- Double gourd-shaped bottle. H. 8| in. Gray-drab clay, glistening deepest 
 brown glaze, minutely pitted. Gourd vine in white glaze, outlined in black. 1780 
 
 2700. Beaker. D. 4J in. Gray-drab clay, thin brown underglaze, nearly black overglaze. 
 Chrysanthemums in white glaze outlined in brown. 1780 
 
 2701. Lantern-plate. 1820 
 
 2702. Cylindrical flower-vase. 1830 
 
 NARUMI (Case 22) 
 
 Pottery recognized as Narumi was baked in the village of that name early in the 
 seventeenth century. The bowls and tea-jars are unmistakable, and for these only 
 the name Narumi is retained. The clay is softer than ordinary Seto, the glaze soft 
 bluish-black in color, sometimes with areas of light brown, and lacks lustre. Taihei, 
 of Kyoto, made a form of tea-jar similar to Narumi. (See No. 4020.) 
 
 2703. Tea-bowl. D. sJ in. Gray-drab clay, bluish-black glaze with areas of light 
 brown. 1580 
 
 Exceedingly rare. 
 
 2704. Tea-jar. H. 3J in. Two rudely modeled monkeys on shoulder. Dark brown clay 
 and glaze, dark fawn overglaze on one side. 1580 
 
 2705. 2706. Tea-jars. 1600 
 
CASE 22 
 
 2633 
 
 zfcS/ 
 
 Zl,1S 
 
 Z6&6 
 
 Zb'/Z Z631 
 
 2.6 8Z 
 
 Zb'iO Zbb'l 
 
 2667 
 
 ^M%i|WMiWi 
 
 IbST" 
 
 tbT» 
 
 2627 
 
 2GI7 
 
 Zbll 
 
 XbIZ 
 
 abiy Z632iW» Zbl9 2bZ6 26/9 262^ ZGIS 2622 
 
 ^^ .=IMi ,4^^ ML8 ^S.\"^-7^^ f^^ ^^ 
 
 
 5U1 
 
 26b6 
 
 26T7 2662 2faTS 269S" 
 
 ^^^ 267 6 
 
 Z62I '■6l<> 2-bi'i IbiO 
 
 Z6a8 
 
 2b%3 
 
 ZbS2 2681 1671 i<>S3 2b87 
 
 lb78 
 
 270V I70f noT 1704- 
 
 ' 2703 
 
 PROVINCE OF OWARI 
 
PROVINCE OF OWARI 195 
 
 2707. Tea-jar. H. 2| in. Dark gray clay, light brown underglaze, areas of bluish-black 
 overglaze. 1600 
 
 2708-271I. Tea-jars. 1600-1680 
 
 OFUKE (Case 23) 
 
 A pottery marked by rich running glazes of brown, yellow, and sometimes blue on 
 a dark Seto-brown glaze, is accredited to an oven built within the castle grounds of 
 Nagoya. Other pieces, varying from the above, are also recognized as Ofuke. These 
 were made in 1830-40 by Shuntai, and bear the marks Fuke, Fuke yaki, Fuke sei, 
 and Hachi. 
 
 2712. Bottle. H. 8J in. Hard grayish-drab clay, richly mottled brown glaze, deepest 
 brown glaze on neck and shoulder. Rare form. 1630 
 
 2713' Tea-bowl, flaring. D. 4I in. Light fawn clay, one half vertically, greenish-white 
 glaze ; remaining half, light brown glaze. 1680 
 
 2714- Water-jar. H. 5^ in. Grayish-drab clay, brown underglaze, rich dark brown, 
 light blue, and fawn overglaze, running. 1780 
 
 2715" Haisen, in form of ancient bronze incense-burner. Longest diameter, i\ in. Finest 
 fawn clay, rich fawn glaze brilliantly crackled. Around body seal characters in high relief ; 
 fret about rim tinged blue. Brown underglaze showing through in parts. 1780 
 
 2716. Tea-bowl. 1780 
 
 2717- Flower-vase. 1780 
 
 27l8> Incense-stick burner. Extreme diameter, 3-^5 in. Oblong oval above, tapering 
 towards base, three small legs. Light fawn clay, rich light fawn glaze, coarsely crackled. 
 Inside, variegated glazes resembling opal. 1800 
 
 2719- Thick bowl, rim in five deep scallops. D. 7I in. Light brown clay and glaze, 
 with areas of nearly black glaze, thick bluish-white overglaze running from rim inside and 
 out with bluish-green areas, richly mottled. 1830 
 
 2720. Bowl, similar to last. 
 
 2721. Wide-bottomed wine-bottle. 1850 
 
 2722. Flower-vase, oviform. H. 6J in. Gray-drab clay, light fawn glaze, rich light 
 brown overglaze running into deepest brown and greenish-brown. Bizan (imp.). 1800 
 
 This is a typical piece of Ofuke. There is no infor- 
 mation available in regard to the maker. 
 
 2723. Incense-box (ceremonial hat). L. 2jin. Light 
 
 fawn clay, clouded fawn glaze without lustre. Tassels 
 
 and cord in brown. Fuke (imp.). 1830 
 
 2722 2723 2724 
 
 2724. Tea-bowl. D. 5 m. Light gray clay, thick 
 
 greenish-white glaze, prawn incised and colored greenish-brown. Strong cloth-mark impres- 
 sion below. Fuke yaki (imp.). 1830 
 
 2725. Bowl, sides compressed. D. 4J in. Grayish-fawn clay and glaze. Lines, scrolls, 
 etc., in white Mishima. Fuke kore wo tsukuru (imp.). 1830 
 
196 
 
 THE CATALOGUE 
 
 2726. Food-bowl. D. 5 in. Light gray clay, white glaze. 
 Shochi and Fuke set (imp.). 
 
 2727. Tea-bowl. D. 3I in. Light gray clay, clear white glaze 
 with splash of light blue mottled glaze. Hachi (imp.). 1830 
 
 All the above marks are very rare. 
 
 Under decoration in light blue. 
 1830 
 
 Q i 
 
 SOBOKAI (Case 23) 
 
 Pottery signed Sobokai was first baked on the 
 castle grounds of Nagoya. The first work, con- 
 sisting of tea-jars and the like, was made by a ^^^'' ^7^6 
 potter from Seto in 1630. (The tea-jar catalogued under 2265 was made in Seto from 
 Sobokai clay, and does not belong to this oven.) In 1780 or thereabouts a large 
 stamp with the characters Sobokai, roughly cut in a depressed square, was used. A 
 smaller mark in oval came into use in 1800. A little later a still smaller mark, 
 similar to the last, was used for incense-boxes and the like, though it was occasionally 
 found on large pieces. The incised mark is extremely rare, and where evidence of 
 age is shovra may indicate the first signed Sobokai. The pieces of Sobokai are all 
 designed for the tea-ceremony, are in refined taste, and follow Seto style, except 
 the incense-boxes, which copy NinseL Within recent years fraudulent essays have 
 appeared in the form of large tea-jars, which seem raw and crude when compared with 
 the genuine work, and these are signed with the old marks, or counterfeits of them. 
 
 H. 6| in. Light gray-drab clay, rich chestnut-brown glaze, clouded. 1650 
 
 glaze. 
 
 2731. 
 
 2732. 
 
 2728. Jar. 
 Sobokai (inc.). 
 
 2729. Flower-vask H. 10 in. Round body in middle, square above 
 and below, slightly flaring. Light gray clay, thin light green underglaze, 
 thick light bluish overglaze running. Flowers and scrolls in high relief, 
 moulded and applied. Sobokai (^xa^^. 1780 
 
 2730. Incense-box (bird). L. if in. Gray-drab clay, thick light gray 
 Feathers and eyes in grayish - black. Sobokai (small mark, imp.). 
 
 Tea-jar. Same mark. 
 
 Water-jar. H. 5^ in. Gray-drab clay, brown underglaze, dark brown overglaze 
 running, mottled with fawn. Same mark. 1800 
 
 2733. Tea-bowl. D. 3I in. Gray-drab clay, dull thick black glaze with interspaces of 
 dull light gray glaze. Formal blossoms in white and black. Same mark. 1800 
 
 2734. Shallow tea-bowl. D. 5 in. Thick and irregular. Same mark. 1800 
 
 2735. Tea-jar, two loops. H. 2^ in. Light gray-drab clay, light fawn glaze 
 with deepest brown overglaze. Vertical and cross-lines in bands incised 
 on upper part. Sobokai (inc.) across bottom and side. 1800 
 
 2736. Jar, four looped handles on shoulder. H. 6^ in. Light clay, 
 dull brown underglaze, rich lustrous brown overglaze, 
 deepest brown. Sobokai, large mark (imp.). 
 
 A superb example. 
 2737*. Tea-jar. H.4|in. Light gray-drab clay, deep seal-brown glaze. Sobokai i^ra.^:). 1840 
 
 mottled with 
 1800 
 
 Tit 
 
 2735 
 
PROVINCE OF OWARI 
 
 »9r 
 
 THE FAMILY OF KATO 
 
 It has been found impossible to clear up the relations of the various 
 potters who use the character Shun in their names, such as Shunzan, 
 Shuntan, Shun-u, Shuntai, Shunrin, and others. It is believed that they 
 are all related ; many of them were contemporaries, judging by the appear- 
 ance of their work. The family claims to come in a direct line from 
 Toshiro. It is said that Shunzan represents the ninth generation from 
 Kato Nihei. This potter is said to have erected an oven in Akatsu in 
 1 6 14, and claimed to be the twentieth generation from Toshiro. These 
 figures are absurd, unless they all married at puberty and had children 
 early, which is altogether improbable. 
 
 SHUNZAN (Case 23 and Plate XVIII. 2741) 
 
 Kato Shunzan was one of the most skilful potters of Seto. He adhered strictly to 
 the tastes of the chajin. His work was marked by vigor and originality. His pieces 
 are signed with a strongly impressed mark of Shunzan, and are very rare. 
 
 2738. Jar. H. '^\ in. Nearly white clay, white glaze brilliantly crackled. Clouds of 
 light blue and brown running. Shunzan (imp.). 1770 
 
 2739- Plate, leaf-shaped. D. 6J in. Hard light fawn clay, light brown glaze with splashes 
 of olive-green overglaze running into white and light blue. Shunzan (imp.). 1770 
 
 VJ&fi. Cup-rest. H. 3 in. Thick and heavy. Light brown clay, glistening light fawn 
 glaze with splashes of rich greenish-blue overglaze. Simple decoration 
 in deepest brown. Rough surface. Shunzan (imp.). '77° 
 
 2741 • Incense-stick-burner. D. 3 J in. Heavy and thick. Coarse 
 brown clay, warm gray glaze with splashes of thick olive-brown over- 
 glaze. Cross-lines in light brown. Shunzan (imp.). 1770 274° 
 
 2741 
 
 2742. Shallow bowl. D. 4f in. Fawn clay, nearly white glaze with splashes of light 
 grayish-blue and white overglaze. Shunzan (imp.). 1770 
 
 SHUN-U (Case 23 and Plate XVIII. 2744) 
 
 A potter of Seto named Kato Buyemon made pottery in 1788 and after. 
 He ranked among the first six potters of Seto. 
 
 2743- Cup-rest (?), with fluted and crenulated edges. D. 4J in. Nearly white clay, 
 glaze mottled with seal-brown, scrolls in white nearly concealed. Inside, grayish- 
 blue glaze clouded. Shun-u (imp.). 1790 
 
 2744- Hand-warmer, form of bull. L. 9J in. Massive and heavy. Light 
 gray clay, deepest brown glaze, with golden -brown areas, splashes of white 
 and light bluish glaze running. Details in strongly incised lines. 
 Shun-u (imp.). 1790 
 
 2743 
 
198 
 
 THE CATALOGUE 
 
 2745. Flower-vase. H. 7} in. Light drab clay, thick dull ochre glaze with light brown 
 areas showing through. Shun-u and Kmshin (imp.). 1790 
 
 This piece bears the strongest resemblance to Shidoro. 
 
 ^^ 
 
 2745 
 
 SHUNTAN (Case 23) SSi 
 
 This potter was the first son of Shun-u. His common 
 name was Kiheiji. He was active up to the early years of 
 this century, and his pottery shows the evidences of a skilful artist. 
 
 2746. Cake-dish, irregular in shape. D. 7 in. Thick bail. Coarse gray-drab clay, 
 rich dark brown glaze covering two thirds ; remaining portion grayish-white glaze. 
 Decoration of leaves in brown. Shuntan (imp.). 1780 
 
 2747. Haisen. D. 8 in. Scalloped edge, mythological lion moulded on rim. 
 Fine hard fawn clay, thick bright yellow Seto glaze with bluish-white areas. 
 Shuntan (imp.). 17^0 
 
 2748. Flower-vase, square. H. 9I in. Sides deeply fluted. Elephant handles, 
 drab clay, white Shino glaze, thick light blue overglaze running from upper portion 
 and following fluting in thick drops. Shuntan (imp.). 1780 
 
 A unique example. 
 
 2749. Cup-rest. H. 2J in. Drab clay, white Shino glaze coarsely crackled, 
 broad vertical bands of light blue glaze, alternating with narrow lines of brown. 
 Shuntan (imp.). i7^o 
 
 2750. Flower-vase. H. 10 in. Round body constricted in middle; square above and 
 flaring. Gray-drab clay, thin light yellowish glaze, rich olive-green and light 
 blue overglaze, running from upper portion. Shuntan (imp.). 1780 
 
 2751. Brush-rest, in form of five Chinese boys sitting. L. 5 in. Brown clay, 
 olive-brown glaze. Shuntan (imp.), 1780 
 
 SHUNKOZAN (Case 23) ^''5' 
 
 It is said that Koheita Ito, of Nagoya, in 1600, went to Seto and employed a 
 potter to make tea-utensils, upon which were impressed the mark Shunkozan. The 
 single specimen in the collection, and the few others I have seen, do not bear the 
 evidences of the age indicated by the above statement. 
 
 2752. Jar. H. sI in. Light gray-drab clay, light bluish-green glaze, 
 splashes of white glaze on base. Shunkozan (imp.). 1750 
 
 2753- Cake - dish. L. 6| in. Drab clay, white Shino glaze, splash 
 of rich green glaze inside and out. Lines, brush-marks, etc., in brown. 
 ^/iaw^J (imp.). 1750 
 
 This is placed with Shunkozan provisionally. 
 
 SHUNTAI (Case 23) 
 
 Kato Shuntai, a son of Shunzan, the potter, was born in 1799, and at an early age 
 became interested in the potter's art. He worked for a number of years in the village 
 
PROVINCE OF OWARI 
 
 199 
 
 of Akatsu, and made tea-utensils of a sober character. His work shows some versa- 
 tility, yet he did not aspire to do more than to follow the path of Owari potters of 
 that time. His signature may be found on pottery resembling typical Ki Seto, 
 Akatsu, typical Seto, and Shino Oribe. It is said that the third generation was at 
 work in 1880. I have not been able to separate the generations, and therefore their 
 work is grouped together under the general name of Shuntai. Between 1830 and 
 1840 Shuntai was called to take charge of the Ofuke oven in Nagoya. His essays at 
 this oven were of the same nature as his other work. 
 
 ''754' Oval plate. L. i\ in. Light clay and nearly white Shino glaze. 
 Under-decoration of bamboo, lines, etc., in brown. Shuntai (imp.). 1820 
 This is believed to be the earliest mark of Shuntai. 
 
 2755' Tea- BOWL. D. 5/^ in. Brown clay, gray glaze, Mishima decoration 
 in white. Korean imitation. Shuntai (imp.). 1825 
 
 2756-2761. Various forms of Shuntai, with mark Shuntai impressed. 1820-1840 
 
 2762. Haisen. D. St% in. Gray-fawn 
 clay, outside unglazed. Inside, glassy 
 light fawn glaze, strongly crackled. 
 Around rim, inside, scrolls, etc., im- 
 pressed, colored blue and olive-green. 
 Shuntai (imp.). 1840 
 
 2763-2765. Various forms of Shuntai, 
 
 2757 
 
 2758 
 
 The following numbers bear the marks of various Shuns, of which no information 
 has been gathered. Two of these bear the impressed mark Shunki, and are specially 
 noteworthy as showing the work of a skilful and artistic potter. The mark Shunrin 
 (2769) appears on a piece of considerable merit. Pieces bearing this mark are rare. 
 
 SHUNSHO (Case 23) 
 
 2766. Large bowl. D. 6J in. Sides compressed. Hard gray-drab clay, dull light pur- 
 plish glaze running into light gray below, coarsely crackled. Inside, 
 female face outlined in olive-green and brown ; light blue eye ; brown hair 
 made by dark purple overglaze. Shunsho (imp.). Sho (written). 1850 
 
 SHUNKI (Case 23 and Plate XVIIL 2768) 
 
 2767. Cup-rest, in form of teak-wood stand. D. 2g in. Sides perfo- 
 rated. White clay, white underglaze, dull grayish-blue middle glaze, rich bright blue over- 
 glaze running. Shunki (imp.). 1820 
 
 2768. Squat bottle. D. 3I in. Light gray clay, light gray glaze coarsely crackled, 
 transparent light blue, nearly white, overglaze with splashes of brown. Shunki (imp.). 1820 
 
200 
 
 THE CATALOGUE 
 
 SHUNRIN (Case 23) 
 
 2769. Flower-vase. H. 13^ in. Crab moulded in high relief on side. Hard body, brown 
 glaze, upper portion rich fawn overglaze streaked with blue running. 
 Strongly turned. Shunrin (imp.) Very rare mark. 1830 
 
 SHUNKEI (Case 23) 
 
 277®' Large bowl. D. 6} in. Fawn clay, greenish-white glaze settling 2769 
 in glassy green drops below. Around rim, outside, stars impressed 
 colored blue and brown. On bottom, inside, splash of thick dark blue glaze. 
 Shunkei (imp.). • 1830 
 
 SHUNSUI (Case 23) 
 
 2771' Bottle. H. 7I in. Thick and heavy. White clay, white glaze. Verti- 
 cal lines in light olive-brown alternating. Shumui (imp.). 1850 
 
 2770 
 
 2771 
 
 MAKUSA (Case 23) 
 
 The impressed mark Makttsa, in obscurely drawn characters, occurs on pottery, 
 some of which bears the typical blue and white crackle glaze and blue underglaze 
 decoration of Seto. It reveals an age of at least one hundred years. Thus far I 
 have obtained no clue as to the name of the potter or place of baking. The work 
 shows a versatile artist. The mark Makusa is very rare. 
 
 VJ'JI. Rectangular tray. L. 9I in. Dull brown clay, light yellow underglaze, rich 
 green overglaze clouded with round interspaces shaded with brown lines to represent chrys- 
 anthemums. Makusa (imp.). 1780 
 
 Gift of Howard Mansfield. 
 2773* Large bowl, sides compressed. D. 8J in. Dead light brown clay, rich greenish- 
 gray glaze with bright light bluish tinges about rim and inside. Decoration in brown of 
 dragons in panels and groundwork of cross-lines between. Inside, rosette. 
 
 1780 
 Herons outlined in 
 
 Makusa (imp.). 
 
 2774. Tea-bowl. D. 4^^ in. Fawn clay, dull thick gray glaze 
 olive-green with rich dark blue tails. Basal ring deeply notched. 
 Makusa (imp.). 1780 
 
 2775- Flower-vase, shallow drum shape, resting on periphery, two 
 rings adherent. D. 8J in. Light brown clay, greenish-wjiite glaze. 
 Dragon in blue and brown. Makusa (imp.). 1780 
 
 2776' Flower-vase. H. gf in. Light brown clay, rich greenish-white glaze. Elephant 
 handles, indigo blue. Heart-shaped designs impressed around body, and touched alternately 
 with blue and brown. Makusa (imp.). 1780 
 
 KI SETO (Case 24 and Plate XIX. 2778) 
 
 Ki Seto, or yellow Seto, as the name implies, was made in the latter part of the 
 fifteenth century, and is accredited to a potter by the name of Haku-an. It is a 
 
UNiVi 
 
 
CASE 23 
 
 nib 17ZI ziiz nzz 
 
 
 L733 IW-sjJ / /■ \\ 
 
 X73y 
 
 Z73I 
 
 >,|rii 
 
 M^ 
 
 
 X?!** 
 
 Z73Z ms Z723 Z716 nz*« Z727 
 ZTlS 
 
 IT* 8 
 
 Zir'f 
 
 ^(3^^P® 
 
 -ITW- 
 
 OTM mo Z7SV TTTS ZWl Z7ir7 17!r<? 
 
 IV 
 
 jfg 2i,-Z6 
 
 Z7I3 i'>"*6 ZVS7 2i-3( i769 
 
 is-bS Z.76i" 
 
 PROVINCE OF OWARI 
 
PROVINCE OF OWARI 201 
 
 heavy stone pottery, covered with a strong yellow glaze varying in brilliancy and 
 color with age. The earliest forms are thin and chalky, with watery glaze ; later, 
 warm gray glaze with bluish tinges richly crackled is seen. In some specimens the 
 glaze is almost white. Pieces with designs of cherry blossoms are known as Wari- 
 Sakura. Within fifty years, small plates made on a mould, having a raw yellow glaze, 
 are also identified as Ki Seto. 
 
 KI SETO (HAKU-AN) 
 
 2777- Tea- BOWL, flaring. D. 6 in. Light brown clay, light yellowish-olive glaze. 1480 
 
 2778. Bottle, fluted sides. H. 5I in. Fine gray-drab clay, rich fawn glaze. 1480 
 
 On bottom is an inscription in red lacquer indicating that it was formerly possessed by 
 Tsuyen. 
 
 2779- Shallow tea-bowl, flaring. D. 6} in. Dark gray-drab clay, olive-gray glaze with 
 lighter area on rim, strongly crackled. 1480 
 
 2780. Tea-bowl. D. 4J in. Thick and heavy. Light brown clay, rich fawn glaze 
 coarsely crackled. 1480 
 
 KI SETO (WARI-SAKURA) 
 
 2781. Dish, four sides flattened. D. 5I in. Light fawn clay, yellowish glaze. Inside, 
 cherry blossom incised. 1630 
 
 2782. Parching-pan. D. 9 in. Light fawn clay, yellowish glaze with olive-green areas. 
 Inside, cherry blossom incised. 1630 
 
 KI SETO IN GENERAL 
 
 2783. Tea-cup. D. 2|in. Lightgray clay, dull light yellow glaze with deeper tinges. 1480 
 Type Ninagawa. Part II., Fig. 27. 
 
 2784. Tea-jar. H, 2^ in. Brown clay, dull yellowish glaze. 1480 
 
 2785. Flower-vase, fusiform, neck and base projecting. H. 9J in. Light yellowish-brown 
 clay, thin light yellow underglaze, thick splashes of yellowish overglaze running. Body 
 strongly combed in encircling lines. 1500 
 
 Gift of Miss Lucy Ellis. 
 
 2786. Bowl. D. sf in. Gray drab clay, grayish yellow glaze. 1500 
 
 2787. Shallow tea-bowl. D. 6J in. Brown clay, light yellow glaze, thick greenish 
 yellow overglaze. 1500 
 
 2788-2791. Various objects. 1500-1580 
 
 2792. Tea-bowl. D. 6 in. ■ Fawn clay, rich yellowish glaze, with light fawn and brownish 
 splashes. iS^o 
 
 2793- Tea -BOWL. D. 5^ in. Gray-drab clay, brilliant whitish-fawn glaze, opalescent- 
 white glaze in bottom of bowl. 1580 
 
202 THE CATALOGUE 
 
 2794* Tea-bowl. D. 6 in. Gray-drab day, whitish-fawn glaze with splash of light grayish 
 
 overglaze. Tempio Hdji \(\ (yrnXXexi). 1580 
 
 2795- Flower-vase. H. ii in. ' 1630 
 
 2796. Vessel, in form of bucket. H. io| in. Brown clay, olive-gray 
 
 glaze, crackle darkly stained. 1630 
 
 2797~2803. Various forms. 1650-1750 
 
 2804. Flower-vase. H. 10^ in. Square, flaring above and below, g^ 
 
 fluted. Light clay, yellow Seto glaze brilliantly crackled. Two wide ^J 
 
 bands about middle. 1750 2794 
 
 Gift of James Ford Rhodes. 
 2805-2820. Various forms. 1750-1850 
 
 No. 2808 bears the mark Sekiran, impressed, and, inside, the mark Kanreki. The bowl 
 was made to celebrate the sixty-first birthday, an important anniversary with the Japanese. 
 
 GEMPIN (Case 24 and Plate XIX. 2821, 2822) 
 
 The records vary in regard to Gempin, the potter. In one record it is stated that 
 Gempin was a Korean ; in another, that he came from China in the latter part of the 
 Ming dynasty ; still another, that he was a fugitive. It is also recorded that he was 
 an ambassador from China, who came with others to seek help from Japan. He was 
 a good character-writer and potter ; and, under the patronage of the Daimyo of 
 Nagoya, built an oven and made, among other objects, heavy tea-bowls having white 
 glaze and blue decoration consisting of sketchy strokes of the brush. On a yellowish 
 pottery made by him poems were written in the most delicate and beautiful characters. 
 There are five specimens in the collection that may be regarded as genuine. In one 
 of these the character Gen is written on the bottom in blue. Other bowls attributed 
 to Gempin have the mark Gempin tsukuru written in blue, and these, though of fair 
 age, are spurious. 
 
 2821. Fire-bowl. D. 4} in. Crenulated rim. Light gray-drab clay, white glaze. Dec- 
 oration of figure, waves, fish, and encircling bands in light blue. Basal 
 ring with round perforations. Gen (written in blue). 1640 
 
 2822. Food-bowl. D. 5J in. Gray-drab clay, thick lustrous yellowish 
 glaze, strongly crackled, rough underglaze. Decoration of flowers and ^^^ 
 band in gray. 1640 ^^J 
 
 2823. Bowl. D. 4J in. Gray-drab clay, lustrous grayish-drab glaze, ^821 
 finely crackled, opalescent in portions. Rude decoration of flowers and scrolls in dark 
 gray. 1640 ^_^ 
 2824- Deep cup. D. 3! in. Thick and heavy. Dark drab clay, clear white ^ 
 glaze, coarsely crackled. Matsu and encircling bands in blue on side. 
 Tsukuru (written in blue). 1640 j^ 
 2825. Cake-dish. D. 6| in. Light fawn clay, yellowish-white glaze without -^^K. 
 lustre. Outside, fine scrolls in dark gray. Inside, finely written characters and ' 
 
 -*- 
 
 delicate drawing of lotus in fine lines. Hokokushi Kanro (written). 1650 
 
 The last five objects are of great rarity. 2825 
 
PROVINCE OF OWARI 203 
 
 2826. Tablet. H. 5 ^ in. Light fawn clay, grayish-white glaze. Characters on each side 
 
 in dark brown. Teiju san. Keicho hachi-nm. San gatsu- 
 
 itsu-ka (inc.). The inscription indicates the date of 1603, 
 
 which is long before Gempin. The piece is unquestionably 
 
 fraudulent. 
 
 2827—2829. Bowl and square trays. These have been 
 identified by Japanese experts 
 as the work of Gempin. 
 
 2830, 2831. Bowls. Fraudu- 
 lent Gempins with mark Gempin 
 and kakihan written. 1730 
 
 TOKONAME (Case 25) 
 
 The pottery recognized as 
 Tokoname has some slight 
 
 resemblance to some forms of Bizen. It is rarely so 
 solid, the clay has a reddish color, differing from Bizen, 
 and is easily distinguished when the character of the 
 two potteries is clearly known. In some specimens 
 the mottled gray glaze forms an attractive feature. 2826 
 
 Objects of this kind are often identified as Tamba, and 
 
 specimens identified as Tamba by Ninagawa I have been forced to- place with Toko- 
 name from their identity with forms bearing the marks of well-known Tokoname 
 potters. 
 
 2832. Tea-jar, thick and heavy. H. 3I in. Dull reddish-brown clay, fawn-colored glaze 
 with darker areas. 1480 
 
 2833- Jar. H. 6J in. Thick walls. Roughly potted. Coarse reddish-brown clay, trans- 
 parent underglaze, splash of thick light fawn and bluish overglaze. 1580 
 
 2834. Jar. 1630 
 
 2835. Jar. H. 5I in. Dull brownish clay, strong ochre glaze. Around rim thick dead 
 yellowish- white overglaze. 1680 
 
 2836. Jar, twisted handles. H. 7J in. Dull coarse brown clay, transparent glaze, with 
 small area of light fawn. Cross-lines incised about shoulder and line about middle. 1780 
 
 2837. Bowl, scalloped edge. 1780 
 
 2838. Flower-vase. H. 7I in. Dull reddish-brown clay, ochre glaze with greenish tinges. 
 Clouds and dragon deeply cut in outline. 1780 
 2839—2845. Various forms. i 780-1840 
 
 2846. WiNE-BOTTLE, Square body. H. 8J in. Dull light brown clay, with reddish tinge, 
 grayish underglaze, light fawn overglaze running in streams. Scrolls- and fan-shaped figures 
 applied in stencil. 1850 
 
 2847. WiNE-BOTTLE, similar to last. 
 
 2848-2853- Various forms. 1870-1880 
 
204 THE CATALOGUE 
 
 WAKICHI (Case 25) 
 
 Shibata Wakichi had an oven in Hokujio village, near Tokoname, in 1870. He 
 confined his work to tea-utensils, and used the signature To Wakichi, To meaning 
 potter. 
 
 2854- Globular jar, looped handles. H. 4 in. Gray-drab clay, light reddish underglaze, 
 thick fawn overglaze. On shoulder knot incised. To Wakichi (imp.). 1870 
 
 OTAKAYAMA (Case 25) '^'^' 
 
 Two pieces in the collection bear the impressed mark Otakayama. They 
 show evidences of a vigorous potter. The pottery was, probably, made in 2854 
 Otaka village, though no information is at hand regarding the potter. 
 
 2855- Bottle, with nozzle. H. 8 in. Thick and heavy. Reddish-brown clay, dead pur- 
 plish-brown underglaze; splash of thick greenish-blue overglaze running in darkest brown 
 streams with golden-brown areas. Otakayama (imp.). 1820 
 
 2856. Flower-vase, with ring handles adherent. H. ii| in. Reddish-brown clay, dull 
 purplish-brown glaze, thick olive-brown overglaze with touches of golden-brown. 
 Otakayama (imp.). 1820 
 
 The mark Otakayama is extremely rare. 
 
 CHOzO (Case 25) 2856 
 
 Ina Chozo or Chozaburo, of Tokoname, was esteemed a famous potter in the early- 
 years of the century. Pieces bearing the incised mark Ch5za are chiefly in the form 
 of tea-pots and wine utensils. It is said that the fourth generation is at work to-day. 
 
 2857- Beaker, with handle. D. 3 in. Reddish-brown clay, gray glaze coarsely pitted, 
 brush-marks in brown. Choza (inc.). 1840 
 
 2858. Tea-bowl. D. 3I in. Dull reddish-brown clay, warm gray glaze. Vertical and 
 horizontal bands of circles and other designs in black. Choza (inc.). 1840 
 
 2859. Tea-pot. H. 3^ in. Choza (inc.). 1840 ^J^ 
 
 2860. Large bowl. D. 9J in. Dull light brown clay with reddish ^ ^ 
 
 tinges, transparent underglaze, thick light fawn and olive-green overglaze "• — ^ 
 
 clouded. Inside, wave lines and stars in white Mishima. ^ _ •^ 
 
 Choza (inc.). 1840 Vi^ 
 
 -. 2858 2859 
 
 2oOI. Tea-pot. H. 4 in. Light brown clay and glaze. 1840 
 
 2862. Jar, double gourd-shaped. H. 5I in. Dead reddish-brown clay, transparent glaze 
 mottled with fawn overglaze. Choza (inc.). 1840 
 
 TOZEN (Case 25) 
 
 Akai Tozen, a Tokoname potter, made earthen fire-vessels by order of 
 the governor of Owari, in the early part of the century. The marks were 
 Tozen, To, and Zen. The present generation, Shinroku, is now at work, using ^^^ 
 the mark Tozen. Pieces signed Tonen are probably by the same family. 
 
CASE 24 
 
 tIfS- ZSOO 2,804 
 
 Z79Z 7780 
 
 X8J0 
 
 2,7 96 
 
 177 8 
 
 o 
 
 Tj<^<-7A<r7 
 
 i»'l nSi- 1817 2.803 
 
 2787 X7 86 180 
 
 f3A2S07 
 
 Z799 1769 
 
 "'^ii:^^ X78, /fA n 
 
 I80& ITiO nSl 1801 1816 1797 nw 18J3 i788 1820 1802 
 
 l%2f ,..ij3.'-j M2X 2822 __ , , __ 
 
 ^8l8 
 
 ■^m) \i] j \± 
 
 
 1830 ivji 2.827 2.y2r 
 
 W ^ti.'? 
 
 
 2609 ti-2,7 2b0 8 IS-az 
 
 S-/'54- 
 
 iy2a i!>-2( 
 
 yin 
 
 
 yiiz 
 
 tre^'j/J ^i°£ t^:^^ 5-10 8 <:— >\ — ^M ^'vi 
 
 PROVINCE OF OWARI 
 

 o-i 
 
 «\^ 
 
PROVINCE OF OWARI 205 
 
 2863. Tea-pot. D. 2% in. Dull light brown clay, unglazed. Rough surface. 1840 
 
 Tozen (imp.). 
 
 2864-2866. Various FORMS OF TOzEN. 1840 
 
 TOHAKU (Case 25) 
 
 Of this Tokoname potter no record is 
 at hand. The only object in the coUec- 2864 
 tion is a deep jar with a small open spout 
 near the rim. It is very thick and heavy ; evidently modeled 
 by hand. 
 
 2867. Jar. H. 6J in. Very hard brown clay, deep reddish-brown 
 glaze with blackish areas. Band of S-shaped figures incised around 
 body. Rim thickened and applied. Tohaku no saku (inc.). 1870 
 
 2866 2867 
 
 IKKO (Case 25) 
 
 Kataoka Ikko, a potter now living in Tokoname, began work in 1 848 as a maker of 
 tea-utensils. His teapots show the work of a skilful potter. 
 
 2868. Tea-pot. D. 4J in. Cover with two free rings. Fine dull straw clay, smooth 
 surface unglazed. Devil in green, pink, blue, and black enamel. 
 Ikko (ym^^. 1850 
 
 2869. Tea-pot. Unglazed. /f>JJ j-« (imp.). 1850 
 
 2870. Bowl. D. 4f in. Fine fawn clay, transparent reddish- 
 glaze, light fawn overglaze. Ikko (imp.). 1850 2868 2869 2870 
 
 n 
 
 NIKO (Case 25) 
 
 A potter of Tokoname, signing his pieces Niko, has within recent years made 
 among other objects very light and thin wine-bottles, smoothly glazed. Typical Toko- 
 name tea-pots are found with the same signature. 
 
 2871. Cake-dish, in form of three Haliotis shells, moulded. D. sf in. Reddish clay, 
 transparent underglaze, splash of creamy-white overglaze. Niko (imp.). 1870 
 
 2872*. Squat bottle. Niko (inc.). 4gi "• 
 
 2873- Flower-vase, Niko (inc.). 1870 ^& A 
 
 2874* Wide-mouthed bottle. H. 4I in. Dull light fawn clay, deep orange *^ 
 
 glaze. iV/yJtf' (inc.). 1870 2871 2872 
 
 2875- Pear-shaped box, with cover. H. 4 in. Chestnuts moulded on top. Fine reddish- 
 fawn clay, deep brown glaze. Bands of heart-shaped designs impressed. iV//^^ (inc.). 1870 
 
 2876. Wine-bottle, thin. H. sJ in. Light gray-drab clay, greenish overglaze with touches 
 of brown on neck, Niko (inc.). 1875 
 
Light gray -drab clay, smooth sur- 
 
 1870 
 
 206 • THE CATALOGUE 
 
 SANKO (Case 25) 
 
 A Tokoname potter, known as Hojo Sanko, whose family name was Matsushita, made 
 pottery between 1848 and 1853. His work consisted chiefly of tea and wine utensils. 
 
 2877- Squat bottle. H. 3^ in. Four looped handles, bands of circles, cross-bars, etc., 
 
 impressed and incised. Gray-drab clay, light transparent brown underglaze, 
 
 thick fawn overglaze. Sanko (imp.). 1850 
 
 2878. Dish, in form of Haliotis shell. L. 6J in. Strong yellow glaze with 
 
 greenish spots. Sanko (imp.). 1870 2877 2878 
 
 A tea-pot signed Hanko, and two tea-pots and a flower-vase signed Genko, were 
 unquestionably made in Tokoname. Whether these names are related to Ikko, 
 Niko, or Sanko, I have never been able to ascertain. 
 
 2879- Tea-pot, with large nozzle. D. 3J in. 
 face unglazed. Hanko (imp.). 
 
 2880. Tea-pot. D. \\ in. Loops for bail. Handle of cover in form of fungus, 
 gray-drab clay, with light red area unglazed. Genko (imp.). 
 
 2881. Tea-pot. Light fawn clay. Smooth surface, unglazed. Genko (imp.). 
 
 1870 
 
 2882. Flower-vase. H. 4 in. Fine red clay unglazed. Gensen sat (imp.). 
 
 1870 
 
 HOHEI (Case 25) 
 
 A potter, showing no little skill in modeling, was at work in Tokoname, in 1875, 
 making tea and fire utensils. He signed his work with an incised mark. 
 
 2883. Single flower-holder, in form of pomegranate and twig. H. 2J in 
 hand. Light brown clay, unglazed. Jusendo Hohei-rojin tsukuru (inc.). 1875 
 
 Within the last fifty years a number of potters have been at work 
 in Tokoname making tea-pots, flower-holders, bottles, etc. These vary 
 but little in character and follow the common style of Tokoname. None 
 of these potters attained a suflScient reputation to leave records of their 
 history, and the pottery itself is of little importance. 
 2884—2899- Comprise pieces of the above character. 
 
 Light 
 1870 
 
 1 
 
 
 2881 2882 
 
 Modeled by 
 2883 
 
 
 ^i 
 
 2884 
 
 2885 
 
 2886 
 
 2887 
 
 2888 
 
 2891 
 
 They bear the marks either impressed or incised of Bunjt (288^), Tosai (2885), Toshun (2886), 
 T5-shinkichi (2887), Sonshiu tsukuru (2888*), Kagamkhi (2889), Shunsui (2890), Koitsu (2891), 
 
PROVINCE OF OWARI 
 
 207 
 
 Koitsudo (2892), Moku moku (2893, 2894), Seisai (2895), Naokata (2897*), Shirakiyo (2898*), 
 and Kasai (2899*). 
 
 
 2897 
 
 289S 
 
 INUYAMA (Case 25) 
 
 A hard pottery, in some cases a semi-porcelain, bearing the written or impressed 
 mark Inuyama, was made in a village of that name. The work of the last fifty years 
 is easily recognized by the crude decoration of maple leaves in red and green in imita- 
 tion of Kenzan style. A specimen in the collection with the impressed mark Inuyama 
 bears out one record, which states that the pottery was first made over two hundred 
 years ago. In the beginning of this century the decoration was in green and black 
 with the written mark Kenzan. A marked deterioration is seen from the original work. 
 
 2901 
 
 2900. Shallow beaker. D. 6J in. 
 Hard light gray -drab clay, thick white 
 glaze without crackle. Over-decoration of 
 bamboo, flowers, dolls, etc., in colored 
 enamels. Inuyama (imp.). 1730 
 
 2901. Bowl. D. 5Jin. Gray-drab clay, thick gray- 
 ish-yellow glaze. Over-decoration of maple leaves 
 in dark gray and green. Kenzan (written). 1 780 
 
 2902. Square tray, fluted knobs. L. 7 in. Gray-drab clay, light gray 
 glaze. Over-decoration of maple leaves, scrolls, etc., lightly 
 sketched in green, red, and dark gray. Kenzan {yniXX^rC). 1800 ^ 
 
 2903- Bottle. H. 9^ in. Light fawn clay, light fawn glaze, l=L 
 
 clouded, large areas unglazed. Inuyama (imp.). 1800 2903 2902 
 
 2904-2923. Various forms of Inuyama, mostly with maple decoration in red and green. 
 
 ^^^ 1830-1880 
 
 2904 2910 
 
 291 1 
 
 2912 
 
 2920 
 
 2921 
 
2o8 THE CATALOGUE 
 
 2924. Food-bowl. D. 8 in. Light gray clay, glistening light bluish-gray glaze. Under- 
 decoration of flowers and leaves in light olive-brown and blue. This bowl, 
 though departing from the ordinary type, was identified by a Japanese authority 
 as Inuyama. Baitei kore wo tsukuru (written). 
 
 HANSHICHI (Case 26) 
 
 In 1585 a famous lover of the tea-ceremony ad- 
 judged certain potters of Owari as deserving first 
 rank Among these potters was Hanshichi. An 
 incense-burner, in the collection, with thick celadon 
 glaze, is accredited to this potter. It is the only one 
 I have ever seen. 3935 2924 
 
 2925. Incense- BURNER. D. \\ in. Thick and heavy. Hard gray-drab clay, light green 
 celadon glaze. Design of leaves, scrolls, etc., perforated. Flowers, dull brown glaze, 
 deeply carved. iJ/awj/i/c/M (incised). 1585 
 
 Exceedingly rare. 
 
 In the latter part of the sixteenth century, a number of amateur potters were 
 at work in a dilettante way making tea-utensils. Their reputation far exceeded the 
 merit of their rude essays. They were, doubtless, artistic and cultivated men who 
 loved flowers and pictures, and were among those who laid the foundation for the sim- 
 plicity and even austerity of the pottery used in the tea-ceremony. Among these were 
 Moyemon, Shimbei, Shinyemon, Motozo, Johachi, Ichiyemon, Shimpaku, and Soyemon. 
 The following pieces are accredited to these amateur potters, with their peculiar 
 distinguishing marks. 
 
 MOYEMON (Case 26) 
 
 2926. Tea-jar. H. 4^ in. Dark drab clay, transparent underglaze, thick greenish-fawn 
 overglaze. Rude lines cut on side. The signature, cross in- 
 cised on bottom. 1580 
 
 Type Ninagawa. Part IV., Fig. 4. 
 
 2927. 2928. Tea-jars, by the same potter. 
 
 SHIMBEI (Case 26) 
 
 2926 2929 
 
 2929. Tea-jar. H. 4f in. Roughly made. Dark gray clay, 
 
 surface nearly black ; dull greenish-black underglaze mottled with light fawn ; thick olive- 
 brown overglaze. The signature, long and short lines scratched on bottom. 1630 
 
 2930. Tea-jar, similar to last. 
 
 SHINYEMON (Case 26) 
 
 293^* Tea-jar. H. 4J in. Roughly made and cut on side. Fawn clay, 
 clouded brown glaze with splashes of greenish-white glaze. Rude decora- 
 tion in brown. The signature, T-mark on bottom incised. 1550 2931 
 
"CASE 25 
 
 iSiH 
 
 Z8SS 
 
 1833 
 
 1B36 
 
 
 2|fcb Z«« \ -I 
 
 2%J4- 2%tr9 z»ss zis^-b 
 
 i«7 8 
 
 ■l^^).^^T1r^lOT 
 
 l«t.V 2a6<i i%t8 2870 Z81* Z8S0 l^gz Z%8| Z»77 
 
 2M5 1631 ^3^8 ZS'fl 
 
 Z»t7 
 
 
 
 ^^TTTh 
 
 .'.; \(iLQ 
 
 Z«S7 Z^SI 
 
 ZS(,Z 
 
 2iS3 iS73 ZS7b l%Tf Z87I Z%7b- Z837 Ibri ISiZ 2634 18V2 Z&'jy 
 
 PROVINCE OF OWARI 
 
PROVINCE OF OWARI 
 
 209 
 
 MOTOZO (Case 26) 
 
 2932. Shallow tea-bowl, very irregular in shape. D. 5J in. Thick walls. Fawn clay, 
 grayish-white underglaze, light green overglaze around rim. Inside, brown glaze ; lines in 
 brown outside. The signature, straight line deeply cut on bottom. 1580 
 
 2933. Tea-bowl, irregular in shape, with thickened border. D. 4J in. Gray clay, transpa- 
 rent underglaze ; large areas of thick black overglaze. Decoration of cross-lines, etc., in 
 dark gray. The signature, deep wide line cut on bottom. 1580 
 
 2934- Tea-jar. H. 4I in. Roughly made. Sides cut. Flattened looped handles. Fawn 
 clay, greenish-yellow underglaze, brown overglaze around shoulder. Decoration of plum 
 blossoms in brown and white. The signature, straight line cut on bottom. 1580 
 
 JOHACHI (Case 26) 
 
 2935. Tea-jar. H. 3^ in. 
 rich golden-brown overglaze. 
 
 Gray-drab clay, mottled brown glaze with streams and drop of 
 The signature, oblique T-shaped mark incised. 1580 
 
 2936, 2937*. Tea-jars, by the same potter. 
 
 ICHIYEMON (Case 26) 
 
 2938. Tea-jar. H. 3J in. Light gray-drab clay, brown underglaze, splash of thick olive- 
 brown overglaze about shoulder. Band of yellowish-white glaze below. Squares, crosses, 
 and zigzag lines incised. The signature, square mark deeply cut. 1560 
 
 SHIMPAKU (Case 26) 
 
 2939- Tea-jar. H. 3^ in. Looped handles. Dull gray clay, thick seal-brown glaze. The 
 signature, two circles impressed on side forming figure 8. 153° 
 
 SOYEMON (?) (Case 26) 
 
 294(}> Tea-jar. H. 3! in. Grayish clay, nearly black glaze over baked. 2940 
 
 The signature, key-mark incised on bottom. ^SS^ 
 
 RISOKU (Case 26) 
 
 In the early part of the century a potter named 
 Risokuan Hozo, made pottery in Nagoya. He 
 had previously worked in Seto and Tokoname. 
 His mark was Riso or Risoku, in a double gourd- 
 shaped panel. 
 
 2941. Boat- shaped dish, on three short legs, 
 L. 9 in. Heavy and thick. Gray-drab clay, thick 
 olive - greenish glaze clouded, inside settling into 
 deepest green glaze with areas of light g^een. Wavy 
 line incised around vessel. Ri and So (imp.). 1800 
 2942- Square incense-box. D. 2J in. Dog mod- 
 eled on cover. Dull light yellowish clay, transparent 
 glaze. 1800 
 
 Shichi-jurgo-o, Ho tsukuru (inc.). Natsume (imp.). 
 
 Ichiye Ruyemon, also known as 
 
 t' 
 
 a J 
 
 '^y^ 
 
 2941 
 
 2942 
 
210 THE CATALOGUE 
 
 SHOZO (Case 26) 
 
 Pottery bearing the mark of Shdzo, or Masazo, was made by Ujiya Saburobei, a 
 merchant and tea-lover of Kyoto, assisted by Kagamiya Shoshichi, a tea-lover of 
 Nagoya. According to Ninagawa an association of the first character of their respec- 
 tive names was used as a mark to sign their combined work. The character Sa may 
 be pronounced Zo, with Sho, from Shoshichi, as a prefix, hence Shozo ! The mark is 
 very rare. The two pieces in the collection resemble yellow Seto. 
 
 2943. Cake-dish, with high basal ring. D. 5I in. Gray-drab clay, light greenish-drab glaze, 
 finely crackled. Shozb (imp.). 1790 _^ 
 
 2944. Dish. D. 5,^ in, Similar to last. Shozo (^m^^. 1790 (»J*j 
 
 MASA (Case 26) ^5"*^ 
 
 In 1830 a workman from Yedo, by the name of Masa, went to Nagoya, and there 
 learned the art of making bowls. A bowl in the collection bears the impressed mark 
 Masa, and the incised mark Ohata Chiizayemon. Records show that the son of a 
 lantern-maker in Yedo went to Owari and learned the potter's art, and as a boy he 
 decorated small cups with designs in blue. The single bowl in the collection bear- 
 ing the mark Masa is believed to be his work. The character Masa may also be read 
 Zo, though the work is entirely unlike the pieces cata- 
 logued under the name of Sh5zo. 
 
 2945* Bowl. D. 5I in. Thick and heavy. Grayish- 
 drab clay, thick deep olive-brown glaze mottled with lighter 
 areas. Ohata Chiizayemon (inc.). Masa (imp.). 1830 
 
 KURO (Case 26) 
 
 Hirasawa Kuro, also known as Yoroen Kuro, was 
 an apprentice of Risoku. His work consisted of small 
 bowls, tea-jars, and incense-boxes, etc. The impressed 
 mark Matsu was used, and pieces bearing an incised 
 line in two curves, like the wings of a bird in flight, 
 are attributed to this potter. The work is also known 
 as Seto Kuro. ^^''^ 
 
 2946. Tea-jar. H. 2 in. Light fawn clay, brown glaze mottled with darker brown, splash 
 of golden-brown overglaze. Line in two curves incised on bottom. 1810 
 
 2947* OiL-BOTTLE. D. \\ in. Light fawn clay, whitish-fawn glaze. Line in two 
 curves incised on bottom. 1810 
 
 2948. Square incense-box. D. i| in. Bull with boy playing flute modeled on 
 cover. Nearly white clay, light greenish-yellow glaze. Matsu {\m^.). 1810 ^ y- - ^ 
 
 2949. Incense-box. L. 2% in. Mythological turtle with Fukurokuju on AlA 
 back holding jewel, modeled. Light grayish clay and glaze with greenish 
 areas. Matsu (imp.). 1810 ^948 
 
PROVINCE OF OWARl 
 
 211 
 
 MASAKI (Case 26 and Plate XIX. 2955) 
 
 Dr. Bunkio Masaki was a pupil of Hirasawa Kurd He followed the style of Kuro 
 in making incense-boxes with diminutive figures modeled on the covers. He signed 
 this work Masaki, and also used the signatures Kanriu, Suizen, and Kenshin, as he 
 assumed a number of pseudonyms. These later marks are very rare. Masaki went 
 from Nagoya to Seto, where most of the pottery was made. The work ceased with the 
 second generation, in i860. 
 
 D. 3§ in. Light yellowish clay and glaze. 
 
 2950 
 
 *9Si 
 
 2952 
 
 29S3 
 
 FIRST GENERATION 
 
 2950. Bowl, modeled in form of rice-bag. 
 Kanriu (imp.). 1820 
 
 2951. Jar. D. 5 in. Rude and un- 
 gainly to the last degree. Clay and 
 glaze as in last. Kanriu (imp.). 1820 
 
 2952- Incense-box, hexagonal. W. i J 
 in. Figure on cover. Yellowish-white 
 clay and glaze. Suizen (imp.). 1820 
 
 2953' Tea-bowl. D. \\ in. Dull light fawn clay, yellowish glaze with splashes of green. 
 Kenshin (imp.). 1820 
 
 2954* Incense-box. D. 15 in. Two figures modeled on cover, yellowish clay and glaze. 
 Masaki (imp.). 1830 
 
 2955- Incense-box. D. iJ in. Two figures with umbrella 
 modeled on cover. Light yellowish clay, grayish-yellow glaze 
 clouded. Shun ichi (inc.). 1830 
 
 295^- Figure of tea-master. H. 5 in. Modeled. Light yellowish 
 clay and glaze. Head-covering brown glaze. Masaki (imp.). 1830 
 
 SECOND GENERATION 
 2957- Incense-box (badger). H. 2 
 Raku glaze with greenish-gray tinges. 
 =isaru (imp.). 
 
 A record states that this potter signed himself Masaki 
 Soen. The en of Soen can be pronounced Saru, hence the 
 character Saru (monkey) was used as a kakihan. 
 
 295^- Incense -BOX (chestnut). D. i| in 
 
 Monkey modeled on cover. Lightest fawn clay 2958 
 
 and glaze. Masa (imp.). 1850 
 
 The two following objects might very well have been 
 by the second Masaki. They are placed here provisionally. 
 
 2959- Lion. L. 9 in. Modeled. Light yellowish clay and glaze. 
 Shichi-jH-go-o Kanriku tsukuru (inc.). 1850 
 
 2960. Incense-box (three bales of rice). L. 2^ in. Yellow- 
 ish-white clay and glaze. Shunki (imp.). i860 
 
 in. Light fawn clay, light reddish 
 Masaki and kakihan 
 1850 
 
THE CATALOGUE 
 
 ICHIGO (Case 26) 
 
 A box bearing the mark Ichigo indicates the work of a skilful modeler in clay. 
 The piece was identified by Ninagawa as Seto, though nothing was known as to the 
 history of the potter or the date of baking. 
 
 2961. Incense -BOX, round. D. 3f in. Figure modeled in relief in depressed ,» 
 circular area on cover. Coarse gray clay, seal-brown Raku glaze. Clothing of figure ^O 
 colored red on unglazed surface. Inside cover, decoration of bamboo skilfully left ^ 
 unglazed. Ichigo (imp.). 1800 ^^' 
 
 HAGIYAMA (Case 26 and Plate XIX. 2966) 
 
 A peculiar form of Raku pottery, bearing the impressed mark of Hagiyama yaki, 
 is said to have been made in Nagoya in the early years of this century. The work 
 continued until 1 840, but no information is at hand regarding the potter. The pieces 
 though somewhat pecuhar have no special merit. 
 
 2962. Tea - BOWL. D. 4I in. Gray - drab clay, thick reddish-gray Raku glaze coarsely 
 crackled. Tokugawa crest in black and white. 
 Hagiyama yaki (imp.). 1830 
 
 2963. Jar. H. 7J in. Fawn clay, thick bright green 
 underglaze clouded ; thick dark lead - blue overglaze run- 
 ning. Hagiyama yaki (imp.). 1830 
 
 2964. Haisen. D. 7 in. Crenulated edge. Light fawn 
 clay, strongly clouded grayish glaze with whitish areas. 
 On bottom, inside, turtle moulded, glazed green and brown, 
 and p] (imp.). 
 
 2965- Tea-bowl. D. 4 in. Light terra-cotta clay ; 
 transparent underglaze, splashes of dull yellowish 
 overglaze. Tokugawa crest in deep brown. 
 Hagiyama yaki (imp.). Kinjo-raku. Tempo haru Sen- 
 shotei saku [inc.]. (Also has been read Tempo Haru- 
 kawa Shotei saku.) 1830 
 
 2966. Tea-bowl. D. 4| in. Light yellow clay, 
 transparent underglaze, splash of deep brown and 
 dark greenish overglaze. Hagiyama yaki (ynvp.). 1830 
 
 
 2962 
 
 2963 
 
 2964 
 
 Hagiyama yaki (not figured) 
 1830 
 
 SUISETSU (Case 26) 
 
 Pottery signed Suisetsu is said to have been 
 made in Nagoya in the early part of this century. 
 It is more probably the work of a Kyoto potter. 
 The work indicates some ingenuity of design. 
 
 2967. Hanging flower-holder, in shape of fan. 
 W. 8J in. Fine light drab clay, bright yellow under- 
 glaze, thick green overglaze running. Inside, nearly 
 white glaze. Suisetsu (imp.). i860 
 
 
 ^ 
 
 »* 
 
 
 ^ 
 
 f^ 
 
 2965 
 
 UNiVt. sriY 
 
PROVINCE OF OWART 313 
 
 2968. Wine-bottle. H. 5f in. Light fawn clay, whitish underglaze, green overglaze. 
 Mythological birds and flowers in high relief, moulded. 
 Suisetsu (imp.). i860 
 
 2969. Wine -BOTTLE, flattened on one side to rest horizontally. 
 H. 7J in. Light fawn clay, transparent underglaze, large splashes of 
 rich green overglaze. Suisetsu saku (written) and Suisetsu (imp.), i860 
 
 YOSHITOYO (Case 26) 
 
 A most perplexing pottery, which has been variously attrib- 
 uted by Japanese experts to Karatsu, Hizen ; Kitakoji, Higo, and 
 to Owari, proves to be, through a typical specimen, Owari and 
 probably Seto. It is a hundred years old or more. 
 
 
 2970- Tea-bowl, sliced on outside. D. 3^ in. Dull brown clay, 
 
 gray glaze, splashes of white overglaze around rim. Lines in dark 2969 
 
 gray. Yoshitoyo (imp.). 1780 
 
 297^- Shallow bowl. D. 5 in. Thick and heavy. Dull brown clay, gray glaze strongly 
 crackled, dark grayish-brown overglaze around rim in thick drops. Yoshitoyo (imp.). 1780 
 
 2972. Handled cake-dish, flaring rim in strong folds. D. 8J in. Fawn clay, transparent 
 underglaze half covered with white overglaze, with splashes of deep green 
 overglaze on rim. Decoration of scrolls and leaves in dark gray. 
 Yoshitoyo (imp.). 1780 
 
 2973- Haisen. H. 5 in. Dull gray-drab clay, lustrous transparent glaze 
 
 with splashes of blue overglaze inside and out. Yoshitoyo (imp.). 1780 ^^^^ ^"^^ 
 
 TOSAI (Case 26) 
 
 A potter of the village of Akatsu, using the mark Tosai, made pottery showing some 
 taste and skill in the middle part of this century. 
 
 2974* Cake-plate. D. 6 J in. Nearly white clay, light gray glaze strongly crackled. 
 Decoration of lotus in blue and olive-green. Tosai (imp.). i860 
 
 2975- Haisen. D. sf in. Similar to last in clay and glaze. Tosai (imp.), i860 
 
 SOBAITEI (Case 26) 
 
 A quaint kind of pottery, signed Sobaitei, judging from appearances may 
 have been made in the village of Akatsu. It is placed here provisionally. 
 
 2976. Handled cake-dish. D. 6 J in. Rim indented. Three looped legs. Light 
 fawn clay, dull transparent underglaze, splashes of clouded green overglaze. Rude 
 decoration in brown. Sobaitei (imp.). i860 
 
 ym 
 
2 14 "^^^ CATALOGUE 
 
 2977. Tea -BOWL. D. 4 in. Dull brown clay, thick olive-green glaze, with brownish areas. 
 Uachi-juga Sobaitei Rojin tsukuru 
 (inc.). i860 
 
 2978. Box, in form of duck. 
 L. i\ in. Fine grayish - brown 
 clay, dull brown underglaze, 
 greenish-olive overglaze. 
 Hachi-ju-o Sobaitei Rojin kore wo 
 tsukuru (inc.). i860 
 
 TOYOSUKE (Case 26) 
 
 The potter who was work- 
 ing at the Toyosuke oven at 
 
 Nagoya in 1882 claimed to be the sixth generation of the 
 family. The product of the kiln has been as various as the 
 marks, of which there are many. The pottery is usually soft, 
 with thick green and white glazes. Many pieces are lacquered 
 outside. The recent work is a cheap imitation of the older 1 i_ 
 
 forms. An earlier generation make red Raku bowls of consider- jT 
 
 able merit. The first generation, in the early part of the last l O i 
 century, signed his pieces with the mark Rikei ; the second ^^— «^ 
 
 generation used the marks Toyo and Toyohachi, and this mark 
 was used by subsequent generations. In 1840 the mark Toyo- 
 suke was first used. Many other marks are seen, and the old 2978 
 ones have been revived. 
 
 FIRST GENERATION 
 
 2979- Jar. H. 4} in. Small mouth. Four looped handles. Light fawn clay, glistening 
 greenish underglaze ; around upper portion, lustrous golden-brown overglaze. 
 Panels, frets, and characters in relief moulded. Rikei (imp.). 1760 
 
 Exceedingly rare mark. 
 
 SECOND GENERATION (Plate XIX. 2982) 2979 
 
 2980*. Tea-cup, for offering. D. 2| in. Soft light grayish clay, thick green glaze. Fret 
 incised and gilded. Toyohachi (imp.). 1780 
 
 2981. Flower-vase. H. ioJ in. Body square. 
 Fine yellowish clay, dark green glaze clouded. Sanji 
 in panels in high relief. Toyo (imp.). 1800 
 
 2982. Bowl, irregular rim. D. 5 in. Soft light 
 
 fawn clay, yellowish Raku glaze finely crackled, splash of rich green over- 
 glaze running. Crest in dark brown, inside and out. Toyohachi (imp.). 
 
PROVINCE OF OWARI 
 
 aiS 
 
 THIRD GENERATION 
 
 2983. Tea-jar. H. 2J in. Light gray-drab clay, polished gray-drab surface with black 
 
 areas. Conventional flowers in white. 
 
 Koren-ri Horaku-ken kore wo tsukuru (inc.). 1820 
 
 FOURTH GENERATION 
 
 2984- Box, drum-shaped. D. 5J in. Soft clay, yellowish-white glaze. 
 Body light red Raku glaze. Cover glazed light green and purplish-brown 
 with Tokugawa badge. Toyoraku (imp.). 1840 
 
 FIFTH GENERATION 
 
 2985' Incense-burner. H. zf in. Light fawn clay, green glaze, 
 and gilded. Toyosuke (imp.). 
 
 2986. Incense-b.ox (bird). L. 2J in 
 parent glaze. Toyosuke (imp.). 
 
 Simple design, incised 
 1850 
 
 Light fawn clay, purple, grefen, yellow, and traris- 
 
 1850 
 
 Toyosuke (imp.). 
 
 1850 
 
 299s 
 
 2987. Hand-warmer. D. 6J in. Top perforated. 
 
 2988*. Cup-rest. Toyohachi (imp.). 1850 
 
 2989- Incense-box. L. 
 3 in. Light fawn clay. In- 
 side, white glaze with rich 
 green splashes. Plum blos- 
 soms in black. Outside, 
 lacquered with pomegran- 
 ate decoration. 1850 
 
 2990-2995- Forms of Toyosuke, lacquered and otherwise, variously signed Bairaku (2990), 
 Toyosuke (2991), Keiraku (2992), Toyoraku and Kiyodo (2995). 
 
 2996- Fire-vessel. D. 5J in. Fine pinkish-fawn clay, red- 
 dish and black areas, unglazed. Kiyodo. i860 
 
 2997. Raku tea-bowl. D. 4^ in. Soft clay, light red Raku 
 
 glaze with large areas of mottled green glaze. 
 
 Toyoraku (imp.). i860 
 
 SIXTH GENERATION 
 
 2998' Box, in exact form 
 of bivalve shell. L. 4 in. 
 Outside, smooth surface un- 
 glazed, gray -drab in color 2997 
 with white areas. Inside, 
 grayish-white glaze. Decoration of figures and 
 clouds delicately drawn in blue. Unsigned. 1878 
 A beautiful piece of work. 
 
 2999-3003. Forms of Toyosuke, variously 
 
 signed Toyosuke {2<)q<)*), Roku-Jii-ku (3000), Oki-uji set Horaku {t,ooi), and OkiBoraku {^ooz). 
 
 3001 
 
 3003 
 
2l6 
 
 THE CATALOGUE 
 
 Inside, radiating 
 1780 
 
 SASASHIMA (Case 26 and Plate XIX. 3005) 
 
 A well marked soft pottery bearing the impressed mark Sasashima was made in 
 a village of that name near Nagoya, in the middle of the last century. Ninagawa 
 attributed this work to one of the Toyosuke potters. Careful inquiries at the Toyosuke 
 oven failed to bring out any allusion to the use of this mark in earlier generations. 
 As the work is quite different in character, and possesses a merit distinct from that 
 of Toyosuke pottery, it will be considered under the name Sasashima. One object, 
 signed Bokusai, etc., may give some clue as to one of the potters. 
 
 3004. Figure, vigorously modeled. H. 8 in. Dark gray clay, unglazed. Cloth-mark 
 impression outside. Sasashima (imp.). 175° 
 
 3005. Haisen, on three stout legs. Longest diameter 7 in. Irregu- 
 lar oval outline. Fine soft fawn clay, thick yellowish-white glaze. Over- 
 decoration of quaintly drawn lion in yellow, outlined and dotted with 
 brown, on a background of floral scrolls in green outlined in black with 
 purple buds and flowers. Sasashima (imp.). 1750 
 
 Gift of Denman W. Ross. 
 
 3006. Shallow bowl. D. 5J in. Light salmon clay, transparent glaze, 
 zigzag lines, circles, etc., in white slip. Sasashima (imp.). 
 
 3007. Square cake-tray. W. 7 in. Flaring sides. Light fawn clay, greenish-white glaze 
 coarsely crackled. Over-decoration of shell, clouds, and castle in blue. Unsigned. 1780 
 
 3008. Shallow bowl. D. 6| in. Nearly white clay, transparent underglaze, greenish- 
 white overglaze. Overglaze decoration of maple leaves in salmon-brown. 
 
 Sasashima (imp.). 
 
 3009. Tray, in form of dust-pan. L. 8 in. Light clay, 
 yellow glaze. Sasashima (imp.). 1800 
 
 3010. Tea-bowl. D. 4f in. Fawn clay, transparent un- 
 derglaze, red Raku overglaze with greenish areas. 
 Sasashima (imp.). 1830 
 
 3011. Cake-plate. D. •j\ in. Soft yellowish-fawn clay 
 
 and glaze, strongly crackled. Rectangular panel in greenish-white, inside, upon which is a 
 devil in buff, brown, yellow, purple, and green. Sasashima, in double gourd (imp.). 1850 
 
 3012. Cake-bowl. D. 6f in. Modeled by hand. Rim crenulated. Soft 
 fawn clay, thick greenish-white glaze. Inside, over-decoration of gourds, 
 leaves, and flower in dark green and brownish-yellow, outlined in dark brown. 
 Shichi-jH-o Sasashima Bokusai (imp.). 1870 
 
 FUJIMI (Case 26 and Plate XIX. 3022) ^""^ 
 
 The first potter of this family was Hozo Ichiye, who began work in the latter part of 
 the last century. His son, Hachiroyemon Murase, succeeded to the oven in the early 
 part of this century. His nephew bearing the same name assumed control in 1844, 
 and to him I am indebted for these brief notes. It has been impossible to separate the 
 work of these potters, though the older pieces are evidently the work of the founder. 
 
 1800 
 
CASE 26 
 
 
 XS**! 
 
 lSi-9 
 
 2!>29 X'i'iO 
 
 ZS7/ 
 
 XJbS 
 
 
 X^ii rfbo i^ss- jsfg MS^ zwv Msii9»-8 isvz i9y6 154-0 zTsT" 
 
 ^t3V 1SZ6 „,,_ 1936 1-ti" ili'' 
 
 
 ^-^■^V^-r<^l-^-^+4^ 
 
 ivn ViHb iss** tyss- iysfr 2^1? iSob 196/ zs^^ iTVy zvTT 
 
 3009 
 
 \' fx '•' *\V ■-■-,'■' 
 
 
 3007 
 
 3011 
 
 
 s. ^-rv".'/! 
 
 2963 iSbb 
 
 30O8 3010 
 
 IbOS 15T, 1978 
 
 Z607 
 
 1970 197/ 
 
 PROVINCE OF OWARI 
 
Ol' rut 
 
 UNiVt-SlTY ,ij 
 
 J 
 
 Aj 
 
 i?UHO'<'*'^ 
 
PROVINCE OF YAMASHIRO 
 
 317 
 
 3013 
 
 1 
 
 3015 
 i860 
 
 1870 
 
 3013. Tea-bowl, irregular in shape. D. i\ in. Grayish-drab clay. Rough surface, thick 
 greenish glaze, mottled, running halfway down. Fuji (imp.). 1800 
 
 3014. Tea-jar. H. 2f in. Dull reddish clay, thick greenish glaze, mot- 
 tled. 1800 
 
 This tea-jar is placed here provisionally. 
 
 3015. Vessel, in form of mythological hammer. D. 3! in. Light fawn 
 clay, brown underglaze, thick brown overglaze. Fuji (imp.). 
 
 Gift of F. H. Bigelow. 
 
 3016-302I. Bowls, bottle, plate for offering, and comfit-bottle. 
 
 3022. Wine-bottle. H. j^in. Light ^^ 
 
 fawn clay, transparent glaze. Pine in- 
 cised. 1878 
 This object appears much older, and 
 illustrates the effect of constant use. 
 
 30^3. Tea-bowl. D. 5 in. Metal rim. 
 Fine brown clay, glistening olive-green 
 glaze running into thick drops of light 
 blue. 1880 
 
 3024—3029. Flower-holders, tea-pots, and bowl. 
 
 Nos. 3016 to 3027 are various marks of Fuji, with the exception of 3019, which is 
 Fujimi yaki, and 3025, Fuji Satijin. 
 
 PROVINCE OF YAMASHIRO 
 
 Kyoto, — the capital of the Mikados for over a thousand years ; the home of court 
 nobles, of artists, poets and historians, and artisans of the highest skill, — what wonder 
 that the refining influences of such an august assemblage should reflect itself in the 
 character of the art hand-work of this centre ! The potter's art here found its highest 
 expression ; and the names of Koyetsu, Ninsei, Kichizayemon, and later Zengoro, Ken- 
 zan, Mokubei, Hozan, Dohachi, Rokubei, Kitei, and others are known throughout the 
 empire, and some of these have a world-wide reputation. From this centre potters at 
 various times in the past have been called to neighboring, as well as far-distant pro- 
 vinces, there to establish new ovens or to influence the work already established. The 
 fame of the Kyoto potters led to a preservation of their family histories. Their essays 
 were usually signed, and thus the identification and classification of Kyoto pottery is 
 comparatively easy. 
 
 KOYETSU (Case 34) 
 
 This potter was an amateur of the seventeenth century. His name is famous in 
 the annals of Japanese potters. He made red Raku bowls and other objects used in the 
 
2i8 THE CATALOGUE 
 
 tea-ceremony, employing in some of these Shigaraki clay. His work is of extreme 
 rarity. 
 
 /at» 
 
 t + 
 
 3030. Tea-bowl. D. 45 in. Massive and heavy. Hard light brown 
 clay, thick light purplish-gray glaze, closely pitted, dull lustre. 
 
 Signed with a kakihan. 1600 
 
 TAKAGAMINE (Case 34 and Plate XXIII. 3033) 
 
 Pottery, known under the name of Takagamine, was made by Honnami Kuchu, also 
 known as Koho. He was a son of the famous Koyetsu, and became so skilful that he 
 succeeded with credit to his father's work. He made incense-boxes of Shigaraki clay, 
 and bowls which resemble Hagi. A number of marks were used by this potter, among 
 which were Kuchu, incised, and Kd and Akaski, impressed. 
 
 3031. Cover rest (cylinder). H. 2 in. Modeled by hand. Yellowish-white clay, light 
 glistening buff glaze, clouded. Rough surface. % _ 
 Koiim^.). 1630 /^^^^^^\ '^ ^>V 
 
 3032. Incense-box. D. 2| in. Modeled by hand. 
 Light fawn clay, roughly cut, thin transparent glaze. 
 Insect rudely modeled on cover. Kuchu (inc.). 1630 
 
 3033- Tea-bowl. D. 4 J in. Modeled by hand. 
 Hard whitish -fawn clay, thin glistening iridescent 303' 303* 3033 
 
 wine-colored glaze running, exposing nearly white areas. Kuchu (inc.). 1630 
 
 Gift of John C. Bancroft. 
 
 NINSEI (Case ^^ and Plate XXIII. 3034, 3037, 3039, 3040) 
 
 Nonomura Seibei, son of Seiyemon, of Ninwaji village, stands foremost in the ranks 
 of Japanese potters. His pseudonym was compounded from the first character of his 
 birthplace, Ninwaji (some authorities state that he was born in Tamba), and the first 
 character of his name, Seibei. Artists in Hizen claim the distinction of first decorating 
 in vitrifiable enamels in 1650. The secrets of their methods, though well guarded, came 
 into the possession of Ninsei, and through him to the knowledge of contemporary and 
 subsequent potters who studied under him. Ninsei's influence so elevated the art in 
 Ky5to that it became at that time, and has since remained, the keramic art centre of 
 Japan. Early records vary as to whether Ninsei learned the rudiments of the art from 
 Shohaku, of Tosa, or imparted his knowledge to ShShaku. The fact that Ninsei was 
 active in 1680 is attested by evidences from other sources. Ninsei was a skilful painter 
 as well, and in Japanese works is recorded as an artist with date of activity. There is 
 also in the Weld collection, belonging to the Museum of Fine Arts, Boston, a kake- 
 mono with the signature of Ninsei identical in character to the cachet with which he 
 signed his pottery. Ninsei established ovens in Seikanji, Otowa, Gobosatsu, and after- 
 wards in Kiyomizu. The pottery made in Seikanji is said to have been signed with 
 the mark Sei in square panel. Ninagawa refers this mark, and I think justly, to the 
 Kiyomizu work, as the Seikanji pottery bears the full mark Seikanji. At these vari- 
 
PROVINCE OF YAMASHIRO 219 
 
 ous ovens in and near Kyoto Ninsei freely imparted his methods, and, from that time 
 to the present, imitations have been attempted bearing the forged mark Ninsei. Many 
 of the earlier imitations are so excellent in quality and design that it seems lamentable 
 that potters with so much skill should have concealed their names and buried their 
 reputations under fraudulent essays. The collection herein catalogued contains nearly 
 all the Ninagawa types of Ninsei. I am inclined to question the genuineness of a num- 
 ber of these ; or, to state it in another way, if the Ninagawa types are genuine, then 
 many other objects in the collection signed Ninsei are genuine, which is past belief. 
 
 The two marks usually ascribed to Ninsei are : first, the simple mark Ninsei with- 
 out border ; and second, the mark Ninsei, known as Maku-in (looped curtain). Accord- 
 ing to the work Tokiko, this double loop over the mark does not represent a curtain, 
 but is a contraction of the middle character Ouchi-yama, which is also written Omuro- 
 yania, at which place Ninsei at one time made pottery. In the same work is given a 
 number of marks used by Ninsei, one being used on fire vessels made of Shigaraki 
 clay, and others on pottery made at Iwakurayama, Omuro, and Seikanji. If this state- 
 ment is correct, and I have serious doubts about it, then there are many forms of 
 Ninsei supposed to be fraudulent which after all may prove to be genuine. 
 
 3034- Tea-bowl. D. 4f in. Flaring sides, symmetrical. Fine light fawn clay, fine ^i 
 
 grayish-white glaze delicately crackled. Over-decoration of pinks in light green and ^1^ 
 
 red. Ninsei (imp.). 1650 -q,^ 
 
 Type Ninagawa. Part IV., Fig. 7. 
 
 3035* Tea-bowl. D. 4J in. Fine drab clay, thick light straw glaze, slightly rough surface. 
 Ornamental border in red, blue, green, and gold. Ninsei (imp.). 1650 
 
 3036. Tea - bowl. D. 45 in. Rough light brown clay, transparent underglaze, ^ * 
 
 golden-brown overglaze running. White granules in glaze. Ninsei (imp.). 1650 ^V 
 
 Type Ninagawa. Part IV., Fig. 13. 3°36 
 
 3037- Tea-jar. H. 3^^ in. Light gray-drab clay, thick white glaze, coarsely crackled. 
 Around shoulder black glaze. Ninsei (inc.). 1650 
 
 Type Ninagawa. Part IV., Fig. 8. x^— ._ 
 
 3038. Tea-jar. H. 3J in. Light drab clay, light brown glaze, with ^^ ($ 
 splashes of darker brown. Ninsei (imp.). 1650 yyy, 3038 
 
 Type Ninagawa. Part IV., Fig. 10. 
 
 3039- Tea-jar. H. 2\ in. Yellowish-white clay and glaze. Over-decoration of flowers, 
 bamboo, temple, etc., in panels in green and blue enamels and black, touched with 
 red and gold. Between panels is elaborate diaper in the same colors. Sei in 
 square panel (imp.). 1650 
 
 Type Ninagawa. Part IV., Fig. 6. ^"■^^ 
 
 3040. Bowl. D. sJ in. Fine fawn clay, grayish-white glaze. Rim of thick white glaze. 
 Over-decoration of rocks, trees, etc., in light green and thick blue enamels and red 
 and black. Obverse side, pinks and grass in pale blue underglaze. Strong spiral 
 mark on bottom. Sei in square panel (imp.). 1650 
 
 Mark and decoration identical with the Ninagawa type No.' 3039, the only other 
 specimen I have ever seen. 
 
 m 
 
220 THE CATALOGUE 
 
 3041. Incense-box (rabbit). H. i| in. Very light fawn clay, grayish - white glaze. 
 Unsigned. If genuine, an exceedingly interesting piece. 1650 
 
 Type Ninagawa. Part IV., Fig. 5. 
 
 3042. Bowl. iV/'«j« (imp.). 1650 
 
 3043. Bowl. D. 4I in. Very light fawn clay, grayish-white 
 
 glaze, strongly crackled. Brush fence, and pinks in black, blue, 
 
 red, and gold. Kiyo (imp.). Extremely rare mark of Ninsei. 
 
 j6jo 3042 3043 3044 
 
 3044. Jar, wide mouth. H. ?>\ in. Fine light fawn clay, fine yellowish-white glaze. Bands 
 of scrolls in light green near rim, pendent from which are beads and tassels in 
 
 black, red, green, blue, and gold. Ninsei (imp.). 1650 1^ 
 
 3045. Bowl. D. 5I in. Side cut and lapped. Light drab clay, light gray-drab ^^ 
 glaze. Decoration of bamboo fence and chrysanthemums in black. Unsigned. 1650 ^04 
 
 3046. Tea-jar, double gourd-shaped. H. 2J in. Light gray-drab clay, mottled light 
 brown glaze, with dark brown overglaze, blistered around neck, Ninsei (imp.). 1650 
 
 Type Ninagawa. Part IV., Fig. 2. 
 This object is evidently a reject. 
 
 3047. Box (bivalve shell). L. 4^ in. Light fawn clay, very thick light fawn glaze. New 
 moon in silver, clouds in gold. Outline of waves in dark gray. 
 
 Ninsei (imp.). 1660 
 
 Type Ninagawa. Part IV., Fig. 14. 
 
 3048. Box. H. if in. Hard gray-drab clay, cold light gray glaze. 
 Decoration of scrolls, etc., deeply incised. Ninsei (imp.). 1660 
 
 Type Ninagawa. Part IV., Fig. 9. 
 
 3049. Incense-box, in form of lacquer tea-jar. H. 2J in. Fine light gray clay, hard 
 smooth grayish-white glaze. Two bands of ornamental circles in green, red, and light 
 purple, outlined in gold. Ninsei (imp.). 1660 
 
 Gift of Michitaro Hisa. F^ 
 
 A very curious piece. Vi(£/ 
 
 3050. Bowl. D. 5-^ in. Ninsei (imp.). 1660 305° 
 
 3051. Bowl. D. 4f in. Fine gray-drab clay, thin light brown glaze, without lustre, with 
 rich golden-brown, dark brown and bluish overglaze in splashes running from rim. Plum 
 blossoms and spots in white glaze crackled. Ninsei (imp.). 1660 
 3052-3062. Incense- BOXES, tea-jars, bowl, etc., signed and unsigned, attributed to 
 Ninsei. 
 
 3063. Tea-bowl. D. s in. Fine gray-drab clay, fine black iridescent iT H?\ 
 glaze with tent screens in white glaze. Ninsei (imp.). 1660 * ^ 
 
 Gift of Denman W. Ross. -^ ^ ^ ^ 
 
 3064. Tea-bowl. D. 5J in. Rough brown clay, brown underglaze, darker brown over- 
 glaze nearly concealed by light blue and white glaze running in fine threads. Ninsei (imp.). 
 
 Gift of W. S. Bigelow. 1660 
 
PROVINCE OF YAMASHIRO 221 
 
 3065. Tea-bowl. D. 4I in. Fine brown clay, transparent underglaze nearly concealed by 
 light fawn and bluish overglaze running. Ninsei (imp.). 1660 
 
 Gift of Geo. W. Wales. 
 
 3066-3068. Incense-boxes (kingfisher and goose) and bowl, attributed to Ninsei. 
 
 3069. Bowl-like plate. D. 6f in. Thick and heavy. Wavy rim. 
 Brown clay, drab underglaze, thick cream-white overglaze, coarsely 
 crackled. Outside, splash of thick light green overglaze. Inside, 
 rough landscape in bluish-black. Two leaves of Paulownia and stems 
 in relief, moulded and applied inside the bowl. Basal ring, coarsely 
 notched. Ninsei (imp.). 1660 
 
 If this is genuine it represents Ninsei's work in Kiyomizu. 
 
 Gift of W. S. Bigelow. 
 
 3070-3082. Various pieces, signed iV/«j«, representing fraudulent essays. 
 
 AKASHI (Case 33) 
 
 The following piece was identified by Ninagawa as the early work of Seisuke 
 while still with NinseL It is so strangely unlike the Kyoto pottery of that period 
 that I should have been inclined to catalogue it with the Akashi pottery of Harima 
 (see p. 1 50), though Ninagawa may have had records showing that this particular 
 piece was made by Seisuke at that time. 
 
 3083. Bucket-shaped vessel. H. 3J in. Thick walls. Hard light grayish-drab clay 
 with light red tinge, thick yellowish glaze. Over-decoration of scrolls, splashes, etc., -^ 
 in bright red, green, and black, roughly drawn. Akashi (imp.), 1680 yi^ 
 
 This form of mark is extremely rare, vS/ 
 
 3083 
 
 SEIKANJI (Case n) 
 
 In 1670, under the direction of Ninsei and Kuhei, brocade-decorated pottery was 
 made in the Seikanji oven. The work was refined in form and decoration, and is 
 extremely rare. 
 
 3084. Cake-dish, deep scalloped edge. D. 7J in. Fine light drab clay, grayish-white 
 glaze, strongly crackled. Over-decoration of chrysanthemums inside in 
 
 red, green, blue, and gold. Basal ring perforated with double gourd-shaped 
 decoration. Seikanji (imp.). 1670 
 
 3085. Bowl. D. 4J in. Fine light drab clay, transparent glaze with 
 grayish areas. Prawn in olive-brown. Seikanji (imp.). 1670 
 
 SOMEN (Case 33) 
 
 The potter, Sohen, was a master of the tea-ceremony. He made a soft faience 
 with dead black glaze. His work was considered quaint and tasteful. Sohen was a 
 pupil of Sotan in 1660. At one time he baked in Ninsei's oven. 
 
222 
 
 THE CATALOGUE 
 
 3086. Jar, square, with round corners. H. 6J in. Moulded by hand. Soft light clay, 
 thin greenish underglaze, lustrous black overglaze covering entire surface. Scrolls, lines, 
 and characters broadly incised. Inside, thin greenish glaze. Shiho an Sohen (inc.). 1660 
 Type Ninagawa. Part IV., Fig. 33. 
 
 3086 
 
 3087 
 
 3087. Jar, similar in form and decoration to last. H. 6 in. Gray clay, thin greenish 
 underglaze, dull black overglaze covering entire surface inside and out except bottom of 
 cover, which is unglazed. Sohenzan Ninsei kore wo yaku (inc.). 1660 
 
 3088. Incense-box, Hotel with bag, in relief. D. 3 in. Light red Raku clay, thick red 
 Raku glaze with greenish areas above and below. Coarsely crackled. 
 
 Shiho an Sohen written in red lacquer on inside of cover. 1660 
 
 HARIMA (Case 33) 
 
 A potter, under the pseudonym of Tsujii Harima, made pottery in the early part of 
 the eighteenth century. His work consisted chiefly of fire-vessels and incense-boxes. 
 The pieces were signed with the impressed mark Harima, and are extremely rare. 
 
 3089. Incense-box (quail). L. 3;^ in. Outside, red lacquer gilded. Inside, rich 
 black lacquer. Bottom, inside, light gjeen glaze. Feathers of bird beautifully cut. 
 Harima (imp.). 1720 
 
 TSUJII HARIMA (Case 33) 
 
 The successor of Harima continued in the same work, but signed his pieces 
 Tsujii Harima. His pottery, though more pretentious, is considered inferior. The 
 mark is rare. 
 
CASE 27 
 
 3l6l 3167 ins 3no 3I6S 
 
 3111 3)76 3162. 3l6y 3i6'« J/63 
 
 3107 . 315 
 
 
 r^n 
 
 
 310V 
 
 3.3J 3.^0 ^"fi* -^'IJ ^ii^o f^^^^ S R 'H^ 'f? "r? II I r'^ 
 
 V^^^ 
 
 3126 3102 j|<,6 
 
 3117 ,,,, 
 
 31Z.1 
 
 3>lS 3106 3139 3113 
 
 
 '':!:;iliiit 
 
 3ZI0 
 
 3^ 183^ 
 
 3ZI3 32.07 3111 
 
 3188 
 
 3187 
 
 -Wi!P;^~^'®' !; 
 
 
 8 b- 
 
 \ip/^S!^^rav^^ O'^ 
 
 3Z30 
 
 3ZJ1 
 
 32.V? 
 
 3Z')0 
 
 3Z«»2 3Z*iJ 
 
 PROVINCE OF YAMASHIRO 
 
PROVINCE OF YAMASHIRO 323 
 
 3090. Incense-box (bird). L. 3! in. Very light fawn clay, pale-yellow glaze. Wings, 
 head, and tail light red. Tsujii Harima (imp.). 1780 
 
 3091. Incense-box (badger, draped). H. 2\ in. Very light fawn 
 clay, purplish-brown glaze, face white. Inside, transparent glaze with 
 tinge of green. Tsujii Harima (imp.). 1780 
 
 3092. Cup-rest. D. s| in. Dull brown clay, grayish-green glaze. 
 Circles, stars, etc., in white Mishima. Two bands of thick white glaze 
 with blue clouds and cranes. Tsujii Harima (imp.). 1780 
 
 3093. Wine-bottle. H. 10 in. Gray-drab clay, grayish glaze strongly 3^ 3093 
 crackled. Surface coarsely covered with scrolls in thick blue enamel. 
 
 Tsujii Harima (\m^.). 1780 
 
 FUJI (Case 33) 
 
 A floral decorated pottery with light glaze like old Kiyomizu bears the impressed 
 mark of Fuji. The pieces were evidently made in the early part of the last century, 
 and indicate the work of a refined artist and a professional potter. The influence is 
 strongly Ninsei. 
 
 3094* Bowl. D. 5J in. Gray-drab clay, very light grayish-drab glaze. Over-decoration 
 of iris in grayish-blue, green, and red. Strongly turned. Fuji (imp.). 1700 
 
 3095- Incense - burner. H. 2\ in. Grayish-yellow clay and glaze. Brush fence, and 
 flowers in light green and light blue enamels, touched with red and gold. Inturned rim with 
 ornamental border in light blue and red touched with gold. Fuji (imp.). 1700 
 
 3096. Wine -BOTTLE, double gourd -shaped. H. 8 in. Drab clay, yellowish-fawn glaze 
 coarsely crackled. At base band of rich green glaze. Elaborate decoration of 
 flowers, scrolls, figures, drum, etc., in blue and green enamels with red and gold. 
 Fuji (im'p.). 1700 
 
 YAMAKE (Case 28) 
 
 A wine-bottle with beautiful decoration bears the mark Yamake. No informa- 
 tion as to maker or date is at hand It is recognized by the Japanese as old Kiyomizu. 
 It shows strong Ninsei influence. 
 
 3097. Wine-bottle. H. 7f in. Fine fawn clay, very light fawn glaze. Flowers, birds, 
 pine-tree, etc., in green and dark blue enamels, shaded with red and gold. ^ | j 
 
 Yamake (imp.). 1700 
 
 YAMADA (Case 28) 3097 
 
 A long-necked flower-holder, richly decorated, bearing the mark Yainada, belongs 
 to the old Kiyomizu type, and may be related to No. 3097. 
 
 3098. Flower-holder, square, gracefully tapering to slender neck. H. 8^ in. Fawn ^^jj. 
 clay, light fawn glaze. Iris and other flowers in dark blue and green enamels shaded i^j 
 with gold. Vigorously drawn. Yamada (imp.). 1700 3098 
 
224 THE CATALOGUE 
 
 AWATA (Case 27 and Plate XX. 3100, 3101) 
 
 Typical Awata was first made in Awata district, Kyoto. The early pieces are not 
 signed. They are grayish in color and undecorated. Specimens of early Awata reveal 
 in the glaze under an ordinary lens air bubbles closely crowded together. Decorated 
 Awata appeared in 1620, and much of the early work is attributed to Ninsei. The 
 mark Awata first appeared at this time, and this mark has been used since by various 
 Awata potters unaccompanied by their own signatures. 
 
 3099- Flower-holder, in form of three sections of bamboo of different lengths, adhering, 
 with modeled plum-blossoms in front. H. 3f in. Grayish-white clay and glaze strongly 
 crackled. 1600 
 
 Ninagawa regarded this as the earliest Awata. 
 
 3100. Covered bowl. D. 4^ in. Very light fawn clay, light gray glaze coarsely crackled. 
 Pine and plum in dark gray and pale blue, continuous on cover. 1620 
 
 Type Ninagawa. Part IV., Fig. 17, 
 
 3101. Tea-jar. H. 3^in. Fawn clay, thick grayish-fawn glaze, coarsely crackled. Brocade 
 decoration in red and gold about shoulder. On side, fence in black and convolvulus in blue 
 and green enamels touched with gold. 1620 
 
 Type Ninagawa. Part IV., Fig. 18. 
 
 3102. WiNE-BOTTLE. H. 7 in. Very fine, light gray-drab clay, light grayish-fawn glaze. 
 Vigorous decoration of flowers and leaves in dull blue and dull gray, nearly black in some 
 portions. Awata (imp.). 1665 
 
 3103. Jar. H. 7f in. Coarse grayish-drab clay, with large area tinged with fawn. Coarse 
 white granules in clay. Outside, unglazed. Inside, transparent glaze. _ 
 Awata (imp.). 1665 
 
 3104- Box, double gourd-shaped. H. 2J in. Very light fawn clay, nearly white 
 glaze. Circular panels containing figures, birds, etc., with lattice work between in 
 dark blue. An exquisite example. 1680 3'°3 
 
 
 3105. Bowl. D. 4J in. Very light grayish clay and glaze. Plum-tree and blossoms and 
 pine in thick bright blue and light green enamels with red flowers, touched with gold. 1680 
 
 3106. Dish. D. 3! in. Sides obliquely fluted and rim scalloped. Pale Japanese yellow 
 clay and glaze. Radiating figures in brown and blue. Awata (imp.). 1680 
 
 3I07-3I^^' Cake-dishes, bowls, wine-bottles, etc. 1680-1780 ^J ^l 
 
 31 17- Bowl. D. 4I in. Very light gray-drab clay, and glaze strongly ^^ ^ 
 
 crackled. Tokugawa crest and pink in blue and olive-brown. 
 
 Awata (imp.). 1780 
 
 3II8. Bowl, slightly irregular. D. 4I in. Light fawn clay and glaze. Vigorous drawing 
 of house roof and bamboo in gray, black, and light brown. Obscure designs in gold nearly 
 erased. Awata (imp.). 1780 
 
 31 19-3125. Various forms of Awata. 1780-1800 
 
PROVINCE OF YAMASHIRO 223 
 
 3126. Cylindrical flower-vase. H. 10 in. Fawn clay, dull reddish-brown glaze. Stone 
 lantern and formal designs of rock in thick white slip tinted with various shades 
 of brown and pale green touched with dull blue and black. Inside, transparent 
 glaze. Unique form. Awata (imp.). 1800 
 
 3127. Wine-bottle. H. 7J in. Similar to last. 1800 
 
 3128. Cup, egg-shaped. D. 2^ in. Fine reddish clay. Persian design on un- 
 glazed surface in thick white slip, coarsely crackled. Design glazed in blue, bright yellow, 
 deep purple, pale green and bright red enamels. 1800 
 
 An exceedingly rare form. 
 
 3129-3138. Wine-bottles, tea-pots, and bowls. 1800-1850 
 
 3139' Bowl. D. 4-,'^ in. Japanese yellow clay and glaze with grayish area. Acorns and 
 leaves in brown inside and out. 1850 
 
 Gift of John Green. 
 
 3140- Tea-pot. D. 2J in. Very light fawn clay, Japanese yellow glaze. Crests in olive- 
 brown. A most delicate piece of work. 1850 
 
 3I4I' Wine-bottle, oviform. D. 4I in. Japanese yellow clay and glaze. Rough sketch 
 of figures in white, bright blue, and purplish brown. 1850 
 
 3142. Bowl, delicately turned. D. 3I in. Light grayish clay and glaze. 1850 
 
 Type Ninagawa. Unpublished plate. 
 
 3143 • Wine-cup. D. 2J in. Himuro Awata Rioundo set {wi\X\&Xi). i860 
 
 3144, 3145' Wine-bottle and covered bowl. i860 
 
 AWATA GUCHI (Case 27) 
 
 This pottery was first made in the seventeenth century, a little later than the first 
 Awata. Early pieces resemble the transparent glazed pottery of Fukakusa. 
 
 3I46- Bowl. D. 4f in. Japanese yellow clay and glaze. The seven jewels in 
 blue and brown. Basal ring notched. Awafa Gucki (imp.). 1750 v-->. 
 
 An exceedingly rare mark. 3146 
 
 RAKUTO (Case 28) 
 
 Allusions are made to the mark Rakuto, in Ninagawa's classical work and in other 
 books on the subject, as occurring on early pieces of Awata. The mark has been 
 ascribed to Ninsei ; but, though near the time of Ninsei, it was used by another potter 
 who baked in Awata, and who used the characters Rakuto. Whether the signature 
 was used by Ninsei or his contemporaries has not been definitely ascertained. The 
 mark is extremely rare, and the Museum is greatly indebted to Mrs. Henrietta Page 
 for the single specimen in the collection. 
 
 3147* Flower-pot, rectangular. L. 9J in. Japanese yellow clay and glaze. Wide 
 border of zigzag lines in green and blue enamel. Rich decoration of pine in green and 
 blue enamels and gold. Raiuio (imp.). 1660 ^, _ 
 
 Gift of Mrs. Henrietta Page. 
 
226 THE CATALOGUE 
 
 IWAKURAYAMA (Case 27 and Plate XX. 3148) 
 
 The first maker of this pottery was an apprentice of Ninsei, and the work dates 
 back over two hundred years. After this a potter named Kinkozan made a new kind 
 of pottery, using the mark Iwakurayama. Iwakura is about four miles northeast of 
 Kyoto. In the middle of the eighteenth century the pottery was moved to Awata dis- 
 trict, since which time the most delicate of Awata pottery has been made bearing the 
 impressed mark Iwakurayama. 
 
 3148. Cake-bowl. D. 4I in. Rim with five deep scallops. Light gray clay and glaze. 
 
 Outside, brown circles enclosing flowers in light blue. Inside, formal design of petals in 
 
 brown and blue corresponding to scalloped rim. 1675 
 Type Ninagawa. Part V., Fig. i. 
 
 314Q* Bowl, elongate oval. D. t,\ in. Gray-drab clay, yellowish-gray glaze, basket design 
 in brown. Iwakura (imp.). 1700 
 
 3150. Incense-burner. D. 2| in. Yellowish-white clay and glaze. 
 Band of diaper in black, touched with gold. Inturned rim with design in 
 light green enamel, touched with gold. Iwakura (imp.). 1700 3149 
 
 315^" Fire -VESSEL. D. 4J in. Fine fawn clay, very light fawn glaze clouded, 
 decoration of chrysanthemums in blue and green. Iwakurayama (imp.). 1750 
 
 3152' Tea-bowl. D. 4f in. Fawn clay, grayish-fawn glaze. Straw and pine deco- ^j^^ 
 ration in brown. Iwakurayama Ippo (imp.). 1800 jO 
 
 3^53- WiNE-BOTTLE, slender gourd-shaped. H. 7I in. Light gray clay and glaze. ^ 
 Vine in brown and blue. Iwakurayama (imp.). 1825 
 
 3154- Beaker. D. \\ in. Fawn clay, Japanese yellow glaze. Blossoms /fev "^T* 
 in white slip, tinted with green, brown, and gold. Maple leaves in many Qifl ^^ 
 colors inside and out. huakurayama (imp.). 1825 3154 3152 
 
 Type Ninagawa. Part V., Fig. 2. 
 
 3155- Plate. D. 6J in. Awata clay and glaze, strongly crackled. Equisetum in brown. 
 Iwakurayama (imp.). 1825 
 
 315"" JaJ*) swelling sides. H. 4^ in. Fine light reddish-fawn clay, dark drab glaze, strongly 
 crackled. Encircling lines, stars, circles, etc., impressed in white Mishima around 
 upper portion. Iwakurayama (imp.). 1830 j^ 
 
 3157- Bowl. D. 3I in. Fawn clay, dead brown surface, scrolls in blue, green, and ^^ 
 straw enamels outlined in yellowish-white. Inside, yellowish-white glaze. Qj 
 
 Iwakurayama (imp.). 1840 3157 
 
 HOZAN (Case 27 and Plate XX. 3176) 
 
 Ninagawa in manuscript says that the founder of this family was Bunzo, and that 
 he came from Omi in the middle of the seventeenth century. At various times the 
 family have used the marks Akashi, Asahimine, and Taihei Hosan. The family have 
 also imitated Ninsei, Iwakurayama, Gobosatsu, and Awata, using these various marks. 
 According to the same authority the eleventh generation was living in 1880. Pottery 
 bearing the marks Taihei and Taihei Hozan would never be recognized as Awata 
 
PROVINCE OF YAMASHIRO 
 
 227 
 
 Hozan. Asahimine is even more unlike. The above-mentioned kinds vary greatly in 
 their age, and it is possible that some of the Bunzo generations made pottery on their 
 own account. Until further information is obtained Taihei Hozan will be considered 
 under Hozan, while Asahimine will be separated. Pottery bearing the mark of Hozan 
 exceeds all other Awata pottery in originality, diversity, and beauty. It is said that 
 the family originated the curious arabesque pattern in thick' enamels of blue with 
 ground colors of white and yellow on an unglazed surface. In pottery signed Tsujii 
 Haritna, however, this kind of decoration was anticipated by a hundred years. If 
 Hozan revived the art it was promptly imitated by all the Awata potters. 
 
 3158. WiNE-BOTTLE, Canteen form. H. 5J in. Two looped handles. Dark drab clay, 
 greenish-fawn glaze. Design of figure, trees, etc., moulded in high relief on each side. 
 Hozan (imp.). 1700 
 
 3^59- Bowl. D. 3! in. Light Japanese yellow clay, grayish- 
 yellow glaze. Running brook and irises in gold. I/ozan (imp.). 1720 
 
 3160. Cake-dish. D. 7J in. Coarse gray-drab clay, thin trans- 
 parent glaze. Inside, two children in white and brown. 
 Hozan (imp.). 1780 
 
 3161. Wine-bottle (cat). H. 6J in. Fawn clay, thick yellowish-white glaze, clouded 
 with rich brown stains. Hozan (imp.). 1780 
 
 3162. Pot for sake, with bail. H. 6| in. Fine fawn clay, light fawn glaze, coarsely 
 crackled. Bamboo and plum in brown, white, and blue. 1800 
 
 Gift of Mrs. E. F. Fenollosa. 
 
 3163-3175 
 
 Hozan. 
 
 3176. Cake-dish. D. 4J in. Japanese 
 yellow clay with buff stain, elaborate scroll 
 in dark blue enamel. Inside, Awata glaze. 
 Hozan (imp.). 1850 
 
 Type Ninagawa. Part IV., Fig. 20. 
 
 Various forms, illustrating the versatility of the family, bearing the mark 
 1800-1850 
 
 3176 
 
 H. 8f in. Identical with last in clay and deco- 
 
 1850 
 
 3177* Flower-vase, with elephant handles 
 ration. Unsigned. 
 
 Gift of W. S. Bigelow. 
 
 3178. WiNE-BOTTLE. H. 6J in. Body octagonal, neck square. Yellowish-white clay and 
 
 glaze, with splash of olive-green overglaze. Rude designs in brown and blue. 
 
 Hozan tsukuru (imp.). i860 
 
 3x80. Netsuke, in form of Daruma, carved by hand. H. if in. Gray-drab clay, light 
 grayish-yellow glaze. Taihei (imp.). 1800 
 
 3X8x. Tea-pot. D. 2\ in. Thin walls, light brown clay, ^^ /g| 
 
 unglazed. Wavy lines incised. Hozan and Taihei (imp.). 
 
 1800 
 3x82. Tea-pot. D. 2\ in. Light brown clay unglazed. " \g;/ 
 
 Hozan and Taihei (imp.). Last three in Case 34. 1800 3180 3181 
 
228 
 
 THE CATALOGUE 
 
 GOBOSATSU (Mizoro) (Case 27) 
 
 This pottery was first made near Mizoro pond. The clay and glaze are similar to 
 Awata, but the clay is heavier and the glaze more coarsely crackled. In the latter half 
 of the seventeenth century the oven was moved to Awata, and the mark Gobosatsu was 
 used. It is said that the oven was established by Gensuke, a pupil of Ninsei. Later 
 pieces bearing the mark Gobosatsu are said to have been made by Hozan. Old pieces 
 are very rare. 
 
 3183. Bowl. D. 4^^^ in. Rather thick and heavy. Light gray-drab clay, yellowish-white 
 glaze, straw and pine decoration in brown and gray. 1680 
 
 3184' Deep bowl, sides flattened. D. 4J in. Light brown clay, grayish-white glaze. Pine 
 in blue and green enamels, bamboo teaspoon in blue enamel, and tea-stirrer in greenish-gray. 
 Gobosatsu (imp.). 1680 
 
 A remarkable specimen. t* 
 
 3185. Cake-dish, sides flattened and scalloped. "^ 
 
 D. 5 in. Perforations in form of petals. Light fawn p^ 
 
 clay, grayish-yellow glaze. Inside pine in brown and 
 
 gray. Gobosatsu (imp.). 1680 V^l 3i88 
 
 3186-3195. Scalloped cake-dishes, bowls, etc., ranging from 1700 to 1840, with mark of 
 Gobosatsu (imp.), with the exception of 3194, which is Mizoro yaki and kakihan (written). 
 
 3190 
 
 3191 
 
 3193 
 
 3196*. Bowl. D. 4 in. 
 
 Gourd and vine in brown. 
 
 Gift of John Green. 
 
 Fawn clay, grayish-fawn glaze. 
 Gobosatsu (imp.). 1840 
 
 3196 
 
 TAIZAN (Case 27) 
 
 The first generation of this famous family was one 
 Takahashi Tokuro, who came from Omi, and built an oven in 
 Awata in 1673. The second generation was known as Yohei, 
 and this family name remained in all the subsequent genera- 
 tions. Yohei's work consisted of tea-utensils only ; the third 
 generation made tea and wine utensils ; the fourth generation 
 (1789-92) first used dark blue glaze ; the fifth generation (1804- 
 18 17) made blue pottery vases for the Imperial household; the 
 sixth generation (1830-38) introduced a regular style of paint- 
 ing for decoration. He was a friend of the famous artists of that time, among whom 
 were Keibun and Toyohiko. The work Tdki Shoski, from which the above information 
 has been derived, also mentions the seventh, eighth, and ninth generations. Ninagawa 
 says that the mark Taizan was first used in 1 760. A variety of marks are seen on 
 the pottery, but it has been impossible to subdivide them according to different fami 
 lies. The pottery shows great refinement and skill. 
 
 3194 
 
PROVINCE OF YAMASHIRO 
 
 229 
 
 3197- Handled wine-bottle. H. 6J in. Thick and heavy. Light brown clay, deep pur- 
 plish-blue glaze, mottled. Taizan (imp.). 1800 
 
 3193* Drum-shaped object. H. 3J in. Light fawn clay and 
 glaze. Imperial crest, pine and maple leaves in brown and light 
 blue. Taizan (imp.). 1840 
 
 3199. Wine-bottle for offering. H. 5f in. Light grayish- 
 drab clay unglazed. Taizan (imp.). 1840 
 
 3200. Bowl. D. 3I in. Light grayish-drab clay. Scrolls in green, deep blue, and yellow- 
 ish enamels on unglazed surface. Inside, yellowish-white glaze. 
 Taizan (imp.). 1850 "M^ ^ ^ms 
 
 3201 3204 3206 
 
 3200 
 
 3201-3206. Wine-bottles, bowls, etc., all signed with the im- 
 pressed mark Taizan. 1850-1860 
 
 KINKOZAN (Case 27) 
 
 The family of which the modern Kinkozan is a representative began work in 
 Iwakurayama, and afterwards moved to Awata, and for the first time used the signa- 
 ture Kinkozan. Another account says that the first generation was represented by 
 Kobayashi Tokuyemon, who worked in Awata in 1646. The early work departed from 
 typical Awata models, and a variety of forms, glazes, and decorations were made. The 
 small bowls and jars with rich dark brown overglaze, and the light brown glazes with 
 light decoration were particularly rich, and these were among the chef-d'oeuvres of the 
 family seventy years ago. In 1877, or thereabouts, the representative of the family, 
 Sobei Kinkozan, with a large staff of crude potters and decorators, flooded the foreign 
 market with profusely decorated Awata, signed with the painted mark Kinkozan in red. 
 
 3207. Fire-vessel. H. 3f in. Light gray-drab clay, white glaze. Bamboo grove in blue. 
 Characters in brown. Kinkozan (imp.). Decoration and poem 
 signed Kenzan. 1780 
 
 Type Ninagawa. Part IV., Fig. 21. 
 
 3208. Fire-vessel. H. 4^ in. Gray-drab clay, yellowish-white 
 glaze. Over-decoration of formal scrolls and flowers in blue and 
 red. Kinkozan (imp.). 1780 
 
 3209. Bowl. D. 4 in. Fawn clay, light grayish glaze. 
 Pine in black and blue. Kinkozan (imp.). 1800 
 
 3210. Tea-pot. D. 6^ in. White clay, yellowish-white 
 
 glaze, over-decorations of scrolls, flowers, diaper, etc., 3209 3207 
 
 in red. Kinkozan (imp.). 1800 
 
 3211. Bowl. D. 4J in. Fawn clay, dark drab underglaze, large area of yellowish- white 
 overglaze upon which are waves and grass in blue and brown. Inside, yellowish-white glaze 
 coarsely crackled. Kinkozan (imp.). 1820 
 
 Type Ninagawa. Part VII., Fig. i8- 
 
 3212. Shallow bowl. D. 5I in. Drab clay, purplish-black underglaze, dull 
 light brown overglaze. Kinkozan (imp.). 1820 3212 
 
 /«C 
 
 
230 THE CATALOGUE 
 
 3213. Bowl. D. 4^ in. Whitish-yellow clay and glaze, lustrous deep chestnut-brown 
 overglaze. Unsigned. 1820 
 
 Type Ninagawa. Part VII., Fig. 17. 
 
 3214. Jar. H. 6i in. Four looped handles. Clay and glaze similar to last. 1820 
 3215-3222. Cake -DISH, bowls, wine-bottle, 
 
 All the above are signed Kinkozan. ^m "^P {^\ ™ 
 
 3223.* Hanging kan-holder. Su^a Sobei (imp.). »Jj ^& ^ UJ 
 
 This is one of the Kinkozan generations. 3216 3219 3221 3222 3223 
 
 GlOZAN (Case 27) 
 
 Pottery strongly resembling Awata is said to have been made in Fukakusa in the 
 early part of this century. 
 
 3224. Bowl. D. 3J in. Light brown clay. Elaborate scrolls and formal flowers in green 
 and yellowish enamel with yellowish-white outlines. Inside, Japanese yellow glaze. 
 Giozan (imp.). 1820 
 
 3225. Fire-vessel. H. 3J in. Light fawn clay. Elaborate scrolls in deep blue, light 
 green, and yellowish enamels, with flowers outlined in yellowish-white. 
 
 Giozan (imp.). 1820 g^ 
 
 3220. Bowl. D. 4I in. Japanese yellow clay, light grayish-yellow glaze. Pine rfj 
 
 and straw decoration in blue and green enamel touched with red and gold. 3226 
 
 Giozan (imp.). 1830 
 
 3227. Bowl. D. 4 in. Fawn clay, olive-grayish underglaze, yellowish-white overglaze, 
 running in long oblique streams with splashes of green. Inside, yellowish-white 
 
 glaze strongly crackled. High basal ring. Giozan (imp.). 1840 
 
 3228. Bowl. D. 4^ in. Gray-drab clay, rich brown glaze strongly mottled. 
 Giozan and Kinji (imp.). 1850 
 
 3229. Tea-pot. D. 2f in. Moulded. Light brown clay un- ^ 
 glazed. Bamboo and inscription, vigorously incised. P* 
 Giozan tsukuru (inc.). 1850 
 
 BIZAN (Case 27 and Plate XX. 3232) 
 
 Bizan was born in Kanazawa, Kaga, and was the son of a wealthy rice merchant. 
 He showed great fondness for Utai, a certain school of music. He was also fond of 
 painting, and, coming to Kyoto, became the pupil of Teibio, a Kyoto artist, and studied 
 the art of painting No figures. He began decorating Awata tea-pots, and finally 
 learned the art of pottery-making. His figures of No were considered very accurate. 
 He died in 1862 at the age of fifty-eight. This record was given to Mr. Bunki5 
 Matsuki by Heijiro Takeda, the only apprentice of Bizan. Takeda, whose pseudonym 
 is Tojiyoku, is now sixty-two years old, and is working at Kinkozan's oven. There 
 was a successor to Bizan, but his work is not specially recognized. 
 
 3230. Jar, bell-shaped. H. sJ in. Gray-drab clay, light grayish-drab glaze. Circles, 
 lines, etc., and characters in olive-brown. At base, band of brown glaze. Bizan (imp.). 
 
 , Unique form. 1850 
 
PROVINCE OF YAMASHIRO 231 
 
 3231. Shallow covered vessel. D. 6f in. Japanese yellow clay and glaze. No players 
 in various colored enamels, touched with gold. Bizan (imp.). 1850 ».• 
 
 ^ I 
 
 3232—3234- Wine-bottles, wine-cups and rest, etc., all signed. 1850 
 
 3231 3233 
 TANZAN (Case 27 and Plate XX. 3236) 
 
 Kishimoto, a native of Tango, learned the potter's art in Settsu and afterwards 
 studied in Tamba. In 1846 he came to Awata district in Kyoto and made pottery 
 after Kiyomizu models. In 1849 he began the making of typical Awata pottery, 
 and in 1869 assumed the name of Tanzan. In 1872 he secured a decorator of some 
 skill and entered into competition with other Awata potters in making pieces with 
 showy decoration for the foreign market. (The work Toki Shoshi mentions two 
 generations : the first, Tanzan Seikai, and the second, Tanzan Rokuzo.) The early 
 pieces bearing the mark Tanzan are the best, and are very rare. 
 
 3236. Wine-bottle. H. 6 in. Body polygonal, neck square. Brown clay, white glaze 
 pitted. Flowers in dark blue. Tanzati (written). 1870 
 
 3237* Cup. T). 2% in. Dark drab clay and glaze, splash of 
 yellowish-white overglaze with maple leaves in red. 1870 
 
 Tanzan (written). 
 
 This piece has been made from a flat piece of clay 
 folded and pinched together. Basal ring applied. 
 
 3238. Leaf-shaped dish. L. 6\ in. Light gray-drab ^ , 
 
 clay, with thin opaque brown glaze. Under side, scrolls 
 
 in white slip and blue enamel. Inside, chrysanthemums and scrolls in green, yellow, and 
 
 light purple enamels, outlined in white slip. Tanzan (imp.). 1870 
 
 RAKUTOZAN (Case 27) 
 
 Rakut5zan is a poetic name for the eastern part of Kyoto. Higashiyama is the 
 Japanese equivalent. Whether this name is the pseudonym of some potter, or 
 whether various potters signed their work with this poetic name has not been ascer- 
 tained. Certainly the pieces vary greatly in their quality and character. Until further 
 information is obtained, pieces bearing this mark will be considered under the above 
 title. The pottery has no relation to the piece already catalogued under Rakuto. 
 
 3239* Sake-pot. D. s| in. Gray-drab clay, dead dark purplish-brown surface. Garden, 
 mounds, and lantern in white slip, glazed with blue, green, and ochre. Rakutozan (imp.). 
 
 180a 
 
 3240. Wine-bottle. H. 6J in. Light gray-fawn clay, lustrous yellow- 
 ish-white glaze. Landscape and tree in light blue. Rakutozan (imp.). 
 
 1800 fJS^ I ■ 
 
 3241. Flower-vase, elephant handles. H. 8f in. Fawn clay, dull 
 dark surface. Scrolls, clouds, dragon, etc., in dark blue, green and straw 
 enamel and white. Rakutozan (imp.). 1800 3240 3241 
 
232 
 
 THE CATALOGUE 
 
 3242. Flower-vase, gourd-shaped, two knobs on shoulder. H. 6f in. Gray-drab clay, 
 
 very roughened surface ; dark brown glaze with splash of light blue overglaze running 
 
 in thick drops. Rakutozan (imp.). 1800 }'f 
 
 YOZAN (Case 27) 
 
 A bowl and a cup, evidently Awata, bearing in the one case an impressed, 
 and in the other a written mark of Yuzan, have been made within thirty years. No 
 information is at hand as to the potter or oven. 
 
 3243- Bowl. D. 4^ in. Gray clay, light gray glaze. Cats playing battledoor and shuttle- 
 cock in olive-brown touched with red, green, and gold. Yuzan (written in blue). i860 
 
 3244- Tea-cup. D. 2J in. Fine Japanese yellow clay, yellowish-white glaze. Plum-tree in 
 bluish-black with bright green leaves, blossoms in white slip touched with red and 
 
 gold. Yuzan (written in red). 
 
 i860 
 
 KOZAN (Case 27) 
 
 A piece, evidently Awata, bears the impressed mark Kazan. 
 about the potter. 
 
 3245. Shallow bowl. D. 6J in. Japanese yellow clay and glaze, 
 crane, pine, etc., in brown and blue. Kazan (imp.). 
 
 Nothing is known 
 
 Inside, turtle, 
 1820 
 
 TOKUBEI 
 
 A flower-holder in form of tree trunk modeled by hand has the incised mark 
 Awata Guchi Tokubei, etc. It is without merit. 
 
 3246*. Flower-holder. H. 4^ in. Tree trunk, flowers, and leaves in high relief modeled 
 by hand. Soft buff clay, dark surface unglazed. Flower white glaze, leaves 
 green glaze. Awata Guchi Tokubei tsukuru. Kayeiju kiki San-gatsu (inc.). 
 
 1853 
 SADA (Case 28) 
 
 A globular bottle with fawn glaze and bright decoration bears the 
 mark of Sada in a fan-shaped panel. It has an age of one hundred 
 years or more. 
 
 3247. Wine - BOTTLE, globular. H. 4 J in. Drab clay, 
 fawn glaze. Flowers and leaves, band of diaper, etc., in 
 green, blue, and purple enamels, with seal-brown, red, and 
 gold. Sada (imp.). 1800 
 
 KIYOMIZU 
 
 This is a general name for pottery made in Kiyomizu district, Kyoto. Some of the 
 pottery bears the definite mark Kiyomizu, other pieces have the single character Kiyo, 
 and many others are unsigned. So far as possible the Japanese dictum has been 
 followed, and all pieces identified as Kiyomizu, unless otherwise assigned, are here 
 
 3247 
 
PROVINCE OF YAMASHIRO 233 
 
 catalogued together. Some of these may possibly have been made by well-knovra 
 Kiyomizu potters who left their pieces unsigned, others are by obscure potters of 
 whom there are no records available. 
 
 3248 (Case 31). WiNE-HOLDER, six-sided. H. 8 in. Ears for bail. Fine fawn clay, rich 
 white glaze, strongly crackled. Conventional design of clouds, mountain, figures, pine, etc., 
 in rich, dark, and light blue. 1600 
 
 3249. Wine-bottle, square, with pottery stopper. H. loj in. Fawn clay, thick white 
 glaze deeply stained. Landscape, figures, poems, etc., in blue. On shoulder, scrolls in green 
 with blue interspaces. Glaze scaling. ' 1600 
 
 3250 (Case 28). Bowl. D. 4I in. Brownish clay, showing nearly black surface, light 
 gray glaze. Dim sketch of landscape in pale blue. Kiyomizu (imp.). 1600 
 
 3251. Beaker, lower part cut in hexagon. D. 4:^ in. Gray-drab clay, dull 
 underglaze, clear white overglaze. Rough sketch of flowers and band of zig- 
 zag lines in blue. Kiyomizu (imp.). 1600 
 
 3252 (Case 31). Wine-bottle, square. H. gj in. Fine fawn clay, light 3250 3251 
 fawn glaze clouded by stains. Landscape in clear light blue. 1620 
 
 Known as Amamori, which means rain stain, as seen on their paper screens. 
 
 3253 (Case 28). Oval bowl. D. 6 in. Rim brown, finely scalloped. Fawn clay, light 
 gray glaze with pinkish area. Basket decoration in gray and blue. 
 
 Kiyomizu (imp.). 1650 
 
 3254. Clove-boiler, gourd-shaped handles. H. 9 in. Fawn clay, light grayish- 
 fawn glaze with shades of pink. Vigorous decoration of leaves and fruit of biwa in 
 brown, white, and light blue. 1650 
 
 Gift of W. S. Bigelow. 3^53 
 
 A superb example. 
 
 3255* Covered jar. H. 5 J in. Fine hard-fawn clay, light fawn glaze, strongly crackled. 
 
 Under decoration of obscure landscape in bluish-black. 
 
 Gioji [or Jioji\ (imp.). 1750 
 
 3256. Oviform bottle, constriction in middle. H. lo^ in. Fine 
 hard fawn clay, fawn glaze, coarsely crackled. Obscure under- 
 decoration in bluish-black. Z? zV;4/ (imp.). 1750 
 
 3257- Incense-stick burner. H. iJ in. Light fawn clay, light 
 Japanese yellow glaze, flowers in blue and green enamels, and red, black, and gold. 
 Type Ninagawa. Part IV., Fig. 22. 
 
 3258. Leaf-shaped dish. D. 5I in. Moulded. White clay and glaze, coarsely crackled. 
 
 1670' 
 
 3259. Bottle, with long neck and nozzle. H. 174 in. Fawn clay, whife glaze with rough 
 decoration of chrysanthemums, scrolls, etc., in blue. 1680 
 
 3260. 3261. Bowl and incense-stick burner. 1700 
 
 3262 (Case 31). Wine-holder, cylindrical. H. 6f in. Ears for bail. Fine fawn clay, 
 light fawn glaze. Overglaze decoration of flowers and scrolls in green and blue enamels and 
 black, red, and gold. 1700 
 
1^ 
 
 234 THE CATALOGUE 
 
 3263. Wine-holder, cylindrical. H. 7J in. Light fawn clay and glaze. Iris in light blue 
 and green enamel, and red and blue. 1700 
 
 3264. Wine-holder, cylindrical. H. 4^ in. Ears for bail. Fine fawn clay with reddish 
 tinge, light warm fawn glaze. Over-decoration of white chrysanthemums with blue 
 
 centre and brownish-black leaves. Kiyo (imp.). 1700 
 
 3265. Wine-bottle, square. H. 8f in. Fine fawn clay, light fawn glaze with 
 clouded stains. Above, rich green overglaze running in long streams. 1720 
 
 Known as Amamori. 
 
 3266-3274- Various pieces of Kiyomizu. 1730-1780 
 
 3275 (Case 28). Wine- BOTTLE, double gourd-shaped. H. 5J in. Fawn 
 clay, grayish-white glaze coarsely crackled, deeply stained. Vigorous decora- 
 tion of leaves, bamboo and pine in dark blue and green enamel. Kakihan on 
 bottom in blue enamel. 1780 
 
 3276-3282. Various pieces of Kiyomizu. i 780-1820 ^^^^ ''^''^ 
 
 3283-3291. Various pieces of Kiyomizu. 1820-1850 
 
 3292-3301 (Case 34). Various pieces of Kiyomizu. 1850-1870 
 
 No. 3292 has the mark Bai so yen set (written). 
 
 KANZAN (Case 28) ■ 
 
 Denshichi Kanzan, a native of Owari, began the baking of pottery in Kiyomizu in 
 1805. In 1872 successors of the family made quantities of highly decorated pottery 
 for the foreign market, and this is commonly seen in collections as Kanzan. The work 
 of Kanzan, before being degraded by competing for the foreign trade, was in good taste, 
 though e.xamples are exceedingly rare. 
 
 The collection is indebted to Mr. Y. Yamanaka of Osaka, Japan, for an example of 
 the early work of Kanzan. 
 
 e 
 
 ^^ 
 
 3302. Jar, with cover. H. 3^ in. Hard white porcelain clay and glaze. On 
 
 upper half jewels and clouds, on lower half various diapers in oblique panels in ^^ vKi 
 
 rich blue. Lower half flattened, polygonal. Rakuto ko Kanzan tsukuru (writ- ^ "^ 
 
 ten in blue). 1820 4^f ^L 
 
 3302 
 
 KOMATSU (Case 34) 
 
 Over two hundred years ago pottery was made in the village of Komatsu. Judging 
 from the single specimen in the collection it followed early Kiyomizu style. Ninagawa 
 in his work mentions a pottery under the name of Komatsu-dani, which probably refers 
 to the same oven. 
 
 3303- Shallow bowl. D. 5I in. Hard fine gray-drab clay, light reddish near ^A'J* 
 
 junction of glaze, light grayish-fawn glaze, coarsely crackled. Inside, under- "^^ 
 
 decoration of landscape in greenish-gray. Komatsu kichi (imp.). 1680 „o- 
 Extremely rare. 
 
 01-" rwt 
 UNiVt. SI7Y 
 
 ) 
 
CASE 28 
 
 3<joo 311'* 31^1 32.b"'< 
 
 30'i7 3270 ^^J& 
 
 3Z6S- 3Zi-6 
 
 3Z6I ^^o" 
 
 V' 32%3 
 
 
 1 3^Lf 311. ^ife ^J 
 
 ^'fSD^^^" 
 
 3ZS-8 
 
 'joool 
 
 3i-7 3 
 
 "3TT9 3 !"''>_ JZTV 3"! 
 
 
 
 SL:^ 
 
 
 i^ — ji^^ 
 
 tony — aiit>(a 
 
 3i-6<} 
 
 3ya7 3s'a& 3s&i 
 
 3 6i-'7 
 
 3yso 
 
 3S-7'? 
 
 3&I7 
 
 34-77 3i-76 
 
 3bOI 
 
 3(>U3 
 
 PROVINCE OF YAMASHIRO 
 

PROVINCE OF YAMASHIRO 235 
 
 KICHIBEl'(Case 31 and Plate XXI. 3305) 
 
 The collection contains two specimens signed Kichibei. The accounts are very 
 conflicting regarding the family. It is stated by Ninagawa that the seventh genera- 
 tion of Kichibei ended in 1857. That a Kichibei was at work in 1705 is attested by 
 Bampo Zenshd. It is also recorded that a letter was written by the Tokugawa to 
 Kichibei in 1752, ordering him to make various objects. The mark is extremely rare. 
 
 3304- Beaker. D. 45 in. Lower portion cut polygonally. Fine light fawn clay, thick 
 white glaze. Under-decoration of vertical lines and bands outside, and band of dots 
 and characters inside in blue. Kichibei (imp.). 1760 
 
 3305- Similar to last. D. 3 in. 
 
 _ 3304 
 
 ICHIYU (Case 31) 
 
 A pottery showing the marks of a skilful workman, and one who strictly followed 
 Kyoto models, is seen in the form of bowls. Ninagawa in manuscript notes has 
 simply recorded the mark IchiyU, the date 1845, and the place Kyoto. 
 
 330^' Bowl. D. 4I in. Light fawn clay, smooth light gray glaze. Over-decoration of 
 Kirimon in blue, green, black, and light red. IchiyU, in hexagon (imp.). 1845 y^-..,^^ 
 
 3307- Bowl. D. 4J in. Light gray clay, mottled with light fawn, dull I rt> J '^ 
 whitish glaze. Basal ring notched. IchiyU (imp.). 1845 ^^^ 
 
 3306 3307 
 
 YEISEN (Case 28) 
 
 Okuda Yeisen was not a professional potter, but through his great love for the art, 
 acquired a skill of throwing and decorating in a rude sort of way. Yeisen's work was 
 in imitation of foreign models. He made among other pieces heavy white stone fire- 
 vessels with rude overglaze decoration in red and green. Yeisen had no stamp, but 
 signed his name in red or green on the bottom of the piece. This potter was a fellow- 
 student with the first Rokubei under Yebeiya Seibei. Yeisen was the teacher of 
 Mokubei, Dohachi, Shuhei, Kamesuke, and Kasuke. The work dates from the latter 
 half of the last century. 
 
 3308. FiRE-VESSEL. D. 4j in. Very thick and heavy. Hard white clay and 
 glaze, coarsely crackled. Over - decoration of flowers, mythological creatures, 
 diaper, etc., in green enamels with red, brown, and black, roughly drawn. 1770 
 Yeisen (written in red). 
 
 3309- FiRE-VESSEL. D. 4i in. Heavy and thick. Hard light clay, greenish- 
 white glaze without crackle. Figures in green, light blue, and yellow enamel, 
 shaded with brown. Unsigned. 1770 -vvA 
 
 KYOTA (Case 30) 
 
 Okada Kyuta was a contemporary of Mokubei, and a skilful potter. His little 
 brown, unglazed tea-pots were highly esteemed by the tea-lovers. Owing to their 
 fragile character but few specimens of his work have survived. The mark Kytita is 
 impressed on the lower side of the handle. 
 
3^6 
 
 THE CATALOGUE 
 
 3310. Tea-pot. D. 3^ in. Dull brown clay. Unglazed. 
 
 331 1. Tea-pot, similar to last. 
 Kyiita (imp.). 
 
 3312 
 
 33«3 
 
 Light gray-drab clay, thick yellowish-white 
 
 Rough surface. Kyuta (imp.). 
 1820 
 
 Band of scrolls incised around shoulder. 1^1 
 
 1820 \§/ 
 
 33'° 
 KASUKE (Case 31) 
 
 A Kyoto potter, named Kasuke, made pottery in the latter part of the eighteenth 
 century. He was a contemporary of the first Rokubei, and a pupil of Yeisen. His 
 imitation of foreign models was good, and would have been deceptive, had he not signed 
 his pieces. Specimens of his work are rare. 
 
 3312. Shallow cake-dish, with low basal ring. D. 6| in. Fawn clay and glaze. Inside, 
 cranes and grass in black and white. Strong right-hand thread-mark. 
 Kasuke (imp.). 1780 
 
 33^3- Boat-shaped dish, with handle and scalloped edge. L. 8 in. 
 Light fawn clay, with elaborate festoon of jewels in high relief, moulded. 
 Outside, shiny yellow glaze ; inside, rich green glaze. 1780 
 
 Kasuke (imp.). 
 
 3314. Fire-vessel. H. 3J in. Thick walls, 
 glaze. Rough over-decoration of birds, iris, and 
 flowers in red and green. 
 Kasuke (written in red). 1780 
 
 3315. Tea-pot. D. 4f in. Modeled. Red- 
 dish-fawn clay, unglazed. On side, poem in 
 relief. Ka, in pentagon and oval, impressed. 
 
 1780 
 
 3316. Oval platter. L. lof in. Fine fawn 
 clay. Elaborate decoration inside and out of horses, flowers, spirals, diaper, etc., in yellow, 
 green, and purple on white ground. Kakushi-tei Kasuke (yiriit&n in 
 black). 1780 
 
 ROKUBEI (Case 29 and Plate XX. 3324) 
 
 Rokubei is the name of a family of famous Kiyomizu pot- 
 ters whose founder was a pupil of Yeisen. The first Rokubei 
 began in 1737. The fourth generation of this family is now 
 at work, and like the second and third generations has adhered 
 to the typical Kiyomizu style established by the founder of the 
 family. 
 
 FIRST GENERATION 
 
 Kiyomizu Rokubei, or Gusai, acquired the potter's art of Yebeiya Seibei in 1737. 
 Rokubei first worked in Shigaraki, Omi, and there learned the excellent quality of 
 Shigaraki clay, and often used it in his work after settling in Kiyomizu. Such pieces 
 were usually signed with the incised mark Roku. His later work bore the impressed 
 mark Set, in hexagon, also Seifn, in double-gourd. In some of his pieces the incised 
 
 ^ 
 
 r#? 
 
 3314 
 
 33' S 
 
PROVINCE OF YAMASHIRO 
 
 237 
 
 3319 
 
 3321 
 
 3320 
 
 and the impressed mark Rokubei are seen, and rarely Kiyomizu Giisai and Dai Michi. 
 His work was vigorous and tasteful. He continued until 1787, when after an interval 
 of ten years his son assumed the head of the house. 
 
 33^7" Plate. D. 8/^ in. Coarse gray-drab clay, gray glaze. 
 One half of upper surface covered with white overglaze, upon 
 which are grasses in greenish-brown. Roku (inc.). 1740 
 
 3318. Plate. D. gf in. Similar to last with leaves and flowers. 
 Roku (inc.). 1740 
 
 33^9- Incense-box. D. 3J in. Very light fawn clay and glaze 
 with pinkish tinge. Flying crane on cover in white Mishima 
 touched with black. Kiyomizu (imp.). 1750 
 
 3320. Haisen (?) D. si in. Light brown clay, gray underglaze, light fawn overglaze 
 with brownish stains. Grasses in olive-brown. 
 
 Roku ichi (imp.). An exceedingly rare mark. 1750 
 
 3321. Plate. D. 8 in. Thickened rim. Dull brown clay, gray under- 
 glaze, rich mellow cream overglaze. Vigorous drawing of millet 
 in black and yellowish-brown. Ninsei (imp.). 1740 
 
 This mark consists of different characters from the Ninsei 
 mark, and the work has no relation to that of Ninsei. It has all 
 the characters of the early work of the first Rokubei, and is 
 placed here provisionally. 
 
 3322-3327. Tea-pot, bowls, incense-boxes, with marks of Rokubei, and Sei in hexagon 
 impressed. 1750 
 
 3328. Incense -BOX (bird). L. 3 in. Vigorously sliced and 
 carved. Light gray clay and glaze shaded with brown. 
 Sei, in hexagon (imp.). 1750 
 
 Type Ninagawa. Part V., Fig. 10. 
 
 3329. Cake-dish. D. 6f in. Fawn clay and glaze. Rough 
 sketch of chrysanthemums in olive-gray, ^^in hexagon (imp.). 
 
 3330- Tea-jar, looped handles. H. 3J in. Resembles Bizen. 
 
 3331. Tea-bowl. D. 4I in. 
 Type Ninagawa. Part V., 
 
 3332. Incense- BOX, similar to 3328. L. 2 in. Grayish - white 
 clay, brown glaze with darker brown areas. Inside, splash of 
 transparent glaze, beneath which is written in blue the following 
 mark : Shin Koshinga, Ryokwan ni cite. Rokubei tsukuru (written). 
 
 1750 
 3333- Water-jar. H. 6| in. Thick and heavy, roughly turned. 
 Sei, in hexagon (imp.). 1760 
 
 3334* Tea -JAR. H. 2\ in. Fine gray -drab clay, rich brown glaze 
 with nearly black overglaze running from shoulder. Sei, in hexagon 
 A beautiful example. 
 
 3335"'333°' Tea-bowl, water-jars, and wine-bottle. Sei, in hexagon (imp.). 
 
 Roku (inc.). 
 Rough light yellowish clay and glaze. Rokubei (imp.). 
 
 I 
 
 333' 
 
 
 1750 
 1750 
 1750 
 
 3332 
 
 (imp.). 
 
 1760 
 
 1760 
 
238 
 
 THE CATALOGUE 
 
 3343 
 
 3347 
 
 3348 
 
 SECOND GENERATION 
 
 This potter began work in 1797 at the age of twenty, using the impressed mark 
 Sei, in double hexagon. His work differed little from that of his father, though 
 lacking somewhat in originality and vigor. He died in 1847, when his son succeeded 
 to his name. 
 
 3339' Large bowl. D. io| in. Gray-drab clay, transparent underglaze, gray overglaze. 
 Outside, encircling bands, dots, and scrolls in brown. Inside, figures, characters, etc., in 
 brown. Seiy in double hexagon (imp.). 1790 
 
 334^' Plate, scalloped edge. D. 5^ in. Fawn clay, rich brown glaze, lighter around 
 rim. Thick bluish-white overglaze running. Sei, in double hexagon (imp.). 1790 
 
 334^~3347' Tea-cups, tea-bowl, beaker, and other forms from 1800 to 1810. All 
 signed Sei, in double hexagon (imp.). 
 
 334^* Shallow cake-plate, on three looped 
 legs. D. 8^ in. Gray-drab clay, gray glaze, brush- 
 mark in brown below. Inside, roofing tiles in- 
 cised, tinged brown. In centre, head of tile with 
 Kirimon decoration, unglazed. Sei, in double 
 hexagon (imp.). 1810 
 
 3349~335-^' Beaker, large bowl, and covered vessel. Sei, in double hexagon (imp.). 
 
 1820 
 
 THIRD GENERATION 
 
 This potter repeated some of the marks of the first Rokubei, in single hexagon, 
 as well as signing with Rokubei, incised, and Sei Roku and Roku ichi, impressed. 
 His work, while preserving the general spirit of the family, falls off slightly in strength. 
 He was a charming old gentleman, and active in 1882, but has since died. To him 
 I am indebted for the information regarding the family. 
 
 3352-3357- BoWLS, TEA- 
 CUPS, beaker, incense-box, 
 etc., variously signed Roku- 
 bei, incised, Sei Roku, im- 
 pressed, Sei, in hexagon, 
 impressed. 1820-1830 
 
 335^- Compartment box. 
 H. 7 J in. Solid and roughly 
 made. Light fawn clay, gray- 
 ish-white glaze. Rice field 
 and geese in blue. Cover, 
 plum blossoms in blue. Sei, 
 in hexagon (imp.), 33S8a. 
 Jin Roku saku (inc.), 33S8b, 
 on cover. Bunseki hitsu 
 (written), 33580. 1830 
 
 ID 
 
 »> -• 
 
 3354 
 
 33S8a 
 
 33S8b 
 
 3358c 
 
PROVINCE OF YAMASHIRO 
 
 239 
 
 3359 
 
 3359- Beaker. D. 3I in. Fine gray clay, rich brown glaze with light brown overglaze 
 flecked with light blue. Sei, in hexagon (imp.). 1830 
 
 33^0. Globular water-jar. H. 6f in. Brownish clay, transparent glaze 
 mottled with fawn. Rokubei Qnc). 1840 
 
 3361. Large bowl. D. 5J in. Strongly turned. Rough drab clay, gray 
 underglaze, white overglaze coarsely crackled. Characters, circles, etc., in olive-brown. 
 Rokubei (inc.). 1840 
 
 A vigorous example. 
 
 3362. Flaring bowl. D. 6 in. Gray-drab clay, thick white glaze, strongly pitted. 
 Dragons and scrolls vigorously drawn in olive-brown. Sei, in hexagon (imp.). 1840 
 
 3363' Bowl, same as last. Mark erased. 1840 
 
 (Figured in Harper's Magazine, September, 1888.) 
 Mistaken for Satsuma by Ninagawa. 
 
 3364~3383- Beakers, cake-dishes, brazier, small plates, bowls, etc., variously signed 
 Sei Roku, impressed (3365), Sei, in hexagon (3368), and Rokubei, impressed and written 
 (3369), and Roku ichi, impressed 
 (3376, 3383). 1840-1870 
 
 3384. Plate. D. 10 in. Coarse 
 fawn clay, warm gray glaze. In- 
 side, over - decoration of rad- 
 ishes in white and blue, leaves 
 in white, dark green, and brown. 
 A vigorous example. 
 
 33"5~339^- Garden-lantern, tea-cup, sake-bottle, bowls, etc., with 
 various signatures of Rokubei. 1870-1880 
 
 y ^ 
 
 3376 
 
 Rokubei (inc.). 
 
 3369 
 
 FOURTH GENERATION 
 
 This potter has succeeded in preserving some of the spirit of his 
 father, using also similar marks as signatures to his work. 
 
 3392. Wine-bottle. H. 6} in. Fine gray-drab clay, light gray underglaze, cream-stained 
 overglaze. Hotel in brown. Cloth-mark below. Sei Roku (imp.). 1888 
 
 3393- Paper-weight (crab). L. 3I in. Hard white stone clay, light brown glaze, with 
 back and big claws in red, yellow, and white glaze. A strong example of modeling. 
 
 Sei, in hfexagon (imp.). 1888 
 
 3394- Wine -bottle. H. 5J in. Gray-drab clay, warm gray glaze. Pine 
 incised and splashed with dull green. Sei, in hexagon (imp.). 1888 
 
 3395- Tea-cup. D. 2J in. Strongly turned, coarse brown clay, thick olive- 
 green glaze clouded with brown. Yeishin (imp.). 1890 3395 
 
 SHICHIBEI (Case 29 and Plate XX. 3401) 
 
 Pottery bearing the impressed mark Sei, in double heptagon, was made by a 
 nephew of the second Rokubei. It dates from 1840. The work is t)rpical Kiyomizu, 
 
3399 
 
 240 THE CATALOGUE 
 
 and without the mark might be mistaken for Rokubei. It is vigorous in character, and 
 the wine-bottles are especially good. 
 
 3396. Rectangular dish. L. \o\ in. Thick and heavy. Coarse brown clay, thick 
 white glaze coarsely crackled and pitted. Rough sketch of rabbits, leaves, etc., in black. 
 Sei, in double heptagon (imp.). 1840 
 
 3397' Cake-bowl, sides flattened. D. 6^ in. 
 Coarse brown clay, greenish-gray glaze. Chrys- 
 andiemums in white slip touched with blue, 
 leaves brown. Imitation of Kenzan, with 
 mark of Kenzan painted. 
 Sei in double heptagon (imp.). 1840 
 
 3398. Oblong dish. D. <^\% in. Dark drab 
 
 clay, white glaze, splashes of purple and 
 
 greenish overglaze. Cross-lines, flowers, etc., 33^6 3353 
 
 in brown. Shichibei (inc.). 1840 
 
 3399- Wine-bottle, sides polygonal. H. 6 in. White stone clay, yellow glaze. Plum 
 branch and flowers in white slip in high relief. Shichibei tsukuru, written in blue on white 
 panel. 1840 
 
 3400- Wine - bottle, polygonal. H. 6 in. Gray-drab clay, thick white lustrous glaze. 
 Flowers, birds, scrolls, etc., in blue. Sei, in double heptagon (imp.). 1840 
 
 3401- Wine-bottle. H. 6| in. Gray-drab clay, thick white glaze. Decoration 
 similar to last. Sei, in double heptagon (imp.). 1840 
 
 34()2- Wine-bottle. H. 5J in. Sides straight, polygonal, short neck shouldered. 34oo 
 Brown clay, thick white glaze, coarsely crackled and punctured. Rough sketch in 
 dark blue of fisherman, bamboo, etc., band of scrolls around shoulder. Cloth-mark impres- 
 sion on bottom. Sei, in double heptagon (imp.). 1840 
 Rare form. 
 
 These four wine-bottles are beautiful examples of Shichibei's work. 
 
 3403~34^^' Various examples of Shichibei's work. Sei, in double heptagon 
 impressed. 1840-1860 3403 
 
 DOHACHI (Case 30 and Plate XXI. 3413, 3415) 
 
 The name of Dohachi is justly celebrated in the annals of Kiyomizu potters. The 
 founder of the family was one of a group of famous potters who studied under 
 Yeisen. 
 
 FIRST GENERATION 
 
 Takahashi Shuhei, the founder of the family, was bom in 1737. He came from 
 Kameyama, Ise, and while still a young man began the making of pottery, at first in 
 the Awata district of Kyoto. He used to decorate his own work, and also obtained 
 some fame in carving wooden objects, such as netsuke. He learned the higher 
 secrets of the art from Yeisen, and died in 1 793. 
 
CASE 29 
 
 .. \ 
 
 
 J3T8 
 
 3333 
 
 3379 
 
 Sill 
 
 3360 
 33Z6 3 
 
 354-S 
 
 3138 
 
 3J7S 
 
 3368 
 
 ^\^/C^<^ i.vjr--'-- 
 
 3336 33ZO 3314- 3332 333/ 33ZS 33Z<j 33" •. 331* 333y 333^ 3iZ'i 
 
 33ift 
 
 33*»X 
 
 
 33iri 
 
 SS"!? 33VO 33V'/ 33'«l 33V»- 33'f3 33V6 
 
 3381 
 
 ,,o, 33»« ,_--^ . 
 
 S'rOT 
 
 3'iO!.- 
 
 3'r06 
 
 3'i03 3«fll S'roa 
 
 PROVINCE OF YAMASHIRO 
 
PROVINCE OF YAMASHIRO 
 
 241 
 
 3413" Bowl. D. 4I in. Japanese yellow clay and glaze. Over-decoration of cranes in 
 green, red, black, and pale purple, with dull gold background. Dohachi (imp.). ^79° 
 
 Type Ninagawa. Part V., Fig. 7. 
 
 34'^4- Large bowl. D. 6§ in. Japanese yellow clay, light grayish-yellow glaze with pink 
 tinges. Over-decoration of flowers and leaves in black and pale blue, and white slip. 
 Dohachi (imp.). 1790 
 
 Type Ninagawa. Part V., Fig. 8. 
 
 3415- Raku tea-bowl. D. 4f in. Very light fawn clay, 
 thick deep brown Raku glaze with Fuji in yellowish-white 
 glaze. Dohachi (mc?). 1790 
 
 Type Ninagawa. Part V., Fig. 6. 
 
 3416. Raku tea-bowl. D. 4I in. Light gray clay, green- 
 ish-black Raku glaze. Double gourds in yellowish-white 
 glaze. Dohachi (imp.). 1790 
 
 3417 
 
 3417' Large shallow bowl. D. 7I in. Heavy and thick, 
 rim with irregular contour. Hard dark brown clay, thick 
 dark gray glaze, coarsely pitted. Brush-marks in white in- 
 side and out. Five spur-marks inside and out. Dohachi, in 
 double gourd (imp.). Exceedingly rare mark. 1790 
 
 *\ 
 
 3419 
 
 341 S 
 
 3420 3423 
 
 34^^3422. Various pieces of DOhachi, signed, 1790 
 
 3423. Flattened tea-jar. H. if in. Light drab clay, deepest seal-brown glaze with 
 touch of golden-brown on shoulder. Dohachi (imp.). 179° 
 
 C^ 
 
 3424 
 
 ^^ *4^ 
 
 3424- Tea-pot, loops for bail. D. 3I 
 over-decoration of flowers, etc., in brown. 
 Dohachi tsukuru (written on side). 
 
 3425-3429. Various exam- 
 ples of dohachi, signed. 
 Dohachi sei {^^2']). 1790 
 
 3430- Shallow plate. D. 
 4t^ in. Light gray clay and 
 glaze. Formal decoration of 
 chrysanthemum in white shaded 
 with greenish-gray, brown leaf 
 with veins scratched through. 
 Omuroyama and Dohachi (imp.). 
 
 t 
 
 3425 
 
 in. Gray-fawn clay, grayish-white glaze. 
 Animal rudely modeled on cover. 
 
 Rude 
 
 1790 
 
 3427 
 
 3428 
 
 3429 
 
 3430 
 
 Dohachi not given. 
 
242 
 
 THE CATALOGUE 
 
 343^' Large bowl. D. 6| in. Warm fawn clay and glaze without lustre. Overglaze 
 decoration, inside and out, of grapes and leaves vigorously drawn. Grapes 
 in light purple and rich green enamels strongly outlined in black, leaves in 
 green enamel and black. Omuroyama shi saku and Dohachi (imp.). 1790 
 
 SECOND GENERATION (Plate XXI. 3435, 3453) 
 
 Takahashi Dohachi was skilful in a variety of forms, such as figure 
 pieces, Raku pottery, and copies of old pottery. In 1827 his work 
 received favorable recognition from a prince, from whom he received 
 the name Nin-ami, which he used as a mark on some of his pieces. 
 In 1843 he built an oven at Momoyama, Fushimi, and used among other marks the 
 impressed characters Momoyama. The Daimyo of Satsuma, in recognition of his 
 skill, presented him with a large Triton shell mounted in silver. Dohachi, being fond 
 of the music sung through this peculiar horn, adopted the outline of this shell, with 
 the characters Dohachi, as one of his signatures. Dohachi died in 1856 at the age of 
 seventy-three. The fame of the family rests on his work. 
 
 3432. Haisen, in form of Triton shell. L. 9I in. 
 rent glaze, bluish-white overglaze in portions. Ir- 
 regular splashes of dark brown inside and out. 
 Unsigned. 1830 
 
 3433- Dish, with three legs. D. 6| in. Red- 
 dish-brown clay, chocolate-colored glacze. Thick 
 brush of white outside, zigzag lines, stars, bands, 
 etc., in white Mishima inside. Dohachi in shell (imp.). 
 
 Grayish-brown clay, lustrous transpa- 
 
 3433 
 
 3434 
 
 1830 
 
 3434* JaR) with pottery cover. H. 7 in. Light gray-drab clay, transparent underglaze, 
 thick white overglaze. Rough sketches of birds, scrolls, etc., in olive-brown. Roughly 
 turned. Shohachi, in shell (imp.). Dohachi (written), not given. 1830 
 
 3435* Cake-dish, leaf-shaped. D. 7 in. Yellowish-fawn clay, with light brownish tinges, 
 clear gray glaze. Butterfly and grasshopper outside in 
 brown. Inside, impression from natural leaf with rich 
 brown glaze blending into gray. Outside, leaf venation 
 incised. Jlora Sanjin (imp.). 1830 
 
 3436. Similar form. Dohachi in shell (imp.). 
 
 3437- Bowl, with same mark. 
 
 3438* Incense-box (girl). H. 3J in. Light fawn clay, 
 
 white glaze. Drapery in red, green, yellow, purple, and brown. 
 
 Dohachi (mc). 1830 
 
 343S 
 
 3436 
 
 Face unglazed. 
 
 3439- Incense-box. D. 2^^^ in. Moulded. Hard white clay, bright yellow glaze. Inside, 
 white glaze. Bull on cover in golden-brown lacquer. Diaper, panels, circles, etc., in relief. 
 Nin-ami (imp.). 1830 
 
PROVINCE OF YAMASHIRO 
 
 243 
 
 344'^' Bowl. D. 5 in. Reddish-fawn clay, light gray glaze. Turtle in brown. Nin-a (imp.), 
 
 1830 
 
 344'- Deep boat-shaped dish. L. 6 in. Brown clay, thick greenish-blue I 'C 
 glaze with brown overglaze running inside and out. Figure modeled in one ^ ^' 
 end. Nin-ami (imp.). 1830 3440 3441 
 
 344^' Hand-warmer (on top of Case 10). W. ii| in. Modeled in form of two puppies. 
 
 Thick white glaze, large splashes of purplish-brown iridescent overglaze. Nin-ami (imp.). 
 
 Gift of W. S. Bigelow. 1840 
 
 3443** Large bowl. D. 8f in. Fawn clay, gray underglaze, very light fawn overglaze. 
 Outside, rude decoration in brown and blue. Inside, vertical brush-marks of brown and blue 
 alternating. Kachutei Dokachi sei (imp.). 1840 
 
 3444- Tea-cup. D. 2^ in. Porcelain clay, white glaze. Outside, pale blue overglaze, 
 flowers and scrolls in silver. Inside, blue flower on bottom. Kachutei Dohachi sei (written 
 in blue). 1840 
 
 3443 
 
 
 3444 
 
 
 3445 
 
 % 
 
 3446 
 
 
 3448 
 
 3445~344^' Bowls, bottle, and incense-box, with mark. 
 Nin-ami (imp.). 
 
 3449- Circular box. D. 4^ in. Very thick. Raku clay, bright red 
 
 Raku glaze gilded. Chrysanthemum on cover in strong relief. 
 
 Tdzan and Nin-ami (imp.). 1845 
 
 3450. Dish (leaf). L. 7f in. Japanese yellow clay, thick light gray glaze, 
 leaf inside. Tozan and Nin-ami (imp.). 1845 
 
 345''-' Tea-pot. D. 3I in. Terra-cotta clay, gray underglaze, 
 white overglaze coarsely crackled. Dragons and scrolls in blue. 
 T^zan, impressed on cover and written on side. 1845 
 
 3452. Tea-pot. D. 4J in. Dohachi (written). 
 
 1845 
 
 3453- Paper-weight (rabbit). L. s§ in. Nearly white clay, 
 white glaze. Eyes colored red. Nin-ami (imp.). 1850 
 
 An exquisite piece of modeling. 
 
 Gift of W. S. Bigelow. 
 
 3449 
 
 Impression of 
 
 
 3451 
 
244 ^^^ CATALOGUE 
 
 3454. Tea-pot. D. 35 in. Moulded. Whitish-fawn clay, smooth white glaze without 
 crackle. Mythological bird, turtles, etc., in high relief. Nin-ami (imp.). 1850 
 
 3455- Bowl. Dohachi (imp.). 't 
 
 3456. Cake-bowl, flattened on four sides, two sides cut down. D. sJ in. ^jj. 
 Fine light gray clay, thick glistening white glaze coarsely crackled. Scrolls and 3454 
 border in brown, running. Dohachi (written). 1850 
 
 Gift of Denman W. Ross. 
 
 THIRD GENERATION 
 
 The potter representing this generation first worked in Kii. In 1847 he was invited 
 to Takamatsu, Sanuki, where he left the Dohachi impress on the work of certain 
 potters of that province. Afterwards, returning to Kyoto, he continued his work for a 
 while. In 1875 he was succeeded by his son. ^ 
 
 3457- Large bowl, sides compressed. D. 7I in. Dark reddish clay, warm gray glaze, 
 broad brush-mark of white inside and out. Rough surface. Dohachi (imp.). 1855 
 
 3458. Tea-bowl. D. 5 in. Fawn clay, grayish-fawn glaze. Kirimon, deeply impressed 
 on side. Dohachi (imp.). 1855 
 
 3459- Cake-plate, rim strongly scalloped. D. 7I in. Fawn clay, dull underglaze, thick 
 white overglaze. Inside, rough decoration of flowers, scrolls, dots, etc., in brown 
 and blue. Dohachi (written). 1855 
 
 3460. Wine-bottle. H. 6 in. Square neck, polygonal sides. Brown clay, 
 
 thick white glaze coarsely crackled. Goose and chrysanthemums in dark blue 
 
 and light red. Deep spiral line on bottom. Dohachi (written). 1855 
 
 3459 
 
 FOURTH GENERATION 
 
 The work of this potter, while lacking the strength of his predecessors, is not 
 without merit. Many of his porcelain pieces show great delicacy and refinement. He 
 has received many awards in the form of medals, certificates, etc., from national and 
 foreign expositions. To the courtesy of this potter I am indebted for much infor- 
 mation regarding the generations of this family. 
 
 3461. Incense-box (bird). H. 2^^ in. Roughly carved. White clay and glaze, wings 
 and head shaded m brown. Dohachi (inc.). 1875 
 
 3463. Covered bowl. D. 3J in. Japanese yellow clay, light bluish-white glaze without 
 crackle. Grapevine delicately drawn in blue and white. Dohachi (written). 1875 
 
 3464- Tea-cup, folded from single sheet of clay, basal ring applied. D. 2 in. White clay 
 and glaze. Figure and grass in grayish-blue. Dohachi (written). 1875 
 
 3465. Furnace FOR tea-pot. H. 5:|in. Light buff clay and glaze. Over- 
 decoration of flowers and bird in various colors. Dohachi (imp.). 1875 
 
 3466. Weight for kakemono knob, in form of magatama. L. 3^ in. 
 Hard white clay, light yellow glaze with brownish stain upon end. 
 Dohachi (imp.). Very rare mark. 1875 
 
 •TV 
 
PROVINCE OF YAMASHIRO 245 
 
 SHtJHEI (Case 30) 
 
 Ogata Shuhei was the younger brother of the first Dohachi, and learned the art of 
 pottery-making from Yeisen. His pieces are usually in the form of bowls, having a 
 clear white crackled glaze with decoration in blue. 
 
 Shuhei's work is in typical Kiyomizu style. JgJ 
 
 3468. Bowl. D. 4f in. Fine fawn clay, white glaze, stained with light fawn. 2|^ 
 Butterflies sketched in blue. Shuhei (imp.). 1810 3468 
 
 3469. Bowl. D. 5 in. Finest light fawn clay, thick light gray glaze. Figures, plum-tree, 
 crane, etc., in various colored vitrifiable enamels touched with gold. Shuhei (written). 1810 
 
 3470. Plate. ioJ in. Similar to last. 5//«^« (imp.). 1810 
 
 3471. Bowl. D. 4I in. ShUhei (imp.). 1810 jm 
 
 3472. Tea-cup. D. 2\ in. Light fawn clay, thick white glaze not JE . ^ ^L 
 crackled. Rocks, figures, etc., in green, blue, yellow, and purple enamels, ^-^ 
 •touched with brown, red, and gold. ShUhei tsukuru (yixiittn). 1810 
 
 3473- Squat jar. D. 3^ in. Fine fawn clay and glaze. Over-decoration of pine in green 
 and black with gold cone. Shuhei (imp.). 1810 
 
 YOSOBEI (Case 30 and Plate XX. 3475, 3478) 
 
 The founder of this family, Mizukoshi Yosobei, began the making of pottery in 
 Gojosaka, Kyoto, in the early part of this century. His work was delicate and varied, 
 and in the most refined taste. He signed his pieces with the character Yoso in relief, 
 in a pentagonal panel. 
 
 FIRST GENERATION 
 
 3474* Jar, thin and delicate, with pottery cover and looped handles. H. 6J in. Yellow- 
 ish-white clay and glaze with light pink areas, twigs in brown and blue. 
 Yoso tsuku7~u (written). 18 10 
 
 3475- Tea-pot, made in upper and under moulds. D. 3I in. Shoulder scalloped, sides 
 fluted. Fine light gray clay. Body bright green glaze, shoulder purple glaze ; cover with pur- 
 ple, green, and yellow glaze ; handle and nozzle light yellow glaze. Yoso (imp.). 1810 
 A beautiful example. 
 
 3476. Wine - bottle. H. 4I in. Very light fawn clay, light grayish glaze, with pinkish 
 areas. Yoso isukuru (yixxW&w). 18 10 
 
 3477' Wine- bottle. H. 8 J in. Brown clay, thick greenish-gray 
 
 glaze. Stars, bands, jewels, etc., in white Mishima. |^| 
 
 Yoso 2L.'aA Kiyomizu (^xsvp^. 1810 /^ U 
 
 3470' Incense-box, flattened gourd-shaped. H. 2\ in. Light gray \g.y 
 
 clay and glaze. Under-decoration of gourd-vine in brown. Yoso (imp.). 
 Type Ninagawa. Part V., Fig. 14. 18 10 
 
246 THE CATALOGUE 
 
 3479. Tea-cup. D. zf in. Fawn clay, white glaze. Under-decoration of flowers and 
 leaves in black and dark gray, roughly sketched. Yoso tsukuru (written). ^ 
 
 1810 r^ 
 
 3480. Tea-cup, D. 2% in. Yellowish-fawn clay and glaze. Blossoms and -yX "T 
 leaves in greenish-red, yellow, and black. Yoso (imp.). 1810 4^^, 
 
 3479 
 SECOND GENERATION 
 
 The work of this potter is of a similar nature to that of the first Yoso, though it 
 falls off somewhat in character. The mark is like that of the first Yoso, though not 
 so nicely cut. 
 
 3481. Furnace for tea-pot. H. 6J in. Brown clay, gray glaze. Bands of stars, flowers, 
 cranes, basket-work, etc., in white Mishima. Yoso (imp.). 1830 
 
 Type Ninagawa. Part V., Fig. 13. 
 
 3482. Cake-plate, edge slightly cut. D. Z\ in. Japanese yellow clay, yellowish-gray glaze. 
 Inside, vigorous decoration of bamboo in blackish-brown and light brown. 
 
 Yoso (imp.). 1830 
 
 34"3' Bowl. D. 4f in. Loose fawn clay, dull brown glaze with blackish over- 
 glaze around rim. Obscure decoration of pine in green and gold. Rough surface. 
 Yoso (imp.). 1830 
 
 34"4' Cake-dish, leaf-shaped, rim notched. L. 7^^ in. Fawn clay. One half grayish-fawn 
 glaze, remaining half white glaze. Decoration of pine and maple leaf in olive-brown and 
 grayish-blue. Yoso iyia^^. 1830 
 
 THIRD GENERATION 
 
 The mark of this potter is coarsely cut in a circular panel. The pottery, with 
 few exceptions, falls off still more from the standard set by the first generation. This 
 potter died in i860, and there was no successor. 
 
 3485' Cake-dish, with snout. D. 8 in. Japanese yellow clay, light gray glaze. Inside, 
 flowers in black, green, red, and white touched with gold. Yoso (imp.). 1850 
 
 3486. Beaker. D. 4^ in. Thick and heavy. Hard light fawn clay, white 
 porcelain glaze. Over-decoration of scrolls, flowers, etc., coarsely drawn in red 
 touched with gold. Yoso (imp.). 1850 
 
 3487, 34^^' WiNE-cup and incense-box. Yoso tsukuru (written). 
 
 3489- Beaker. D. 5} in. Brown clay, grayish-fawn glaze. Fruit and leaves in dark 
 brown, green, and orange-red. Inside, flowers in various colors. Yoso (imp.). 1850 
 
 3490- Bottle, with nozzle and pottery cover. H. 9 in. Japanese yellow clay, clear 
 white glaze. Over-decoration of flowers, panels, etc., roughly drawn m green, red, and black 
 touched with gold. Yoso (imp.). 1850 
 
PROVINCE OF YAMASHIRO »47 
 
 KITEI (Case 30 and Plate XX. 3494) 
 
 The ancestor of this well known family of Kyoto potters was in the service of a 
 potter named Kameya Uyemon, who lived in Gojosaka in 1748. He finally succeeded 
 to the oven in 1788. But few specimens of his work are extant. 
 
 FIRST GENERATION 
 
 3493- Tea-pot. D. 3 in. Light brown clay unglazed. The signature con- 
 sists of a figure of a turtle impressed. 1 790 
 
 3494. Cake-plate. D. 6f in. Fine light fawn clay, light grayish- 
 fawn glaze with pinkish areas. Inside, flowers in olive-brown. 
 Kitei (inc.). 1790 
 
 3493 
 
 3494 
 
 SECOND GENERATION 
 
 The work of the second Kitei is also rare. It follows strictly Kiyomizu style. 
 This potter died in 1 808. 
 
 3495- Rectangular cake-dish. L. 9^ in. Rim cut down. Hard coarse brownish clay, 
 
 light gray underglaze, thick white overglaze. Dark brown rim. 
 
 Inside, vigorous decoration of flowers and birds in blue. 
 
 Ki (imp.). 1800 
 
 349^- Bowl, sides flattened. D. 5J in. Drab clay, gray under- 
 glaze, white overglaze strongly pitted. Bamboo in brown and gray. 
 Ki (imp.). 1800 
 
 3495 
 
 3496 
 
 THIRD GENERATION (Plate XX. 3501) 
 
 Wake Kitei began the baking of pottery in 1848. His work exhibits merit and 
 originality, and the fame of the family was established by him. 
 
 3497- Furnace for tea-pot. H. 5,^ in. Hard stone clay, yellow glaze. Hydrangea in 
 relief, incised. Flowers and leaves glazed green, purple, brown, and light blue. A strong 
 example of Kitei's work. Kitei (imp.). 1850 
 
 3498. Bowl. D. 4^ in. Gray-drab clay, grayish-drab glaze. Butterflies in blue and 
 white touched with gold. Kitei (imp.). 1850 
 
 3499- Bowl. D. 3! in. Light gray-drab clay, bluish-white glaze. Vigorous over-decora- 
 tion of leaves and flowers in white, yellow, green, and brown. Kitei (imp.). 1850 
 
 3500. Wine-bottle. H. s| in. Sides cut vertically. Light brown clay, yellowish-fawn 
 
 glaze. Over-decoration of ducks and plants in various colored enamels touched with brown, 
 
 black, and gold. Kitei (imp.). 1850 
 
 A rare example. 
 
 3501- Wine-holder. H. 3f in. Looped handles for bail, open spout. Light 
 
 gray clay and glaze. Kingfisher and grass in blue, white, and gray. 3joo 
 
 Kitei (imp.). 1850 
 
 3502. Bowl. D. 4J in. Light gray-drab clay and glaze. Under-decoration of pine-cone 
 and needles in brown. Kitei (imp.). 1850 
 
248 
 
 THE CATALOGUE 
 
 35^3- Wine-cup. D. 2f in. Fine fawn clay, ivory-white glaze, not crackled. Sedges in 
 dark bluish-gray. 7^/ in turtle (imp.). 1850 
 
 3504-3506*. Tray, BOWL, and DISH. .^//« (imp.). 1850 l^i\ 
 
 FOURTH GENERATION 
 
 3S03 
 
 3504 
 
 This potter followed in the paths of his predecessors. To 
 him I am indebted for the records above given. Ninagawa in his notes makes him 
 out to be the fifth generation. There is certainly a long lapse of time between the 
 second and the third generations, for which the fourth Kitei gave me no explanation. 
 This potter and his father have often exhibited their work in foreign fairs. 
 
 3507- Bowl. D. 4J in. Gray-drab clay, transparent underglaze, white overglaze pitted. 
 Butterflies in dark blue. Kitei (imp.). 
 
 3508. Bowl. D. 4 J in. Reddish-fawn clay, thick white glaze, splashes of thick green 
 overglaze. Cross-lines in black. Kitei (imp.). 1865 
 
 3509- Oblong dish, corners perforated evidently for handle. L. sf in. Gray-drab clay, 
 gray underglaze, thick white overglaze, olive-brown rim. Inside, plant and bird in olive- 
 brown and blue. Ki, impressed on bit of clay and applied. 1865 
 
 3510- Small plate. D. 35 in. Japanese yellow clay and glaze, splashes of thick green 
 overglaze. Inside, bridge-post in olive-green. Kitei (imp.). Gojohashi (written). 1865 
 
 3S07 
 
 % 
 
 3508 
 
 3iJ^ 
 
 • f 
 
 
 I 
 
 3509 
 
 3510 
 
 35" 
 
 3512 
 
 3513 
 
 3514 35JS 
 
 3511-3515- Bowls, COVERED CUP, etc. Ki (3511) ; Kitei (3512, 35^3, 35^4, 35^5*)- All 
 of these marks are impressed, with the exception of 3513, which is written in brown. 
 
 1865-1870 
 KITO (Case 34) 
 
 Pottery bearing the mark Kitd was made by the younger»brother of Kitei. The 
 few specimens of his work extant are very simple in character. 
 
 3516. WiNE-cup. D. 3 in. Modeled by hand. Light fawn clay, thick white ^^ 
 glaze. Flowers in blue, inside and out. Kito (imp.). 1850 
 
 KISUI (Case 34) 
 
 3516 
 
 This potter was a pupil of Kitei (1868), and made pottery in 1870 or thereabouts. 
 His work shows considerable ability. 
 
CASE 30 
 
 3'»3V 
 
 3*159 SHhO 
 
 3^65- 
 
 3'»38 iVSZ 3S'iS SHSI i'j'ffe 
 
 3457 
 
 3SS8 
 
 3V66 3'rb'« 3'»6J 
 
 \ cW mf "(^ "(^ £^ \^i xsg? 
 
 3«f3/ 
 
 
 3'»39 J'r'r? SSSZ 
 
 x<. 
 
 3'i76 
 
 347S- 3V7a i'lto 
 
 3Hi3 
 
 \3<ib7 
 396S- / \ 33" ^3310 
 
 3S86 3'i%K 
 
 
 ^^tg GO ^ 
 
 fy^--- 
 
 jS-03 3S-00 J'/IS SiiSS 3S0S 3yyo 3i-o'} 
 
 ' i-ilZ 3i-Zl 3S-Z3 3i-ii 3!,-3| 
 
 3V33 34-3'. 3S3? 
 
 3'j73 
 
 PROVINCE OF YAMASHIRO 
 
/fTi"^ 
 
 PROVINCE OF YAMASHIRO 
 
 249 
 
 35^7* Tea-pot, strongly turned, lower part sliced polygonally. D. 2>\ '"• Nearly white 
 clay. Over-decoration of leaves and fruit of biwa in yellow, blue, and green outlined in black. 
 Green scroll about rim. Kisui (imp.). 1875 ^_^ ^S\ "At 
 
 3518. Tea-pot. D. 3^ in. Moulded. Light brownish clay, (vP ) (*l/ "d* 
 thin olive-brown glaze. Horse, waves, clouds, etc., in relief. ^<*>' \^^ ^|* 
 
 ^/j«/(imp.), 1875 *"'' 
 
 3S»7 
 
 3S«8 
 
 3519. Figure, reclining on elbow-rest. H. 5^ in. White clay, rich white glaze. 
 Brocade in various colors touched with gold. Kisui tsukuru (written). 1875 
 
 •V«5p 
 
 3S«9 
 
 ZOROKU (Case 30) 
 
 Kiyomizu Genyemon, the first Zoroku, was related to Kitei, whose name was 
 Zoroku Kitei. Genyemon, when he began his work, used the mark Taisa (also read 
 Taizo), a. name derived from Kitei and Zoroku ; afterwards he assumed the name of 
 Zoroku, and in 1841 separated from Kitei and established himself as an independent 
 potter. At various times he has used the impressed marks Zoroku, Zogaku, Otani, 
 Hiakuju, and others. He was inclined to make imitations of the work of other potters. 
 He died in 1878 at the age of sixty. 
 
 i^ ^ 
 
 3520 
 
 3521 
 
 3522 
 1845 
 
 FIRST GENERATION 
 
 3520. Tea-bowl. D. j,\ in. Buff clay, thick smooth bluish-gray glaze, with pinkish spots, 
 pitted and without crackle. Taisa (imp.). 1841 
 
 3521. Tea-bowl. D. 5J in. Thick and heavy, thickened rim, sliced 
 below in hexagon. Fawn clay, clear bluish-white glaze with pinkish 
 areas. Zoroku (imp.). 1845 
 
 A vigorous example of his work. 
 
 3522. Wine-cup. D. 2f in. Reddish-brown clay, drab glaze. In- 
 side, plum blossoms in olive-green. Zoroku (imp.). 
 
 3523- Flower-vase. H. 8| in. Looped handles, sides sliced. Rough gray-drab clay, 
 thick white glaze. Vigorous drawing of plum-tree and blossoms in rich brown and light blue. 
 Zoroku (imp.). 1845 
 
 3524. Bowl. D. 4^ in. Light gray clay, light greenish-gray glaze. Bridge in bluish-gray. 
 Inside, comb-marks and lines of dots incised. Otani (imp.). 1850 
 
 3525- Bowl. D. 4I in. Similar to last. Temple and tree in 
 olive-brown. Otani (imp.). 1850 
 
 3526. Tea-bowl. D. 4g in. Yellowish clay, grayish-white glaze 
 
 with light pinkish stains. Similar in form to 3521. Zoroku {ym^^. 
 
 Type Ninagawa. Part V., Fig. 15. 1855 
 
 3524 
 
 3527. Wine-cup. D. 2\% in. White porcelain clay and glaze. Strong spiral brush-mark 
 from rim to base in rich dark blue. Zoroku (imp.). i860 
 
 3528. Tea -bowl. D. 3I in. Japanese yellow clay, light gray glaze. Figures >^ 
 carrying a fish in grayish-blue. Zoroku (imp.). i860 3528 
 
2SO 
 
 THE CATALOGUE 
 
 3529. Bowl, outline of peach. D. 5J in. Yellowish-white clay and glaze with 
 stains. Glaze combed through obliquely. Hiakuju (imp.). i860 
 
 3530- Bowl. D. 4I in. Light fawn clay, rich fawn glaze. Outside, vertical 
 lines incised. Inside, figures impressed. Hiakuju (imp.). i860 
 
 3531- Water-vessel, for ink-stone, tea-pot form. D. i\ in. Reddish-brown 
 clay, transparent underglaze, thick light bluish-gray overglaze showing white in 
 
 3529 
 
 portions. Lines and cranes in white and blue Mishima. Unsigned. 
 Type Ninagawa. Part V., Fig. 16. 
 
 3532. Similar to last. Zoroku (imp.). 1865 
 
 3533- Cake-bowl. D. 5J in. Sides compressed, fret perforated on sides. 
 Gray-drab clay, transparent underglaze, white overglaze finely sprinkled with 
 black. Rim black. Sahet (imp.). 1870 
 
 186s 
 
 3533 
 
 SECOND GENERATION 
 
 This potter was at work as late as 1882. He not only used the marks of his 
 father, but added two new ones. It was to this potter that I finally traced the miser- 
 able counterfeits of Asahi, Ninsei, and others, with which the Japanese bric-a-brac 
 shops abounded in 1881-82. 
 
 3534~3540- Bowls, cups, flower-holder, etc. 1870-1878 
 
 These bear the mark of Zoroku impressed. With the exception of ^ "♦ 
 the wine-cup and flower-vase they possess no special merit. 3534 
 
 3540 
 
 SEIFO (Case 31) 
 
 Seifu Yohei, whose pseudonym was Baihin, came to Kyoto from Kanazawa, Kaga, 
 in 1844, and established an oven in Gojobashi, Kyoto. He first made Okimono and 
 other forms after native and Chinese models. Later he made only blue, and brocade- 
 decorated tea and wine utensils. He worked for a time in cooperation with Nukina 
 Kaioku and Oda Kaisei. The second Seifu, whose pseudonym was Gohei, made only 
 porcelain. The third Seifu, with the pseudonym of Baikai, has established a place in 
 the foremost rank of world - famed potters, introducing new methods of glazing and 
 technique, and with Makudzu has received the highest honors from native and foreign 
 national expositions. The collection contains only the work of the first Seifu. 
 
 354^- Bowl. D. 5} in. Fawn clay, thick white glaze, strongly pitted. 
 and wave lattice-work in blue. Seifu (imp.). 
 Gift of Denman W. Ross. 
 
 Birds in panels 
 1850 
 
 3542- Bowl. D. 4I in. Light gray clay with reddish tinges, light gray glaze finely crackled. 
 Chrysanthemums in brown with gray leaves. Petals of flowers in white slip. Setju (ymip.). 1850 
 
 3543- Bowl. D. ^\% in. Fine fawn clay, light gray glaze. Gourd vine in blue 
 and brown. Rim brown. Sei/a (imp.). 1850 
 
 3544- Jar- H. 3J in. Fawn clay, thick light greenish glaze, coarsely crackled. 
 Crane and rosette in blue and white Mishima. Unsigned. 1850 
 
PROVINCE OF YAMASHIRO 251 
 
 3545* Box. D. 2}^ in. Fine light clay, light gray glaze. Inside, over - decoration of 
 
 flowers in green and blue enamels touched with red and gold. 
 
 Seifu (imp.). 1850 
 
 354^' Cake-dish, on three pinched legs. D. i\ in. Dark drab clay, 
 rich gray glaze. Under-decoration of pine leaves, inside and out. Over- 
 decoration of red maple leaves, surface spotted with white slip to imitate 
 snow. Seifu (imp.). 1850 
 
 3547* Large BOWL. D. s| in. Yellowish-fawn clay and glaze. Over-decoration of flowers 
 and leaves. Flowers in white slip glazed blue, red, yellow, and pale purple. 
 Leaves black veined with gold. Kenzan (written). Seifu (imp.). 1850 ■ /• — ■ 
 Very rare mark. 1 I 
 
 354^- Rinsing-bowl. D. 4I in. Coarse light clay, light gray glaze. (]/?/ 
 Under-decoration of vertical brush-marks in dark blue. Seifii (imp.), i860 \i_> 
 
 3547 3548 
 
 TSUYEN (Case 31) 
 
 Tsuyen is the name of a family in charge of Uji bridge. In the time of Hide- 
 yoshi it was the duty of this family to draw water from the river for use in the tea- 
 ceremony. The family name runs back to the twelfth century. It was a Tsuyen 
 who killed the big snake at Uji bridge in the time of Yorimasa. I can find no 
 records of any potters among this family. The pottery might have been made by 
 different Kyoto potters and inscribed with the mark Tsuyen and often with a drawing 
 of Uji bridge. The various pieces bearing the mark 7j«;/^« certainly vary greatly in 
 age and character. On the other hand a rare specimen of Hakuan Ki-Seto 
 in the collection (Cat. No. 2778) bears on the bottom in red lacquer an inscrip- jffl 
 tion indicating that it had been the property of Tsuyen, and the characters p^ 
 Tsuyen are like the signature of Tsuyen on the pottery. Repeated inquiries UJ 
 have failed to shed any light on the subject. 3549 
 
 3549' Tea-bowl. D. 5 in. Thick and heavy. Coarse reddish Shigaraki clay. Straw and 
 pine decoration in brown on whitish glaze. , 
 
 TsUyen (imp.). i8oo 
 
 3550- Tea-bowl. D. 4| in. Japanese yellow clay 
 and glaze. Bridge in white and brown. 
 TsUyen (written). 1800 
 
 A most beautiful example of Awata. 
 
 355^' Raku tea-bowl. D. 4 in. Thick black Raku 
 glaze. On opposite sides the characters Tsti and Yen 
 in white glaze. iSoo 
 
 3552. Water-bottle. H.gfin. Whitish Shigaraki 3SS0 
 
 clay, bright red bands crossing diagonally, after Hida- 
 
 suke style, Bizen, Bridge and inscription in brown. TsUyen in brown. 1800 
 
9S2 
 
 THE CATALOGUE 
 
 3553. Tea-bowl. D. 4} in. Coarse red Shigaraki clay, on upper portion transparent 
 glaze. Tsuyen (written on side in gray). • 1800 
 
 3554> 3555- Cake-dish and 
 INCENSE-BOX. Unsigned. 
 
 3556. Jar. H. 6|in. Gray- 
 drab clay, white glaze. Bridge 
 in blue. Tsuyen (written on side 
 in blue). 1810 
 
 3557- Jar. H. nf in. Light 
 Shigaraki clay, transparent un- 
 derglaze exposed within ; thick 
 white overglaze crackled. Broad 
 decoration of landscape in blue. 
 Base glazed. Tsuyen (written). 
 
 1810 3SS3 
 
 IPPODO (Case 31) 
 
 In 1850 a potter, by the name of Suminokura Yoichi, began the making of bowls 
 and other forms for tea-drinking. The work continued for a few years and shows con- 
 siderable merit. The pottery is also known as Suminokura. 
 
 3558. Bowl. D. s| in. Light gray-drab clay, rich bluish-gray glaze. Over-decoration of 
 bamboo, fish-pole, and fish in green and black. Fish in red and brown touched with gold. 
 Ippodo (imp.). 1850 
 
 3559- Tea-bowl. D. 5I in. Coarse brown clay, heavy gray glaze pitted. Outside, brush- 
 mark of white slip. Inside, stars, circles, lines, etc., in white Mishima. Five spur-marks 
 within. Ippodo (imp.). 1850 
 
 3560* Bowl, sides slightly compressed. D. 4f in. Fine light fawn clay, smooth light 
 grayish glaze, coarsely crackled. Drops of light blue overglaze run- __^ 
 
 ning from rim. Under-decoration of bamboo in blue, and vigorous 
 drawing of crab in brown. Ippodo (imp.). 1850 
 
 3561. Bowl. D. 44 in. Hard yellowish-fawn clay, warm light 
 gray glaze. Monkey in bluish-gray and dark blue. Ippodo (imp.). 
 
 3562. Bowl. D. 4} in. Flying crane outside, monkey inside. - 
 Ippodo Shichijissai tsukuru (imp.). 1850 
 
 3563. Box (Fukurokuju). H. 3J in. Gray-drab clay, head unglazed; body, thick gray 
 glaze, draperies shaded with black. Strong example of modeling. Ippodo (imp.). , 
 
 1850 1^ 
 
 3564. Incense-box (badger). H. zj in. Coarse sandy clay, dull light brown glaze. ^JT 
 Ippodo (imp.). 1850 * 
 
 TOYEN (Case 31) 
 
 In 1845-50 a potter, signing his work Toy en, showed some skill in modeling and 
 decoration. But few pieces of his work are extant, either for the reason that his pro- 
 ductions were few, or that his work did not gain recognition. 
 
CASE 31 
 
 31V8 
 
 XL 
 
 n 
 
 n 
 
 1 '/' 
 
 lf«f/// 
 
 M\ 
 
 mm 
 
 n \"M 
 
 
 31'l'i iXbir 3ZS-2 3Z63 3lb1 3i6Z 
 
 3»P3 380", 37<J8 378f 37?0/^-^^ 
 
 inwv c 380Z 
 
 ,» 3793 ^°4f 380', 37S8 378f j,,,, ^2^ 
 
 38(1 379z 3786 379', 3115 31<i'i 3800 3784" 3788 380"? 38)0 
 
 3771 
 
 
 3778 3779 3766 A^ 3763^'?' 3782 
 
 ■>K-"'>r?;' 
 
 J 
 
 M Lg^ ^^ jpa (f^^ 
 
 
 ^ 
 
 ILMf 
 
 »'tii® 
 
 3776 3761 3770 3780 a76Z 376ir 376', 3768 3772.3773 377"/ 
 
 3S-6y 
 
 331j^ 33/i- ,„, - 
 
 3306 j3 07 ,. 3i-66 
 
 1^^^^.^^^^ 33;z 
 
 
 T 
 
 33J6 
 
 3S-60 
 
 3SrV7 SS-V, 
 
 sybx 
 
 S-')3 
 
 3b"63 3^6", 
 
 3i"VS 
 
 366) 
 
 Si" 5-7 3S-4-S" 
 
 3b-b-', 
 
 3$'i-o 3s-i-/ 
 
 3611 3610 
 
 3(9&Z 
 
 PROVINCE OF YAMASHIRO 
 
PROVINCE OF YAMASHIRO 
 
 *S3 
 
 35^5- Furnace for tea-pot. H. 6 in. White chalky clay, thin dark purple glaze. Per- 
 forated designs and loops, panels, etc., in high relief, nyen (imp.). 1850 ^ 
 
 Modeled from an ancient Chinese iron furnace said to be twelve hun- TiSx %^ 
 
 dred years old. ^^T* H) 
 
 3566. Covered bowl. D. 4J in. Hard white clay, white glaze finely \^A i^ 
 
 crackled. Kirimon in black on side of bowl and continuous on cover. 3565 3566 
 Toyen tsukuru (imp.), 1850 
 
 ARASHIYAMA (Case 34) 
 
 Pottery bearing the mark of Arashiyama shows evidence of the work of a skilful 
 potter and artist. Arashiyama, near Kyoto, is a favorite resort in summer, and is 
 widely celebrated for its cherry blossoms and maples. No information is at hand as 
 to the potter or oven, and it is possible that the pottery was made in Kiyomizu and 
 sold at Arashiyama as souvenirs of the place. The mark is very rare. 
 
 3567' Bowl, flaring. D. 5I in. Coarse brown clay, gray glaze. Outside, flying birds in 
 white and brown. Inside, flowers in white Mishima. 
 Arashiyama (imp.). 1830 
 
 35^8. Deep bowl. D. 3I in. Vertical sides, strongly 
 turned. Brown clay, rich gray glaze. Plum blossoms in 
 white slip tinged with yellow and pink, with brown leaves 
 and red maple leaves. Arashiyama (imp.). 1830 35^7 3S<59 
 
 35^9- Bowl. D. 5 in. Strongly turned, sides compressed. Coarse light fawn clay, 
 greenish-gray glaze strongly crackled. Rough decoration of plant in brown, inside and out. 
 Arashiyama (imp.). 1830 
 
 ASAHITEI (Case 34) 
 
 Pottery signed Asahitei has been made within fifty years, and is typical Kyoto. 
 No information has been obtained in regard to the potter. 
 
 3570- Bowl. D. 4I in. Coarse whitish clay and glaze. Pine in dark brown, prawn in 
 blue, splash of gold inside and out. Asahitei (imp.). 1840 
 
 357^" Wine-cup. D. 2| in. Nearly white clay and glaze very finely 
 crackled. Delicate drawings of flying cranes, and plant in white, olive- 
 brown, and blue. Asahitei (imp.). 1840 
 
 3572- Bowl. D. 4J in. Sides compressed. Coarse light brown clay, 357° 357i 
 light gray glaze speckled with brown. Splash of white glaze covering nearly half of bowl, 
 inside and out, upon which is rough sketch of rice in blue and dark brown. Rim brown. 
 Asahitei (imp.). 1840 
 
 ASAHIMINE (Case 34) 
 
 Ninagawa in MSS. says that in the family of Hozan many kinds of marks were 
 used ; among these he mentions the mark Asahtmifie. As pottery bearing this mark 
 differs greatly from the Awata and other kinds bearing Hozan's signatiu-e, it vnll, for 
 the present, be considered a separate form. The mark is certainly very rare. 
 
254 
 
 THE CATALOGUE 
 
 3573- Wine-cup (mask). D. 2f in. Gray-drab clay, mask unglazed, shaded with brown. 
 Inside, white glaze finely crackled, with broad splash of rich dark brown » 
 glaze, with olive-brown details. Asahimitu (imp.). 1830 >^» i/?» 
 
 3574- Incense-box (pine cone strongly modeled). L. 2J in. Brown clay, ^" s^ 
 splash of olive-green glaze inside. Asahimine (imp.). 1830 3573 3574 
 
 OKAMURA 
 
 A modern potter of Kyoto, whose beautiful work in form and glaze, and clever 
 imitations of Ninsei and Kenzan, prove that if the potter's art has suffered deteriora- 
 tion almost to the verge of extinction, there are those who can revive it if proper 
 encouragement is given. 
 
 3575*' Flower-vase. H. 7| in. White clay and glaze. Okamura (imp.). 1885 
 
 GOROSUKE (Case 28) ^^^^ 
 
 A typical white-glazed Kiyomizu pottery bearing the mark Gorosuke dates back 
 to 1840 or 1850. The work still continues. The mark Shonsui Gorosuke appears to 
 be the oldest. 
 
 357^- Shallow bowl. D. 4} in. Gray-drab clay, white 
 glaze coarsely crackled. Rough decoration in blue. 
 Shonsui Gorosuke (imp.). 1840 
 
 3577* Tea-pot. D. 4^ in. Thick and heavy. Loops for 
 bail. Gray-drab clay, white glaze, splashes of dark green 
 overglaze. Jewels in brown. Gorosuke saku (written), i860 
 
 CHIKUTEI (Case 28) 
 
 The impressed mark Chikutei is found on a deep beaker in 
 typical Kiyomizu style. The object indicates the work of a vigor- 
 ous potter. The mark is extremely rare. 
 
 357^* Deep beaker. D. 4f in. Thick and heavy, strongly 
 turned. Rough light brown clay, thick white glaze. Clouds 
 and pines in light blue. Chikutei (imp.). 1800 
 
 3578 3577 
 
 SEIZAN (Case 28) 
 
 Two objects in the collection bearing the impressed mark Seizan are identified as 
 Kyoto. The pieces are quaint and original in technique and decoration. No informa- 
 tion is at hand regarding the potter. 
 
 3579- Cake-dish (Haliotis). L. io| in. Fine light fawn clay, yellowish glaze 
 without crackle. Inside, over-decoration of wistaria and boat in yellow, black, 
 green, white, and blue. Seizan (imp.). 1800 
 
 3580. FiRE-BOWL (money-bag). H. 6f in. Light gray-drab clay, dull yellowish 
 glaze without crackle. Jewels, cock-fight, boys, etc., in various colors, overglaze. 
 Seizan (imp.). 1800 
 
PROVINCE OF YAMASHIRO 
 
 »5S- 
 
 KATEI (Case 34) 
 
 Katei was an amateur potter as well as a poet, artist, and writer. He traveled 
 in various parts of Japan, and probably paid his way by means of his accomplishments. 
 That he lived to the age of seventy-four is attested by one piece in the collection 
 upon which he has incised this fact. His little wine-cups were modeled by hand. 
 
 3581. WiNE-cup. D. i| in. Modeled by hand. White porcelain clay and glaze. Charac- 
 ters in dark blue. Katei Shichi-ju-shi (written). i860 ^ 
 
 3582. WiNE-cuP. D. 2tV in. Modeled by hand. Yellowish-white P JTJ O 
 clay, dull light gray glaze, with pale purplish area. Katei (imp.). _ _^^^ *^ 
 
 35^3- WiNE-cup. D. 2j in. Yellowish-buff clay and glaze, bright ^ . Y 3 
 
 358< 35S2 
 
 WiNE-cup. D. 2j in. Yellowish-buff clay and glaze, bright 
 green glaze running down inside. Thick and clumsy. 
 Katei and Mi ushi roku gatsu Keishi tsukuru (inc.). i860 
 
 ROZAN (Case 30) 
 
 Pottery evidently made in Gojosaka, Kyoto, bears the impressed mark Rozan. 
 has been made within recent years. 
 
 3584- Bowl. D. 5^ in. Brown clay, greenish glaze tinged by 
 clay beneath. Rozan (imp.). 1850 
 
 35^5- Box (prawn). L. 6| in. Light gray clay, thick dark 
 brown glistening glaze. Rozan (imp.). 1850 
 
 It 
 
 
 3584 
 
 3585 
 
 KINSEI (Case 28) 
 
 Pottery bearing this mark is said to have been made in Kyoto in 1790. It has a 
 smooth white glaze with light blue overglaze decoration of landscape and figures. In 
 more recent times an almost identical kind of pottery, without signature, has been 
 made which has been variously identified as Ky5to and Satsuma, with the weight of 
 opinion in favor of Kyoto. 
 
 3586. Vase. H. 8i in. Gray-drab clay, dull thick white glaze. Trees and IJ^*^ 
 figures in blue. Kinsei (imp.). 1800 |(fl)l( 
 
 35^7- Shallow dish, with vertical sides. D. 6 in. Fine grayish-fawn clay, 3586 
 
 thick bright buff glaze with quality of Awata. Inside, under-decoration of boat, aquatic 
 plants, and geese in brown and dull blue. Kinsei (imp.). 1800 
 
 3588. Square vessel, for warming sake. H. 3I in. .Nearly 
 white clay and glaze. Trees and figures in blue. Unsigned. 1800 
 
 35^9- Handled cake-dish, similar to last. Unsigned. 1800 
 
 3590- Plate. D. 6| in. Soft clay, thick salmon glaze, coarsely 
 crackled. Underglaze decoration of chrysanthemum and leaves 
 in white, brown, blue, and green. Kinsei (imp.). 1830 
 
 This piece is placed here simply because it bears the name 
 Kinsei, though it has not the remotest resemblance to No. 3586 or 
 No. 3587. 
 
 359° 
 
2s6 THE CATALOGUE 
 
 SEIZAN (Case 28) 
 
 A little covered vessel in strict blue and white Kiyomizu style bears the impressed 
 mark Seizan, — Sei, in this case, being the character for clear. The two pieces in the 
 collection show good taste in form and decoration. 
 
 359^' Covered vessel, probably for tea-making. D. 4 in. Coarse gray-drab clay, light 
 
 gray underglaze, white overglaze coarsely crackled. Flowers in dark blue 
 
 and olive-brown. Seizan (imp.). 1840 TjE 
 
 3592. Bowl, cut many-sided on lower portion. D. 5J in. Light fawn Q/t 
 
 clay and glaze. Rough design in brownish-gray. Seizan (imp.). 1840 3591 3592 
 
 KOSAI (Case 34) 
 
 The mark Kosai is found on typical Kiyomizu pottery, and the pieces indicate the 
 work of a potter of skill and taste. 
 1840 or 1850. 
 
 The work dates back to 
 
 3593- Large bowl. D. 9J in. Very coarse brown clay, thick 
 white glaze. Decoration of panels, lattice-work, etc., in blue and 
 brownish-green. Kosai (imp.). 1850 
 
 Gift of Rufus E. Moore. 
 
 3593 
 
 3S94 
 
 3594- Bowl. D. 5J in. Light gray-drab clay, large areas of rich brown glaze covering 
 opposite surfaces, netting in white slip on intermediate unglazed surfaces. Inside, white glaze 
 with flying bird in dark blue. Kosai (imp.). 1850 
 
 3595* Wine-cup. D. 2% in. Nearly white clay, 
 white glaze with pinkish tinge. Encircling bands in 
 white and blue alternating. Kosai (imp.). 1850 
 
 3596. Wine-bottle. H. 5^ in. Fine gray-drab 
 clay, white glaze, large splash of thick olive-brown 
 overglaze running from neck. Kosai (imp.). 1850 
 
 3597> 3598- Wine-cup and shallow bowl, having same date and mark. 
 
 KIHO (Case 28) 
 
 A typical Kiyomizu pottery bears the written mark 
 Kiho. No record is at hand regarding the potter or oven. 
 
 3599- Beaker. D. 5^ in. Thick, roughly turned. Coarse 
 light brownish clay, thick white glaze. Under-decoration of 
 flowers in rich blue. Inside, horses in blue. 
 Kiho tsukuru (written). 1870 
 
 3600. Chop-stick holder. L. 5 J in. 
 clay, thick white glaze. Bamboo in blue. 
 Kiho tsukuru (written). 
 
 Coarse gray-drab 
 1870 
 
 3599 
 
 3600 
 
PROVINCE OF YAMASHIRO 
 
 257 
 
 SEIUNZAN (Case 28) 
 
 A typical Kiyomizu pottery, with an age of twenty years or less, is evidently the 
 work of a professional potter who signed his pieces with 
 the impressed mark Seiunzan. 
 
 3601. Bowl. D. 5J in. Light gray-drab clay, white glaze. 
 Rich decoration of flowers in dark blue. Seiunzan (imp.). 1875 
 
 3602. Large plate. D. ioJ in. Similar to last. 
 Seiunzan (imp.). '[875 
 
 3603. Covered cake-holder. D. 5J in. Gray-drab clay, gray glaze. Decoration of 
 scrolls, etc., in brown. Seiunzan (imp.). igyc 
 
 SHUNSAI (Case 28) 
 
 In recent years a potter of Kiyomizu has made, among other ob- 
 jects, bowls which he signed with the impressed mark Kiyomizu, and 
 
 the incised mark Shunsai, and kakihan. 
 
 \ 
 
 3604* Tea-bowl. D. 4f in. Fawn clay, light fawn glaze with pinkish 
 
 areas. Mountain outlined in brown. 
 
 Shunsai (inc.). Kiyomizu (imp.) not figured. i860 
 
 
 3604 
 
 KIRAKU (Case 34) 
 
 A hard porcelain clay in the form of cups decorated in bright colors and gold, 
 bearing the written mark Kiraku, probably dates from 1870. 
 
 3605. Bowl. D. 3I in. Light clay, white glaze. Bamboo, plum, and 
 pine in blue. Inside, ornamental border in blue. ^/ra/J« (written). 1870 
 
 3606. Tea-cup. D. 2| in. White clay and glaze. Figures in various 
 colored enamels outlined in black with red and gold. 
 Kiraku tsukuru (written). 1870 
 
 3607. Wine-cup. D. 2| in. Fujiyama modeled on rim and inside. 
 
 glaze. Traces of gold decoration inside. Nennensha Kiraku tsukuru (written). 
 
 White clay and 
 
 1870 
 
 KOZAN (Case 31) 
 
 A Kiyomizu potter, signing his pieces with the mark Kazan, was at work in 1870. 
 The few pieces in the collection are without merit. 
 
 3608. Bowl. D. 4f in. Fawn-colored clay, light chocolate 
 glaze. Outside and inside circles, stars, frets, etc., in white 
 Mishima, covered with broad brush-mark of white. 
 Kazan (imp.). 1870 
 
 3609. Shallow bowl, on three short legs. D. 5I in. Brown 
 clay, dull light fawn glaze. Kazan (imp.), 1870 
 
 361O-3612. Bowl and two plates. Gray glaze and white Mishima decoration. 
 Kazan (imp.). 
 
 1870 
 
2s8 
 
 THE CATALOGUE 
 
 Xt 
 
 3614 
 
 KYOTO, IN GENERAL 
 
 Under this name are included many objects whose makers are not known. Some 
 of them are of fair age, and many of them show the marks of skilful potters. These 
 are variously distributed in the cases containing the pottery of Yamashiro. The first 
 one here catalogued is figured by Ninagawa, and he records that it was made between 
 Kiyomizu and Gojosaka. 
 
 3613 (Case 28). Bowl. D. 4S in. White clay and glaze finely crackled. 
 Line of circles in blue, green, purple, red, and gold, strung on line of gold. 
 
 Type Ninagawa. Part IV., Fig. 34. 1680 
 
 3614 (Case 34). Wine -BOTTLE, double gourd-shaped, sides octagonal. 
 H. 8J in. Light fawn clay, rich white glaze. Diaper pattern impressed 
 on alternate faces of upper part, rich blue decoration of birds, bamboo, 
 flowers, and characters. Jo jo dai kichi (inc.), meaning very, very good. 
 
 1750 
 
 3615 (Case 34). Plate. D. 9J in. Light fawn clay, thick white glaze coarsely crackled. 
 In centre, figures in light blue surrounded by writing in blue. 
 
 Hogom sei (written). 1750 
 
 3616 (Case 34). Bowl. D. sJ in. Thick and heavy. 
 Fawn clay, firm yellowish-fawn glaze. Plum blossom, in 
 brown. Basal ring deeply notched. Kd, on bottom (inc.). 
 Battkeian (name of artist) written on side. 1750 
 
 3617 (Case 28). Fire -VESSEL, hexagonal. D. 5 in. 
 Japanese yellow clay and glaze. Flowers and leaves in brown, 
 
 3622 (Case 34). WiNE-BOTTLE, double gourd- 
 shaped. H. 8 in. Thin walls. Light brown 
 clay and thin brown glaze. Neck, white glaze 
 with flowers in blue. Kasei nmsei (inc.). 1800 
 
 3624, 3625. Bottle and deep cup. 1820 
 
 3626 (Case 34). Incense - stick burner. 
 H. 2j in. Light gray -drab clay, thick light 
 green celadon glaze. Obscure decoration in 
 gold. Gohonzan onaratame (imp.). 1820 
 
 3627 (Case 28). Bowl. D. 3I in. Gray-drab clay, light grayish glaze coarsely crackled. 
 Encircling lines around rim in white Mishima. 
 
 3629-3633. Bowls, jar, wine-bottle, and fan-shaped cake-dish. 
 
 3636 (Case 34). Fire-vessel. H. \\ in. Light gray-drab clay, 
 thick white glaze. Over-decoration of flowers and birds in blue, green, 
 yellow, and purple, with dots of red. Green border. 
 Mark obscure (written). 1830 
 
 3637 (Case 34). Bowl, in form of half an egg, pointed below. 
 D. 5 in. Light fawn clay, thick grayish-fawn glaze. Inside, landscape 
 in olive-brown. 1840 
 
 
 3622 
 
 3626 
 
 3615 
 
 3636 
 
PROVINCE OF YAMASHIRO 259 
 
 3638 (Case 34). Bowl, with flaring and scalloped edge. D. 4I in. Light fawn clay and glaze. 
 Rough surface. Rim dark brown. Identified by Ninagawa as Kamogama pottery. 1840 
 
 3643, 3644. Wine-bottles. 1850 
 
 3646 (Case 34). Water-jar. H. 6J in. Coarse brown clay, rough surface, brown glaze, 
 mottled with darker brown, thick bluish-white overglaze running in streams from rim. 1850 
 
 3648 (Case 34). Bowl. D. 4J in. Coarse gray-drab clay, rough surface, brown 
 glaze. Jewels in black. Characters in white slip. Aihi (imp.). 1850 
 
 3649 (Case 34). Bowl. D. i-fs '"• Hard white stone clay and glaze. 
 Made by Takeda, the only pupil of the first Bizan. Togiyoku (imp.), i860 
 
 3650 (Case 34). Wine-bottle, with four flattened sides. H. 6| in. Deep ^ '*^ 
 reddish clay, reddish-brown glaze clouded with darker brown. Otani and Kinkozan (imp.). 
 
 This may be a Zoroku piece, as it bears the mark of Otani. The charac- 
 ters for Kinkozan are different from the Awata Kinkozan. 
 
 3651*. Haisen. D. 9^ in. Clay hard and fine, Awata glaze minutely 
 crackled. Over-decoration of spray of chrysanthemum in white, 
 light blue, and rich brown. Tozan (imp.). 1865 
 
 This piece is probably the work of a Kyoto potter by the name 
 of Hattori Chubei. Ninagawa in manuscript simply mentions this 
 potter by name, stating that he used the impressed mark of Tozan. 
 
 3652*. Small jar. H. iJ in. Purplish clay, white glaze, thick splash of reddish-purple 
 overglaze. Obscure decoration in deep olive-brown. Wakasugi (imp.). 1870 
 
 3653 (Case 34). Circular BOX. D. 3iin. Japanese-yellow clay and glaze. 
 Flowers and leaves in bluish-gray and black. 
 
 3654- Flat plate. D. 5J in. Light fawn clay, grayish-fawn glaze. Cow 
 lily (Nuphar) in brown. Name of artist, Soken ga, and kakihan (written). 1865 
 
 3655, 3656. Bowl and flower-vase. 1870 
 
 3657~366o*' Bowl, incense-box {Kin inc.), tea-jar, and wine-bottle. 
 
 3661 (Case 31). Cake-dish, hexagonal. D. 6\ in. Light brown clay, deep 
 brown glaze. Inside, rough design of pavilion and flowers in olive-green 
 enamel outlined in white and colored with dark blue enamel, also blue enamel 
 rim. Perforated design on sides. i860 3054 
 
 3662 (Case 31). Covered cake-bowl. D. 7 J in. Dull dark brown surface. Turtles in 
 white slip shaded with dark blue enamel. Inside, yellowish-white glaze. i860 
 
 Gift of W. S. Bigelow. 
 
 These two pieces are evidently by the same artist. 
 
 RAKU (Case 32) 
 
 A peculiar variety of Japanese pottery, known as Raku, derives its name from 
 incidents connected with its first production. Chojiro, the son of a Korean potter, 
 attracted the attention of Hideyoshi, who invited him to build an oven near a pleasure- 
 house named Juraku. Hideyoshi became his patron and later gave to Chojiro's son 
 
 
26o . THE CATALOGUE 
 
 a gold seal or stamp bearing the character Raku, which signifies happiness. Pottery 
 known as Raku has peculiarities which separate it quite distinctly from other kinds 
 of pottery. In general terms it may be described as having a light gray or fawn- 
 colored clay, loose and sometimes coarse in texture. The glaze is thick and often 
 lustrous, the usual colors being black or red, the former color predominating. The 
 pieces are usually in the form of bowls with thick walls, low basal ring, and three 
 spur-marks. These are modeled by hand, and shaved or cut into shape. The work 
 is usually signed with the character Raku within a circle, in relief. The bowls are 
 highly esteemed by the Japanese for use in tea-drinking, for the reason that being 
 made of loose material with thick walls the substance offers an excellent non-con- 
 ductor, and the bowl may be held in the two hands (as in the act of drinking pow- 
 dered tea) without discomfort. The use of Raku pottery for bowls led to the making 
 of other utensils of the same kind of pottery for the tea-ceremony, and of these the 
 most common are in the form of incense-boxes. Other colored glazes are used, such 
 as green or even yellow. Simple decoration in glazes of contrasting colors is seen. 
 Kyoto must be regarded as the home of typical Raku pottery, though Kyoto potters 
 have spread the art far and wide in Japan, notably in the provinces of Sanuki, Kaga, 
 Musashi, Settsu, Su5, Suruga, Iwami, Shinano, and more rarely in Ise and Higo. All 
 accounts agree in stating that the father of Chojiro was a Korean by the name of 
 Ameya, who came to Japan in 1521. Becoming naturalized he adopted the name 
 Sasaki and married a Japanese woman. His work consisted of hand-made pottery. 
 The wife was left a widow with one child, and continued the work of her husband. 
 Some authorities credit her with the discovery of the peculiar Raku glaze. The pro- 
 duct of Araeya's kiln, and that of his wife, is said to be impossible to obtain. Choya, 
 the son of Ameya, profiting by his mother's instruction, soon attracted the attention 
 of Rikiu, the famous tea-master, who gave him the name Chojiro. He is reckoned as 
 the first generation of the Raku family. He died in 1592. The collection has no 
 example of his work. 
 
 SECOND GENERATION, JOKI 
 
 Joki, son of Chojiro, attained such skill in his work that Hideyoshi, continuing his 
 patronage, finally conferred on him a gold seal, upon which was cut the character 
 Raku. Joki was greatly assisted by his younger brother, Somi. Joki 
 finally abandoned the aid extended to him by Hideyoshi, and began 
 to work on his own account. He built an oven at Abura-no Kogi in 
 Kyoto, and the successive generations of the family have continued the 
 oven on the same site. He died in 1636. 
 
 3663. Tea-bowl. D. 4J in. Rich thick black Raku glaze, iridescent. 3663 
 
 On side, two jewels in white. Raku (imp.), mark of Joki. 1630 
 
 THIRD GENERATION, DONIU 
 
 Doniu is said to have been a younger brother of Joki. Doniu was commonly called 
 Kichibei, and afterwards received the name of Kichizayemon. He died in 1657. Nina- 
 gawa believed that Doniu was the brother Somi referred to above. He used the 
 character Raku reversed. 
 
PROVINCE OF YAMASHIRO 
 
 261 
 
 3664. Deep bowl. D. 3 in. Bright black Raku glaze with large areas of mottled reddish- 
 brown. Raku (imp.), mark of Doniu. 1650 
 
 FOURTH GENERATION, ICHINIU 
 
 This potter was the son of Doniu, and was commonly called Sahei, 
 and also Kichizayemon. His bowls have lustrous black glaze with red- 
 dish spots. This potter went to Ise, and under the name of Sahei made ^^ 
 pottery for a time. (See Ise.) Ichiniu used two different forms of Raku for his mark. 
 He died in 1647. 
 
 3665. Tea-bowl. D. 4 in. Rich black Raku glaze, thick black iridescent overglaze, strongly 
 pitted. Basal ring roughly modeled. Raku (imp.), mark of Ichiniu. 1690 
 
 3666. Tea-jar, double gourd-shaped. H. 2% in. Raku (imp.). 1690 
 
 FIFTH GENERATION, SONIU 
 
 Soniu was a son of Ichiniu. This potter never signed his bowls, 
 but incense-boxes and other articles made by him bore the usual 
 impressed mark Raku. Soniu assumed, and perhaps justly, that no 
 one but himself could make Raku bowls possessing the peculiar qualities of his own 
 work, and hence there was no necessity for signing them ! He died in 1732. 
 
 3667. Tea-bowl. D. 4I in. Rich black iridescent glaze, overglaze in heavy running 
 masses ; inside, strongly pitted. Wide basal ring. Six spur-marks. 1710 
 
 3668. Cup-rest. D. 5 in. Thick and heavy, flaring portion hexagonal. Smooth black 
 iridescent Raku glaze strongly pitted. 1710 
 
 3669. Incense-box. D. 2| in. Dull light red Raku glaze. Raku, impressed inside cover. 
 Mark of Soniu. 1710 
 
 3670. Incensebox (Daruma). L. 3^ in. Thick and heavy. Reddish- 
 brown Raku glaze, surface roughened. Face flesh-colored. Raku (imp.). 
 
 1710 
 
 3671. Fire -vessel. H. 4 J in. Rich green glaze mottled. Melon- 
 shaped, knobs about shoulder. Raku (imp.). 1710 
 
 3670 
 
 SIXTH GENERATION, SANIU 
 
 Saniu, commonly known as Kichiyemon, son of S5niir, continued the work of Raku- 
 making. His bowls were considered tasteful. He died in 1739, though another 
 authority gives the date as 1751. 
 
 3672. Tea-bowl. D. 5J in. Thickened rim, with three equidistant crenu- 
 lations. Bright light red Raku glaze with greenish areas. 
 Raku (imp.), mark of Saniu. 1730 
 
 3673- Incense-box. L. 2J in. Dull bluish-black iridescent glaze. 
 
 Raku (imp.). 1730 3673 
 
 SEVENTH GENERATION, CHONIU 
 
 This potter was also known as Kichiyemon. He was the son of Saniu, and used 
 one form of mark in signing his work. Choniu died in 1 760. 
 
262 
 
 THE CATALOGUE 
 
 3674. Tea-bowl. D. 4J in. Highly polished olive-black glaze, red underglaze exposed 
 in places, flecks of green in glaze. Basal ring irregular. Raku (imp.), mark of Choniu. 1750 
 
 3675- Square box, corners fluted. H. 2J in. Bull in relief on cover. 
 Liglit fawn underglaze exposed on base and top of cover. Sides of box rich 
 green glaze shaded. Raku (imp.). 1750 
 
 3676. Box (jewel). D. 2| in. Shiny black Raku glaze. Raku (imp.). 1750 
 
 3677' Tea-bowl. D. 4I in. Rich black glaze. (Raku imp.). 1750 , , 
 
 EIGHTH GENERATION, TOKUNIU 
 
 Tokuniu, representing the eighth generation, died young in 1 774 ; for this reason 
 the work of this potter is very rare. One mark only is recorded, and this shows the 
 impression of a seal coarsely drawn and cut. 
 
 3678. Incense- BOX (turtle, conventionalized). L. if in. Greenish- 
 white underglaze, exposed inside, thin brownish-black overglaze. 
 Raku (imp.), mark of Tokuniu. 1770 
 
 3679- iNCENSE-nox. D. 2ff in. Light red Raku glaze. Under-decora- 
 tion of cross-lines in light yellow on cover. Roughly modeled. Obscure 
 mark in red lacquer. 1770 3678 
 
 NINTH GENERATION, RIYONIU (Plate XXII. 3682, 3683, 3687) 
 
 Riyoniu was the adopted son of Tokuniu, though another authority says he was 
 a son of Choniu. Riyoniu was at work in 1790. Three different marks were used by 
 him in signing his pieces. In the year 1792, the two hundredth anniversary of 
 ChSjiro's death, Riyoniu made two hundred bowls signed with the mark Raku, which 
 was used only on these anniversary bowls. 
 
 3680. Tea-bowl. D. 4I in. Rich glossy black glaze, 
 strongly pitted, iridescent on base. 
 Raku (imp.), ist mark of Riyoniu. 1790 
 
 3681. Tea-bowl. D. 4^ in. Light buff clay, trans- 
 parent underglaze, bright red overglaze with greenish areas 
 mottled. Raku (imp.), ist mark of Riyoniu. 1790 ^ 
 
 3682. Tea-bowl. D. 4 in. .Thick walls. Light red glaze with greenish 
 areas. Strongly incised design of pine branches filled with white. Strong 
 spiral mark on bottom. Baiyen (inc.), name of artist who decorated it. 
 
 1790 
 
 3683. Tea-bowl. D. 5 in. Soft grayish-white clay, light yellowish underglaze, bright red 
 overglaze with large splash of green glaze mottled. Jewels in white. 
 
 Raku (imp.), 2d mark of RiySniu. 1790 
 
 Gift of Denman W. Ross. 
 
 3684. Box (bird). L. 3J in. Thick and heavy. Rich green glaze, base of wings yellow- 
 ish-red glaze. Raku (imp.), 2d mark. 179° 
 
 3685. Box (conventional bird). H. 2/g^ in. Roughly carved. Glistening honey-colored 
 glaze. Raku (imp.), 2d mark. 1790 
 
 3682 
 
PROVINCE OF YAMASHIRO 
 
 3686. Cup-rest, D. 2| in. Thin red glaze with olive-green areas, 
 
 3687. Tea-bowl. D. 3f in. Rich black shining glaze, flecks of white, 
 lines on side. Raku (imp.). Sho (inc.). 1790 
 
 3688. Tea - BOWL. D. 4 in. Buff clay, transparent 
 underglaze, light red overglaze with olive area. Under- 
 glaze showing through. Raku (imp.), 2d mark. 
 
 3689. Box (bird). L. 2 J in. Raku (imp.). 
 
 3690. Tea-bowl. D. s| in. Black glaze. 
 Raku (imp.). 
 
 263 
 
 Raku (imp.). 1790 
 Diagonal incised 
 
 1790 
 1790 
 
 1790 
 
 3691*. Cup-rest. D. 2\ in. Thin green glaze. Design impressed and perforated, 
 
 Raku (imp.), 3d mark of Riyoniu. 
 
 L. 3 1 in. Rich green glaze clouded. 
 
 Im- 
 1790 
 
 Leaves light fawn, stem 
 
 3696 
 
 pressed portion gilded. 
 
 3692. Box (peach). 
 
 yellow. Inside, very light fawn glaze. 
 
 Raku (imp.), 3d mark. Koki (inc.). 179° 
 
 3693- Dish, two shells with looped legs. L. 6 J in. Yellow- 
 ish-white glaze with greenish tinge, coarsely crackled. 
 Raku (imp.), 3d mark. 1790 
 
 3694- FiRE-VESSEL. H. 4I in. Light fawn clay, creamy- 
 white glaze with greenish tinge crackled. Raku{vm^^. 1790 
 
 3695. Globular jar. H. 6^ in. Raku (imp.). 1790 
 
 3696. Tea-bowl. D. 4I in. Fawn clay, yellowish-white 
 underglaze, heavy dull black overglaze. Large mountain 
 shaded in yellowish-white. Riyoniu tsukuru (inc.). 1790 
 
 3697. Tea-bowl. D. 4J in. Glistening yellowish-white glaze, clouded with large areas of 
 light olive and pinkish hues. Closely scratched vertical lines 
 on side of bowl, ^w^a/ /"jW/J^/rw and kakihan (inc.). 1790 
 
 TENTH GENERATION, TANNIU 
 
 Tanniu was the second son of Riyoniu. His work 
 possesses no special merit. He used five different marks, 
 one of which was given him by the prince of Kii, in 
 whose oven at Wakayama he baked for a while. Pieces 
 made in Wakayama bear the mark Seinei. 
 
 3698. Tea-bowl. D. 5J in. 
 thick lustrous black glaze. 
 Raku (imp.), ist mark of Tanniu. 18 10 
 
 3699. Deep tea -bowl. D. i\\ in. 
 Coarse fawn clay, thick lustrous black 
 glaze. Plum blossom and triangular figure 
 in yellowish glaze. 
 Raku (imp.), 2d mark of Tanniu. i8io 3698 
 
 Coarse dull light brown clay. 
 
264 
 
 THE CATALOGUE 
 
 3700- Tea-bowl. D. 4I in. Coarse light gray clay, under and over glaze thick, lustrous 
 black, and iridescent. Raku (imp.), 2d mark. 1810 
 
 370^' Box. D. 2| in. Red glaze, light green areas, rough- 
 ened with white specks. Conventional flowers in white on 
 cover. Raku (imp.), 3d mark of Tanniu. 1810 
 
 3702. Tea-bowl. D. 4I in. Light fawn clay, transparent 
 underglaze, light red overglaze with greenish areas. Under- 
 decoration of pine trees in white. 
 Raku (imp.), 3d mark. 1810 
 
 3700 
 
 3702 
 
 ELEVENTH GENERATION, KEINIU 
 
 Keiniu, also known as Kichizayemon, made Raku pottery of an inferior kind. He 
 used three marks, the first in 1836, the second in 1851, and the last in 1870. The 
 last mark had the additional character Haku associated with Raku. On the two 
 hundred and fiftieth anniversary of Chojiro's death, Keiniu, following the example of 
 Riyoniu, made two hundred and fifty bowls, signed with the usual mark Raku, as 
 well as a special mark Raku. 
 
 3703. Tea-bowl. D. 3^ in. Light yellow underglaze, brownish-black overglaze. Yellow 
 areas exposed, representing gibbous moon and cloud strata. 
 Raku (imp.), ist mark of Keiniu. 1840 
 
 3704. Tea-bowl. D. 4I in. Thick lustrous black Raku 
 glaze. Raku (imp.), 2d mark of Keiniu. 1852 
 
 3705" So^' with looped handle. D. 2J in. Light fawn 
 clay, transparent underglaze, bright light red overglaze with 3703 3704 
 
 greenish areas. Under-decoration of pine needles on cover, and cross-hatching about margin. 
 Raku (imp.), 2d mark of Keiniu. 1852 
 
 3706. Spoon. L. 3^ in. Light red glaze. Raku (imp.). 1852 
 
 yjOJ. Tea-bowl. D. 4^ in. Light brown clay, yellowish underglaze, bright green over- 
 glaze about rim. Under-decoration of brush-mark. Raku (imp.), 2d mark of Keiniu. 1852 
 
 3708. Fire-vessel. D. 5-^ in. Bright green glaze. Raku (imp.). 1852 
 
 3709- Tea-bowl. D. /^\ in. Coarse light fawn clay, glistening black under- 
 glaze, thick reddish-brown overglaze, running. 
 Raku (imp.), 3d mark of Keiniu. 1870 3709 
 
 TWELFTH GENERATION, KICHIZAYEMON 
 
 This potter, representing the twelfth generation of this long line of potters, 
 was at work in 1882, and from him I gathered many of the facts herein recorded. 
 Among other matters of information I learned from him that only the immediate 
 members of the family were engaged in the making of Raku pottery. It has also 
 been the custom of the family, on the death of its head, to cut the Raku seal in halves 
 and bury the pieces with the body. 
 
PROVINCE OF YAMASHIRO 
 
 36s 
 
 3729 
 
 3710 
 
 3710- Tea -BOWL. D. 4J in. Coarse light fawn clay, thick lustrous brown glaze. 
 Raku (imp.), mark of Kichizayemon. 1880 
 
 The following specimens are Raku pottery, many of them bearing 
 the mark of Raku, some of considerable age ; but it is impos- 
 sible to assign them to their proper makers. Some are unques- |S\ 
 ionably fraudulent, and it is not impossible that some of the 
 above may be placed in the same category. 
 
 371I— 3729. Raku tea-bowls, tea-jars, and incense-boxes, among which is a tea-jar 
 with the mark of Seiniu (No. 3729). 1750-1890 
 
 ICHIGEN (Case 32) 
 
 This potter, commonly known as Yahei, is said by one record to have been the 
 pupil of Ichiniu (fourth Raku) ; by another record he is said to have been a son of 
 Ichiniu. He made Raku bowls of considerable merit. He marked the boxes con- 
 taining his work with the stamp of Raku. The single specimen in the collection has 
 the incised mark Ichigen. His work is exceedingly rare. 
 
 3730- Tea-bowl. D. 4f in. Deep red clay, with smooth surfaces, thick light red Raku 
 
 glaze mottled with white, showing greenish-gray below. Closely crackled. 
 
 Ichigen tsukuru (inc.). 1720 ^nMM 
 
 GENGEN (Case 32) 
 
 An amateur potter named Gengen Hachizo 
 made Raku tea-bowls at Kyoto in 1 837-1 838. 
 These were signed Gengen. The single specimen 
 in the collection is vigorously made and rich in 
 color. 
 
 373^' Tea -BOWL. D. 4 in. Thick walls. Sides 
 broadly sliced. Fawn clay, bright red Raku glaze, 
 large area of olive-green. Gengen (imp.). 1837 
 
 373° 
 
 KYURAKU (Case 32) 
 
 This potter, commonly known as Yasuke, made Raku pottery of a peculiar quality, 
 using white, yellow, and green glazes. He was at work in 1855. 
 
 3732. Candlestick. H. 4I in. Very light red clay, 
 white glaze strongly crackled. Kyuraku (imp.). 1855 
 
 3733- Flower-vase. H. 7 in. Light fawn clay, clear 
 yellow glaze. Kyuraku (imp.). 1855 
 
 3732 
 
 3733 
 
 OKAZAKI (Case 32) 
 
 Raku pottery, with the impressed mark Kagura (also read Shinraku and Kanrakti), 
 was made by Bunzaburo in Okazaki village, as late as 1870. The pottery is known 
 as Okazaki by the Japanese. The work is of an inferior kind, though some merit 
 attaches to the earlier pieces. 
 
266 
 
 THE CATALOGUE 
 
 3735 
 
 3736 
 
 3734- Tea-bowl. D. 3I in. Rich glistening black glaze. Plum blossoms inside and out' 
 in white glaze. Kagura (imp.). 1855 
 
 3735- Box (bird). L. 3I in. Glistening white glaze with 
 light reddish clouds. Kagura (imp.). 1855 
 
 373^' Tea-pot. D. 3J in. Light brown clay, dull yellow 
 underglaze, rich dark brown overglaze, minutely pitted, with 
 finger touches exposing yellow glaze in spots. Kagura (imp.). 
 
 i860 
 3737' Covered bowl. D. sJ in. Soft buff clay, vertical incised lines, interspaces glazed 
 dark green, red and white alternating. Kagura (imp.). i860 
 
 373°- Tea-cup. D. 2^ in. Modeled by hand. Fine light gray clay, transparent glaze. 
 Poem incised. Nippon Kagura-oka Tokuniu (inc.). 
 
 This was identified as Kanraku by Ninagawa, and is placed here pro- 
 visionally. 
 
 KANRAKU (Case 32) 
 
 A Raku tea-bowl bearing the mark Kanraku ap- 
 pears to be one hundred and fifty years old at least. 
 Nothing is known about the potter. 3739 
 
 3739- Tea-bowl. D. 4I in. Coarse Raku clay, light reddish glaze with whitish tinges. 
 Kanraku (imp.). I7S** 
 
 The bowl is very much worn, and the above date is uncertain. 
 
 
 
 3738 
 
 MURASAKINO (Case 32) 
 
 In the early part of this century a potter by the name of Gakutei established an 
 oven at the gate of Daitoku Temple, where pottery was made for a short time. The 
 impressed mark Miirasakino was used. In 1844 a new oven was opened within the 
 temple grounds, and the work was signed Murasakino, written in a different way. 
 The m2ir\iJoraku was also employed. 
 
 374^- Incense-box (mountain). D. 3^ in. Coarse light fawn clay, white glaze tinged 
 
 with fawn-colored spots. Light blue clouds. 
 
 Murasakino (imp.). 1810 
 
 3741- Tea-bowl, squarely flattened. D. 4I in. Coarse 
 light fawn clay, thick brownish-black glaze with yellowish 
 underglaze showing through in spots. 1844 
 
 Alurasakino (imp.). ^740 3741 
 
 RAKU POTTERY IN GENERAL (Case 32) 
 
 3742-3760. Various pieces of Raku, presumably Kyoto, of which no record has been 
 obtained. These bear the marks of Juraku (3742) ; Senzai-raku (3744) ; Nohuyuki (3745) ; 
 Hachi-ju-ga, Rakti-o, and a kakihan (3746) ; Sansho (3747) ; GioTun roku-ju-hachi sai, Sojiku 
 kore wo tsukuru and a kakihan (3749) ; Miikogaoka tsuc/ii nite tsukuru Hiaku-kiyoku (3748) ; 
 Kyoto Shorin-an ni oite tsukuru (3750*); Giokuto (3751*); Sokichi and a kakihan (3752); 
 
CASE 32 
 
 3%'il 
 
 
 i^ 
 
 J«7? 
 
 S 3 8S-7 **3= 
 
 atjsq 
 
 ?^.-^ 
 
 V4 ,-h.$J V-^T-J [^-%i '^^^VJ \^^^ 
 
 3trbi 
 
 3a3(i 
 
 3 8i'r 
 
 38SO 3V%V 
 
 38V3 
 
 38>i 
 
 3 8r'r7 
 
 3VS8 
 
 
 as-ii 38rsr<i 
 
 JVSfS 3%¥4 
 
 3Si-V-?*Jf ;i»i-i 3«<,4- 3S60 3»tl 
 
 3%'i-/ 
 
 3{ri^3 
 
 ^-^\\ 3«%V 
 
 
 #K<Hi« 
 
 ^fi^'- S**,"*" l!li 3*7Z 
 
 JS7(. 3«8fa 3«<.7 3Sfc8 3»{,9 3»fcS- 3%77 i»7« 3S'«3 3«7S- 3%7V 3«7; 3»70 
 
 3fa7) 
 
 3663 366*1 3t6s- 3b(,6 3667 
 
 aOa 
 
 3670 ( 
 
 3677 ^ F^::_"€1S> 
 ■ — ^'-^^ 
 
 (^WtpS^^3i 
 
 3b7y 3676 
 
 3t7h Jtao 3bin 3^%i 3683 Sfc^'J 3fc67 368y 368b 368') 
 
 37tO 
 
 3713 
 
 o 
 
 373'* 
 
 (^ 33^ f- ^ \i-iz% 
 
 
 37 3 6- 373 8 
 
 3737 
 
 3733 3T3Z 3T>Z 3131 3730 
 
 
 11^0 
 
 3^8 37ZZ 37.1 37\. 3739 IIH^ 
 
 PROVINCE OF YAMASHIRO 
 

PROVINCE OF YAMASHIRO 
 
 267 
 
 Kio Toraku (3754*) ; Hiaku-kiyoku (3755*) ; Haku (3756*) ; kakihan of Mitani Soshiu 
 (3757) > ^^ (3759) i Rtiku and Ki (3760*). One object, said to have been made by Bunkio 
 in ChSniu's furnace, is unsigned. 
 
 3742 
 
 <3 
 
 ^7 
 •'it ;1L 
 
 3747 
 
 % 
 
 ^ 
 
 w 
 
 3745 
 
 3749 
 
 3755 
 
 
 dr^ 
 
 
 3746 
 
 ^• 
 
 \% 
 
 3757 
 
 3756 
 
 I* 
 
 3759 
 
 3760 
 
 37 so 
 
268 THE CATALOGUE 
 
 KENZAN (Case 31 and Plate XXI. 3765, 3766) 
 
 The work of Ogata Shinsho, or Kenzan, dates from the latter half of the seven- 
 teenth century to the early half of the eighteenth century. He died in 1743 at the 
 age of eighty-three. Kenzan made an enduring reputation as a potter and artist. 
 Korin, an elder brother, was equally famous, as attested by his lacquer-work and 
 paintings. In some instances he decorated his brother's pottery. (See Kenzan ; 
 MusASHi.) No signature has been so often forged as that of Kenzan ; and spurious 
 Kenzan may be found in every stock and in every collection, not excepting the one of 
 which this is a catalogue. Certain authorities state that there was only one genera- 
 tion of Kenzan ; other authorities record a son and a grandson who made the same 
 kinds of pottery and used the same signature. In Dr. Frank's catalogue, of his col- 
 lection lent to the Bethnal Green Museum (now in the British Museum), is recorded 
 a water-jar with the signature Kenzan Sandai Bunsei nensei. Here we have men- 
 tioned Kenzan third and the year period Bunsei (1818 to 1830). Ninagawa records 
 six generations of Kenzan, all, with the exception of the first, having lived in Yedo. 
 If this statement could be established many pieces signed Kenzan, though inferior to 
 the original Kenzan, might be regarded as genuine and referred to some of these 
 generations. I have found it impossible, however, to make these distinctions. Kenzan 
 had many pseudonyms. Among those attributed to him are Kenzan, Sansho, Shin- 
 sho, Ogata Sansho, Shinsaburo and Saburo, Shoko, Shuseido, Shisiu, Reikai, and 
 Toin. 
 
 37^^' Bowl. D. 6 in. Fawn clay, transparent underglaze, thick white overglaze. Close 
 spiral lines in dull blue. Saburo (imp.). 1680 
 
 An early mark of Kenzan. 
 
 3762. Deep cup. H. 3^ in. Gray-drab clay, grayish glaze, broad brush-marks 
 
 of white and light blue. Over-decoration of twigs and buds in brown. Inside, iTeT 
 
 similar decoration. Unsigned. 1690 
 
 37^3- Bowl. D. 4I in. Gray-drab clay, light gray underglaze, broad area of white glaze 
 upon which are flowers and grass in brown and blue. Kenzan (written). 1690 
 
 Type Ninagawa. Part IV., Fig. 29. 
 
 37^4- Tea-cloth holder. H. 2^^ in. Fine fawn clay and glaze. Over-decoration of 
 brown twigs and blossoms in white slip. 
 Kenzan (written). 1690 
 
 Type Ninagawa. Part IV., Fig. 25. 
 
 37^5- Box, irregular outline, corresponding to design 
 on cover. D. 4f in. Fine fawn clay, rich light fawn 
 glaze. On cover, picture of huts, water, boats, and 
 figures in dark and light brown and blue. Sides with 
 lattice design in blue. Inside, broad dashes of blue. 
 Kenzan (written). 1700 3764 3765 
 
 Type Ninagawa. Part IV., Fig. 24. 
 
 A remarkable example of Kenzan's work. 
 
 
PROVINCE OF YAMASHIRO 
 
 269 
 Over-decoration of leaves in 
 
 
 3766 
 
 3766. Bowl. D. 4^ in. Fine grayish-drab clay and glaze, 
 white and brown, leaves veined with light gray. 
 Kenzan (written). 1700 
 
 Type Ninagawa. Part IV., Fig. 28. 
 
 3767- Raku bowl. D. 4i in. Thick and heavy. Thick 
 black glaze, two flowers outlined in white glaze. Inside, 
 similar decoration. Kenzan, written in black glaze on green- K 
 ish panel. 1700 
 
 Type Ninagawa. Part IV., Fig. 27. 
 
 3768. Tea-cloth holder. H. 3! in. I.ight gray-drab clay, gray underglaze, exposed 
 inside J white overglaze. Over-decoration of conventional flowers and 
 stems in light brown with incised shading. Above and below, band of 
 scrolls. Kenzan (written). 1720 
 
 Type Ninagawa. Part IV., Fig. 26. 
 
 3769. Bowl. D. 4I in. Signed. 1720 
 
 377°- Bowl. D. 44 in. Fine brownish clay, very light fawn glaze, 
 clouded. Under-decoration of chrysanthemums in blue and brown. Poem 
 and signature in black. Old Kiyomizu style. Kenzan (written). 1720 
 
 
 3768 
 
 377^- Beaker. D. 6f in. Very rough gray-drab clay, large area of 
 
 thick brown glaze inside and out. Unglazed portion with brush-mark in white glaze, and 
 
 spiral marks in deep blue. Ichi-saka [.?] Shokoen oite set (written). 1720 
 
 yjT^- Square box. L. 3^ in. 1760 
 
 3773- Square box, with beveled cor- 
 ners. W. i^ in. Gray-drab clay, gray 
 glaze. Imbricated scrolls. 
 Ken (written). 1780 
 
 3774- Box, hexagonal. H. ij in. 
 
 1780 
 
 377^' Fire-holder, square. H. 4^ in. 
 Thick walls. Hard light fawn clay, 
 nearly white glaze minutely crackled. 
 Over - decoration of scrolls, formal 
 flowers, etc., in deepest olive-brown. 
 Kenzan (written). ' 1780 
 
 3771 
 
 3777* FiRE-BOWL. H. 4g in. Fine fawn clay, thick white glaze separating at base. Over- 
 decoration of conventional flowers and leaves in olive-brown. Kenzan (written)^ 1780 
 Gift of W. S. Bigelow. 
 
 3778- Square cake-dish. W. 6 in. Light fawn clay, transparent underglaze. Bands of 
 white overglaze, forming stems of bamboo, shaded with blue, leaves in blue and olive-brown. 
 On sides, scrolls in brown and blue. Kenzan (written). 1780 
 
 3779- Mate to last, with vigorous drawing of waves. Kenzan (written). 
 
 1730 
 
270 
 
 THE CATALOGUE 
 
 Blossoms in bright 
 
 3780. Bowl, vertical sides. D. 4J in. Japanese yellow clay and glaze, 
 blue, brown, and white. Kenzan, Hoyei tsukuru, and ob- 
 scure name (written). 1800 
 
 3781. Tea-cloth holder, open below. H. 2^ in. Fine 
 light gray clay, coarse light gray glaze. Plum branches 
 in brown with white flowers. Kenzan (written). 1800 
 
 Gift of Rufus E. Moore. 
 
 3782. Shallow dish. D. 5 J in. Fine light fawn clay, 
 thick white glaze, separating in places. Vigorous decora- 
 tion of bamboo, inside and out, in dark brown and blue. 
 Kenzan (written). 1800 
 
 Gift of W. S. Bigelow. 
 
 3783' Deep cup, square. H. 4^ in. Light fawn clay, 
 lustrous black Raku glaze. Plum blossom in thick white glaze with blue shading. 
 Kenzan (written). 1800 
 
 Gift of Denman W. Ross. 
 
 3784*. Bowl. D. 7 in. Kenzan (written). Toko Toto (imp.). 
 
 MOKUBEI (Case 31 and Plate XXI. 3799, 3800) 3784 
 
 This potter attained great celebrity in the early part of this century in making suc- 
 cessful imitations of Chinese celadon and Oriental porcelains. It is said that he was 
 the first one who employed moulds in making tea-pots. He used a number of signa- 
 tures. 
 
 3785 3786 
 
 3788 
 
 3790 
 
 3792 
 
 379S 
 
 3804 
 
 3806 
 
 3808' 
 
 3809 
 
 37^5* Tea-pot. D. 4 in. Thin walls, dark drab clay, light gray glaze. Band of circles, 
 stars, basket-work, etc., in white Mishima. Mokubei (imp.). 1825 
 
 Type Ninagawa. Part V., Fig. 3. 
 
 3786. Tea-pot. D. 3I in. Moulded. Light fawn clay. Clouds in relief, glazed bright 
 green. Interspaces unglazed. Cover and nozzle with purple and light blue glaze. 
 
 Fawn clay, thick white glaze. 
 
 Mokubei (imp.). 
 
 Type Ninagawa. Part V., Fig. 5. 
 
 3787- Tea-cup. D. 3 in. Moulded. 
 
 dragons, etc., in high relief. Unsigned. 
 
 Type Ninagawa. Part V., Fig. 4. 
 
 3788. Tea-pot, similar to last. Mokubei (imp.), 
 
 3789-3793- Tea-pots and haisen, signed Mokubei. 
 
 3794' 3795- Cake-dish and figure. Celadon glaze. Figure signed Mokubei. 
 
 1825 
 
 Bands of scrolls, 
 1825 
 
 1825 
 1825 
 1825 
 
3! 
 
 on 
 
 PROVINCE OF YAMASHIRO 271. 
 
 3796. Tea-cup. D. 2\ in. Gray-drab clay, greenish-olive celadon glaze. Inside, delicate 
 design of dragon, bird, etc., in relief, moulded. Mokubei (imp.). 1825 
 
 3797* Tea-cup. D. 2f in. Similar to last. Mokubei (imp.). 1825 
 
 3798. Tea-pot, in form of jewel. D. 3 in. Very fine light gray-drab clay, unglazed, pol- 
 ished surface darkened by use. Mokubei (imp.). 1825 
 
 3799- Incense-box (cherry blossom). D. 15 in. Japanese yellow clay "^[^ 'T'o 
 
 and glaze. Flowers shaded in red and gold. ?|^5? 7^ 
 
 Kokikwan Mokubei tsukuru (written in gold). 1825 ijS- i^ -jfc 
 
 An exquisite example. 'S£, 
 
 o 3799 3800 
 
 3800. Tea-pot, very thin walls. D. 3I in. White clay unglazed. 
 
 Figures of Chinese children at play, in green, purple, yellow, and blue enamels, outlined in 
 
 black. Kokikwan Mokubei tsukuru (yiriXi&a). 1825 
 
 A remarkable example of decoration. 
 
 3801—3807. Tea-cups, tea-pots, cover-rest, and furnace for 
 TEA-POT, variously signed Robei tsukuru 
 
 (written) (3801), Robei Moku (written) ^L «♦ ^ 00^ J. 
 \l?>02), Kokikwan Mokubei {yi\\Xl&ri){j,Zoi), ^^ o" '' 
 
 and Mokubei (imp.) (3804, 3806). 1825 3805 
 
 3808. Bowl, deeply notched at base. D. 4f in. Thick and heavy. Gray-drab clay, light 
 grayish -yellow underglaze, greenish-blue overglaze running. 
 Bats in blue and brown. Ao Mokubei (imp.). 1825 
 
 3809—3814- Pieces of Mokubei variously signed Ao Mo- 
 kubei (imp.) (3809), Kwan (written) (3810), Koto Mokubei dojin 
 tsukuru (inc.) (3813), Mokubei (imp.) (3814). 1825 
 
 ASAHI (Case 34 and Plate XXIII. 3815) 
 
 Accounts vary greatly as to the origin of the pottery bearing the 
 impressed mark Asahi. Records state that it was first made at Uji in 
 1624-1644. Absolute plainness of form and glaze characterize the 
 earlier work. Matsubayashi Chobei, claiming to be the fifteenth genera- 
 tion, revived the work in 1852. The present generation, Matsubayashi ~ g ' 
 Matsunosuke, is the grandson of Ch5bei. Miserable imitations with 
 counterfeit mark made by Zoroku were common in the bric-a-brac shops of Japan in 
 1882-1883. 
 
 3815. Tea-bowl. D. 5I in. Heavy grayish-fawn clay and glaze, splashes of thick grayish 
 overglaze running from rim, coarsely pitted. Asahi (imp.). 1640 
 
 Type Ninagawa. Part III., Fig. 18. 
 
 3816. Tea-bowl. D. a,\ in. Thick and heavy. Brown clay, olive-gray 
 glaze. Pine in dark gray. Asahi {ycap?). 1640 
 
 3817. Tea-bowl. D. 4J in. Light straw clay and glaze, finely crackled. 
 Asahi (imp.). 1680 
 
272 
 
 THE CATALOGUE 
 
 3818. Tea-bowl. D. 5J in. Fine gray-drab clay, yellowish-gray glaze with grayish areas. 
 Asahi (imp.). 1 700 
 
 A beautiful example, showing the color of morning light in the glaze. 
 
 
 
 3818 3819 3820 3821 3823 3824 3826 
 
 3819-3835. Bowls, cups, etc. All signed Asahi, impressed. 
 
 I 700-1 880 
 
 H, 
 
 % W 
 
 »3 
 
 3828 3829 3830 3S31 3833 3834 
 
 9 
 
 383s 
 
 ZENGORO (Case 32) 
 
 A family of potters famous in the annals of Japan is that of Zengoro. Nishimura 
 Zengoro is regarded as the founder of the family. He was a Shinto priest in Nara, 
 and made unglazed vessels for offering. He died in 1558. His son, the second Zen- 
 goro, became a potter and went to Izumi, and there erected an oven and made un- 
 glazed fire-vessels {fiiro). In the work he showed great skill, and received the sobri- 
 quet of Furo-shi Zengoro (Furo-maker, Zengoro). The third Zengoro moved to 
 Kyoto and continued the work of furo-making, beside that of other utensils for the tea- 
 drinkers. Successive generations up to, and including, the ninth continued as potters, 
 limiting their work to furo and other fire-utensils, and were famous for their excellent 
 pottery. The pottery being unglazed, and of the softest character, but little has sur- 
 vived. Of these early generations the collection possesses but one bowl, made by the 
 third generation, Sozen, a gift to the collection from Denman W. Ross, and an incense- 
 burner made by the sixth generation, Sohin, presented by George lies. Collateral 
 members of the early generations are represented in the collection by the work of 
 Yokuro and Sozaburo and Soshiro, and these objects will be catalogued after the 
 Zengoro series. 
 
 The generations of the Zengoros, with their pseudonyms, are as follows : — 
 
 First generation . . . not known . . died 1558 
 
 died 1594 
 died 1623 
 died 1655 
 died 1698 
 died 1 74 1 
 died 1744 
 died 1769 
 died 1779 
 
 Second generation 
 
 
 
 Sozen 
 
 Third generation 
 
 
 
 Sozen 
 
 Fourth generation 
 
 
 
 Soun 
 
 Fifth generation 
 
 
 
 Sozen 
 
 Sixth generation 
 
 
 
 Sohin 
 
 Seventh generation 
 
 
 
 Sojuin 
 
 Eighth generation 
 
 
 
 Soen 
 
 Ninth generation 
 
 
 
 Sogan 
 
PROVINCE OF YAMASHIRO 273 
 
 Tenth generation . . . Ryozen . , . died ? 
 
 Eleventh generation . . H5zen . . . died 1853 
 
 Twelfth generation . . . Wagen . . . died ? 
 
 Thirteenth generation . . Tokuzen 
 
 THIRD GENERATION, SOZEN (Plate XXII. 3836) 
 
 Sozen was the first of the family who established himself in Kyoto, 
 made f uro (easily broken, as Ninagawa adds) and also Raku 
 bowls, bearing the incised mark Sozen. 
 
 3836. Tea-bowl. D. 3! in. Light fawn clay, light red Raku 
 
 glaze with light yellowish-fawn areas. Strongly crackled. 
 
 Sozen utsutsu kore wo tsukuruinari f) (inc.), also kakihan. 1610 
 
 An object of the greatest rarity. 
 
 Gift of Denman W. Ross. „ , 
 
 3836 
 
 SIXTH GENERATION, SOHIN 
 
 This potter, representing the sixth generation, is said to have baked at Nara in the 
 early part of the eighteenth century. Examples of his work are of the 
 greatest rarity. The single object in the collection, a furo, is inscribed 
 with his name and his age at the time of making. 
 
 3837* FuRO, low body with two encircling ribs, three short legs. D. 5^ in. 
 Finest gray-fawn clay, unglazed. Outside, polished, large jet-black area on one 
 side involving leg. Surface streaked with light red and dark gray. 
 Sohin and kakihan. Toshi roku-ju san (inc.), not given. 1730 
 
 Gift of George lies. 
 
 Between this family and the tenth Zengoro the collection contains no exam- ^^ 
 
 pies. 
 
 TENTH GENERATION, RYOZEN 
 
 This potter succeeded to the work of his predecessor, and for a while made fire- 
 vessels, but afterwards apprenticed himself to Raku RiyOniu, and while working for 
 him discovered a peculiar kind of glaze resembling certain Chinese colors. Leaving 
 Riyoniu he began work on his own account, producing pottery with the new glazes of 
 purple, green, and yellow on a hard white body, and these pieces bear the impressed 
 mark Ryozen. 
 
 3838. Cylindrical flower-holder. H. sJ in. Light fawn underglaze showing inside, 
 purple overglaze outside. Ryozen (imp.). 1810 
 
 3839. Candlestick. H. 8J in. Thin purple glaze, fluted lines incised and 
 gilded. Hollow base with yellow glaze. Ryozen (imp.). 1810 
 
 Gift of W. S. Bigelow. 
 
 3840. Flower-vase. 3838 
 This evidently belongs with the same set as the candlestick. No. 3839, having the same 
 
 glaze and decoration. 
 Gift of W. S. Bigelow. 
 
274 
 
 THE CATALOGUE 
 
 384X. Ash-holder. D. 8| in. Modeled by hand. Black lacquer inside and out. Incised 
 lines on side gilded. Ryozeniym^^. 1810 
 
 3842. Fire-vessel. D. 4^ in. Octagonal, paneled in deep grooves. Above, band of 
 panels enclosing the eight characters. Surface black lacquer. Grooves and characters gilded. 
 Ryozen (imp.). 1810 
 
 Gift of W. S. Bigelow. 
 
 ELEVENTH GENERATION, HOZEN = YEIRAKU (Plate XXII. 3843, 3845) 
 
 Hozen made great improvements on his father's methods, and by his skill and 
 originality established the world-wide reputation of his family. His pure blue and 
 white, his celadon, and, above all, his wonderful bowls decorated in red and gold, easily 
 place him in the ranks of the great potters of the world. His fame spread rapidly, and 
 early attracted the attention of the Prince of Kii, who invited him to take charge of a 
 private kiln at his castle grounds at Wakayama. Here, in 1827, he made pottery 
 known as Oniwa, or Kairakuyen (see Kii). For these services he received from the 
 prince, as an honorary distinction, two seals, one of gold and the other of silver. The 
 gold seal had upon it the characters Yeiraku, and the silver seal bore the characters 
 Kahin Shiriu. His pieces were usually signed with one or the other of these seals, 
 though sometimes the written characters Yeiraku set appear. He died in 1853. 
 
 3843. Bowl. D. 4J in. Hard light gray clay, strong whitish-gray glaze, coarsely crackled. 
 Over-decoration of pine, plum, and bamboo in blue 
 and green enamels, red blossoms, and gold. 
 Yeiraku (imp.). 1825 
 
 Type Ninagawa. Part V., Fig. 11. 
 
 3844- Box. D. 2f in. Fluted sides, crab in high 
 relief on cover. Light fawn clay, hard dull white glaze 
 within, glassy green glaze without. Crab glazed yellow. Yeiraku (imp.). 
 
 Type Ninagawa. Part V., Fig. 12. 
 
 3845- Large bowl. D. 6J in. Hard white clay, dead red glaze. Design in gold of 
 scrolls, mythological birds, formal leaves, flowers, etc., with texture scratched 
 with sharp point. Inside, on bottom, white glaze with clouds, waves, etc. 
 rich blue. Dai Nikon Konan Yeiraku Hozen tsukuru (written in 
 blue). 1830 
 
 A beautiful example of Yeiraku's " red and gold." 
 
 3846. Tea-cup. D. 2^ in. Similar to last, different design. 
 Dai Nikon Yeiraku tsukuru (written). 1830 
 
 3847-3853- Various examples of Hozen's work bearing the 
 impressed mark Yeiraku. 
 
 3854- Flower-vase. H. 7J in. Light buff and grayish-black clays mixed, 
 glazed surface. Simple pointed leaf form incised around upper portion. 
 Hozen (imp.). 
 
 Very rare mark. 
 
 3855- Pox. D. 31^ in. Rough surface. Shiny red lacquer, heavily gilded inside 
 and out. Yeiraku and Kahin Shiriu (imp.). 1830 
 
 1830 
 
 3845 
 Smooth un- 
 
 1830 
 
 3854 
 
PROVINCE OF YAMASHIRO 
 
 275 
 
 3856. Bowl. D. 4f in. Hard brown clay, dull mottled brown glaze, 
 Yeiraku (imp.). Kahin Shiriu (imp.), inside. 
 
 3857- Bowl. D. 4 in. Roughly moulded inside, vertically sliced, 
 and glaze. Flight of storks in blue encircling bowl. 
 Kahin Shiriu (imp.). Hozen tsukuru (written). 
 
 3858-3861. Bowl and incense-boxes, signed Kahin Shiriu. 
 No. 3858, gift of Mr. Yamanaka. 
 
 3862. Fire-vessel, with handles and three short legs. 
 D. 5I in. White stone clay, with pale green celadon glaze. 
 Kahin Shiriu (imp.). 1830 
 
 A remarkable example of Hozen's work. 
 
 3863. Low DISH. D. 6J in. Constricted in middle. 
 Above constriction rich yellow glaze, below constriction 
 bright green overglaze running, yellow glaze showing 
 through. Base and inside, yellow glaze. 1830 
 Yeiraku (imp.). 
 
 3864- Bowl, roughly hewn with knife. D. 4 J in. 
 Kahin (imp.). 
 
 1830 
 
 White porcelain clay 
 1830 
 
 1830 
 
 Light dead brown clay, light gray glaze. 
 
 1830 
 
 TWELFTH GENERATION, WAGEN (Plate XXII. 3865) 
 
 Wagen succeeded to his father's work, continuing the methods, glazes, and the 
 mark Yeiraku, but the productions of his kiln, while in many instances showing great 
 merit, do not approach the high character of Hozen, the great Zengoro. In 1853 he 
 went to Omuro, and established a kiln on the site of Ninsei's kiln. Here he_made pot- 
 tery for a while, and signed his pieces Omuro and sometimes the initial mark Ouchi-yama 
 sei en. The mark Hatsu kama associated with Yeiraku is also used. The mark Hatsu 
 kama is very rare. The work done here was quite different from his usual work and 
 showed great taste. In 1866 he was called to Kaga, where he made porcelain bowls, 
 tea-jars, and the like (see Kaga). 
 
 3865. Box. D. 2 in. Moulded. Fawn clay, light fawn glaze. Mythological animals and 
 flames in relief, glazed brown. Yeiraku (imp.). 1850 
 
 3866. Large bowl, perforated border. D. 6 in. Light fawn 
 clay, rich green glaze. Border with rich brown overglaze flecked 
 with white and blue running and mingling with cream glaze. 
 Yeiraku (imp.). 1850 
 
 3867. Heavy bowl. D. 4-^ in. Yeiraku (imp.). 1850 
 
 386s 
 
 3868. Tea-pot. D. 3}^ in. Moulded ; fluted sides. Fawn clay, rich green glaze. Cover 
 purple glaze with yellow knob, splash of purple glaze on under side of cover. Inside, white 
 glaze crackled. Yeiraku (imp.). 1850 
 
 3869. Bowl. D. 3}^ in. Fawn clay and glaze, pinkish tinges. Yeiraku (imp.). 1850 
 
276 
 
 THE CATALOGUE 
 
 3870. Hand-warmer, in form of priest's wooden bell, vigorously carved. H. 8| in. Coarse 
 light terra-cotta clay, areas of umber-brown glaze, rough surface. Wings, jewels, and eyes, 
 thick dull ochre glaze with greenish tinges. Omuro and Ouchi-yama set en (imp.). 1853 
 
 Type Ninagawa. Part IV., Fig. 16. 
 
 3871. Bowl. D. 3I in. Light brown clay, gray glaze. 
 Rough sketch of tree in olive-brown. Ouchi-yama set en (imp.). 
 
 1853 
 
 3872. Shallow bowl. D. 5f in. Coarse light brown clay, 
 very thick light olive-gray glaze with dark grayish-brown mot- 
 tled area inside. Omuro (imp.). 1853 
 
 Type Ninagawa. Part IV., Fig. 15. 
 
 3873- Shallow bowl. D. 6J in. Coarse brown clay, olive-greenish glaze with resplendent 
 splash of rich brown glaze running into light blue. Omuro (imp.). 1853 
 
 3874- Bowl. D. 4J in. Thick walls. Coarse light fawn clay, fawn glaze with splash of 
 olive-brown glaze running into bluish-white. Very coarsely crackled. Omuro (imp.). 1853 
 
 3875- Dish, in form of leaf. L. 5I in. Very light gray clay and glaze. Veins of leaf 
 marked in olive -brown. Yeiraku and Ouchi-yama HatsU kama [meaning 
 
 first kiln] (imp.). 1853 
 
 THIRTEENTH GENERATION, TOKUZEN 
 
 Tokuzen was at work in Kyoto in 1882, and to him I am greatly 
 indebted for the information regarding the various generations of the 
 family. His work, like that of the recent generations of many other 
 families of potters, shows a marked deterioration in originality and 
 vigor. The market to-day is filled with counterfeit pieces signed with 
 the marks Yeiraku and Kahin Shiriu. 
 
 3876. Flower-holder, in the form of a very long-necked bottle, with 
 short bulbous body. H. loj in. Light fawn clay, glossy white glaze. 
 Encircling bands of brown. Yeiraku (imp.). 1870 
 
 387s 
 
 3877* Bowl. D. 4^ in. Hard stone clay, thick white glaze with rosy tinge. Over-decora- 
 tion of quail and millet in green, brown, and gold. Around rim, inside and out, 
 band of brocade in green, red, and gold. Yeiraku (imp.). 1870 
 
 3878. Tea-cloth holder. H. 2^ in. Blue and white porcelain. 
 
 3879- Bowl. D. a^-^ in. Thick and heavy. Hard white stone clay, thick cream 
 
 glaze. Over-decoration of ducks, grass, etc., in rich brown, white, and greenish-blue. Base 
 
 grooved at right angles. No basal ring. Yeiraku (imp.). 1870 
 
 3880. Holder for bamboo tea -stirrer. 
 porcelain. Yeiraku tsukuru (written). 
 
 H. 3A in. 
 
 Blue and white 
 1870 
 
 jS iSJ *. 
 
 3880 
 
CASE 33 
 
 30*««, $071 307S- 385V 30<<5 3076 
 
 30S3 3073 ^ *J^ 38S 
 
 3067 3088 30&e> 
 
 306z 7Q«f» 
 
 3067 A. 30S-6 ^~^ 
 
 , 30.^ 30^ 3060 ^p\ ^"^Y A A n 
 
 30</X 3037 3063 
 
 30'»3 30*r0 303f30V7 | 303*) ,' 3038 3037 \ 3036 
 
 3069 
 
 3070 J^^'S 
 
 3066 
 
 ^S^OWU 
 
 30f6 309<r 309? 30&<( 3oai> 307^4 30SO 306<f 305-/ 306& 306!> 
 
 SSOS 
 
 3SM 
 
 3<j06 S'tos 
 
 3903 
 
 3S97 3498 3896 3092 3090 309( 
 
 J9S-0 
 
 3<tf£ 
 
 3S5I 
 
 3SSZ 
 
 3.9 •»! 
 
 395-7 
 
 Zlh*, 
 
 PROVINCE OF YAMASHIRO 
 
PROVINCE OF YAMASHIRO 
 
 277 
 
 3882. Beaker. D. 4I in. Light brown clay, thick gray glaze, splash of rich brown glaze 
 inside and out. Around upper portion grass in brown, 
 blue, and white. Yeiraku and Kikutani (imp.). 1875 
 
 3883. Wine-bottle. H. 5^ in. Light fawn clay, yel- 
 low glaze. About neck light brown glaze running. Over- 
 decoration of bamboo in brown, green, white, and gold. 
 Yeiraku and Kikutani (imp.). 1875 
 
 3884. Bottle, with handle. H. sJ in. Brown clay, 
 olive-gray glaze, rich brown overglaze running. Yeiraku and Kikutani (imp.). 1875 
 
 3885. Bowl. D. 4J in. Light fawn clay, greenish-white glaze coarsely crackled j thick 
 glassy overglaze. Over-decoration of flowers in white slip, 
 with yellow centres, green leaves. Kikutani (imp.). 1875 
 
 3886. Tea-pot. D. 3J in. Modeled. Brown clay un- 
 glazed. Characters incised. Kuritani (^iva^.). 1875 
 
 3887*. Bowl. Saien (imp.). 
 
 The bowl is built up from a fragment which bears the impressed mark of Ninsei, said to 
 have been dug up on the site of Ninsei's oven. 
 
 3885 
 
 SOSHIRO (Case 32) 
 
 Matsuke S6shir5 was the second son of Nishimura Sozen, the third 
 the Zengoro family (see Cat. No. 3837): Hideyoshi, admiring the 
 superior quality of his pottery, endowed him with the high-sounding 
 title of Tenka-ichi Soshiro (first below heaven). The pottery is said 
 to date back to the early part of the seventeenth century, and exam- 
 ples of his work are extremely rare. After working in Kyoto for a 
 while he established an oven in Yedo, where he made the same kind 
 of pottery. The single piece in the collection was identified by 
 Ninagawa as an essay of his Yedo oven. The present Yeiraku, how- 
 ever, informed me that the pieces bearing the mark of Tenka-ichi 
 Soshiro were made in Kyoto, but as there are grounds for doubt, 
 the piece will be catalogued here provisionally. 
 
 generation of 
 
 IN 
 
 3888 
 
 3888. AsH-BASiN. D. 6| in. Buff clay, smooth surface unglazed. Fret impressed around 
 rim. Tenka-ichi Soshiro (im^.). 1640 
 
 SOSABURO (Case 32) 
 
 This potter was a younger brother of Soshiro and a pupil of Sozen. His 
 work was of the same character as that of his brother, and objects with 
 the signature of Sosaburo are of great rarity. 
 
 3889. Jar-shaped incense-burner. H. 2-^ in. Fine light fawn clay, polished 
 surface, large black area on one side. Sosaburo (imp.). 1660 
 
 3889 
 
278 THE CATALOGUE 
 
 YOKURO (Case 32 and Plate XXII. 3891) 
 
 A maker of unglazed earthen fire-vessels, after the style of the first Zengoro, was at 
 work in Kyoto in 1573-1591. He was probably a collateral branch of the first Zengoro, 
 and for this reason the two pieces bearing his signature are catalogued here. 
 
 3890. Hand-warmer, with three legs. D. 6J in. Fawn clay unglazed and 
 polished. Yokuro i^xa^^. 1580 
 
 3891' Incense-burner with three legs, with silver cover. D. 3^^ in. Light 
 fawn clay, unglazed, polished surface. Yokuro (yca^^. 1580 
 
 Gift of W. S. Bigelow. 
 
 ZENSHIRO (Case 32) 
 
 A younger brother of Wagen, known as Zenshiro, baked pottery in his brother's 
 oven, and used as marks Otnuro and Toho. The work was in good taste. Pieces are 
 very rare. 
 
 3892. Covered vessel, with looped handles. D. 4} in. 
 Light brown clay, olive - green glaze with irregular splash of rich 
 dark brown on cover. Under-decoration of vine in brown. 
 Omuro and Toho (imp.). i860 
 
 3893- Tea-cup. D. 2| in. Similar to last in clay and glaze, 
 undecorated. Omuro (imp.). i860 
 
 18 
 
 3892 
 
 3893 
 
 OMURO (Case 33) 
 
 It is said that pottery bearing this mark was made by Ninsei in the last period 
 of his work. Two pieces in the collection, unsigned, were identified by Ninagawa and 
 other experts as Omuro, and are here catalogued under that name. The work is 
 refined and bears the impress of age. 
 
 3894* Deep bowl. D. 5 in. Fine gray-drab clay and glaze. Around upper portion maple 
 leaves in bright blue, touched with white. 1680 
 
 3895' Incense- BOX. D. 2g in. Fawn clay, transparent underglaze; thick green overglaze 
 
 with small round interspaces on cover spotted with blue and red. 
 
 1680 
 
 OTOWA (Case Z2, and Plate XXIII. 3898) 
 
 In the middle of the seventeenth century potters were at work under the guidance 
 of Ninsei in making bowls for tea-drinking. These were severe though refined in taste 
 and decoration. 
 
 3896. Tea-bowl. D. 5 in. Japanese yellow clay and glaze, 
 in brown. Otowa (imp.). 1660 
 
 3897- Bowl. D. 4 J in. Fine gray-drab clay, nearly white 
 glaze, coarsely crackled. Over-decoration of brush fence, leaves 
 and flowers in red and black with green and blue enamels touched 
 with gold. Otowa (imp.). 1660 
 
 Slight decoration of plants 
 
 3896 
 
PROVINCE OF YAMASHIRO 
 
 279 
 
 3898. Cup, rounded below. D. 2-f^ in. Fine grayish-brown clay, very light gray glaze. 
 Rim brown, showing cloud outline on side, and, just below, scalloped looped band in blue. 
 Otowa (imp.). 1660 
 
 An exquisite example of Otowa. 
 
 3899- Tea -BOWL. D. 4I in. Fine Japanese yellow clay and glaze minutely crackled. 
 Slight decoration in olive-brown. (Unsigned.) 1660 
 
 The two following specimens were identified by Ninagawa as Otowa. (Case 28.) 
 
 3900- WiNE-BOTTLE, doublc gourd-shapcd, with deep constriction between the two bulbs. 
 H. 10 in. Thin walls. Nearly white glaze. Pine, bamboo, and plum blossoms in rich blue 
 and green enamels, touched with gold. 1660 
 
 3901- WiNE-BOTTLE, double gourd-shaped. H. 11 J in. Similar to last. 1660 
 
 KENTEI (Case 33) 
 
 This potter baked in Gojosaka within forty years. Previous to that time he had 
 an oven in Otowa, and his work at this place was signed with the impressed marks 
 Otowa and Ken, rarely Kentei. He made incense-burners, tea-pots, and vessels for 
 holding hot water. These were made of fine white clay, very soft, and were decorated 
 on an unglazed surface with vitrifiable enamels. This work was commonly known 
 under the general name of Kentei. Other forms of a widely different character, and 
 signed Ken, are supposed to be the work of Kentei in the Otowa oven. 
 
 3902. Tea-bowl. D. 5f in. Brown clay, warm gray glaze, broad brush-marks of white 
 outside. Bands of stars, flowers, etc., in white Mishima in- 
 side. Ken (imp.). 1850 
 
 1 m 
 
 3902 
 
 3903 
 
 3908 
 
 3903* Oblong cake-dish. L. 9J in. Thick and heavy, 
 rim cut. Coarse gray-drab clay, gray glaze. Broad brush- 
 mark of thick white glaze, inside and out. Rim olive-brown. 
 Ken (imp.). 1850 
 
 3904. Cake-dish, outline of peach. D. 6J in. Coarse gray-drab clay, gray glaze spotted 
 with brown. Two broad leaves inside in brown and olive-brown. Ken (imp.). 1850 
 
 3905. Fire-vessel, melon-shaped, with perforated cover. H. 5f in. Nearly white clay, deep 
 yellowish glaze. Roughened surface. Otowa and Ken (imp.). ' 1850 
 
 3906. Tea-pot. D. 3f in. Fine light drab clay unglazed, polished surface. 
 Six " No " dancers in rich enamels. Otowa and Ken (imp.). 1850 
 
 3907* Tea-box. H. 2J in. Soft nearly white clay, thick salmon glaze. Va 
 Bands of broad cloud-marks in black. {Otowa written). i860 
 
 390o- Tea-box. H. 2J in. Japanese yellow clay, bright yellow glaze 
 
 with green spots, irregular splashes of purple-brown overglaze. 
 
 Ken (imp.). i860 
 
 i 
 
 3907 
 
 3905 
 
28o THE CATALOGUE 
 
 KUHEI (Case li) 
 
 Unglazed pottery with decoration of bright-colored enamels, identical in every way 
 with the work of Kentei, bears the impressed mark Kuhei. This pottery has been 
 made in Otowa within thirty years. An older Kuhei was of the time of NinseL 
 
 3910- Tea-pot. D. 4^ in. Fine light gray clay, unglazed, smooth surface. Figures in 
 blue, purple, and white enamel, touched with red. Kuhei z.v\A Otowa, Ken (imp.). 1850 
 
 3911. Furnace for tea-pot, cylindrical. H. 9J in. Walls very 
 thick, resting on three short square supports. Lightest fawn clay, 
 unglazed. Smooth surface profusely decorated with flowers in col- 
 ored enamels outlined in black. Kuhei and Ken (imp.). i860 3910 
 
 MAKUDSU (Case 34) 
 
 The records that I had collected from Ninagawa and others are abandoned for 
 more exact information which has been derived from the work Toki Shdski. In this 
 it states that Miyakawa Yukansai, the founder of the family, made Raku pottery in 
 1 596-1614 in the enclosure of the Buddhist temple, Chion-in, Awata, Kyoto. From 
 this the record jumps to the ninth generation, Miyakawa Chobei. He became sick in 
 1856, and did not leave his bed until his death in i860. The tenth generation, 
 Miyakawa Chozo, studied Ninsei style and taught pottery-making in Yedo for a while, 
 having for pupils several feudal nobles, among whom were Shimadzu and Sendai 
 After this he went back to Kyoto and studied under Mokubei for five years. He 
 moved to Makudsu Hara, Gion, Kyoto, called himself Makudsu Niudo, and made 
 mostly tea-utensils, which were much admired. In 1851 he was given the pseudonym 
 Kozan, and also the name Makudsu. The eleventh generation, Miyakawa Kozan 
 Toranosuke, who was born in 1843, succeeded his father in i860. He made tea- 
 utensils in imitation of old potteries. In 1868 he went to Mushiage, Bizen, leaving 
 the charge of his own oven in Kyoto to his younger brother, Masashiro. After two 
 years' stay in Bizen he came back to Kyoto, but in 1 870 he left Kyoto in order to 
 establish himself permanently in Yokohama. 
 
 The present Makudsu in Yokohama made for a time monstrous pieces of Satsuma 
 with gorgeous decoration, and these were sent abroad in large quantities. At present 
 he is making most beautiful work in hard porcelain clay, with striking glazes and 
 imitations of "peach-blow" and other Chinese forms. He has justly established a 
 world-wide reputation for his marvelous productions. From information obtained 
 from Mr. Hanabusa, Makudsu's work in Mushiage dates back to 1840, and therefore 
 I am inclined to believe that pieces of fair age signed with the same mark that was 
 used on the Mushiage work represent the tenth generation of the family. 
 
 TENTH GENERATION, MIYAKAWA CHOZQ 
 
 3912. Tea-bowl. D. 4I in. Brown clay, light gray glaze, thick lighter gray overglaze 
 running from rim. Figure in brown. Makudsu (imp.). 1840 
 
PROVINCE OF YAMASHIRO 281 
 
 39^3- Incense-box (pheasant). L. 4J in. Nearly white clay and glaze, rich dark brown 
 and golden-brown overglaze flecked with blue. Makudsu (imp.). 1840 
 
 3914' Tea-bowl. D. 4J in. Coarse light brown clay containing white granules, splash of 
 gray underglaze on one side with thick bluish-white overglaze. Under-decoration of bamboo 
 in dark brown. Over-decoration of leaves in green enamel touched with gold. Thin rod in 
 blue enamel. One half of bowl unglazed. Makudsu (imp.). 1840 
 
 A beautiful example of Makudsu's work. * 
 
 3915. 3916. Bowls. Makudsu (imp.). -^ 
 
 3917 . Tea-bowl. D. 4^ in. Birds in various colored enamels. 
 
 Makudsu (yca^). 1840 39iS 39i6 39i7 
 
 3918. Incense-box (goose). H. 3jin. Yellowish-white clay, thick white glaze, beak, eyes, 
 and feet in brown. Makudsu (imp.). 1840 
 
 RENGETSU (Case 34) 
 
 Rengetsu, a woman potter of Kyoto, acquired some fame for her work, which was 
 modeled by hand. It dates from 18 30- 1860. The pieces are in the form of bowls, 
 tea-pots, and wine-bottles. On the sides of the pieces are in- 
 cised lines of poetry. She died in i860 at the age of seventy- 
 five. Her successor is in feeble health, and makes but little 
 pottery. 
 
 FIRST GENERATION 
 
 3919' Bowl. D. 4 in. Hard nearly white stone clay, thick 
 grayish-white glaze. Flowers and inscriptions in grayish-blue. 
 Rengetsu (written). ^ 1840 39'9 392° 
 
 A unique form of Rengetsu's work. 
 
 3920. Fire-bowl. D. 34 in. Three short legs, adherent rings. Rough fawn clay, thick 
 Japanese yellow glaze with splash of lighter overglaze. Rengetsu and poem (inc.). 1850 
 
 3921. Tea-pot. Brown clay and thin brown glaze. Rengetsu and poem (inc.). 
 
 1850 
 
 3922. Plate. D. 5^ in. Moulded in form of lotus leaf. Under side unglazed. 
 Inside, yellowish-white glaze. Poem and Rengetsu (inc.). Riokozan (imp.). 1850 
 
 3923) 3924* Wine-boitle and incense-box. Rengetsu (inc.). 
 
 SECOND GENERATION 
 
 3925. Large bowl. D. 9 J in. Coarse fawn clay, greenish-gray glaze. 
 Rengetsu (inc.). 1880 
 
 I 
 
 3922 3925 
 
 MIKI (Case 34) 
 
 A pottery known in Kyoto as Miki was made in 1874. The tea-pots were of brown 
 clay unglazed, manipulated without the use of the lathe and of very peculiar forms. 
 The work is very rare. 
 
282 
 
 THE CATALOGUE 
 
 3926. Tea-pot. D. 2J in. Fine fawn clay, outside unglazed, transparent glaze inside. 
 Miki konomi (imp.). 1874 
 
 3927- Tea-pot. D. 2^f in. Outside, blistered and unglazed. In- 
 side, olive-green glaze. Kyogoku Shijio ju Miki Raiki Toseizan (imp.). 
 
 1874 
 
 3926 
 
 OTAFUKU-AN (Case 34) 
 
 The work of this potter is known as Daigo pottery, from its 
 place of baking in Kyoto. The pieces, after the style of hand- 
 made Banko pottery, only far more delicate, consisted of diminutive 
 plates and tea-pots. In the walls of the tea-pots were inserted translu- 
 cent fragments of quartz, and in the hollow knob of the cover in the 
 form of an acorn were little pebbles, which rattled when the cover was 
 shaken. The work dates back to 1830. A second generation continued 
 to 1855. Objects are extremely rare. 
 
 392S- Tea-pot. D. 2\ in. Very thin walls. Gray-drab clay unglazed. Minute dots im- 
 pressed upon surface. Handle with perforated design. Acorn knob on cover contain- 
 ing free granules. Two pieces of quartz inserted in side. Otafuku-an (imp.). 1840 
 
 3929- Tea-pot, square. D. 2f in. Body made from single sheet of clay, and folded 
 into shape. Fine gray-drab clay. Acorn knob same as last. Cloth-mark impression 
 below. Otafuku-an (imp.). 1840 
 
 3930. Five-cornered plate. D. 3J in. Gray-drab clay. Cloth-mark impression 
 inside. Rude design incised. Otafuku-an (imp.). 1840 
 
 KURIHARA (Case 34) 
 
 This pottery, in the form of little incense-boxes, turtle-shaped, moulded, and glazed 
 a bright yellow or light purple, vras made in Okazaki village, near Kyoto, in i860. 
 
 393^' Incense-box. H. iJ in. Fluted sides, cover in form of turtle. White clay, bright 
 yellow glaze. Kurihara (imp.). i860 
 
 3932. Incense-box, same as last, with purple glaze. 
 Kurihara (imp.). Bandai lyeko, incised on under side of cover. 
 
 i860 
 KAMESUKE (Case 34) 
 
 This potter was a pupil of the famous Yeisen. A small 
 beaker in the collection having thick walls and clear mellow 
 celadon glaze was identified by Ninagawa as Kamesuke's work. But few records are 
 extant concerning this potter, nor do I know whether he signed his pieces. 
 
 3933- Beaker. D. 3J in. Walls thick and solid. Hard white stone clay, thick green 
 celadon glaze, very coarsely crackled. Unsigned. 1780 
 
 3931 
 
 3932 
 
PROVINCE OF YAMASHIRO afl^ 
 
 RANTEI (Case 34) 
 
 A potter signing his work Rantei and making delicate tea-pots decorated in rich 
 red and other colors, and other forms resembling Banko, was at work in Kyoto in 1 865 
 or thereabouts. 
 
 3934- Tea-pot. D. 33 in. Finest white clay, surface unglazed, band of thick white glaze 
 about rim. On body broad band in red bordered with 
 scrolls and frets touched with gold. Dragon in panel 
 touched with gold on unglazed surface. On handle and 
 nozzle four-lobed figure in thick white glaze. Rantei (imp.). ^ «'^> 
 
 x86s % V 
 
 3935- Tea-pot. H. s| in. Moulded. Bail of lotus 
 stems with lotus leaves. Cover modeled in form of lotus 
 leaf. Very light fawn clay, nearly white glaze with light 
 pinkish areas. Lotus leaves and flowers deeply impressed 3934 393^ 393S 
 on side. Rantei Sen tsukuru (imp.). 1865 
 
 Gift of W. S. Bigelow. 
 
 3936- Traveler's wine-cup. D. if in. White clay and glaze. Vertical brush-marks 
 with encircling bands, above and below, in indigo-blue. Rantei (written). 1865 
 
 3937*' Tea-pot. H. 5I in. Delicate walls. Finest light gray clay, unglazed. Deco- 
 ration of Kiyomizu temple in red and gold with white blossoms. Band of diaper in 
 red. Ornamental bands of flowers in red and white around rim and on cover. 
 Rantei (imp.). 1865 "j 
 
 Gift of W. S. Bigelow. 3937 
 
 f 
 
 TOTEI (Case 34) 
 
 Two pieces of pottery in the collection bear the impressed mark Tdtei. They show 
 some skill in moulding, and one piece resembles a coarse form of Awata. No informa- 
 tion is at hand regarding the potter. 
 
 3938. FiRE-BOWL, on three legs. D. 4I in. Moulded in three petals below. Light yellow 
 clay, transparent underglaze, green overglaze. T^tei (imp.). 1865 
 
 3939- Wine-cup, in form of long-nosed mask, with support below in form 
 of " modest girl " mask. Cup, d. 3! in. Japanese yellow clay and glaze. 
 Face outlined in red and purplish-brown. Black hair on lower face. 
 lotei (written). 1865 
 
 FUKUROYAMA (Case 30) 
 
 A single piece in the collection signed Fukuroyama indicates the work of a very 
 skilful artist. Nothing is known regarding the potter or the oven. 
 
284 
 
 THE CATALOGUE 
 
 3940. Globular water-holder, opening below. D. 5J in. Dragon handle, long spout. 
 Light fawn clay, light gray-drab glaze. Fret in light olive-brown. Scrolls in 
 light blue. Fukuroyama (written). 1800 
 
 HATAYETA (Case 33) 
 
 A soft unglazed pottery in the form of shallow dishes for offering was 
 made by Kitayama at a place called Hatai, five miles northeast of Ky5to. 
 
 3941. Two PLATES. D. s in. and 3;*^ in. respectively. Modeled by hand, the 
 larger one with basal ring. Soft light fawn clay, unglazed. 1870 
 
 Type Ninagawa. Part IV., Fig. 36. 
 
 These two plates varying in size were figured under one number by Ninagawa. 
 
 3940 
 
 KOYEMON (Case 34) 
 
 Pieces by the original Koyemon are said to be extant, showing that in 1536 he 
 impressed the date of making, with his name. Other records state that the original 
 Koyemon never signed his pieces. He lived at the gate of T5fukuji on the Fushimi 
 road, and was famous for his little figures and pup- 
 pets. These were painted in various colors and gold. 
 Specimens in the collection, though bearing the name 
 Koyemon, are probably spurious. 
 
 3942. Two FIGURES ADHERENT. H. i\ in. Moulded. 
 Soft light fawn clay, faces unglazed. Drapery in red 
 and black. Ningioshi Koyemon Kd (written in slip). 
 
 Date uncertain 
 
 3943- Female figure. H. 6J in. Moulded. Soft 
 light fawn clay ; black, red, and gilt on surface. 
 Tofukuji-Monzen Ningioshi Koyemon tsukuru (in relief). 
 
 Date uncertain 
 
 3942 
 
 3943 
 
 SUMIZOME (Case 33) 
 
 A curious fire-vessel, in the form of a coiled rope, is said to have been made in 
 Fujimi in the last century. 
 
 3944. Fire-vessel (coiled rope). H. 3^ in. Thick and heavy. Fine light fawn 
 clay, thick light bluish overglaze. Coarsely moulded. Sumizome (imp.). i7S° 
 
 UDZURAYAMA (Case 33) 
 
 1 
 
 3944 
 
 Within recent years a cheap kind of soft pottery with bright-colored glazes has 
 been made in Fukakusa. 
 
 3945' FiRE-vESSEL, on three legs. H. 4I in. Thick looped handles. Fluted 
 margin. Very light fawn clay, bright green glaze. Scrolls and formal leaves 
 incised. Around rim the eight characters in relief. Udzurayama (imp.). 
 
 Recent 3945 
 
PROVINCE OF YAMASHIRO 
 
 3946. Fan-shaped plate. D. 9J in. Light fawn clay, dull ochre glaze below, 
 large areas of white, red, and bright green glaze. Outline of Fuji in brown. 
 Udzurayama and Fukakusa (imp.). Recent 
 
 MATSUMOTO (Case zi) 
 
 In the latter part of the eighteenth century Gosa- 
 buro Matsumoto made unglazed fire-vessels at Fuka- 
 kusa. Up to within thirty years the name Matsumoto 
 still continued, as seen on fire-vessels covered with 
 red or black lacquer, and on pottery tripods (gotoku) 
 to support the kettle over the coals. Similar pottery 
 bearing the impressed marks Fukakusa and Ichigo are 
 found, but whether these are made by one of the 
 Matsumoto family has not been ascertained. 
 
 *8S 
 Inside, 
 
 3947 
 
 3947- Furnace, for boiling water for the tea -ceremony, supported on three short legs. 
 
 H. 6 in. Thick walls. Fine light fawn clay, rich red lacquer inside and out. 
 
 Fukakusa and Matsumoto (imp.). 1850 
 
 3948. Water-jar. H. 6 in. Thick walls. Soft terra-cotta clay with buff surface unglazed. 
 Fukakusa and Ichigo (imp.). i860 
 
 (5^ 
 
 FUKAKUSA (Case 12,) 
 
 The general name Fukakusa is applied to pieces of pottery unglazed 
 or lacquered bearing various marks. Whether these marks indicate 
 separate potters, or whether they belong to the Matsumoto family, is ^^'^^ 
 
 not known. For the present they will be grouped under the general name Fukakusa. 
 
 5^ 
 
 3949 
 
 3949- Three-legged support for iron kettle. 
 Fukakusa and Shinsai (imp.). i860 
 
 3950. Flower -HOLDER. H. gf in. Irregular 
 form, probably made to represent excrescence on 
 tree. Coarse brown clay resembling rusty cast 
 iron. Roughly modeled by hand, successive ir- 
 regular scales pressed on by the fingers. A most 
 ungainly object. Fukakusa no. Hana (inc.). 1830 
 Gift of W. S. Bigelow. 
 
 395^- Furnace, for boiling water. D. ^\ in. Three short 
 legs. Thick walls. Fine fawn clay, bright red lacquer inside 
 and out. Seiwodd (imp.). i860 
 
 CHOKYO (Case 33) 
 
 A potter signing himself Chdkyu made among |d3;| 
 other objects soft Raku pottery in the form of a 
 stand. The word Heian in the signature is the 
 old name for Ky5to. 39S« 
 
 D. 4i in. Soft light clay unglazed. 
 
 4 
 
 y^ 
 
 f 
 
 39SO 
 
286 
 
 THE CATALOGUE 
 
 3952. Stand. L. SJ in. Scalloped outline, perforated top. Light fawn clay and glaze. 
 Upper surface green overglaze, yellow glaze on side. Leaves and scrolls 
 incised. Heian Chokyu tsukuru (imp.). 1850 
 
 3953-3956- The following 
 pieces have probably been made 
 in Fukakusa, though no informa- 
 tion has been obtained in regard 
 to them. These consist of a fig- 
 ure, a charcoal-basket, a furnace, 
 and a hand-warmer, and bear 
 respectively the signatures Kan 
 (3953). Ryukengo (3955), Semba 
 (3956), and one mark not made 
 out. 
 
 39S3 
 
 39SS 
 
 3956 
 
 3952 
 
 FUSHIMI (Case 33) 
 
 An unglazed bowl of light clay with red wash of glaze about the rim was made in 
 Fushimi in 1 780. Nothing is known about the potter. 
 
 3957- Bowl. D. 3IJ in. Thick walls. Light pinkish-white clay unglazed, reddish stain 
 on rim. > 
 
 1780 
 
 3958-3963 (Case 34). The following 
 pieces are identified by Japanese experts 
 under the generic name of Fushimi. They 
 bear respectively the marks Jozan tsukuru 
 (3958). Jozan (3959), Kyukyu-b (3960*), 
 and Yutokusai (3962). 
 
 39S9 
 
 JOSHIRO (Case 28) 
 
 A large double gourd-shaped jar with gray glaze and simple white Mishima decora- 
 tion signed y"^j/«2>w is said to have been made in Kyoto in 1850. The work of this 
 potter, judging by the single specimen in the collection, has no special merit. 
 
 3964* Double gourd -shaped jar. H. 8 in. Light buff clay, warm olive -gray 
 glaze. Scrolls and flowers in white Mishima. Joshiro (imp.). 1850 in 
 
 TOSA (Case 30) 
 
 A potter who is still at work in Gojosaka learned his art of the Rokubei family. 
 He follows typical Kiyomizu style, and much of his work shows taste and origi- 
 nality. 
 
PROVINCE OF YAMASHIRO 287 
 
 3965- Tea-pot. D. 2| in. Yellowish-white clay and glaze. Rough design of flowers in 
 brown and blue. Tosa (imp.). 1877 
 
 3966. Bowl. D. 4}? in. Light fawn clay and glaze. 1877 ^¥^ 
 
 3967- Wine-bottle. H. sJin. Light brown clay, light gray under- A 
 
 glaze, deepest brown overglaze running from neck. Blossoms and 
 
 dots in white slip. Tosa (imp.). 1880 3965 39<^7 
 
 3968. Jar. H. 5^ in. Light brown clay, dark brown mottled glaze, thick bluish-white 
 overglaze running. Tosa (imp.). 1885 
 
 GOJOSAKA (Case 34) 
 
 The term Gojosaka, like that of Kiyomizu, includes a variety of pottery which, 
 though puzzling to the foreigner, seems to be easily recognized by the Japanese expert. 
 Gojosaka is a district in Kyoto, where in the early part of the seventeenth century a 
 rough pottery was made. In the early part of the eighteenth century potters from 
 Otowa came to this district, and a little later a number of Kiyomizu potters, some of 
 them c[uite skilful, moved to this place. The diversity in the pottery may possibly be 
 accounted for by the above facts. 
 
 3969. Tea-bowl. D. 3J in. Thick and heavy. Brown clay, gray glaze. Stars, leaves, 
 characters, circles, lines, etc., in white Mishima. 1750 
 
 Type Ninagawa. Part IV., Fig. 35. 
 
 3970. Tea-bowl. D. 3 J in. Similar to last. 1780 
 
 397^' Jar, with lion-head knobs. H. 7 in. Same as No. 3969. 1780 
 
 3972* Bowl. D. 3J in. Irregular rim. Reddish-fawn clay, buff glaze. 
 
 Circles enclosing characters and cross-lines incised in white Mishima. C^) ®» 
 
 i?8o ^ 0vli 
 
 3975~3983- Various pieces of GojOsaka. ^^ „ 
 
 Koi (3982*). Ryazan Denkaku shi (3983*). 1830-1860 
 
 The three following pieces are evidently Gojosaka. The potters are not known, 
 and the pieces have no special interest. 
 
 3984. Gourd-shaped wine-bottle, roughly shaped. H. 6J in. 
 Toto (imp.). Gountei saku (written). 1840 
 
 3985. Tea-bowl. T^"^ (written). 1840 ^\* 
 
 3986. Compartment box. 
 Kensai (written). i860 
 
 ^% 
 
 4.^ 
 
 
 T- 'C 
 
 SHUZAN (Case 34) 
 
 Two pieces of pottery bearing the ^^^ ^ ""^ 3^8^ 
 
 impressed mark Shuzan have been 
 
 made within recent years, possibly in G(^osaka. The pieces show the work of a pro- 
 fessional potter. 
 
288 
 
 THE CATALOGUE 
 
 3987. Wine-bottle, bird form. H. 6| in. Gray-drab clay and glaze. Neck deep brown 
 glaze. Wings touched with brown on white surface. Shuzan (imp.). 1870 
 
 3988. Jar. H. 2j in. Fine gray-drab clay, thick white glaze. Chrysanthemums 
 in relief, gray-drab in color, olive-brown leaves. Shuzan (imp.). 1870 
 
 3988 
 
 RAIZAN (Case 34) 
 
 . A hard pottery in the form of a bird-shaped incense-box bears the impressed marks 
 Raizan and Nanzenji. At the foot of the hills near Awata stands the temple Nan- 
 zenji. Whether the pottery was made near the temple, or made elsewhere, and sold as 
 souvenirs at this place, has not been ascertained. 
 
 3989. Incense-box, bird moulded. L. 2\ in. White stone clay, transparent glaze inside, 
 bright green glaze outside. Nanzenji and Raizan (imp.). 1870 
 
 MASATOMO 
 
 3990*. Tea-pot, modeled by hand, unglazed. 
 Masatomo (imp.). 
 
 KINCHOZAN (Case 34) 
 
 1850 
 
 399^- Tea-pot. D. 3J in. Brown clay, large panels 
 of figures, trees, etc., in high relief moulded and un- 
 glazed. Remaining surface deep blue glaze. 
 Kinchozan Tokubei (imp.). i860 
 
 This has no resemblance whatever to Cat. No. 3246, though there is a chance that it may 
 have been made by the same potter. 
 
 The following pieces are evidently Kyoto. No information has been obtained in 
 regard to the potters or ovens which they represent. 
 
 399^ —4008. The following pieces, evidently made within thirty years, and consisting of 
 a variety of objects, have been variously attributed to Kyoto and its environs. No informa- 
 tion has been obtained in regard to the potters whose signatures they bear, as follows : 
 Kanki-iei (3992*), Seki (3993*), Goshotei and Kichibei (3994), Yugai kore wo tsukuru (3995), 
 Koko (3996*), Tosen (3997), Nobtttada (3999), Kochi set (4000), Gagi {/^ooi*), Kizen (4002), 
 
 
 
 ^ 
 
 m 
 
 3994 
 
 3995 
 
 3996 
 
 3997 
 
 3999 
 
 4002 
 
PROVINCE OF YAMASHIRO 
 
 289 
 
 Kuniyama or Hozan (4003*), mark obscure (4004), Nippon Bunzan kore wo utsusu (4005), 
 Sekizen (4006*), Kozan (4007), Uji (4008). 1 780-1870 
 
 4009— 40I5' Tea-jars, identified by Japanese 
 experts as having been made in Uji near Kyoto. 
 
 SOHAKU (Case 34 and Plate XXIII. 4016) 
 
 This potter was a contemporary of Shim- 
 bei. The tea-jars attributed to Sohaku have 
 a bulbous body and a narrow bulbous neck. 
 
 4016. Tea-jar, flask-shaped. H. 2J in. Two 
 looped handles. Brown-fawn clay, dull chest- 
 nut-brown glaze with darker areas. 1540 
 
 Type Ninagawa. Part IV., Fig. i. 
 
 4005 
 SHOI (Case 34 and Plate XXIII. 4017) 
 
 Shoi or Masai was an oculist, a lover of the tea-ceremony, and an amateur potter. 
 Tea-jars attributed to him are still extant. His work is placed in the middle of the 
 sixteenth century. 
 
 4017. Tea-jar, gourd-shaped. H. -2.^ in. Fawn clay, thick chestnut-brown glaze mottled. 
 Type Ninagawa. Part IV., Fig. 2. 1550 
 
 TAIHEI (Case 34 and Plate XXIII. 4020) 
 
 A few tea-jars are still extant of an amateur potter named Taihei, who worked in 
 the early years of the seventeenth century. His tea-jars are signed with a circle im- 
 pressed, and are of great rarity. In clay and glaze they bear a strong resemblance to 
 those of Narumi in Owari. 
 
 4020. Tea-jar, globular. H. 2}in. Grayish-brown clay and glaze. Mottled areas 
 of rich dark brown. A circle impressed. 1600 
 
 o 
 
 4020 
 
 SO-I (Case 34 and Plate XXIII. 4021) 
 
 But little information can be gathered regarding So-i beyond the mere record that 
 he was a native of Kyoto, a tea-lover and an amateur potter, also that he was a con- 
 temporary of Shimbei, Taihei, and other amateurs. His mark is given as a number of 
 double cross-lines incised. The specimen in the collection is the only one I have ever 
 seen. 
 
 4021. Tea-jar, cylindrical with two knobs on shoulder, sides sliced. H. 3J in. 
 Hard, nearly white clay, pale light yellowish-olive glaze, lustrous, settling into 
 brown. Cross-marks incised. 1600 
 
 "^ 
 
 4021 
 
 KOSON (Case 34 and Plate XXIII. 4022) 
 
 The family name of this potter was Nagatagawa, commonly called Zengamon. He 
 was not a professional potter, but being fond of the tea-ceremony learned the art of 
 
A 
 
 290 THE CATALOGUE 
 
 making objects used in its service. His mark is a pine needle, and is exceedingly 
 rare. 
 
 4022. Tea-jar, double gourd-shaped with two knobs on shoulder. H. 3^ in. Gray-drab 
 clay, light brown glaze without lustre. Irregular brush-mark in light slip, . 
 covered by a lighter brown glaze. Pine needle incised. 16 10 ^^ 
 
 Type Ninagawa. Part IV., Fig. 3. ^^ 
 
 4022 
 
 ASAKURA (Case 34) 
 
 An amateur potter known as Asakura, also as Domi, made tea-utensils after the 
 style of Oribe in the early part of the seventeenth century. He signed his pieces with 
 an impressed mark in the form of a triangle. His work is exceedingly rare. 
 
 4023. Square holder, thick walls. H. 2| in. Coarse gray-drab clay, thick 
 grayish-white Shino glaze, coarsely crackled. Decoration of scrolls in grayish- 
 brown. Triangle impressed. 1620 
 
 4023 
 
 MANYEMON (Case 34) 
 
 An amateur potter known as Manyemon made tea-utensils in the early part of the 
 seventeenth century. The two tea-jars in the collection identified as his work are very 
 similar. 
 
 4024. Tea-jar. H. 3J in. Light brown clay and glaze, rough surface. From base half- 
 way up vertical lines closely cut. Incised band around middle. 1630 
 
 4025. Tea-jar, similar to last. 
 
 CHOSON (Case 34) 
 
 An amateur potter known as Choson made tea-jars in Kyoto in 1630, or there- 
 abouts. He signed his pieces with two pine needles, one bent over the other. Nina- 
 gawa says it is doubtful whether Choson may not be another name for Koson, also he 
 suggests that Choson may have been the son of Koson. 
 
 4026. Tea -JAR, slightly flaring base, broadly sliced from base halfway up. H. 3I in. 
 Gray-drab clay, dull chestnut-brown glaze, mottled dark brown overglaze around upper half. 
 Zigzag lines incised around shoulder. 1630 
 
 PROVINCE OF MUSASHI 
 
 The potteries of this province are mostly within or near the city of 
 Tokyo. In glancing at the case containing the pottery of Musashi one 
 fails to see any characteristic feature or cachet, so to speak. The Musashi 
 pottery in this respect stands in marked contrast to the pottery of other 
 
CASE 34 
 
 aino 
 
 3y7z 
 
 
 3iri« 
 
 3S-/V 
 
 
 3S-f3 
 
 
 
 ^^m^ 
 
 3yfc7 1S&8 3S-t$ JIIS 3116 3'(l3 3'il« JIIS 3111 
 
 3S-SV 34-?8 
 
 3?j» „„ "^'i'lk' iw -"■-' '-"^ "" 
 
 ,., a." 
 
 iv«3 
 
 3^16 3SX7. 
 
 ■^j^jga rm "&>'\m{Wi'k%m^'^"^^'^A^'mn'n 
 
 30JI 30SJ..^tr^«> 
 
 
 W V'B^ W o ^ 
 
 38/V 3%I(b 3«I& 
 
 3tZS- 
 
 o 
 
 3»l<i 3817 
 
 3823 3%2.0 
 
 O^bOC 
 
 3«S2 3&}0 3az& 
 
 3«X« 
 
 3'i'tl 3S53 
 
 3Z91 Sfai-y ^''" StX'' 
 
 •rOOi 
 
 PROVINCE OF YAMASHIRO 
 
1 , , , 1 ^ 
 
 ^1 
 
 il 
 
 %^^-^^jm^ 
 
 
 01 
 
 \^ij^ : ; , JPi 'f j»A jj>- 
 
 
 
 i^ T"#t #1'^' 
 
 iJtf 
 
 • •lr'*r 
 
 Tl 
 
 r m 
 
 -^■•l*^fe^^^-^T^ 
 
 r-t^c* 
 
 ^ 4kii€ ^^-'t^'i' "^^ t 
 
 V* f 
 
 wW 
 
 Hr/-|...^..,«^fP 
 
 ^£^_^i^ 
 
 ^^ 
 
 ^- ^'r -' w^ ,^ ^ 
 
 r 
 
 U 
 
 
 ~ ^^^k 
 
 * 
 
 H 
 
 
 ^ 
 
 k 
 
 
 «i 
 
 
PROVINCE OF MUSASHJ 291 
 
 provinces. One has only to recall the pottery of Iwaki, Iga, Harima, Bizen, 
 Higo, and certain other provinces to note their pronounced individuality. 
 The absence of this individuality in Musashi is easily understood. With 
 the enforced presence in Yedo in past times of the Daimyos of every pro- 
 vince, with the retainers, potters, metal workers, and other artificers forming 
 part of their retinue, the diversity is readily accounted for. In many instances 
 ovens were erected in the Yashiki, and potters of skill were brought from 
 various provinces, each continuing, with slight changes, his own peculiar 
 methods. Thus potters from Yamashiro, Owari, Omi, Kii, and other pro- 
 vinces introduced their own provincial styles. Tokyo, also, being a great 
 commercial centre, naturally attracted potters from various parts of the 
 empire. As a result of these circumstances a great diversity is seen in the 
 character of the pottery. It is recorded that the first oven in Tokyo was 
 built at Akasaka in 1630, by order of the third Shogun, lyemitsu, potters 
 from Osaka being ordered to make pottery after the style of their Osaka 
 work. Previous to the above date, however, roofing tiles had been made 
 in the last years of the sixteenth century. After the Osaka potters, came 
 respectively the potters of Imado, notably Hanshichi ; the Ise potter at 
 Kommemura, and the Kyoto potter, Kenzan, at Iriya. The work of the 
 Tokyo potters was altogether too recent, and perhaps too poor, to gain 
 recognition from the lovers of the tea-cult ; consequently the labor of ascer- 
 taining the history of the early Tokyo potteries has been difficult and 
 uncertain. 
 
 TAKAHARA (Case 35) 
 
 The earliest pottery for the tea-service in Musashi is said to have been made under 
 the patronage of the Shogun lyemitsu in 1630-40. The oven was erected in Akasaka, 
 and potters from Takahara, Osaka, were employed. Korean models were followed, and 
 while the work is certainly characteristic the distinction made between the products of 
 the two ovens seems very vague. 
 
 4027 . Bowl, somewhat irregular. D. 5^ in. Gray-drab clay, grayish-yellow glaze finely 
 crackled. 1630 
 
 4028. Bowl, sides slightly compressed. D. 5J in. Light fawn clay, lighter fawn glaze, 
 thick overglaze about rim minutely crackled. Spiral brush-mark of light olive-gray on 
 side. - . 1630 
 
 4029. Bowl, sides compressed. D. 5J in. Very light gray-drab clay, nearly white glaze 
 minutely crackled, few irregular brush-marks in olive-gray. Slightly iridescent. 1630 
 
292 THE CATALOGUE 
 
 HARITSU (Case 35) 
 
 Haritsu, or Ritsu-5, as he is more commonly known, was a native of Yedo. He 
 was justly famed for his lacquer work. He was a pupil of Korin and of Kenzan. 
 From the former he learned lacquering and painting, and from the latter the art of 
 pottery-making. It is said that Haritsu was the first one to use pottery in the 
 decoration of lacquer. His master Korin had used lead and pearl with marked effect, 
 and Haritsu conceived the idea of using pottery in the same way. His lacquer-work 
 signed Ritsu-o has been eagerly sought for by collectors. Specimens of pottery with 
 this signature are extremely rare. Haritsu was born in 1683, and died in 1747. 
 
 4030. Tea-cup. D. 2|J in. Fine fawn clay, light Japanese yellow glaze, with pecul- ^% 
 iar glistening lustre. Over-decoration of toys in white, brown, and yellow outlined in '^ 
 black. Haritsu (inc.). 1700 4030 
 
 KENZAN (Case 35 and Plate XXV. 4035) 
 
 From a late manuscript of Ninagawa the following information is derived : Kenzan 
 (Ogata Shinsho) came from Kyoto and built an oven in Iriya, Tokyo. Here he made 
 a kind of soft pottery in the form of square trays, rarely bowls. These were decorated 
 with flowers, etc., in dark brown or black, poems were also inscribed upon them, and 
 the signature of the potter was written on the bottom in bold characters in black. In 
 one case, at least, his brother, the famous artist KSrin, decorated a piece, signing his 
 name as painter (see Cat. No. 4035). Kenzan died in 1743, at the age of eighty-one. 
 A pupil of Kenzan inherited his name, and continued making the same kind of pot- 
 tery, signing with the name of Kenzan. In 1767 he gave the name Kenzan to his 
 pupil Miyasaka, who continued the work in precisely the same spirit, signing his 
 pieces Kenzan. He finally transferred this family name and oven to his wife in 
 1810. 
 
 Sakai Hoichi, known as Kiokwan, assumed the work with the name of Kenzan 
 from the wife of the third Kenzan. His work was less decorated and much poorer in 
 quality. The fifth Kenzan, known as Kasando, continued the work in the old way. 
 He is said to have been a skilful writer of old Chinese characters. Ninagawa says 
 this potter's name was Nishimura Sozen ! The sixth Kenzan is said to have been 
 represented by Miura Kenya, who learned the potter's art from Nakada Kachiroku, 
 afterwards studied under Kasando, and finally inherited the name of Kenzan, signing 
 his pieces Kenzan. It is said that Kenya worked as late as 1867, when he removed 
 to Kawagoe, about forty miles from Tokyo. Ninagawa offers the opinion that the 
 impressed mark of Kenzan was used by Miyasaka, the third Kenzan. 
 
 If these records of Ninagawa have any foundation, then the numerous pieces signed 
 Kenzan, either written or impressed, when they bear evidences of fair age may be 
 regarded as genuine. 
 
 It has been impossible to separate the different generations of this family, and so 
 they are all catalogued under the general name of Kenzan. 
 

 ON^^"^''"" 
 
 t 
 
 PROVINCE OF MUSASHJ 293 
 
 403^' Bowl, sides evenly sliced. D, 41^ in. Fawn clay, thick fawn glaze clouded. 
 Over-decoration of maple 
 leaves in brown, green, 
 red, and white. 
 Kenzan (written). 17 17 
 
 Type Ninagawa. Part 
 IV., Fig. 30. ^ ^ 
 
 4032. Square tray. ^M^ 
 
 W. 6J in. Soft light fawn 4031 
 
 clay. Outside, diaper in 
 blue, stenciled. Inside, flowers and leaves 
 in green, brown, blue, and pale purple. Rim 
 dark brown. Kmzan (written). 1720 
 
 Type Ninagawa. Part IV., Fig. 32. 
 
 4033- Tray, double square. L. 6} in. Soft light fawn 
 clay, greenish-white glaze coarsely crackled. Irregular deco- 
 ration in brown on outside. Inside, under-decoration of flowers 4032 
 and poem in brown, signed Kenzan Shb. Kenzan (written). 
 Type Ninagawa. Part IV., Fig. 31. 1720 
 
 4035- Square trav. W. Z\ in. Soft fawn clay, yellowish glaze. Outside, rough flowers, 
 etc., in brown. Inside, sketch of poet contemplating a waterfall, with poem in brown. 
 Poem signed Kenzan Sho Kaku. Picture signed Korin ga. 
 Kenzan Okina (written). 17 10 
 
 This specimen is unique in bearing a sketch by Korin. 
 
 4036. Square tray. W. 8| in. Light fawn clay, greenish- 
 white glaze coarsely crackled. Outside, formal flowers roughly 
 sketched in dark brown. Inside, peony and poem in light 
 brown, shaded with dark brown. Kenzan Sho Kaku (written). 
 
 1720 
 
 4037. Incense-box (bird). L. 2J in. Moulded. Light fawn 
 clay, light green glaze outside. Inside, yellowish-white glaze. '^ ^q,, 
 Kenzan (written). 1720 
 
 4030- Tray, rectangular. L. 9 in. Light fawn clay, yellowish-white glaze. Outside, 
 formal flowers in dark brown. Inside, two horses and poem in brown. Kenzan (written). 
 
 1720 
 SUCCEEDING GENERATIONS 
 
 4039. Square tray. W. 4f in. Fawn clay, yellowish-white glaze. Outside, diaper. 
 
 Inside, formal leaves in rich dark blue. On bottom inside, flowers and leaves in dark blue. 
 
 All decoration stenciled. Kenzan (stenciled). 1760 
 
 ^040*. Jar. H. 2j in. Very light fawn clay, smooth surface unglazed. 
 
 Kenzan (imp.). 1800 
 
 4041. Box (hammer). D. ij in. Very light fawn clay, transparent under- 
 
 glaze, thick white overglaze, with shading in blue. Knobs dark brown. 404° 4041 
 
 Kenzan (imp.). 1800 
 
294 
 
 THE CATALOGUE 
 
 4043 
 
 4043* Box, square. W. 2f in. Coarse light brown clay, warm gray glaze. Plum-tree in 
 rich brown and white, touched with gold. Kenzan (written). 
 
 1840 
 
 4044*. Hand-warmer. H. 6 in. Soft clay, white glaze. 
 Shoulder with round and square perforations alternating. 
 Cover with petalated perforations. Overglaze decoration of 
 flowers in various bright colors. On cover Tempo nensei 
 (written). San-dai Kenzan tsukuru. Shodai Kenzan motte 
 (written on base in square panel). 
 
 This piece, if genuine, is the work of the third Kenzan, copying the first Kenzan. 
 
 R0KU2AN (Case 35) 
 
 A tea-pot most skilfully modeled by hand bears the incised mark of Toin Rokuzan 
 saku. It recalls the best work of Koren. (See No. 4136.) It has been adjudged by 
 one expert to have been made by one of the Kenzan generations, and as Toin was one 
 of the numerous marks of Kenzan this may be so. 
 
 4046. Tea-pot. D. 4^ in. Modeled by hand. Light brown clay, smooth sur- 
 face, unglazed. Toin Rokuzan saku (inc.). 1850 
 
 Exquisite piece of modeling. 
 
 Gift of W. S. Bigelow. 
 
 KENYA (Case 35 and Plate XXV. 4047) 
 
 Miura Kenya, a potter of Tokyo, began his work in Asakusa in 1830. 
 Kenya was a great admirer of Haritsu and of the early Kenzan. He fol- 
 lowed these artists as guides. His pottery signed Kenya shows the Kenzan 
 spirit. If the records regarding the Kenzan generations are reliable, then 
 many of the pieces made within forty years signed Kenzan may be the work 
 of Miura Kenya. 
 
 7^ 
 
 a. 
 
 4046 
 
 4047- Bowl, sides compressed. D. 4J in. Drab clay, gray glaze spotted with brown. 
 Fan in olive-brown, flower and leaf in white and dull blue. Signature in blue on white gourd 
 bordered with blue. Basal ring broken away. Kenya tsukuru (ytxiXX&Vi), 1840 
 
 4047 
 
 4048 
 
 4049 
 
 r t \ » 
 
 
 4050 
 
 4048. Tea-box. H. 3 in. Light fawn clay ; irregular area of white glaze upon which is 
 decoration of clouds in bright blue, remaining surface thick black glaze. Trunks of trees in 
 

 PROVINCE OF MUSASHI 295 
 
 thick brown glaze with rich green leaves having bright blue centres. Inside richly gilded. 
 Kenya, written in pale purple on white panel. 1850 
 
 4049. Tea-box. H. 2J in. Light fawn clay. Formal design of pine-tree in rich white 
 glaze shaded with brown and green, remaining surface deep black glaze. 
 
 Kenya, written in brown on white panel. 1850 ^ - ^ 
 
 Gift of W. S. Bigelow. C ^ F| 
 
 4050. Fire-vessel. H. 35 '"• Very light pinkish-yellow clay, light yellow fn \ ft 
 glaze, square of basket braid, shell and fishes in high relief, light wine-color. -^ #7 
 Around rim butterflies and circular objects in relief, glazed yellow on wine- *f jQ-^* 
 colored surface. Ribbon scrolls incised about decorations. -^ ' ■ — 
 Tenroktt-do (imp.). i860 
 
 A very rare signature of Kenya. 
 
 4052*. Oblong box, cover in form of bull moulded. L. 3-^ in. Soft 
 white clay, green glaze. Lower part of box, clouds in relief moulded. Cover _fi- 
 
 glazed deep purple with target-shaped disk on flank, glazed bright yellow. 4052 
 
 Meiji Kichu-nen gentan Tenroku-do Kenya (inc.). ^^77 
 
 SOSHIRO (Case 35) 
 
 Soshiro was the second son of Nishimura Sozen, one of the ancestors of the pre- 
 sent Yeiraku. It is said that he baked in Yedo for a while (see Zengoro). Within 
 recent years the mark Tenka-iclii Soshiro has appeared again, whether used by the 
 descendants of SoshirO or by collateral branches of the family I have been unable 
 to ascertain. 
 
 4053- Rest for cover, in form of three monkeys (sam-biki-zaru). D. 2 in. 
 Modeled by hand. Bodies green glaze, arms and legs bufl-colored glaze shaded 
 with black. Tenka-ichi Soshiro (imp.). 1850 4053 
 
 KASEIZAN (Case 35) 
 
 Pieces bearing the impressed mark Kaseizan were made near Yotsuya, Yedo, over 
 one hundred years ago. The name of the potter is not known. The pieces in the 
 collection are cleverly modeled, and are evidently the work of a skilful artist. 
 
 4054- Condiment-holder, in form of a covered jar and two crenulated cups united to a 
 central cylinder. (The cylinder to hold chopsticks.) D. 6^ in. Fawn 
 clay, thick dark brown glaze. Inside, thick white glaze with brown glaze /ftS* 
 streaming within. ATojmaw (imp.). 1780 ^.Xa 
 
 4055* Fire-vessel, cylindrical, resting on three knobs. H. yj in. On Sq 
 
 sides, two ears (lion heads) perforated. Soft reddish-buff clay, bright |Jj 
 
 reddish-buff glaze. Cherry tree in brown, flowers in white glaze tinged 4054 
 with green. Kaseizan (imp.). 1780 
 
 4056. Flower-vase, six-sided. H. 4I in. Light fawn clay, light green glaze mottled with 
 minute yellowish spots. Design perforated near opening. ATajmaw, in relief (imp.). 1780 
 
 4057~4^59' Cup-REST and INCENSE-STICK BURNERS, with clay and glaze similar to last. 
 Unsigned. 
 
296 THE CATALOGUE 
 
 MIZUNO (Case 35 and Plate XXV. 4061) 
 
 A Raku pottery of no little merit was made by a potter named Kichitaro, at 
 Tatsu-no Kuchi, in Yedo, in 1835. The oven was in theYashiki of Mizuno Dewa no 
 Kami The pottery was made expressly for the tea-ceremony, and the pieces were 
 signed with the kakihan of the potter. Specimens are very rare. 
 
 4061. Box, in form of bird, vigorously carved. L. 4 in. Coarse soft Japanese yellow 
 clay, transparent glaze with splashes of thick white overglaze shaded with blue and light 
 brown. Nari (inc.) [a kakihan]. 1835 
 
 4061 4062 
 
 4062. Tea-jar, with short handle and snout, roughly carved. H. 3I in. Very light fawn 
 clay, very thick black Raku glaze, tinged maroon around shoulder. Nari (inc.) [a kakihan]. 
 
 1835 
 
 4063. Tea-bowl. D. 4J in. Thick and heavy. Thick black Raku glaze. Unsigned. 1835 
 
 T0KU2AN (Case 35 and Plate XXV. 4064) 
 
 A potter signing his pieces Tokuzan made tea-utensils in Kamagome, in Yedo, in 
 the early part of this century. Being fond of Shigaraki pottery, he brought clay from 
 Omi and used it in his work. His pieces were made without the use of the lathe, and 
 date from 18 15. The impressed mark Tokuzan used on his earlier work is extremely 
 rare. His later work, bearing an incised mark, has but little merit. 
 
 4064. Jar. H. 3i in. Coarse light fawn clay, very thick rich light maroon glaze clouded, 
 with splashes of light green and olive-green. Tokuzan (imp.). 181 7 
 
 Type Ninagawa. Part III., Fig. 8. 
 
 4065. Tea-bowl. D. 4J in. Deep finger-mark impressions on 
 surface. Coarse light brown clay, bright gray underglaze, thick light 
 maroon overglaze streaked with light brown. Unsigned. 1817 ^ 
 
 4066. Rest for cover, in form of well, with figure leaning on side. Ex- > f. 1 
 treme height 3 in. Vigorously modeled. Thick maroon glaze with splash of a*^ 
 light green overglaze. Unsigned. 1817 Ai^ 
 
 4067. Tea-bowl. D. 5 in. Light dull brown Raku clay, underglaze ^^"^^ 
 transparent, bright reddish overglaze containing white granules. Irregular 4067 
 brush-marks forming scroll in brown. Tokuzan zo {mc). 1820 
 
 ^ 
 
FROVJNCE OF MUSASHI 
 
 297 
 
 4068*. Incense-box (figure). L. 4f in. Hoka shichi-ju-hachi-o Tokuzan and kakihan, 
 Bunsei jii-san Kanoye tora Shi-gatsu, ju-hachi nkhi (inc.). 1831 
 
 4069. Jar. D. 3i in. Light, fawn clay, transparent underglaze, thin light green overglaze 
 streaked with dark green running. Hoka hachi-ju-shi-o Tokuzan saku (inc.). 1837 
 
 
 -F 
 
 1: 
 
 -t 
 
 
 H- 
 
 1 
 
 
 
 >13 
 
 W 
 
 
 4068 
 
 
 TEIZAN (Case 
 
 35) 
 
 
 4069 
 
 4070 
 
 During the existence of the Korakuyen oven it is said that two princes of the 
 Tokugawa family, known as Seishu and Seisho respectively, were accustomed to visit 
 the oven and make objects after their own tastes. Pieces made by the former were 
 signed with the written character Teizan, while the latter prince signed his essays 
 Keizan. The collection contains at least one piece of Seishu's work, formerly in the 
 possession of Ninagawa, and the object must be considered extremely rare. 
 
 4070. Tea-bowl. D. 4f in. Light reddish-brown clay, light red glaze pitted. New moon 
 in white glaze. Grasses and inscriptions in dark brown. Teigai Chiushu Teizan ^fa (written), 
 also kakihan of Teizan. 1823 
 
 4071- Vessel, to hold water for ink-stone, with hollow dragon, used in taking up the water, 
 suspended from side. Vessel, d. 2| in. ; dragon, 1. 3f in. Clay and glaze similar to 
 last. Teizan (imp.). 1823 
 
 This piece closely resembles the work catalogued under Kaseizan (Nos. 4054- 
 4059). The signature, which is obscure, has been read Teizan, and so the object is 
 placed here provisionally. 
 
298 
 
 THE CATALOGUE 
 
 RAKURAKUYEN (Case 35 and Plate XXIV. 4072) 
 
 In the Yashiki of the Daimyo of Owari was a garden known as Rakurakuyen. An 
 oven was built in this garden by direction of the old prince of Owari in 1804, and 
 potters from Seto, Owari, were called to take charge of it. The essays were mostly in 
 true Seto style of that date, with some departures near the end of the worL The 
 signature was Rakurakuyen, impressed. Masaki of Nagoya was in charge for a while, 
 and pottery made by him bore the additional mark Masaki. The clay was at one time 
 brought from a quarry near Seto, and pieces made from this clay have the mark 
 Sobokai accompanying that of Rakurakuyen. The pottery was vigorous, tasteful, and 
 in rigid adherence to the tea-cult. The work ceased in 1830. 
 
 4072. Water-jar, with flaring crenulated rim and side indented. H. 7 in. Fine gray-drab 
 clay, thick blue glaze mottled with white around neck, running in long 
 streams on unglazed surface. Sobokai and Rakurakuyen (imp.). 1825 
 
 Type Ninagawa. Part VII., Fig. 20. 
 
 4073- Tea -BOWL. D. 4^ in. Irregular rim. Light 
 gray clay, white underglaze, light glassy-green overglaze. 
 Lobster incised. Entire surface with strong cloth-mark 
 impression, as if the bowl had been made in a bag. 
 Rakurakuyen and Masaki (imp.). 1825 
 
 4074 
 
 4072 
 
 4073 
 
 4077 
 
 4078 
 
 4074* Tea-bowl. D. 45 in. Dull reddish-brown underglaze, deepest seal-brown overglaze. 
 Rakurakuyen sei (imp.). 1825 
 
 4075- Dish, leaf-shaped, rim scalloped. L. 6| in. Light fawn clay, thick dark green 
 overglaze clouded. Rakurakuyen sei (imp.). 1825 
 
 4076. Shallow tea -bowl. D. 55 in. Fawn clay, white underglaze, 
 rich light brown overglaze running from rim. Inside and out flecked with 
 fawn, golden-brown, and blue. Rakurakuyen (imp.). 1825 
 
 4077. Tea-bowl. D. 4^ in. White Shino glaze and rude under-decora- 
 tion in warm gray. Rakurakuyen (imp.). 1825 
 
 4078. Tea-bowl. D. 4 in. Warm gray glaze and white Mishima decoration. Signed. 1825 
 
 4079. Tea-bowl. D. 5 in. White Shino glaze. Rakurakuyen (imp.). 1825 
 
 4080. Box, wheel design. D. 3I in. Moulded. 
 Bright green glaze. Rakurakuyen (imp.). 1825 
 
 4081. Dish, polygonal. D. 3J in. Moulded. Hard 
 white clay, indigo-blue glaze. Dragons and scrolls in 
 relief inside. Rakurakuyen (imp.). 1825 
 
 4082. Leaf-shaped dish. D. 5 § in. Various colored 
 glazes. Rakurakuyen sei (imp.). 1825 
 
 4083*. Comfit-bottle, square. W. 2% in. Softest white clay, thin light purple glaze, mot- 
 tled. Rakurakuyen sei (imp.). 1825 
 
 4079 
 
 4080 
 
 4081 
 
 4083 
 
PROVINCE OF MUSASHI 299 
 
 KORAKUYEN (Case 35 and Plate XXV. 4086) 
 
 Outside the Koishikawa castle gate, there was a Yashiki belonging to the prince 
 of Mito. The garden of this Yashiki was known by the poetical name of Korakuyen. 
 To this place Adzuma Kichiyemon, of Kyoto, was 
 invited, to build an oven. Raku pottery in a vari- 
 ety of forms was made, and this work was signed 
 with a delicately cut circular stamp of Koraku or 
 Korakuyen sei. 
 
 4084. Water-jar. H. 7 in. Deep lathe-marks show- 
 ing. Coarse dark clay, rough surface unglazed, black 
 Raku glaze running down from rim. 
 Korakuyen sei and kakihan (imp.). 1832 
 
 4085. Tea-bowl. D. 3I in. Gray-drab clay, light red Raku glaze clouded and pitted. 
 Koraku (imp.). 1832 
 
 4086. Incense-box, leaf-shaped. L. 3J in. Crab modeled on cover. Light fawn clay, 
 
 1832 
 
 thick white glaze. Lines in relief and crab glazed blue. 
 Gift of Hiromichi Shugio. 
 
 4087. Tea-jar, slender. H. 3 in. Light reddish- 
 fawn clay, white underglaze, light red overglaze 
 clouded, light brown glaze about rim. 
 
 Koraku (imp.). 1832 
 
 4088. Tea-bowl. D. 4J in. Thick black Raku 
 glaze. Korakuyen sei (imp.). 1832 
 
 4089. Tea-bowl. D. 4 in. Thick black Raku glaze. 
 
 Korakuyen sei (imp.). 
 
 4087 
 
 4088 
 
 4089 
 
 Korakuyen sei (imp.). 
 
 1832 
 
 4090. Lenticular-shaped jar, with small opening. D. 3I in. 
 blue glaze granulated. Koraku {yax^^. 1832 
 
 4091, 4092. Tea-jars. Black Raku glaze. 
 Koraku (imp.). 1832 
 
 4093. Tea -JAR. H. 2| in. Buff clay, 
 dull white glaze strongly crackled. 
 Koraku (imp.). 1832 
 
 Gray-drab clay, thick dark 
 
 4090 
 
 4091 
 
 4092 
 
 4093 
 
 HANSHICHI (Case 35) 
 
 Between the years 1684 and 1687 Shirai Hanshichi, of Imado, began the making 
 of unglazed vessels for the tea-ceremony. In 1716-35 a second generation succeeded 
 to the work, and for the first time in Imado began the use of glaze on a form of Raku 
 pottery. Other generations succeeded, and in 1870 the sixth generation was at work 
 using the mark Shirai Hanshichi. 
 
 4094* Bowl. D. \\ in. Soft fawn clay, transparent underglaze coarsely crackled, large 
 splash of grayish-purple glaze with white dashes. Grass in bright blue and dark brown. 
 Hanshichi {\m^.). 1800? 
 
300 
 
 THE CATALOGUE 
 
 4095> Incense-stick burner. D. 2| in. Light fawn clay, rich green glaze. Fret deeply 
 impressed about rim and gilded. 
 Jmado hamatoyo and Hanshichi (inc.), Hanshichi (imp.). 
 
 1800 
 
 ^^ 
 
 SAKUYEMON (Case 35) 
 
 I* 
 
 #^ 
 
 4095 
 
 A rare piece in the collection bears the mark 
 Shirai Sakuyemon. The work Toki Shoshi records 
 a collateral branch of Shirai Hanshichi, with the 
 successive generations, Zenjiro, Seijiro, Genjiro, 
 and Sanjiro. Whether Shirai Sakuyemon was a 
 collateral branch of Hanshichi or in a direct line, I 
 have not been able to ascertain. The piece here 
 catalogued is probably one hundred and fifty years 
 old. The mark of Sakuyemon is in a pointed oval panel, evidently in imitation of the 
 mark of Sosaburo, a famous furo-maker of Kyoto. 
 
 4096. Fire-vessel (spinning top). D. 5J in. Soft light brown clay unglazed. Three 
 encircling bands of red separated by incised lines. 
 Shirai Sakuyemon (imp.). 1750 
 
 SUMIDAGAWA (Case 35) 
 
 In the beginning of the century a potter known as 
 
 Kikkutei established an oven in Sumidagawa, Yedo, 
 
 and made a soft Raku pottery. The work of the first 
 
 generation was quaint and interesting. In 1875 the 
 
 third generation was at work, and the pottery shows 
 
 the usual deterioration. 
 
 4096 
 
 4097' PiPE-ASH HOLDER, Cylindrical. H. 4J in. Buflf 
 
 clay and glaze. Oblique lines running from top to bottom in white 
 
 red, blue, or green. Sumidagawa sei (written). 
 
 4097 
 
 slip, all but two colored 
 1810 
 
 4099- Bowl. D. 41^ in. Fawn clay, transparent underglaze, light gray overglaze. Over- 
 decoration of ducks in white, touched with black. Sumidagawa (imp.). 1830 
 
 4100. Squat jar, globular. D. 5 in. Buff clay, transparent 
 underglaze, thick white glaze with buff color showing through. 
 Over-decoration of flowers in light red and dark brown. 
 Sumidagawa (imp.). 1840 
 
 4101. Tea-bowl. D. 5 in. Light fawn clay, transparent under- 
 glaze, dull red Raku overglaze with whitish areas. Cloud-mark of 
 olive-green on side. Sumidagawa, in rosette (imp.). 1840 
 
 Extremely rare mark. 
 
 4099 
 
 4101 
 
PROVINCE OF MUSASHI 
 
 301 
 
 4102. Bowl. D. 5, J in. Yellowish-fawn clay and glaze, 
 drawn in white, dark brown, dull red, and green. 
 Sumidagawa (imp.). Sangen (name of painter written). 1847 
 
 4103 . Incense-box. L. 3I in. Sumidagawa (imp.) 
 
 4104. Square incense-box. 
 W. 2 in. Light buff clay, trans- 
 parent underglaze, white over- 
 glaze. Over - decoration of 
 grasses in light purple. Splash 
 of light green glaze on corner. 
 Sumidagawa (imp.). 1870 
 
 4105*, 4^0^*' Incense-boxes, bird-shape. Sumidagawa (imp.). 
 
 Flowers and leaves vigorously 
 
 4103 
 
 410S 
 
 4106 
 
 4102 
 
 1870 
 
 SANRAKUYEN (Case 35) 
 
 A number of attempts were made from time to time to establish ovens in Yedo for 
 the production of pottery known as Kochi. One of these efforts is seen in the pottery 
 bearing the mark of Sanrakuyen sei. Midsuno, Duke of Tosa, built an oven in his 
 garden, known as Sanrakuyen, and potters from Kii were invited to reproduce, if 
 possible, the beautiful blue and purple glazes of Kairakuyen, but after a few years of 
 unsuccessful effort the venture was abandoned. The only apology that can be made 
 for the pottery is that it came nearer the original type than that of Tosenyen and other 
 imitators. 
 
 4107. Plate. D. 6| in. Moulded, crenulated rim. Hard white stone clay, purple glaze, 
 touch of light blue. Inside surface, leaf in relief. Sanrakuyen sei (imp.). 1848 
 
 4108. Plate. D. 6J in. Moulded. Hard white stone clay, light blue glaze. Inside sur- 
 face consisting of two butterflies in high relief. Sanrakuyen sei (imp.). 1848 
 
 4109. Plate. D. 6J in. Moulded. Light buff clay, dark yellow glaze. Petals in high 
 relief inside. Sanrakuyen sei (imp.). 1848 
 
 4110. Plate. D. s| in. Moulded. Hard white clay, light blue glaze. Inside, chrysan- 
 themum and leaf design in relief. Sanrakuyen sei (imp.). 1848 
 
 i^ 
 
 4109 
 
 41 10 
 
 4111 
 
 4112 
 
 41 1 1. Plate. D. 6| in. Moulded. Hard stone clay, light blue glaze inside. Outside, 
 light yellow glaze with formal leaves, flowers, and scrolls in light blue, dark pink, and white 
 outlined in black. Inside, butterflies in relief, as in No. 4108. Sanrakuyen sei (imp.). 1848 
 
 4112. Hexagonal box, with flying crane moulded in high relief on cover. D. 2| in. Hard 
 white stone clay, deep purple glaze. Crane, light blue glaze. Sanrakuyen sei (written). 1848 
 
302 
 
 THE CATALOGUE 
 
 TOSENYEN (Case 35) 
 
 A potter from Wakayama, Kii, familiar with the old glazes of Kairakuyen, started 
 the making of similar pottery in Yedo in 1850. His venture was more disastrous than 
 that of the potters who made a similar imitation under the name of Sanrakuyen. His 
 productions were devoid of merit, and after a short time the work ceased. 
 
 4113- Flower-pot. H. 5 in. Light fawn clay, light blue underglaze, broad 
 areas of thick deep purple glaze running. Bamboo deeply incised. 
 Tosmyen set (imp.). 1852 
 
 Rare mark. 
 
 KIKKO (Case 35) 
 
 Kikko of Osaka came to Yedo in 1855 and built an oven at Mukojima, using Kikko 
 and Jusan Ken as signatures. He died in 1861. His adopted son, Ichiro, with the 
 pseudonym of Shogetsu, continued the work, using the incised mark Bokusui-hen sci, 
 and sometimes Ichiro. He died in 1864, aged forty-four. His widow continued 
 the work until 1868. Since then inferior pottery has been made bearing the mark 
 Kikko. As to the generations of this family, it is difficult to state. The best work 
 was done by the original Kikko in Settsu, Suo, and Shinano. (See these provinces.) 
 
 41 14- Bowl, oblong, rim cut. D. 5J in. Dull brown clay, dark warm gray glaze. Under- 
 decoration of clouds and crane in white and black. Basal ring square. Unsigned. 1855 
 
 41 15. Cup-rest. D. 4J in. Very light fawn clay, thick white glaze with encircling bands in 
 light blue and light olive. Kikko {ycK^.). 1855 
 
 41 16. Circular dish, with vertical sides, 
 resting on three knobs. D. 4I in. Yellowish- 
 white clay and glaze. Inside, bamboo in light 
 blue. Kikko (imp.). 1855 
 
 4117- Hanging flower - holder. H. 5 in. Dull 
 brown clay, with touch of transparent glaze. Roughly 
 turned. Kikko (imp.). Bokuta Toko (inc.). 1855 
 
 4118. Tea-pot. D. 4^ in. Black Raku glaze. 
 
 4119. Box (bird). L. 5! in. Light gray-drab clay, 
 white glaze, bill reddish, wings and tail shaded blue. 
 Bokusui-hen ni cite kore wo seisu (inc.). 
 
 4120. Box, modeled in form of lotus-seed capsule. D, 3 in. Light brown 
 clay imglazed. Bokusui-hen ni oite (inc.). 1862 
 
 4117 
 Kikko (imp.) 
 
 4119 
 
 4120 
 
 i 
 
 4121 
 
 4122 
 
 4123 
 
 4124 
 
 4I2I-4124. Various pieces of recent KikkO, with the marks Kikko, impressed, and 
 Kikko tsukuru, incised (4121). 1875-1885 
 
PROVINCE OF MUSASHI 
 
 303 
 
 KWAISUIYEN (Case 35) 
 
 In 1830 a small oven was erected in a garden in Yedo belonging to a noble from 
 Kiyosu, Owari, and a potter from Kiyosu, named Fujishiro Kawamoto, was invited to 
 take charge of it. With the aid of a number of assistants, pottery, consisting of tea- 
 utensils, flower-pots, etc., was made. That the work had little merit may be inferred 
 from the fact that very few examples of it have survived. Indeed, the single specimen 
 in the collection is the only one I have ever seen. The work ceased in 1861. 
 
 4125. Irregular-shaped vessel, for washing brushes. D. 3^ in. Modeled 
 by hand. Fine soft white clay ; outside, stained brown ; deep olive-green glaze 
 inside. Base gilded. Kwaisuiyen set (imp.). 1840 
 
 Exceedingly rare. 4125 
 
 TAMAGAWA (Case 35 and Plate XXV. 4126) 
 
 An obscurity which I have never been able to clear up covers the origin of this 
 interesting pottery. Ninagawa identified certain of the pieces in the collection as 
 Seto, Owari ; others supposed the pottery to be Kyoto. The pieces are refined in 
 character, and reveal the work of a potter who loved the quiet and simple tastes of the 
 tea-cult. The pottery was made near Yedo, in the hamlet of Yaguchi, on the Tama- 
 gawa, and dates back fifty or sixty years. 
 
 4126. Tea-bowl. D. 4J in. Coarse gray-drab clay, olive-gray glaze. River embank- 
 ment protection in dark brown. 
 Brush-marks in white. Hitotsu 
 yaki and Tama (imp.). 1850 
 
 4127. Tea -BOWL. D. 4} in. 
 Coarse gray-drab clay, olive-gray 
 glaze, white brush-marks inside. 
 Tantagawa yaki and kakihan 
 written in brown outside. 1850 
 
 4128. Incense-box. D. 1} in. 
 Very light gray-drab clay, white 
 glaze. Rice-mortar and pestle in 
 dark brown and light gray on 
 cover. Inside, transparent glaze. 
 
 4129. Incense-box (bird). L. 
 Tama (imp.). 
 
 4130. Incense-burner, modeled in form of mythological lion, 
 drab clay, yellowish underglaze, light red Raku overglaze. 
 Tama and Tamagawa-shisui (imp.). 
 
 4126 
 
 4127 
 
 Tama (imp.). 1850 
 
 2\^ in. Coarse gray-drab clay, thick black Raku glaze. 
 
 1850 
 
 H. 7i in. Gray- 
 
 1850 
 
 4130 
 
 KICHIROKU (Case 35) 
 
 Ninagawa records in his notes that a potter named Ida Kichiroku came to Yedo 
 from Shimosa in i860 and opened a bric-a-brac shop in Asakusa. Here he built an 
 
304 THE CATALOGUE 
 
 oven and made hard pottery. He is said to have gone to Ise, and also to Kameyama, 
 Hizen, making pottery in both places. The only specimen in the collection bearing 
 thte mark Kichirokti is a small figure of hard paste from the Ninagawa collection. A 
 square dish, which Ninagawa believed to have been made by Kichiroku, in Shimosa, 
 was made by Kitsuroku in Shimotsuke, an adjoining province. The Wag- 
 gaman collection in Washington contains a piece signed Kitsuroku, with "^ 
 
 other inscriptions, showing that it was made in Kameyama, Hizen. Either r^ 
 Ninagawa has confounded two potters, or the same potter wrote his name ^'U 
 
 in two ways. (See Shimotsuke.) 4131 
 
 4I3I< Netsuke, in form of dancer. H. i| in. Light gray-drab clay, white glaze. Dress 
 with green, red, and purple with gold. Kichiroku saku (inc.). i860 
 
 A delicate bit of work. 
 
 SHIBUYA (Case 35) 
 
 In 1850 the Daimyo of Satsuma had a small oven built in the Yashiki 
 at Shibuya, Yedo. The pottery was made of clay brought from Satsuma. 
 A few pieces only were made. The pottery had no special merit. 
 
 4132. Bowl. D. 5^ in. Very light buff clay, light gray glaze. Poem in blue 
 signed Ga and SockH. 1850 
 
 BENJIRO (Case 35) 
 
 Sakune Benjiro, an Imado potter, was at work in 1840-45 making unglazed fire- 
 vessels. He was justly regarded by the Japanese as the best potter of Imado. 
 The single specimen of his work in the collection bears out this judgment, ^j^ 
 Whether Genjiro (No. 4158) is a later generation of this family I do not know. 
 
 4132 
 
 
 4^33- Furnace for tea-pot. H. io| in. Fine gray-drab clay, polished black 
 surface. Lotus bud, leaf, and flower deeply carved on outside showing rough sur- 
 face. Benjiro (imp.). 1845 
 
 Gift of W. S. Bigelow. 4133 
 
 SAKIGAKI (Case 35) 
 
 On the north of Negishi (near Iriya to the west), at the mansion of Honda, an oven 
 was built in 1863. A potter from Kyoto was invited to take charge of it. The pot- 
 tery was a kind of hard Raku with green and black glazes, and continued for a short 
 time only. Specimens are extremely rare. 
 
 4134* Cup. D. 3:^ in. Leaves on outside moulded. Buff 
 clay, rich green glaze outside, white glaze inside. 
 Sakigaki (imp.). 1864 
 
 Gift of Ernest Hart. 
 
 4134 4135 
 
 4^35- Haisen, in form of ceremonial hat. L. 8J in. Light 
 
 gray-drab clay, white underglaze, deep seal-brown overglaze. Sakigaki (imp.). 1864 
 
PROVINCE OF M US AS HI 305 
 
 KOREN (Case 35) 
 
 A woman named Hattori Tsuna, with the pseudonym of Koren, was at work in 1878 
 making pottery by hand modeling. The color of the clay employed and the peculiar 
 tint and finish of her unglazed pieces, with the suggestive subjects selected, gave her 
 work a remarkable resemblance to wood-carving. 
 
 4x36 . Paper-weight (toad on roof tile). L. 3J in. 
 Meiji ju-hachi nen Keren saku (inc.). Koren (imp.). 
 
 1884 
 
 4^37- Incense-box, kidney-shaped. L. 3J in. Brown 
 clay, unglazed. Deep impressions of actual leaves, fern, 
 maple, etc. Unsigned. 1878 
 
 Gift of W. S. Bigelow. 
 
 4138. Tea-pot. D. 2f in. Modeled by hand. Light 
 brown clay, unglazed. Pine trunk in relief, needles 
 incised. Koran Joshi isttkuru (inc.). 1878 
 
 Whether Koran was any relation to Koren has not 
 been ascertained. 
 
 MAKUDSU (Case 35) 
 
 Makudzu Kozan moved from Kyoto to Yokohama in 1870. Here he made a great 
 amount of pottery for export. Within a few years there have been produced some 
 marvelous glazes on a hard body in imitation of Chinese forms. On the occasion of 
 the great National Exposition in Tokyo in 1877, Makudsu made pottery from clay 
 taken from Shinobazu pond, near Uyeno Park, in which place the exhibition was held. 
 
 4139. Bowl. D. 5^ in. Sides compressed. Rough and heavy. Coarse brown clay, olive- 
 brown glaze. Brush-marks of white slip inside 
 and out. Makudsu (imp.). 1877 
 
 4140. Dish, lotus leaf. D. 6^ in. Gray-drab 
 
 clay and glaze mottled. Inside, thick white glaze 
 
 with inscription in blue. Inscription states that 
 
 the piece was made of clay taken from Shinobazu 
 
 pond. Makudsu Kozan (imp.). 1877 
 
 # 4139 4140 4141 
 
 414I . Jar. H. 7J in. Looped handles. Very 
 
 light gray-drab clay, brown glaze with deep seal-brown glaze on cover and shoulder running 
 
 in streams. Makudsu (imp.). 1880 
 
 SEISHI (Case 35) 
 
 A potter named Naruse, from Mino, worked for a while in 1872, at Nagai-sho Shiba. 
 A variety of vessels were made for the tea-lover, but the pottery lacked sufficient merit 
 to insure its continuance. The mark Seishi was used. The pottery was also known 
 as Maruyama. 
 
 4142. Beaker. D. 6 in. Two leaves moulded on side. Coarse buff clay, light olive- 
 greenish glaze, spotted with brown. Characters in white. Seishi (imp.). 1872 
 
3o6 
 
 THE CATALOGUE 
 
 4I43- Plate, with one side of rim gradually thickened to represent new moon. D. 7I in. 
 Very light fawn clay. Under side unglazed. Inside, light greenish-white glaze with -j^ 
 peculiar radiating crackle. Clouds and nightingale deeply carved, unglazed. \^i 
 
 Seishi (imp.). 1872 V®r 
 
 4«43 
 ENOUYE RYOSAI (Case 35) 
 
 This potter was making tea-vessels in Imado in 1870-80, and at that time his work was 
 known under the general name of Imado. Within recent years he has produced some 
 remarkable and beautiful glazes on a hard body following Chinese models. Curious 
 bowls made to look old, and bearing the mark Hontpo (?) in obscure characters, are 
 said to have been made by this potter within twenty years. 
 
 4144—4149*. Bowl and tire-vessels, flower-vase, etc., with marks Enouye Ryosai 
 (4144*, 4146, 4148*) and Dai Nippon Tokyo Enouye Hyosai (4145) (imp.). 1875-1880 
 
 4145 
 
 4146 
 
 4148 
 
 
 4149 
 
 a 
 
 4150 
 
 4150, 415I. Bowls. Ifompo (imp.). 
 
 1885 
 
 YEDOGAWA (Case 35) 
 
 Pottery of hard paste, known as Yedogawa, was made in Tokyo in 1878. The 
 single piece in the collection is moulded, and is interesting only from its peculiar 
 technique. 
 
 4152*. Cup, with scalloped outline. D. 2 J in. Hard white clay, light green celadon glaze. 
 Fringe and scallops delicately drawn in white slip. 1878 
 
 SHIRAI (Case 35) 
 
 A number of potters were baking in Imado in 1878, and probably earlier. They 
 signed their pieces Shirai Hanshichi, Shirai Seijiro, and Shirai Zenniu. Their pieces 
 usually consisted of unglazed fire-vessels. They represent one of the collateral branches 
 of the original Hanshichi. 
 
 4^53- Shallow tea-bowl. D. 5f in. Soft light Raku clay, yel- 
 lowish glaze ; area of salmon glaze mottled with reddish-brown. 
 Shirai Hanshichi (imp.). 1880 
 
 4154*- Fire-vessel. D. 4j in. Black clay. Polished black sur- 
 face blending with brown above. Shirai Seijiro (imp.). 1880 
 
 4153 
 
 4154 
 
 ZENNIU (Case 35) 
 
 This potter, whose name was Shirai Kanekichi, was probably related to the above. 
 He made tea-bowls and fire-vessels, glazed and unglazed. 
 
PROVINCE OF MUSASHI 
 
 307 
 
 4^55- Fire-vessel. H. 7I in. D. at mouth, 7J in. Soft clay ; lower third black, middle 
 third light gray, strongly clouded with dark fawn clay. Upper 
 third clear green with darker gray clouding showing through. 
 Greek fret impressed about neck. Shirai Zenniu (imp.). 1880 
 A superb example of Zenniu's work. 
 
 4156*, 4157*' Bowl and fire-vessel. Shirai Zenniu (imp.). 
 
 1880 
 GENJIRO (Case 35) 
 
 A potter of unglazed fire-vessels was at work in Tokyo in 1 880. He belonged to a 
 collateral branch of Hanshichi, and died within recent years leaving no successor. (^ 
 
 4'55 
 
 4«S7 
 
 V!^ 
 
 4158*' Plate, to hold ashes in furo. D. 4I in. Unglazed. Genjiro (imp.). 
 
 YOTSUYA (Case 35) 4158 
 
 A potter of Yotsuya, a district of Tokyo, was at work in 1870-80, making small 
 tea-cups, figures, etc., of a semi-porcelain. His figures of warriors show some skill in 
 modeling. 
 
 4^59- Tea-cup. D. 2\ in. Brown clay, olive-gray glaze spotted with brown. 1877 
 
 4160. Tea-cup. D. 2J in. White porcelain clay and glaze. Flowers in dark and light 
 blue. Ukaku tsukuru (written). 1877 
 
 4161. Figure of warrior. H. 4^^ in. Porcelain clay, thick brown glaze. 1877 
 
 KOISHIKAWA (Case 35) 
 
 An oven was established in Koishikawa in 1880, and pieces of varying degrees of 
 excellence were made. Within recent years the output has improved vastly, and the 
 work has won high recognition in native and foreign exhibitions under the direction of 
 the famous Takemoto. 
 
 4162*. Squat tea-jar, with two handles. H. i J in. White stone clay, light brown glaze 
 
 mottled with darker brown. 1880 
 
 This piece is interesting, as showing the appearance of a tea-jar when absolutely new. 
 
 TAIHEI (Case 35) 
 
 A potter of unglazed fire-vessels, signing his pieces Taihei, was at work in Tokyo 
 in 1 890. His work was of a superior character. 
 
 4l63- Fire-vessel. D. 4J in. Black clay, black polished surface with light green areas. 
 Taihei tsukuru (imp.). 1890 
 
 KINKO 
 
 A curious form of pottery made in moulds, glazed in strong colors and bear- 
 ing the impressed mark Kinko, is said to have been made in Tokyo. It has 
 the clay of modern Sumidagawa. Hiraga Gennai, of Shido, Sanuki, might 
 have made it after he settled in Tokya This is only a surmise, however. It is abso- 
 lutely without merit. 
 
3o8 THE CATALOGUE 
 
 4164*. Cake-plate. D. 6J in. Moulded. Scalloped edge. Soft white clay, light green 
 glaze. Inside, scrolls, formal flowers, etc., impressed and glazed yellow, dark blue, ^^^^ 
 brown, and green. Kinko (imp.). 1850 ^g 
 
 4164 
 IMADO (Case 35) 
 
 Under this general name must be included the productions of a number of potters 
 who have, so far as I can ascertain, entitled their individual work Imado. The pieces 
 are rarely signed. Some of the pottery is in the form of fire-vessels, soft, unglazed, 
 with polished black surface ; other forms have a beautiful mottled glaze 
 with hard ringing clay. A number of red Raku pieces occur unsigned. 
 
 4165-4180. FiRE-VESSELS, BOWLS, FLOWER-HOLDERS, INCENSE-BOXES, etC. 
 
 No. 4168 is the only one on exhibition. 4179 
 
 No. 4179 has a kakihan. 
 
 KARAKU (Case 35) 
 
 A potter named Karaku Sanzo, who showed great skill in modeling and carving, 
 has carried on his work within recent years in Tokyo, and later in Osaka. He was a 
 native of Yumoto in IwakL 
 
 4181. Figure. H. 4J in. Fawn clay. Face and body unglazed, surface tinged with red. 
 Karaku Sanzo, Shu [?] dai (imp.). 1880 
 
 KYOZAN (Case 35) 
 
 Katsu Awa, an adviser of the Sh5gun, brought a potter from 
 Ky5to, and established an oven at his residence in 
 Tokyo in 1870. The pieces were signed Kyozan. » 
 
 Some of the work had inscriptions upon it written »SS- 
 
 by Awa, and signed with his pseudonym Kaishu V^Gr 
 
 and Kyozan impressed. A 
 
 4182. Bowl. D. 3^ in. Light fawn clay, light yel- ^ IW- C^'^ 
 lowish glaze ; rough surface sliced, deeply stained within. ^| fmjL|V^ 
 Inscription in black, signed Kaishu. Kyozan (imp.). 9 ^ * ™Tr 
 
 1870 4182 4181 
 
 4183. Box, in form of persimmon. D. 3 in. Soft white clay, stained a bright rosy red. 
 Stopper representing stem and calyx, glazed green. Kyozan (imp.). 1870 
 
 4184. Incense-burner Hotus leaf?). D. 4I in. Three legs. Sides fluted. Fawn |ir'5»j 
 clay, light yellow underglaze, reddish overglaze with large dark purple areas. \w/ 
 Kyozan (imp.). 1880 4184 
 
 HEIGEN 
 
 Among the Ota potters, near Yokohama, are many who have contributed to the 
 flood of spurious Satsuma, with which America and Europe have been inundated. One 
 
UNIVt..SITY )) 
 
CASE 35 
 
 hill 
 
 
 
 Hl\Z 
 
 •fllS 
 
 'il'«i 'il^S 
 
 •fosi 
 
 
 7;^ J. 
 
 J-&eypy feJ <gB ty.' 
 
 S0«'» lOSfSf M(i<iO 'lOH '»0%6 ',071 "lOlb S07? '(O80 'lOI? «iO»l 
 
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 JrO?7 
 
 
 ',03? tO'iS ^03T.'-lO3l 
 ■fOVi 
 
 •^OSS 
 
 ',030 '">tS HO<i<) HIOZ ',10V 
 
 ■,116 /^^ifc** 
 
 •tllS 
 
 ',1%* ',1*7 ',1*6 
 
 •,(39 ',071 SOW 
 
 PROVINCE OF MUSASHI 
 
PROVINCE OF IWAKI 309 
 
 of the Ota potters, signing his work Heigen, made small pieces of light clay and glaze 
 which show considerable skill in design and modeling. 
 
 4185*. TooTHPiCK-HOLDER (figure holding open bag). H. 3 in. White clay, light buff t^_ 
 glaze. Figure with white and brownish glaze. Heigen (imp.). 1878 4185 
 
 MATSUYAMA (Case 35) 
 
 In 1 860 an oven was built in the town of Matsuyama. The product consisted of 
 ordinary tea and kitchen utensils. The pieces are interesting, as showing the refine- 
 ment of a country potter aspiring only to make pottery for the people of the neighbor- 
 hood. 
 
 4186. Bottle. H. 5 J in. Bulbous body, long neck. Light reddish clay, olive-brown glaze 
 on neck and part of body. Remaining surface coarse granulated brown glaze. 1878 
 
 4l87' CoNDiMENT-HOLDER. D. 5 in. Light reddish clay, light olive-brown glaze with 
 darker brown overglaze. 1878 
 
 4188. FiRE-vESSEL. D. 4 J in. Light reddish-buff clay, light olive-brown glaze. Rough 
 drawing of flowers in white slip. 1878 
 
 YEDO BANKO 
 
 The originator of Yedo Banko was a potter who came from Kuwana, Ise. He 
 had learned the secrets of his art from Kyoto artists. The excellence of his work 
 attracted the attention of the Shogun, who invited him to Yedo, where an oven was 
 built for him at Kommemura. This was in 1761-63. In 1786 he returned to Kuwana. 
 The opinions are so various, and the accounts so conflicting as to the identity of his 
 Yedo work, that all the early pieces bearing the mark of Banko, either plain or in oval 
 or circular panel, are for the present classified under the province of Ise. 
 
 PROVINCE OF IWAKI 
 
 The pottery of this province is widely known through the rough lathe- 
 turned and subsequently finger-modeled bowls recognized as Soma. The 
 bowls usually bear as a decoration a tethered horse as well as the crest of 
 the house of Soma. The pieces are commonly signed with the impressed 
 marks of Soma, or Kaneshige, though many other marks occur on Soma 
 bowls. The information derived from Ninagawa's work and other Japa- 
 nese books has been scant to the last degree. Only recently have I been 
 able to get further accounts of the pottery of this province. Mr. Michi- 
 taro Hisa, a graduate of Harvard, and a native of Iwaki, wrote urgent 
 letters at my request to friends of his in Nakamura, inclosing at the 
 same time copies of the various marks found on Iwaki specimens in the 
 
310 THE CATALOGUE 
 
 collection. The officers of that region have kindly forwarded important 
 details of the early history of this pottery, which for the first time clear 
 up many perplexing questions. From these accounts it seems that the 
 earliest Soma was a highly decorated pottery after the style of Ninsei. 
 These records further show that much of the pottery identified as Soma, 
 and supposed to have been baked at Nakamura, was made at Ohorimura, 
 and is not to be considered as genuine S5ma. The founder of Soma 
 pottery was Tashiro Goyemon. In 1624 the lord of Soma accompanied 
 the Shogun (third Tokugawa, lyemitsu) in his annual visit to the emperor 
 at Kyoto. In his suite was Tashiro Goyemon, who, if not a potter, was 
 probably an artist, for his master being greatly impressed with the remark- 
 able character of Ninsei's work selected Tashiro as the proper one to 
 become an apprentice of this famous potter. Tashiro remained with Ninsei 
 for seven years, and this great potter in reward for Tashiro 's diligence and 
 faithfulness permitted him to use Sei^ one of the characters of his name, 
 and thus Tashiro Goyemon became Tashiro Seijiyemon, and the mark Sd 
 was used in his work. Tashiro returned to Nakamura in 1631, and made 
 pottery at the order of his master. This pottery was known as Omuro, after 
 one of the ovens of Ninsei in Ky5to. The records say that the second 
 Seijiyemon made improvements on the work of his predecessor. The mean- 
 ing of this is obscure, though it is probable that his work was in closer imi- 
 tation of Ninsei, for the lord of Soma said to him : " If you continue pottery 
 after Ninsei style the two essays will be confounded, and in course of time 
 the reputation of Ninsei will be injured, therefore it would be wiser to adopt 
 changes of form, decoration, and signature." The potter following this 
 advice produced the typical Soma style known to us by the early examples 
 of this pottery. Kano Naonobu visited the province at this time and painted 
 a running horse at the request of Yoshitani, and this horse was used as a 
 decoration for the pottery. The date of this change was 1650. With this 
 information I critically examined every piece in the collection attributed to 
 Ninsei or to Ninsei's influence. A bowl, with the mark Seim a circle within 
 a square, and of Ninsei age, had always puzzled me, as the clay was unlike 
 that used by Ninsei or his contemporaries, and the direction of the spiral 
 on the base was opposite to that of the Ninsei spiral. On comparing this 
 specimen with the earliest type of Soma, figured by Ninagawa, the clay and 
 spiral were found to agree. A jar and wine-bottle, signed with the same 
 mark and identified by the Japanese as Ninsei, have recently been added to 
 the collection. The decoration is strictly after Ninsei style ; the clay, how- 
 ever, is absolutely identical with that of an early Soma in the collection. 
 
PROVINCE OF IWAKI ju 
 
 Despite the odd appearance of these three brocade-decorated specimens 
 among Iwaki pottery, they are now placed here until evidence to the con- 
 trary is offered. I may add that the mark must be extremely rare, as I 
 have never seen the signature except on these three specimens here cata- 
 logued ; furthermore, no such mark is recorded as used by Ninsei or by any 
 Kyoto potter, though Ninsei used the mark Sei in a square panel on some 
 of his work. 
 
 SEIJIYEMON (Case 36 and Plate XXV. 4191) 
 
 It is difficult to determine whether the three specimens herein catalogued are the 
 work of the first or second Seijiyemon. 
 
 4Io9- Bowl. D. 4} in. Dark fawn clay, light fawn glaze. Under-decoration of house 
 and trees in grayish-blue. New Year's decoration of pine and bamboo in blue, 
 green, and pale purple enamels and red and gold. Left-hand spiral on base. 
 Sei, in circle within square (imp.). 1648 
 
 4190. GouRD-SHAPED WINE-BOTTLE. H. 6f in. Thick and heavy. Fine gray- '*'^ 
 drab clay, light grayish-fawn glaze strongly crackled. Over-decoration of pinks and fence in 
 dull blue and green enamels and red and gold. Around shoulder leaf design in green and 
 blue enamel. On neck, red fret. Sei, in circle within square (imp.). 1648 
 
 4191. Jar. H. 6| in. Coarse dark fawn clay, light fawn glaze finely crackled, much 
 stained. Chrysanthemums and pinks in blue and green enamels with red and gold. Around 
 neck, diaper in blue enamel with red and gold. Sei, in circle within square (imp.), 1648 
 
 KANAYA (Case 36) 
 
 The only piece signed by this potter is accompanied by an inscription which states 
 that he was the grandson of the third generation, and presumably in the line of 
 Seijiyemon. The year period and year are also given, which indicates 
 the date of 1746; and an inscription which reads Daisanyo Temple. 
 It is the oldest piece in the collection signed Soma. 
 
 4192. Circular tablet, perforated for hanging. D. 9^ in. Coarse 
 hard gray-drab clay, fawn glaze. Pine tree and monkeys moulded in high 
 relief and applied, glazed dark brown and green. Soma Nakamura (inc.). 
 Also the inscriptions, Enkio san Himye tora Ten. Roku gatsu ju.-go-niehi. 
 Koka sandai no mago, Kanaya tsukuru. »746 
 
 SOMA (Case 36 and Plate XXV. 4193, 4194) ]^f^ 
 
 The first Soma with horse decoration was made by the second I 
 
 generation of Seijiyemon in 1650. The bowl figured by Ninagawa «. • • 
 
 was probably made by the third generation of this family, as a typical 
 Soma in the collection, with drawing of horse, seems much nearer in 
 clay and age to the work of Seijiyemon above described. True Soma 
 was made in Nakamura by successive generations of the founder. '*'^^ 
 
 Within recent years the name Tashiro has been impressed on Soma pottery, and 
 
 
312 THE CATALOGUE 
 
 pieces bearing this mark will be considered under that name. True Soma, with the 
 exception of the recent Tashiro's work, and one piece in which the mark is incised, 
 bears no signature. The early pieces show more vigorous drawing, and are charac- 
 terized by a certain refinement of form and style. The old name for Soma pottery 
 was Otomi, meaning " honorable monopoly." 
 
 4^93- Plate. D. 6| in. Rim with six scallops. Coarse dark gray-drab clay, gray-drab 
 glaze coarsely crackled. Inside, three horses in olive-brown. 1650 
 
 4194. Bowl, sides sliced in three places and lapped over, with knobs. D. 4| in. Light 
 fawn clay, thin yellowish-white glaze spotted with brown. Inside and out, horse in brown. 
 Type Ninagawa. Part III., Fig. 31. 1680 
 
 4^95- Bowl. D. 4 in. Coarse Japanese yellow clay and glaze. Horse in brown. 1750 
 
 419^- Plate. D. 7 J in. Rim with five scallops. Perforated design of cherry petals. 
 Light fawn clay, grayish-fawn underglaze, fawn overglaze. Inside, five horses in brown, 1780 
 Type Ninagawa. Part III., Fig. 32. , 
 
 4197. Plate, somewhat similar to last. 1780 
 
 419^- Tea-bowl. D. 4f in. Light fawn clay, coarse light fawn glaze, roughened below. 
 Encircling band of large circles overlapping, in blue enamel. Strong left-hand spiral. 1780 
 
 4199. Tea-cup. 1780 
 
 4200. Bowl, symmetrically turned. D. 4J in. Fine hard gray-drab clay, gray glaze with 
 minute brown spots. 1780 
 
 Considered by Ninagawa the earliest Soma, with the date of 1630. 
 
 4201. Bowl. D. 5J in. Gray-drab clay, thin light gray under and overglaze. Horses, 
 inside and out, in brown. 1800 
 
 4202. Cake-plate. D. 6f in. Fawn clay, olive-gray glaze. One third of vessel, inside 
 and out, thick white glaze, upon which, inside, is rough sketch of flowers in dark brown. 1800 
 
 Very rare type. 
 
 4203- Square tray. W. ii in. Grayish-yellow clay and glaze. Horses in brown. 1840 
 
 4204. Haisen. D. 5I in. Coarse gray-drab clay, thin greenish-gray glaze, surface rough- 
 ened. Horses in brown. 1850 
 
 TASHIRO (Case 36) 
 
 The twelfth generation of Seijiyemon was at work in Nakamura thirty years ago. 
 In 1867 he went to Kyoto, and there presented Soma pottery made by him to the 
 imperial household. In recognition of his loyalty and talent he was given the honorary 
 title of Hokio, and thenceforward often signed his work Tashiro and Hokio. For a 
 short time his work was known as Goyo Toku (royal permission), and was not put 
 upon the market for sale. His reputation was greatly enhanced by this attitude. 
 
 4205> Oblong cake-dish. L. 7 in. Coarse light gray clay, transparent underglaze, thick 
 glassy-green overglaze coarsely crackled. Horses in brown inside and out. 1850 
 
 4206. Haisen. D. 5 in. Gray-drab clay, light gray glaze spotted with brown. Inside, 
 thick glassy-green overglaze running over rim, coarsely crackled. Outside, three horses in 
 brown. 1850 
 
^\ 
 
 i 
 
 PROVINCE OF IWAKI 313 
 
 4207' Tea-pot. D. 3 in. Gray-drab clay, warm gray glaze. Handle, nozzle, rim, and 
 knob of cover deep blue overglaze. Tashiro ? written in brown. 1850 
 
 4208. Double bowl. D. 3J in. Outside bowl with perforated cherry % ^ 1 
 petals. Coarse light gray-drab clay, rough surface, light fawn glaze. Inside, f^Jal^ 
 deepest blue glaze clouded and running over rim. 1850 
 
 4209. Gourd-shaped wine-bottle. H. 7J in. Coarse gray-drab clay, gray- 
 ish-drab glaze. Neck bright blue glaze, on which is silvered horse. On body, "ifcrfw 
 horses in brown. i860 CSSK 
 
 4210. Cake-plate, scalloped edge, perforated designs. D. 6} in. i860 
 
 4211. Bowl. D. 3^ in. Thick and solid. Light fawn clay, glassy yellow- 
 ish-white glaze spotted with brown. Kirimon in white slip in high relief, evi- 4207 
 dently made with stencil. Kikumon in dark blue. 1867 
 
 Probably one of the specimens made as a gift to the Imperial Household. 
 
 4212. Handled vessel, with spout. L. 5 in. Fawn clay, light olive-green underglaze. 
 Inside, thick green glaze coarsely crackled. Tashiro and Hokid (imp.). 1868 
 
 4213- Incense-box. D. z^j in. Coarse light fawn clay, greenish-gray glaze. In- 
 side, transparent glaze. Horse in brown. Tashiro tsukuru, and Hokid (imp.), 1868 
 
 4214, 4215. Jar and cup. 
 
 4213 
 NAKAMURA (Case 36 and Plate XXV. 4222) 
 
 Under this name may properly be included a number of forms which are referred 
 to the village of Nakamura, and doubtless made by Soma potters. They differ from 
 true Soma in form and decoration, and are rarely signed. In a few cases a resem- 
 blance is seen to Maiko pottery. 
 
 4216. Tea-bowl. D. 4^ in. Light brown clay, bluish-green underglaze, olive-green over- 
 glaze. White slip moulded in wave lines in high relief with moulded shells applied and 
 glazed deep olive-green. Inside, horse in white slip. 1830 
 
 4217. Bowl, similar to last. 1840 
 
 4218. Covered jar. H. 13^ in. Light gray clay, glassy bluish-green glaze. Moulds of 
 various shells applied and glazed light maroon and dull grayish-green. Surface with various 
 depressions. i860 
 
 4219. Covered jar. H. 5J in. Vertical depressions on side. Coarse light fawn clay 
 with light granules, warm greenish-gray glaze mottled with brown. Seaweed and moulded 
 shells in relief, glazed brown and light grayish-green. i860 
 
 4220. Cake-plate, deeply modeled by hand. 
 
 422X. Gourd-shaped bottle. H. 6J in. Fine light brown clay, lower bulb brown glaze, 
 strongly curdled. Neck clear green glaze mottled. Shoda (imp.). 1850 
 
 Gift of Mr. Durand-Ruel. 
 
 4222. Gourd-shaped bottle. H. 3^ in. Light fawn clay. Upper portion deep 
 seal-brown glaze; lower portion, glistening drops of light brown glaze. i860 ^^ 
 
 4223. Similar to last. H. iiJ in. Modern 
 
314 THE CATALOGUE 
 
 KOMARU (Case 36 and Plate XXV. 4224) 
 
 A potter by the name of Komaru Utanojo of Ohorimura made pottery after Soma 
 models. His work began in 18 16. He used the signatures Komaru and Rakuzan. 
 
 FIRST GENERATION 
 
 4224. Incense- BOX, figure modeled on cover. D. 2^'^ in. Light fawn clay, thin yellowish- 
 white glaze. Horses in brown. Komaru (imp.). 1820 
 
 4225. Tea-bowl, deeply modeled by fingers. D. 3J in. Hard light 
 gray .clay, transparent underglaze. Inside, light green overglaze. Out- 
 side, horse moulded and applied, glazed white, shaded with dark blue. 
 Inside, blue horse, underglaze. Rakuzan (imp.). 1830 
 
 4224 
 
 m 
 
 4225 
 
 SECOND GENERATION 
 
 The second generation, known as Komaru Tatsu-no-Shin, continued the oven, 
 beginning in 1838. His pieces are signed with Zen and an obscure mark. 
 
 4226. Tea-bowl. D. 3I in. Thick and heavy. Successive finger-impressions in vertical 
 lines. Brown clay, light brownish-green glaze, outside tinged with red. Inside, light maroon 
 overglaze running over rim. Zen i [?] (imp.) on side. 
 
 THIRD GENERATION 
 
 The third generation, Komaru Kumazo, is still at 
 work at Ohorimura. 
 
 4227. Leaf-shaped dish, modeled by hand. D. 3J in. 
 Very light gray clay, thick light greenish glaze coarsely 
 crackled. Soma and Komaru tsukuru (imp.). 1880 
 
 43*7 
 
 4226 
 
 YAMADA (Case 36) 
 
 Yamada Yojiro was a skilful potter of Ohorimura, and made cups after Soma 
 models. His work dates from 1850. 
 
 FIRST GENERATION 
 
 4228. Cup, deeply indented by finger. D. 2J in. Fine gray-drab clay, light fawn glaze 
 
 spotted with brown. Horse applied, shaded with brown. 
 
 Yamada (imp.). 1850 
 
 SECOND GENERATION 
 
 Ota 
 
 IS) 
 
 
 Z. 
 
 4228 
 
 A second generation, known as Yamada Iwaji, is at work 
 to-day turning out quaint dishes decorated with mushrooms, etc., in relief. 
 
 4229. Haisen, irregular shape, strongly indented. D. 7 in. Light gray 
 
 clay, light gray glaze with irregular band of maroon and bluish overglaze. 
 
 Around rim leaf design impressed. Toadstools modeled and applied outside. Inside, horse 
 
 in brown. Otsu and Zen (imp.). Zen has also been read Tane of Yoshitane, a former Daimyo 
 
 of the province. 1880 
 
 4229 
 
PROVINCE OF IWAKI 
 
 31S 
 
 HANGAYA (Case 36) 
 
 Hangaya Noritatsu, second son of Tatsu-no-Shin, made fine Soma bowls signed with 
 the mark Soma in double gourd. He is still living. 
 
 4230. Tea-bowl, strongly indented. D. 3I in. Very light fawn clay 
 and glaze, closely mottled with light brown. Inside, transparent over- 
 glaze and horse applied. Soma, in double gourd (imp.). 1870 
 
 423I) 4232. Tea-bowls, similar in character to last, with same marks. 
 
 4230 4232 
 
 SAKAMOTO (Case 36) 
 
 Large Soma bowls, bearing the mark Soma and crest, are attributed to Sakamoto 
 Uraejiro, who made pottery in Ohoriraura within recent years. 
 
 4233- Tea-bowl. D. 4 in. Heavy and thick. Hard fawn clay, transparent underglaze 
 exposed within, nearly black overglaze outside, with 
 roughened portions brown. Inside basal ring, light 
 maroon glaze. Disk-like ornamental devices impressed 
 around lower portion. Soma and crest (imp.). 1880 
 
 SOBIYO (Case 36) 
 
 Among the numerous potters of Ohorimura was one 
 signing his pieces Sobiyo. He was at work in 1880. 
 
 4233 
 
 4234 
 
 4234- Tea-bowl. D. 3I in. Fret impressed around rim, light gray-drab clay and glaze, 
 transparent overglaze inside. Applied horses, inside and out. Sobiyo and Sho (imp.). 1870 
 
 SHOFODO (Case 36) 
 
 A bowl made in Ohorimura bears the impressed mark Shofudo. No information is 
 at hand concerning the potter. 
 
 4235* Tea-bowl. D. 3} in. Heavy and thick. Very light fawn clay, light gray 
 glaze mottled with large dark brown spots. Inside, glassy green glaze. 
 Shofudo (imp.). 187s ^^^j 
 
 Gift of Denman W. Ross. 
 
 KONDO (Case 36) 
 
 A potter of considerable skill, named Kondo Tomisaku, made among 
 other forms pieces with perforated decoration in the shape of plum blos- 
 soms and gourds. In some of his work the clay is very fine and glaze 
 delicate. 
 
 FIRST GENERATION 
 
 4236. Cake-plate, double plum blossoms perforated on inner and outer walls. 
 D. sf in. Fine light gray clay, thick light green glaze. Moulded horse inside. 
 Soma and Zen (imp.). 1850 
 
 4236 
 
3i6 
 
 THE CATALOGUE 
 
 4^37' Large bowl, with rim in-tunied and adherent. D. 7 in. Designs of gourds per- 
 forated, and on rim modeled fungi. Fine fawn clay, grayish-green glaze, irregular narrow 
 band of maroon overglaze, mottled with light green. Inside, two horses in black. 
 
 4238. Bowl. D. 3J in. Light gray clay and glaze. Inside, glassy green glaze flecked 
 with deep maroon running over rim, horse in black. Outside, waves, lines and other designs 
 impressed and incised. 1850 
 
 4239- Double bowl, plum-blossom perforated. D. t,\ in. Fine light gray clay, lustrous 
 light gray glaze spotted with brown. Inside, green overglaze. On rim, inside and out, 
 maroon flecked with blue. Horse in olive-brown outside. 1850 
 
 4240, 424'- Tea-cups, very delicately made, 
 
 SECOND GENERATION 
 
 A cup of Soma style is identified by the mark as having been made by Kondo 
 Takakage. It is not known with certainty whether Takakage was a successor of 
 Tomisaku. The cup is included here for the present. 
 
 4242. Cup. D. 2f in. Very light fawn clay, light fawn glaze strongly mottled with /{gk 
 brown. Horse tethered to post, and crest applied outside. Horse in relief inside. &i 
 Soma (imp.). 1875 4242 
 
 SHIGA (Case 36) 
 
 A modern production of Ohorimura is made by Shiga Kinjo. The single specunen 
 in the collection shows some skill in modeling. 
 
 4243. Square cake-dish. W. sf in. Rim moulded in open basket-work. 
 Japanese yellow clay. Basket-work and outside gray glaze. Inside, unglazed, 
 touches of overglaze showing various colors. Inside, tethered horse moulded 
 and applied, glazed gray and brown. Soma (imp.). 1880 
 
 ^^ 
 
 4243 
 
 KANASHIGE (Case 36) 
 
 Bowls differing in no respect from typical Ohori Soma bear the impressed mark 
 Kanashige. These were made by Amano Kanashige, who is 
 
 4244 
 
 4247 
 
 4251 
 
 still Uving. 
 
 4244-4252. Tea-cups and tea-bowls in typical Soma style. 
 Kanashige (imp.). 1850-70 
 
 OHORI SOMA (Case 36) 
 
 Under this name are included a number of objects, many of which bear the signature 
 of Soma. Some of these objects 
 show the work of skilful artists. 
 4253~428o. Tea-bowls, tea-cups, 
 tea-pots, plates, jar, etc., after Soma 
 style, mostly signed with the impressed 
 mark Soma. 
 
 *l 
 
 4264 
 
 4281. Irregular-shaped cup. D. 3I in. Deep brown clay, dead brown underglaze, light 
 gray overglaze mottled with brown. Inside, pine disks applied. Zenshun (imp.). 1880 
 
PROVINCE OF RIKUZEN 317 
 
 4282. Jar. H. 7I in. Moulded by hand, with large tuberosities, ring handles adherent 
 Light fawn clay, dull light olive-greenish glaze mottled with brown. 
 Zenshun (imp.). 1880 
 
 These pieces are placed here doubtfully. ■ 
 
 HIRONO (Case 36) 4282 
 
 Within recent years a pottery with typical Kiyomizu glaze and decoration has been 
 made in the village of Hirono. Nothing is known about the potter, and I have grave 
 doubts about the piece being placed here, despite the testimony of a native of 
 Iwaki. 
 
 4283. Jar. H. s in. Gray-drab clay, light gray underglaze, large area of thick 
 white overglaze, upon which are splashes of thick green glaze. Circles, etc., in 
 brown. Hirono (imp.). 1880 4283 
 
 PROVINCE OF RIKUZEN 
 
 But little information is at hand regarding the pottery of this province. 
 A large square tea-pot, with thin walls and dull black glaze, comes from the 
 Ninagawa collection as having been made in Sendai in i860. A tea-jar 
 with a similar glaze is also identified as Sendai ; two bowls, one of which 
 has the same clay and glaze, are placed here provisionally, and a number of 
 gourd-shaped bottles with impressed basket-work, identical to that shown 
 on the bowls, are also grouped with them. These bottles have been identi- 
 fied as Nakamura, but I can find no record of any such pottery having been 
 made in Nakamura or Ohorimura ; so by a process of exclusion they are 
 with much misgiving grouped under this province. 
 
 SENDAI (Case 36) 
 
 4284. Large square tea-pot. Extreme height 6f in. Japanese yellow clay, dead black 
 glaze. On the four sides panels of diaper with pines and figure, moulded. Mythological ani- 
 mal rudely modeled for handle of cover. i860 
 
 4285. Tea-jar. H. 2| in. Dull black glaze covering base as well. 
 
 4286. Tea-jar. H. 2J in. Knobs around neck. Dark clay showing dull black surface 
 outside, thick bluish-black glaze, clouded. Three bands of zigzag lines incised around body. 
 
 4287. Bowl. D. 3J in. Light fawn clay. Lower two thirds strongly indented to repre- 
 sent basket-work, with thin light brown glaze ; upper third and inside, deepest brown Seto 
 glaze. 1780 
 
 4288. Tea-bowl. D. 45 in. Fine gray clay, dull brown glaze. Around rim, inside and 
 out, thick bluish overglaze. Surface marked by impressed basket pattern. 1780 
 
3i8 THE CATALOGUE 
 
 4289. Tea-bowl, similar to last. D. 4J in. Hard gray-drab clay, light brown glaze. 
 Around rim, inside and out, thick rich dark brown overglaze. 1800 
 
 4290. Bottle. H. 8| in. On shoulder a twisted band. From band to base basket-work 
 impressed. Light gray-drab clay, light brown glaze. On neck and running down on body 
 grayish overglaze clouded and iridescent. Basal ring in form of twisted band. 1800 
 
 429Z. Double gourd-shaped bottle. H. 7^ in. Basket-work of various designs. Hard 
 gray-drab clay, light yellowish-brown glaze. Upper portion thick dark brown overglaze; 
 lower portion impressed. 1835 
 
 4292. Bottle. H. 8 in. Similar to last. 
 
 4293. Bottle. H. 8i in. Similar to last. 
 
 4294. Double gourd-shaped bottle. H. ■^■^ in. Hard fawn clay, irregular splashes of 
 deepest brown and green glaze on unglazed surface. 1835 
 
 Gift of Bunkio Matsuki. 
 
 MATSUSHIMA (Case 36) 
 
 A thick yellow glazed Raku pottery has lately been made in the village of Nakakaji, 
 near SendaL This pottery is sold at Matsushima as souvenirs of that beautiful place 
 of resort. 
 
 4295. Shallow bowl. D. 5J in. Soft Raku clay. Outside, light pink Raku glaze with 
 lemon-colored areas. Inside, yellowish-white glaze with island and pine roughly sketched in 
 blue. 1890 
 
 PROVINCE OF OSUMI 
 
 Certain specimens of finely crackled white Satsuma, in some cases 
 almost crystalline in appearance, bearing evidences of considerable age, are 
 referred to Chosa, Osumi, by Japanese experts. It is recorded that at this 
 place the Korean potters who settled in Satsuma first discovered the white 
 clay, and made the white crackled faience. This was the origin of the 
 famous white Satsuma. It is said that the making of this pottery continued 
 as late as 1 789. 
 
 CHOSA (Case 38) 
 
 4296. Bowl. D. 5I in. Thick and heavy. Whitish-fawn clay and glaze, fine crystalline 
 crackle. 1630 
 
 4297* Bowl. D. 5 in. Nearly white clay, whitish-fawn glaze. Faint decoration of leaf in 
 light blue. 1650 
 
 4298. Bowl. D. 5 in. Whitish-fawn clay and glaze. Two mallets in blue. Basal ring 
 with three notches. 1680 
 
CASE 36 
 
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 siai 
 
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 S168 
 
 c5:::i9 -jiife m?3 ""i^i, UfS^pJ-s^ 
 
 «,z8b 'jzsi'" ijjg^ vzsf "i^aa «,j^<;5 vi?** '«i6i '•lao 
 
 S169 
 
 PROVINCES OF IWAKI AND RIKUZEN 
 
PROVINCE OF SATSUMA 319 
 
 PROVINCE OF SATSUMA 
 
 The name of Satsuma is widely known abroad by its peculiar crackled 
 faience decorated in vitrifiable enamels and gold. Enormous quantities of 
 this pottery have been made within the last thirty years solely for export to 
 America and Europe, and but little of it has been made in Satsuma. The 
 genuine old Satsuma, which this so-called Satsuma is supposed to resemble, 
 is only one of many distinct types known in Japan under the generic name 
 of Satsuma. The specific names known to the Japanese are descriptive, 
 such as crackled {Hibi), brocade painted {Nishikt-de), shark skin {Same), 
 Seto glaze {Seio-kusuri), tortoise-shell (Betsu-kafu\ and also names the 
 origin of which is doubtful or obscure, as Mishima and Sunkoroku. It 
 has been a matter of great perplexity to arrange these types either as to 
 potter or place of baking. The difficulty arises from the fact that the 
 same signature is often found on widely different types of Satsuma, and, 
 furthermore, that identical kinds of pottery were made in a number of dif- 
 ferent places. To add to the difficulty, the marks are not common, and 
 some of these have thus far proved absolutely undecipherable. The only 
 logical way is to arrange the pieces according to their marks when they 
 occur, though by so doing the types, as recognized by the Japanese, would 
 be thrown together. Other pieces which cannot be classified as above will 
 be recognized under their Japanese names as Mishima, Seto-kusuri, etc. 
 Satsuma is indebted to Korea for at least three distinct types of pottery. 
 Shimadzu Yoshihiro, a feudal lord of Satsuma, accompanied Hideyoshi in 
 the invasion of Korea in 1592. On his return he brought back with him 
 to Satsuma a number of skilled potters who began work near Kagoshima, 
 the capital of the province. Afterwards a few potters were sent to Chosa, 
 in Osumi, an adjacent province, at which place the first white crackled faience 
 was made. Sir Ernest Satow in his interesting article on the Korean Pot- 
 ters in Satsuma (Proceedings Asiatic Society of Japan, 1878) gives a list of 
 the names of these families. He further states that their descendants con- 
 tinue to this day as potters, and that their work is cooperative. In this list 
 the name Boku occurs, and various chroniclers record a Boku as a skilful 
 potter. Mr. Matsuki, to whom I am much indebted for various records, 
 learned that a Boku was making pottery in Satsuma in 1781. The marks 
 Ho-hei, Hd-ju, Ho-yei, etc., are found on double gourd-shaped bottles of 
 Seto glaze and Mishima, and these are probably the work of descendants 
 of the Boku family to-day. Chin, another name occurring on the list, has a 
 descendant making pottery at Ijuin, near Kagoshima. 
 
320 inis-umjiLOGUE 
 
 SATSUMA (Cases 37 and 38 and Plate XXVI. 4305, 4309, 4313, 4315) 
 
 The Japanese usually designate the tea-jars by the name of the province in which 
 they were made. The conspicuous exceptions are Karatsu, Shigaraki, Takatori, and 
 Seto. Following this practice, the general name Satsuma will be retained for the tea- 
 jars of this province. Ninagawa recognized a double gourd-shaped tea-jar as Riumonji, 
 or Tatsumonji, from the place in which it was made. This tea-jar differs in no respect 
 from the other jars except in form. The collection includes many varieties; and, 
 while their various ages may be guessed at, the place of potting cannot be determined. 
 Many of the early ones were probably made at Tsuboya. One of the types of 
 Ninagawa resembles very closely in form a jar found among ancient Chinese pieces 
 discovered in caves in Borneo, an example of which is in the Trocadero Museum in 
 Paris. The distinguishing characteristics of the Satsuma tea-jars are their olive-green 
 glaze and left-hand thread-mark. Occasionally Tamba and Takatori tea-jars resemble 
 in a way the Satsuma type. 
 
 4299. Tea-jar. H. 4 in. Fine dark gray clay, light gray underglaze mottled with brown, 
 olive-brown overglaze flecked with white. 1600 
 
 4300. Tea-jar, nearly straight sides. H. 3 in. Fine reddish-brown clay, thick brown 
 underglaze, olive-green overglaze with large fawn areas. 1600 
 
 4301. Tea-jar. H. 2\ in. Thick and solid. Fine hard brown clay, thick olive-brown 
 glaze, showing rich brown inside. Concave bottom with four circles equidistant. 1600 
 
 4302-4304. Tea-jars. 1600-1630 
 
 4305. Tea-jar. H. 3jin. Ochre clay and underglaze ; chocolate-brown overglaze with splash 
 of luminous olive-brown glaze flecked with white. Smooth bottom, spur-mark annular. 1630 
 
 4306-4308. Tea-jars. 1630-1650 
 
 4309. Tea-jar, gourd-shaped, looped handles. H. 2\ in. Coarse buif clay, dull gray-drab 
 clay, whitish on handles and rim. Obscure thread-mark. 1665 
 
 Type Ninagawa. Part III., Fig. 26. 
 
 This is the jar that resembles in form the ancient Chinese-Borneo specimen in the 
 Trocadero Museum. 
 
 4310. Tea-jar. H. 3f in. Light reddish-brown clay, fawn underglaze, rich olive-brown 
 overglaze, strongly flecked with white with bluish tinges. 1680 
 
 4311. 4312. Tea-jars. 1680 
 4313- Tea-jar, gourd-shaped. H. 3I in. Reddish-brown clay, dark fawn underglaze, 
 lustrous olive-brown overglaze with area of light blue fleckings. 1680 
 
 Recognized by Ninagawa as Riumonji. 
 
 4314. Tea-jar. H. 3^ in. Reddish-brown clay, olive-green glaze mottled with J 
 olive-brown overglaze running. Smooth bottom. 1700 f 
 
 4315. Tea-jar. H. j,\ in. Two small knobs on shoulder. Brown clay, thick y^ 
 dull purplish-brown glaze. Strong right-hand thread-mark. 1725 ^"^ 
 
 Type Ninagawa. Part III., Fig. 27. 
 
 4316. Tea-jar. H. 2% in. Dark drab clay, dull olive-brown underglaze, glistening dark 
 brown overglaze running into rich fawn flecked with white. Ta and ? (inc.). 1730 
 4317-4325- Tea-jars. 1730-1830 
 
PROVINCE OF SATSUMA 321 
 
 TSUBOYA (Case 38 and Plate XXVI. 4332, 4336) 
 
 A form of pottery attributed to the early work of Korean potters in Tsuboya is 
 easily distinguished by the olive-green glaze and coarse reddish clay. The type of this 
 form may be seen in the large jar (Cat. No. 4326) made for brewing sake. Ninagawa 
 figures this, and states it was made by Koreans in Tsuboya. It was further recorded 
 by him that the earliest work was made of Korean earth and glazing materials. Other 
 forms having more or less resemblance to this type are grouped under the name 
 Tsuboya for convenience of designation. 
 
 4326. Jar. H. 19 in. Globular body, constricted neck, and flaring rim. Coarse reddish- 
 brown clay, thick olive-green glaze running in long streams and terminating in drops on 
 unglazed surface below. Strongly clouded. 1600 
 
 Type Ninagawa. Part III., Fig. 25. 
 
 Remarkably beautiful in form. 
 
 4327' Parching-pan. D. 7I in. Coarse brown clay, olive-brown glaze mottled. 1600 
 
 4328. Tea-jar. H. 2 in. Grayish-brown clay, olive-green glaze with large areas of 
 greenish overglaze. Bottom indented. 1600 
 
 4329- Jar, with looped handles. H. 4J in. 1600 
 
 4330' Tea-bowl. D. 5^ in. Reddish-brown clay, thick reddish-brown glaze. 1600 
 
 4332. Globular jar. H. 6 in. Light dull brown clay, clear brown glaze with delicate 
 streams of olive-fawn and darker mottling. 1630 
 
 A remarkable example. 
 
 4333- Water-jar, with flaring rim. H. 6]^ in. Thick and heavy. 1700 
 
 4334- Bowl, thick straight sides. D. 3I in. Dull brown clay, thick dull olive -brown 
 glaze with areas of lustrous dark bluish-brown, iridescent. 1700 
 
 Gift of Denman W. Ross. 
 
 4335- Jar. H. 6J in. 1780 
 
 4336- Bowl, sides compressed. D. 4 in. Dull brown clay, mottled brown underglaze 
 with areas of olive-fawn overglaze ; around rim lustrous brown glaze running, flecked with 
 white and light blue. 1780 
 
 SUNKOROKU (Case 37 and Plate XXVI. 4337, 4338) 
 
 A hard stone pottery with dull yellowish or grayish clay (that having the former 
 color being the oldest), with a peculiar archaic decoration of scrolls and diapers, rarely 
 landscapes, carefully drawn in dark brown, is known to the Japanese as Sunkoroku. 
 One piece has an undecipherable mark, another has scratched through the glaze the 
 mark Tama. The work Tokiko says that the word Sunkoroku ought to be written 
 Rosokoroku. It further adds that Sun stands for the Chinese dynasty, and Koroku 
 the name of a pottery. Whatever the origin of the style of decoration, it forms a most 
 unique type. 
 
 4337' Tea-bowl. D. s in. Yellowish-white clay and glaze. Band of spiral lines, dots 
 and zones in olive-brown. Coarsely crackled. 1630 
 
 An extremely rare object 
 
322 
 
 THE CATALOGUE 
 
 433^* Tea-pot, loops for bail. D. 3 in. Light fawn clay, warm light gray glaze. Broad 
 bands of conventional waves, cross-lines, and imbricated scrolls in dark brown. 1630 
 
 4339- Flower-vase. H. 12 in. Swelling body, long cylindrical neck, elephant ears. 
 Light brown clay, light fawn glaze. Two broad zones of diaper on neck and on body, and 
 closely encircling lines from top to bottom in brown. Slightly iridescent. Inside basal ring, 
 
 1700 
 
 transparent glaze. 
 
 4340. Flower-vase, H. 7 in. Typical Sunkoroku decoration. 
 
 4341*. BoTTLK H. 13 in. Diapers in dark brown. Tama cut through glaze. 
 
 4342. Jar. H. 65 in. Pottery cover and twisted 
 handle. Japanese yellow clay, transparent glaze. 
 Broad zones of rocks, waves, cranes, dragons, etc., in 
 olive-green. 1800 
 
 Unique form of decoration. 
 
 4343- Flower-vase. H. 12^ in. Lion-head knobs. 
 Light gray clay and glaze. Broad zones of diapers, 
 scrolls, bands, etc., in grayish-brown. On shoulder, 
 bands in dull blue. 1800 
 
 4344*. Square stand, sides perforated. H. 6| in. 
 W. 62 in. Imbricated scrolls on sides, diaper on upper 
 surface. Kokwa ni nen Giosotan Kiyohoku and kakihan 
 (written ; reduced one half). 1845 
 
 This object is interesting in having inscribed upon 
 it the year period and name of potter. 
 
 Gift of W. S. Bigelow. 
 
 Clove -boiler. H. gf in. Grayish -fawn clay and glaze 
 
 1780 
 1780 
 
 Light yellowish clay and glaze. Clouds, scrolls, 
 1830 
 
 4345- 
 
 brown. 
 
 4346- Tea-pot, loops for bail. D. 5 in. 
 etc., in greenish-brown. Mark unread. 
 
 4347*' 4348*' Sauce-bottle and jar. 
 
 4349- Tea-pot, loops for bail. D. 4I in. Light yellowish clay and 
 glaze. Clouds and cranes in greenish-brown. Mark unread. 1830 
 This mark is found on No. 4463, and the piece must have been 
 made by the same potter. 
 
 435''*' 435^*' Sweet sake-holder and vase. 
 
 4344 
 
 Various diapers in 
 1826 
 
 HOJU (Case 37 and Plate XXVI. 4352) 
 
 A variety of distinct types of Satsuma pottery bearing the impressed marks Hdju, 
 Hohei, Hoyei, Hoyu, and Hoko represent generations or collateral branches of a family 
 whose ancestor was one of the original Korean potters brought to Satsuma by 
 Shimadzu. The character Ho is usually read by the Japanese Yoshi. Mr. Matsuki 
 learned that Yoshi should be read Bohi. These potters were descendants of one of 
 
PROVINCE OF SATSUMA 323 
 
 the early potters named Bochu. Boku made pottery in Satsuma in 1781, his Japanese 
 name being Kawabara Chuzayemon. Sogi Gensuke of Aira Gori, Osumi, exhibited 
 at the National Exposition in Tokyo, 1885, an inkstone made by Boku in 1783. This 
 Boku was an ancestor of the exhibitor. Mr. Michitaro Hisa, who is a critical reader 
 of difficult marks, insists that the character Yoshi=Hd can in no way be read Boku. 
 For the present the mark will be read Ho, and in bringing the various forms together 
 they group themselves in various ages up to the present time. The pottery bearing 
 the mark Hojii is by far the most perfect as well as the most diversified. It includes 
 the earliest forms of the various pieces bearing Ho as the first character. A few 
 pieces without signature are placed here provisionally. 
 
 4352- Tea-bowl, sides indented. D. 4 in. Thick and heavy. Brown clay, brown under- 
 glaze strongly mottled with darker brown. Thick splash of grayish-brown glaze, over which 
 are irregular splashes of thick white glaze, upon which are waves in blue and flying cranes 
 in dark brown. Inside, grayish-white glaze coarsely crackled. 1780 
 
 The box containing this specimen was marked " jar-shaped bowl." It is a unique and 
 beautiful object. 
 
 4353" Gourd-shaped bottle. H. s| in. Fine drab clay, grayish-drab glaze. Grapevine 
 roughly incised in white Mishima. 1780 
 
 4354. Gourd-shaped bottle. H. 4I in. Light brown clay. Simple flowers and twigs 
 roughly incised in white Mishima. 1780 
 
 These two forms are exceedingly rare from the fact that the decoration is incised and not 
 impressed. 
 
 4355- Incense-burner. D. 5 in. Reddish-brown clay, greenish-gray glaze. Bands of 
 flowers, circles, etc., impressed, white Mishima. Three legs. Hdju (imp.). ^.^ 
 
 4356. Wine-bottle, gourd-shaped. H. 6J in. Gray-drab clay, grayish- \« lai 
 drab glaze. Bamboo in thick white slip. Rare form of decoration. ^3r 
 ^■«(imp.). 1780 43SS 4356 
 
 4357. Plate. D. 6i in. Reddish-brown clay, dark gray glaze. Inside, three cranes 
 flying and standing, in white slip. Bills and legs in blue. 1780 
 
 Gift of Denman W. Ross. 
 
 4358. Wine-bottle, gourd-shaped. H. 7 in. Brown clay, rich reddish-brown glaze, finely 
 mottled with darker brown, areas of dark brown glaze mottled with blue. Iridescent. 1780 
 
 4359- FiRE-VESSEL. H. 3i in. Clay and glaze similar to last. 
 Hdju (imp.). 1800 
 
 4360. Squat jar. H. 4I in. Light reddish clay, dull underglaze, 
 thick yellowish-white overglaze, through which decoration of bamboo is 
 incised exposing dark clay beneath. Hdju (imp.). 1800 
 
 Unique form of decoration. 
 
 4361*. Wine-bottle, gourd-shaped. H. 7^ in. Hdju (imp.). 1800 
 

 324 THE CATALOGUE 
 
 HOHEI (Case 37 and Plate XXVI. 4364) 
 
 Pieces bearing this mark stand next in character as well as in age. They probably 
 date from 18 10 to 1820. 
 
 4362. Wine-bottle, gourd-shaped. H. 6| in. Reddish-brown clay, greenish-gray glaze. 
 Bands of circles, flowers, lines, etc., white Mishima. Hohei (imp.). 1820 
 
 43^3- Jar. H. 4J in. Reddish-brown clay and glaze finely mottled. 
 Hohei (imp.). 1820 
 
 4364. WiNE-BOTTLE, gourd-shaped. H. 5 in. Gray-drab clay, light 
 
 brown glaze, lustrous areas of dark brown glaze mottled with blue. 4362 4363 
 
 Hohei (imp.). 1820 
 
 4365' Wine-bottle, gourd-shaped. H. 8| in. Gray-drab clay, reddish-brown glaze finely 
 mottled, irregular splashes of lustrous dark brown overglaze mottled with light blue and 
 fawn. Hohei (imp.). 1820 
 
 43SS' Wine-bottle, gourd-shaped. H. 7I in. Similar to last. /^/4« (imp.). 1820 
 
 HOYEI (Case 37 and Plate XXVII. 4368) 
 
 It is said that Hoyei studied the potter's art in Chikugo, Chikuzen, Kyoto, and 
 Owari. In Owari he learned to make Ofuke pottery, and two pieces variously identi- 
 fied as Satsuma and Ofuke may have been made by HoyeL 
 
 4367* Jar. H. %\ in. Gray-drab clay, coarsely granulated gray-drab glaze. Hoyei (imp.). 
 
 1820 
 4368. Wine-bottle, gourd-shaped. H. 7I in. Light reddish-drab 
 clay, gray glaze. Bands of flowers, circles, lines, dots, etc., white Mi- 
 shima. Hoyei (imp.). 1820 
 
 43^9- Bottle, gourd-shaped. H. 5^ in. Looped handle, long slender 
 
 nozzle. Fine reddish-brown clay, greenish-gray glaze. Cross-lines, 
 
 bands, flowers, etc., impressed and incised. Hoyei (imp.). 1830 4367 4368 
 
 437^" JaR- H. 4^ in. Similar to last. Hoyei (imp.). 1830 
 
 437^* Single flower-holder, gourd-shaped. H. 34 in. Circular perforation on side. 
 
 Fine reddish clay, fine reddish-brown glaze. Upper portion dark lustrous olive-brown 
 
 glaze, flecked with blue. Hoyei (imp.). 1830 Tr* 
 
 4372- Box, in form of drum resting on end. D. 3^ in. Dark drab clay, body dark ^|J 
 drab glaze, upper and lower portion yellowish-fawn glaze. Wood-graining on side in ^*» 
 yellowish-fawn. Moulded cock on cover, brown glaze. Hoyei (imp.). 1840 '♦S?' 
 
 4373- Water-holder, in form of tea-pot. D. i| in. Dark gray-drab clay, reddish-brown 
 glaze mottled, splash of lustrous olive-brown glaze mottled with blue. 1840 
 
 4374- JaR- H. 4I in. Similar to last. Hoyei (imp.). 1840 
 437^' Large bowl. D. 7I in. Brown clay, grayish-blue glaze clouded with brown. Panels 
 of flowers and lattice-work alternating in dark brown. 1840 
 4377' Water-jar. H. 6J in. Lion-head knobs. Brown clay, thick light blue glaze. 
 Panels of flowers, latticework, band of fret, etc., in brown. 1840 
 
 
PROVINCE OF SATSUMA 
 
 3!»S 
 
 4378- Flower-vase, looped handles. H. 9 in. Brown clay, brown underglaze mottled 
 with olive-green ; thick blackish-olive overglaze strongly mottled with light fawn running. 
 
 1840 
 HOyO (Case 37) 
 
 Pottery marked Hoyu was made in Tatsumonji within fifty years. It is inferior in 
 every way to the work of Hoyei. 
 
 4379' Bottle, globular. H. 6 in. Brown clay, reddish-brown glaze mottled, splash of 
 
 lustrous olive-brown overglaze, mottled with blue and white. 
 
 Hoyu (imp.). (A double impression, one being upside-down.) 1840 
 
 43S0. Wine-holder. H. 65 in. Bail and nozzle. Gray-drab clay, 
 lustrous, deep, reddish-brown glaze, with streaks of golden-brown and 
 light blue. Tatsumonji Hoyu (imp.). 1840 4379 4380 
 
 fl 
 
 HOKO (Case 37) 
 
 This mark, usually read Yoshimitsu, is found on widely differing types of Satsuma. 
 
 4381*. Shallow bowl. D. 5 in. Reddish-brown clay and glaze, lustrous dark brown 
 
 Hoko (imp.). 
 i860 
 
 
 4381 
 
 4383 
 
 glaze strongly flecked with light blue and fawn. 
 
 4382*. Wine-bottle, similar in clay and glaze to last. 
 Hoko (imp.). i860 
 
 43^3- Tea-bowl. D. 3!^ in. Drab clay, white glaze with 
 light bluish shading, brilliant crackle. Waves in purple and 
 light blue. Strong finger impressions on surface. 
 Hoko set in (imp.). i860 
 
 43^4' Box. D. 6J in. Moulded in form of trunk of tree, pine cones for handle and sup- 
 ports. Light clay, surface stained a dead brown. On bottom, thick white glaze coarsely 
 crackled and separating. Inside, thick bright mustard-yellow glaze finely crackled. 
 Hoko sei in (imp.). i860 
 
 SETO-KUSURI (Seto glaze) (Case 37) 
 
 This name is applied to those forms having a rich reddish-brown glaze with running 
 blue splashes. The glaze has no resemblance to Seto glaze, yet the pottery is known 
 to the Japanese by this name. The pottery, usually in the 
 shape of double gourd-shaped wine-bottles, is distinctly typical. 
 The rich, deep splashes of liquid-blue on the fine reddish 
 ground are very beautiful. Pieces of this nature, when not 
 otherwise determined, will be here included. 
 
 4385** Tea-bowl. D. 4^ in. Reddish-brown clay and glaze, 
 areas of lustrous glaze flecked with blue. RyUho impressed on side. 
 
 Recent 
 
 4386*, 4387*. Tea-pot and jar. 
 
 1830 
 
 # 
 
 1^ 
 
 438s 
 
3*6 THE CATALOGUE 
 
 43oo- Jar. H. 21 J in. Thick and massive. Light brown clay, reddish-brown glaze, rich 
 light blue overglaze, flecked and running. Recent 
 
 Gift of W. S. Bigelow. 
 
 On top of Case 39. 
 
 43o9' Bottle, in form of egg-plant. H. 6} in. Brownish clay, purplish-brown glaze 
 clouded. Calyx outlined in white glaze. 1850 
 
 4390- Jar, depressed. H. 2f in. Fine reddish-brown clay, deepest brown glaze, almost 
 black and very lustrous. i860 
 
 These two pieces are very puzzling, and are placed here on the authority of Japanese 
 experts. 
 
 439^' Globular jar. H. 25 in. Fine reddish-brown clay, deepest brown glaze, almost 
 black, lustrous. i860 
 
 MISHIMA (Case 37 and Plate XXVII. 4395, 4399, 4404) 
 
 Under this name are included forms, not otherwise assigned, in which the design 
 is impressed, rarely incised, and filled with a white clay, sometimes on a gray glaze, 
 rarely in black on a white glaze. The designs are usually in the form of stars, circles, 
 semi-circles, conventional flowers, and bands. This form of decoration is entirely 
 Korean in origin, and in those provinces where Korean potters settled this style is 
 found. From these provinces it has spread throughout the empire. 
 
 4392. WiNE-BOTTLK H. 7^ in. Fine fawn clay, light dull grayish glaze. Zones of vertical 
 and horizontal lines combed. 1600 
 
 4393- Bottle, with nozzle. H. 4^ in. Brown clay, dark gray glaze. Cross-lines, half 
 circles, and stars. Iridescent. 1680 
 
 4394- Flower-vase. H. i i^ in. Gray-fawn clay, light gray glaze. Bands of stars, circles, 
 vertical lines, etc., finely impressed. 1730 
 
 4395- Box, hexagonal. D. 2\ in. Fine gray-drab clay and glaze. Mikado's crest and 
 radiating figures in white and black Mishima. 1750 
 
 4396. Tea-bowl. D. 4^ in. Thick and solid. Hard light brown clay, gray glaze. Bands 
 of stars, flowers, and vertical lines. 175° 
 
 4397- Covered JAR, with knobbed handle. H. 15I in. Light gray-drab clay, \ 
 transparent glaze. Bands of diaper, flowers, lines, etc. 1780 \_ 
 
 4398- Cake-plate, flaring and scalloped rim. D. 7 in. Similar to last. 1780 
 
 4399- Shallow tea-bowl. D. 5 J in. Gray-drab clay, gray glaze mottled. 
 Bands of stars and lines. 1780 
 
 Type Ninagawa. Part VII., Fig. 28. 
 
 4400- Tea-bowl. D. 4I in. Stars, vertical lines, etc. 1800 
 
 4401. Bottle. H. 8^ in. Gray-drab clay, lustrous transparent glaze, with 
 
 fawn areas. Vertical lines, bands of stars, etc. Jota kore wo seisu (inc.). 1800 
 
 ^ ' 4401 
 
 44^^- Shallow tea-bowl. D. 5I in. Mishima, white on gray. 1830 
 
 t 
 
CASE 37 
 
 til',3 'iJJS 'i3'i2 
 
 "fSVO iiSiS •«33T '.8'rS- Hilb '1317 
 
 omo (^rammnnmmm 
 
 S313 VJOt '»3/'f -.300 1,313 
 
 •iZlfr 
 
 hhlil '^^TT 
 
 'ii'i'i 
 
 S3b0 
 
 -tJ?? 
 
 ■.370 
 
 'i3<i( 
 
 <i3VV 
 
 
 PROVINCE OF SATSUMA 
 

PROVINCE OF SATSUMA 
 
 327 
 
 44^3' Clove-boiler. H. 7I in. Mishima, white on gray. 1830 
 
 4404. Tea-bowl. D. 5J in. Thick and heavy. Light fawn clay ; firm, nearly white glaze. 
 Stars, vertical lines, etc., in black. ly^o 
 
 Rare form. 
 
 44°5' Bottle, gourd-shaped. H. loj in. Thick and heavy. Fawn clay, nearly white 
 glaze. Bands of stars, flowers, scrolls, vertical lines, etc., black Mishima. 1750 
 
 4406. Wine-bottle, gourd-shaped. H. 6\ in. Thick and heavy. Light gray fawn clay, 
 white glaze. Cross-lines, stars, etc., in black. 1780 
 
 4407' Jar. H. loj in. Light fawn clay, thick white glaze minutely crackled. Encir- 
 cling lines with stars, flowers, herring-bone, etc., vertical lines in threes incised and impressed 
 in brownish-gray Mishima. 1800 
 
 On top of Case 38. 
 
 44°S- Clove-boiler. H. ioJ in. Yellowish-white clay, grayish-white glaze. Bands of 
 stars, cross-lines, vertical lines, etc., in black. 1800 
 
 4410. Deep bowl. H. 3^ in. Light fawn clay, nearly white glaze. Band of basket-work 
 near rim, and vertical interrupted lines on side in light blue Mishima. 1840 
 
 SAME (Case 37 and Plate XXVII. 4412) 
 
 A form of pottery known as Sam6, or Shark-skin, is at once recognized by its gray 
 clay and minutely granulated glaze resembling shark-skin. Similar effects of glaze 
 have been produced elsewhere in Japan, notably in Shino, Owari, where the glaze is 
 curdled in large drops close together ; in Iwaki, where the drops are large, isolated, 
 and running ; in Hizen, where the glaze is thick and deeply crackled ; and in Tamba, 
 where a resemblance is seen to Satsuma. 
 
 44^^- Bowl, sides indented. D. 4f in. Hard gray-drab clay, coarsely granulated fawn 
 glaze ; rich brown glaze inside. 1800 
 
 44^2' Bottle, gourd-shaped. H. 3! in. Gray-drab clay, coarsely granu- 
 lated gray-drab glaze. Inside neck, brown glaze. 1830 
 
 4414. Flower-vase. H. 8^ in. Recent 
 
 4415' Tea-cup. D. 2% in. Recent 
 
 4416*. Flower-vase, signed, Satsuma no Kuni Keiden set (imp.). 1888 
 
 SEIKOZAN (Case 37) 
 
 A long slender bottle-shaped vase, with shark-skin glaze, bears the impressed 
 mark Seikozan. It may have been made by a descendant or an apprentice of Gioku 
 Kozan. 
 
 44^7- Vase, bottle-shaped. H. 8| in. Gray-drab clay, olive-drab glaze, granu- 
 lated with running splashes of olive-brown overglaze. Beautifully modeled. 
 Seikozan (imp.). 1830 
 
 4418. Jar. H. 6| in. Similar to last. 1830 '''♦'^ 
 
328 
 
 THE CATALOGUE 
 
 YAMAGAWA (Case 38) 
 
 Under this name is included a hard brownish-colored pottery with dull 
 surface, of which the collection contains a number of examples. One of these 
 bears the signature Yamagawa, the name of the village where it was made. 
 
 4419- Form of split bell. L. 3I in. Gray-drab clay, dull purplish-brown 
 glaze. Yamagawa (imp.). 1650 
 
 The following are also included under Yamagawa from resemblance in 
 glaze. 
 
 4419 
 clay and 
 
 4420, 4421. Tea-jars. 
 
 4422-4425. Cup-rest, wine-bottle, bottle, and tea-jar. 
 
 1680 
 1680, 1780, 1800, and i860 
 
 IZUMI (Case 38) 
 
 In the northern part of Satsuma, in the village of Izumi, is produced a large quan- 
 tity of cheap pottery in the form of bowls and dumpy tea-pots, which find their way 
 to the Nagasaki markets. These objects have enabled me to identify the older forms, 
 which are not without merit. 
 
 44^^- Tea- JAR, gourd-shaped, looped handles. H. ij in. Dull brown clay, thick dark 
 brown glaze mottled with golden-brown. 1650 
 
 4427* Tea-jar, irregular in shape. H. 4 in. Light brick-red clay, ochre glaze, with 
 brown overglaze running. Impression of circle and line on bottom. 
 
 1700 
 
 4428. Wine-bottle, globular body. H. %\ in. Long neck with 
 bulbous expansion. Fawn clay, rich buff underglaze, irregular splash 
 of richly mottled brown overglaze on body ; deep seal-brown glaze 
 mottled with olive-green on neck. 1780 
 
 4429. Wine-bottle. Same form as last. H. 7I in. Gray-drab 
 clay, nearly black lustrous glaze. 1780 
 
 4430- Covered vessel, with handle and nozzle. H. 6 in. Ochre 
 clay and glaze, splash of greenish-fawn overglaze. 1830 
 
 443^- Hanging flower-holder. H. 6J in. 1830 
 
 4432. Jar, for birdseed. D. 2-1'^ in. Greenish-ochre clay and glaze. 
 
 4433- Shallow bowl. D. sf in. Ochre clay and glaze. 
 
 4434" Tea-pot. D. 4 J in. Coarse reddish clay and glaze. 
 
 BETSUKAFU (Case 37 and Plate XXVII. 4437) 
 
 Records state that in the early part of the century there was made at Tsuboya a 
 peculiar pottery with white clay, yellow glaze, and large irregular splashes of brown, 
 rarely green. Its fancied resemblance to tortoise-shell (Betsukafu, or Bekko as it is 
 pronounced) gave it the name. It has no special merit. Sir Ernest Satow, in his 
 
PROVINCE OF SATSUMA 329 
 
 paper on the Korean Potters in Satsuma, to which allusion has already been made, 
 learned that up to 1864 (at which date its production ceased) it was shipped in large 
 quantities to Nagasaki. Being without merit it gradually disappeared, and specimens 
 of it are rare. A harder form of this pottery was made in the last century. 
 
 4435- Bowl, octagonal. D. 4f in. Hard, nearly white clay, deep yellow glaze with large 
 irregular splashes of dark brown glaze finely crackled. Inside basal ring thick white glaze. 
 
 1700 
 443^' Bowl. D. 3I in. Yellowish-white clay, light golden-brown glaze with irregular 
 splashes of dark brown and light green glaze. Inside basal ring thick white glaze coarsely 
 crackled. 1820 
 
 4437- Bowl. D. 3I in. Nearly white clay, bright yellow glaze with irregular splashes of 
 seal-brown and light bluish glaze. Inside basal ring white glaze. 1840 
 
 Satsuma and Kawauchi (written). 
 
 443^- Tea-pot, rectangular, corners fluted. L. 4J in. Soft fawn 
 clay, deep seal-brown glaze with splashes of greenish-yellow. 
 Gengo (imp.). 1840 
 
 4439- Tea-cup. D. i \^ in. Yellowish-white clay and glaze, ver- 
 tical splashes of golden-brown overglaze inside and out. 1840 
 
 WHITE SATSUMA (Case 38 and Plate XXVII. 4442, 4452, 4453, 4457, 4489) 
 
 Under this name, for want of a better term, may be considered all forms of white 
 Satsuma faience, whether decorated or not. The undecorated forms vary much in 
 their quality, the older pieces being always more evenly and finely crackled. The 
 earliest forms are referred to Chosa, Osumi, and these have an almost crystalline 
 appearance, so peculiarly fine and brilliant does the crackle appear. 
 
 The brocade-decorated pieces of Nishiki-de of the earliest period are also finely and 
 evenly crackled. The date for these is usually placed at 1790 or thereabouts. The 
 work Toki Shoshi records Kono Senyemon as making Nishiki-de in 1764-71. Besides 
 these floral decorated ones in vitrifiable enamels there are many other varieties, some 
 decorated in blue, others with sketchy landscapes in bluish-black, and others still with 
 scrolls or diapers in brown, suggesting Shino. Variations in clays and glazes appear, 
 the purple-glazed forms being the rarest. Marks are extremely rare. 
 
 WHITE SATSUMA (undecorated) 
 
 4440. Bowl. D. 3I in. Whitish clay and glaze, dull crackle. Obscure mark in square 
 panel, impressed. i7S° 
 
 4442. Incense-burner, with silver cover. H. 5^ in. Moulded in form of lotus flower. 
 Petals on side in high relief. Light stained ivory-colored glaze with finest of brilliant crackle. 
 Two irregular areas of lacquer with gold, filling imperfections of glaze. 
 
 An exquisite piece of early Satsuma. 
 Gift of Denman W. Ross. 
 
 4443. Bottle. H. 2} in. Yellowish-white clay and glaze strongly crackled. 1800 
 
I 
 
 330 THE CATALOGUE 
 
 4444- Tea-pot. D. 2i in. Loops for bail. Nearly white clay and glaze. 1840 
 
 4445- Shallow bowl. D. 6J in. Subsequent decoration of fishes and water plants in 
 green, black, red, and gold. 1840 
 
 4446. Wine-bottle, with pottery stopper. H. 6} in. 1840 
 
 4447- Bowl. D. 4 in. Yellowish-white clay and glaze. 1850 
 
 4448. Tea-pot. D. 3I in. Loops for bail. Yellowish-white clay and glaze, strongly 
 crackled. 1855 
 
 4449. Cake-dish, fan-shaped. L. 8J in. Whitish clay and glaze with grayish clouding. 
 Gift of A. D. Weld French. i860 
 
 445^* Set of three shallow wine-cups. Largest, d. 3^ in. Yellowish-white clay and 
 glaze, coarsely crackled. Rims gilded. 1870 
 
 445^' Flower-vase. H. 4^ in. Interesting only as illustrating the deterioration which 
 has taken place in the tempering and manipulation of Satsuma clays. 1878 
 
 WHITE SATSUMA. NISHIKI-DE (brocade-painted) 
 
 The pottery most prized by the foreign collector is "Old Satsuma." This name, 
 however, is restricted to white crackled faVence decorated in colored enamels and gold. 
 Genuine pieces made by the Japanese in accordance with the taste of the Japanese, 
 and for use by the Japanese, are objects of extreme rarity. The pottery known as 
 Satsuma abroad has been made within the last twenty-five years solely for export. 
 Many of the early pieces of this export pottery were, indeed, marvels of the decorator's 
 art, but for all that do not in any way represent true Satsuma. I have dealt elsewhere 
 with this question, and would refer readers of this catalogue to my article, entitled " Old 
 Satsuma," in Harper s Magazine, September, 1888. 
 
 445^- Incense-burner, square, corners beveled. H. zf in. Moulded fret-work, four 
 small supports. Chalky, yellowish-white clay, thin yellowish-white glaze, microscopic crackle. 
 Over-decoration of flowers in green, white, purple, and red. Red fret about rim. 1764-71 
 Ninagawa figures in an unpublished plate the mate to this, which has a perforated cover, 
 but the legs are broken away. This was believed by experts in Japan to be the earliest 
 decorated Satsuma. The glaze and clay are so unlike the early decorated Satsuma that I 
 am inclined to place it as the work of Kono Senyemon. The work Toki Shoshi records that 
 a potter of the above name made brocade-painted pottery in 1764-71. 
 
 4453* Shallow bowl. D. 5I in. Nearly white clay and glaze finely crackled. Mass of 
 flowers in blue and green enamels with red and gold, outlined in black, delicately drawn. 
 
 1800 
 4454- Hand-warmer, form of tossing ball. L. 6f in. Light gray-drab clay, cream-white 
 glaze. Flowers and leaves in light red and yellow, outlined in black. 1800 
 
 4455' Brush-holder, square, beveled corners, edges and rim in relief. H. sJ in. Thick 
 and heavy. Nearly white clay, fine white glaze coarsely crackled. Corners, base, and rim 
 with diaper in red and green. Panels with flowers, birds, stand, etc., in green and blue 
 enamels, and red, brown, and gold, outlined in black. 1800 
 
t 
 
 PROVINCE OF SATSUMA 331 
 
 445^- Deep bowl, vertical sides. D. 3I in. Nearly white clay, compact white glaze. 
 Chrysanthemums and leaves in blue, green, and pink enamels, and red and gold outlined in 
 black. Inside rim, ornamental band in green enamel and red. Small basal ring. 1810 
 
 4457* Bowl, hexagonal, flaring. D. 5 in. Very light fawn clay, rich light fawn glaze. 
 Ornamental border, above and below, in green enamel outlined in black with red and gold. 
 Masses of pinks in green and blue enamel outlined in black with red and gold. 1815 
 
 Type Ninagawa. Part VII., Fig. 29. 
 
 445^- Spoon-shaped dish, in form of mythological bird. L. 2J in. Nearly white clay and 
 glaze. Feathers shaded in rich blue enamels with red and gold. Arrow-shaped mark 
 painted on bottom. 1820 
 
 4459- Bowl. D. 4f in. Nearly white clay and glaze. Gilt rim, radiating scrolls 
 
 in red, green, black, and gold. 1820 „ 
 
 445° 
 
 4460. Bottle. H. 8^ in. Floral decoration, etc. 1820 
 
 4461. Vase. H. 8 in. Nearly white clay, yellowish-white glaze finely crackled. Over 
 decoration of mountain scenery, trees, etc., in black and gray. 1830 
 
 4462- Tea-cup. D. 2% in. Nearly white clay, cream-white glaze. Cherry blossoms in 
 white slip touched with pink and gold ; light red leaves. Gioku Ho set (written). 
 The work of Gioku Hozan. 1840 
 
 44^3- Screen-holder. L. 4J in. Light gray-drab clay, grayish-white glaze coarsely 
 crackled. The seven jewels in dark blue, light green, and red enamels. Obscure 
 mark in square panel, impressed. (See No. 4349.) 1850 4462 
 
 4464- Candlestick. H. 13 | in. Yellowish-white clay and glaze. Oblique sinuous bands 
 of lattice-work, diaper, conventional flowers, etc., in light pink, blue, and green enamels out- 
 lined in black and gold. 1850 
 
 4465. Bowl. D. 4 in. Rich decoration of flowers in colored enamels. 1850 
 
 44^^- Incense-box. D. 2^ in. White clay and glaze. Ornamental band around shoulder 
 of dark blue enamel outlined in gold. 1850 
 
 44^7- Bowl. D. 4 in. Yellowish-white clay and glaze. Bamboo, pine, and plum outlined 
 in gold. 1850 
 
 44^°- Tea-pot. D. 4^^ in. Nearly white clay and glaze. Spray of plum in blue and green 
 enamels outlined in black and touched with red. Ornamental band in green enamel outlined 
 in black with red flowers on shoulder and on cover. 1850 
 
 4469. Globular jar. H. 2\ in. Yellowish-white clay and glaze. Pinks in green, red, 
 gold, and black. 1850 
 
 447''- Rectangular TRAY. L. s| in. Nearly white clay and glaze. Inside and outside, 
 formal scrolls and flowers in green enamel with red and gold. On rim, ornamental border in 
 blue enamel with red and gold. 1850 
 
 447^~4477- Tea-pots, cup, bowl, etc. White Satsuma decorated in colors. 1860-1878 
 
 4478. Incense-burner. H. ^\ in. Scroll handles. Three legs. Fine light Satsuma clay 
 
 and glaze minutely crackled. Satsuma Tateno Bunsei san nen ni gatsu futsuka (written in blue). 
 
 Gift of W. S. Bigelow. 1820 
 
33a THE CATALOGUE 
 
 WHITE SATSUMA (blue decoration) 
 
 4479> Tea-pot. D. 3J in. Thin walls. Yellowish-white clay, white glaze closely covered 
 with minute pectinated scrolls in dark blue. 1800 
 
 A rojnarkable example of decoration. 
 
 4480. Flower-vase, oviform. H. loj in. Thick and heavy. Light Satsuma clay and 
 glaze. Outside, covered with deepest brown overglaze running in broad streams below. 
 
 Gift of W. S. Bigelow. 1850 
 
 4481- Box, form of ceremonial hat worn by highest officials. W. across wings, izf in. 
 Grayish-white clay and glaze finely crackled. Over-decoration of dragons in panels in light 
 blue. Wings shaded with cross-lines in light blue. 1800 
 
 4483. Plate. D. 8| in. Yellowish-white clay and glaze. Inside, curious scroll decora- 
 tion in black. 1830 
 
 4485. Wine-cup. D. 2^^ in. Very light fawn clay, nearly white glaze coarsely ^^i/ 
 crackled. Curious leaf -decoration outlined in blue. 1830 4485 
 
 Undecipherable mark in blue. 
 
 It is said that this mark was used as a common signature by all the potters employed by 
 Lord Shimadzu. 
 
 4486. Bowl. D. 4 in. Walls thin and delicate. Finest light clay, elaborate 
 underglaze decoration. Outside, formal waves in light blue, bordered with black, 
 fishes in brown, blue, and red. At base, broad band of red with scrolls and 
 conventional flowers. On base, circles of red and blue alternating. Inside, three 
 panels of landscapes on ground of waves. Just below border, inside, ornamental 
 band of red with cherry blossoms and diaper in fine brown lines. In bottom, 4486 
 three-petaled design in red and blue. Hayashi and leaf in blue. 1840 
 
 This piece has also been assigned — and with good reason — to Kyoto. An exceedingly 
 unique form. 
 
 Gift of W. S. Bigelow. 
 
 44^7* Shallow bowl, wavy rim. D. 5 in. Nearly white clay, glaze 
 coarsely crackled. Landscape strongly drawn in blue. 1830 
 
 4488. Tea-pot. D. 3J in. Loops for bail. Light fawn clay, yellowish- 
 white glaze. Landscape in grayish-blue. 1840 
 
 4489- Tea-pot, similar to last. D. 2J in. Jewels in grayish-blue. 1840 
 
 449^- Water-holder, nearly square. W. 5 in. Yellowish-white clay and // 
 
 glaze finely crackled. Landscape on side and top in bluish-black. 
 
 Tempo Ju-ni-nen ushi ku gatsu kichi nichi Taizan (inc.). 1841 
 
 )\ 
 
 %'* 
 
 WHITE SATSUMA (brown decoration) ^4/ ^ 
 
 449^- Tea-pot. D. 4J in. Supports for bail handle. Light fawn clay, 
 yellowish-white glaze. Various seals in light brown and black. 1840 
 
 449<2- Shallow bowl. D. 5^ in. Yellowish-white clay and glaze. Rough decoration 
 of diaper, dragon, etc., in brown. 1840 
 
\- ' - -^ V 
 
 Of '"HE 
 
 VJNlVt. SITY 
 
 ) 
 
 PROVINCE OF SATSUMA 
 
 335 
 
 4493- Bowl. D. 3J in. Yellowish-white clay and glaze. Rough decoration in dark 
 brown and reddish-brown. Resembles Shino. 1850 
 
 4494- Wine-bottle, with tubular perforation through body 
 and wistaria twig handle. H. 6J in. Yellowish-white clay and 
 glaze. Rough decoration in brown. Okina in leaf (written). 
 
 1830 
 WHITE SATSUMA (purple glaze) 
 
 4495- Incense- BOX (badger). H. 3 in. Yellowish-white clay. 
 Inside, yellowish-white glaze. Outside, dull purple glaze mi- 
 nutely pitted. Unique form. 1780 
 
 TACHINO (Case 38) 
 
 Potters from Fukurosa came to Tachino in the. early 
 part of the seventeenth century. In 1830, or thereabouts, 
 the white pottery began to be decorated, and this was signed with a written mark, 
 Satsu sei (Ninagawa MSS.). 
 
 4496' Covered bowl. D. 4J in. Yellowish-white clay and glaze finely crackled. 3»y 
 Landscape in bluish-green. Satsu sei (written). 1830 
 
 4494 
 
 *|J 
 
 SESHIMA (Case 38) 
 
 At Tana-Ura a potter by the name of Seshima Kumasuke has, within ^^ 
 recent years, made an enormous amount of decorated Satsuma for the 
 foreign market. A little cup in the collection, and possibly two others, which are 
 here catalogued, were made for native use. 
 
 4497- Wine-cup, polygonal sides. D. 2% in. Cream-white clay and glaze 
 plum tree and bird. Seshima sei (written). i860 
 
 4498*. Incense-stick burner (?) Satsuma Seshima sei (imp.). 
 
 Inside, 
 
 1880 
 
 Gift of Arthur French. 
 
 4499- Beaker. D. 3 in. White clay and glaze. Monkey and plum 
 blossoms modeled and applied. Satsuma Seshima sei (imp.). 1880 
 
 Gift of Arthur French. 
 
 4497 4499 
 
 YAMAHARA (Case 38) 
 
 A shallow bowl in the collection bears the sharply impressed mark Yamahara. 
 No information is at hand regarding the potter, though the piece has been repeatedly 
 identified as Satsuma by old Japanese experts. 
 
 4500. Shallow bowl. D. 5J in. Very fine light fawn clay, light fawn glaze >{4^ 
 finely crackled. Inside, rough landscape in dark gray. 1780 ^^^ 
 
 Yamahara tsukuru (imp.). ^^ 
 
334 THE CATALOGUE 
 
 NAYESHIWOGAWA (Case 38) 
 
 Under this name may be included the pottery bearing the mark Naye, which is 
 said to have been a common signature for the potters of Nayeshiwo- 
 gawa one hundred and fifty years ago. The mark is extremely rare. 
 
 4501. Tea-jar. H. 2| in. Light buff clay, golden-brown Raku glaze, 
 coarsely mottled with olive-green and reddish-brown. Naye (imp.). 1740 
 
 4501 
 
 The following provinces are of minor importance ; some of them are 
 represented in the collection by a single object. With few exceptions the 
 pottery has but little merit, and for want of room they are not placed on 
 exhibition. 
 
 PROVINCE OF IWASHIRO 
 
 There is little of interest in this province for the student of Japanese 
 pottery. Various kinds of stone pottery and porcelain have been made for 
 a number of years in Hongo, and in a commercial way the work has been 
 a success, much of it being sold in the Tokyo market. For the collector, 
 however, nothing of interest is found. Even the soft pottery, with one 
 exception, has little merit. 
 
 AIDSU 
 
 4502 . Bowl. D. 54 in. Hard brown clay, grayish glaze with dark crackle. 1680 
 
 This piece was brought from Hongo by Mr. H. Takamine as being the earliest Aidsu. 
 It bears some resemblance to Hagi. 
 
 4503~45''^*' FooD-BOWLS. Hard gray clay, firm light glaze, ringing. 1850 
 
 4507*' FooD-BOWL. D. 5 in. Light gray clay, dark brown glaze mottled. 1858 
 
 4508 . Incensk-box. D. 2^ in. Light buff clay, yellowish glaze. The seven jewels in 
 blue, green, and yellow enamels, and brown and red. Ninsei (imp.). 1878 
 
 A rough piece of work. 
 
 45*^9 • Jar. H. 6| in. Brick-red clay coarsely granulated, dark drab underglaze, splash 
 of thick white granulated overglaze running in slender streams from shoulder. 1880 
 
 kozan i;s 
 
 4510*. Incense-box (tea-mill). D. z-^^ in. Light gray clay, reddish transparent 
 glaze, punctured. Meiji ju-san-tien Koshin gatsu Iwashiro Hongo Tokoshi Onodera. 
 Kazan tsukuru (inc.). 1880 45'° 
 
 % 
 
CASE 38 
 
 ^rVV* 
 
 'iSfa'i 
 
 'ib"OI •t'i'io 
 
 ',>iial V/tO ','tSo 
 
 
 .^> 
 
 v^-1^^ r-^. vw;^c^^/G:^ 
 
 IHS^ 
 
 •"■its- <|',70 VVTS '•'•IS ','tb-y SSIZ "r"!?*- 'i'ii!>' '•'•S6 '<*'i>7 VrSi" 'r't ST 
 
 •l-rVS 
 
 VjlV 
 
 ^^WW"wn^ ■..-00 '--■ 
 
 
 S — r^ V'j'r'jj 
 
 .— / v?^ 
 
 \ 7y . 
 
 i27 
 
 O-'-^?...'--^^ 
 
 ^'•'•X 
 
 G^'<i"? i'7'rvr67~7'iit2^ v'.tA /T\ r^^' 
 
 V ^y V^ ^ ^^ Gy i^ 
 
 •.llls 
 
 '«'«78 
 
 fjiiST '»'r53 ■ '•S68 SS7/ 
 
 Ooooh 
 
 'jijZ? 'r'«l& IHil HHlb 
 
 Hhn 
 
 HhU '<sio ivtr ^Ul I'll! 'rSl'j •f'fl'J 
 
 "i^O*! i,3iz 4307 'tSOi 'ttl'i "iSia 
 
 PROVINCES OF SATSUMA AND OSUMI 
 
O? THE 
 
 UNiVtKSlTY 
 
PROVINCE OF IWASHIRO 335 
 
 NIHON MATSU (imitation of Banko pottery) 
 
 451 1*. Tea-pot. D. 3 in. Gray-drab clay, unglazed surface roughened by lines of cord 
 impressions. Formal clouds and chrysanthemums in blue, green, and 
 white slip, with yellow and pink. Sosho-Unke (imp.). 1880 
 
 4512*. Wine-bottle. H. 6^ in. Looped handle. Unglazed sur- Vv^^^V •ii^ 
 
 face roughened. Bamboo and plum blossom in white tinged with 
 
 pink and green. Sosho (imp.). 1880 45" 45'^ 
 
 45^3*- Tea-pot. D. 2| in. Gray-drab clay unglazed. Basket impression. Flowers 
 and leaves in white, pink, and green. Perforated design of plum blossoms on handle. 
 Unsigned. 1880 
 
 45^4** Tea-pot. Ti. 2,\ in. Dark gray clay, unglazed. Basket im- 
 pression. Peony in green, white, and pink. Shingetsu ken (imp.). 1880 
 
 45^5*' Brush-holder. H. 4 in. Brownish-gray clay unglazed. 
 
 Flowers and leaves most skilfully modeled and applied. Ornamental 
 
 border impressed about rim. 
 
 Banko and Shosendo Giokurin tsukuru (imp.). 1880 4514 45' S 
 
 KOGAI 
 
 4516*. Cup. D. 3J in. White clay, greenish-white glaze. Finger-mark impressions and 
 scratches. 1878 
 
 ISAKA 
 
 45^7 • Deep cup. D. 3 in. Coarse buff clay, thick bluish-gray glaze clouded. Flowers 
 roughly incised. 1880 
 
 ADACHI 
 
 45^8 • Incense-box, hat-shaped. D. 3J in. Light yellowish-buff clay and glaze. Plum 
 blossoms in blue and white. 1855 
 
 FUKUSHIMA 
 
 45^9 • Cake-dish (Haliotis). L. 7^ in. Soft reddish clay, thick white glaze, dark 
 crackle. Figures in various colors inside. 1880 
 
 4520*. Cake-dish. D. 6J in. Scalloped edge. Buff clay, white glaze coarsely crackled. 
 Inside, chrysanthemums in various colors. 1880 
 
336 THE CATALOGUE 
 
 PROVINCE OF BINGO 
 
 The pottery of this province at present consists of utensils for domestic 
 use. In the village of Tomotsu small pieces for common use are made. 
 These have the merit of being cheap and serviceable. 
 
 TOMOTSU 
 
 4521*. Flower-vase. H. 5 in. Light reddish clay, green glaze closely mottled with light 
 fawn. 1880 
 
 4522*. Covered bowl. D. 4^« in. Coarse lightest red clay, thick dull light gray glaze 
 coarsely and irregularly pitted. 1880 
 
 4523*. Sauce-dish. L. 4} in. Reddish clay, outside unglazed. Fret impressed about 
 rim. Inside, dull grayish-white glaze. 1880 
 
 PROVINCE OF UGO 
 
 There are no records available concerning the pottery of this province. 
 In the town of Akita there was at one time produced a decorated pottery, 
 as is attested by a single specimen in the collection. 
 
 AKITA I ^A^l 
 
 4524*. Furnace for tea-pot, in two parts. H. 4f in. Grayish-drab clay, \^0/ 
 thin yellowish-white glaze finely crackled in portions. Over-decoration of bird ^ ^ 
 and flowers in various colors. Akita (imp.). 1830 4524 
 
 PROVINCE OF HOKI 
 
 In 1825 the governor of Hoki built an oven in his castle grounds and 
 made small pieces of pottery, such as incense-boxes and the like. 
 
 4525 • Box (peach). L. 3 in. Soft grayish-white clay, yellowish-white glaze clouded with 
 pink ; leaves glazed green. On the box containing this specimen was written Hoki no Kami. 
 
 1825 
 
 PROVINCE OF KAWACHI 
 
 The two specimens attributed to Mii show the work of a skilful potter. 
 No mark occurs, and nothing is known about the potter. 
 
PROVINCE OF MIKAWA 337 
 
 4526*. Flower-vase. H. 64 in. Buff clay, grayish underglaze, thick white overglaze 
 coarsely crackled. 1875 
 
 4527*' Tea-pot. D. 3 J in. Buff clay, transparent underglaze. Around rim band of thick 
 white overglaze. Bamboo in black. 1877 
 
 PROVINCE OF TAJIMA 
 
 Idsushi has become known within recent years by its porcelain. Of 
 special excellence are the thin egg-shell porcelain and heavier white porce- 
 lain with delicately wrought flowers, either in sprays in slight relief, or 
 modeled in high relief and protected in deeply recessed panels. The 
 collection does not contain a single specimen of soft or hard pottery from 
 this province. 
 
 IDSUSHI 
 
 4528*. Flower-vase. H. 6| in. White porcelain clay and glaze. Plum blossoms beauti- 
 fully modeled. Ei-shin-sha (written). 1879 
 
 PROVINCE OF MIKAWA 
 
 Pottery was made in this province at an early date. Little plates for 
 offering, supposed to be nearly nine hundred years old, are dug up on the 
 sites of ancient ovens. Wagen (Zengoro) made pottery for a while in Oka- 
 zaki. In 1880 tea-pots and other utensils were made. No records are at 
 hand regarding the potters. 
 
 MIKAWA 
 
 4529*. Small plate. D. 3i in. Coarse grayish-drab clay with white granules intermixed. 
 Surface slightly vitreous. 1280 
 
 This piece is similar to the ancient Shigaraki plate (see No. 623). 
 
 OKAZAKI 
 
 4530*' Flattened tea-pot, D. 4 in. Gores cut out of single sheet of clay, and folded 
 above and below to form the pentagonal body. Fine cloth-mark impression over all. Light 
 fawn clay, smooth cream - white glaze. Mythological animals, clouds, pine needles, etc., 
 in grayish-blue. Yatsuhashi tsukuru (written). i860 
 
 The piece shows dexterous manipulation. 
 
 453^*' Tea-pot. D. 2|in. Fine light buff clay, unglazed. Rude 
 flower in blue, red, and green enamels shaded with brown and 
 yellow. Moriyoshi (imp.). 1870 
 
 4532*-4534*. Tea-pots and tea-cup. (Eid, 4534.) 1880 4530 4S3> 4534 
 
338 THE CATALOGUE 
 
 KAKITSUBATA 
 
 A pottery bearing the impressed mark Kakitsiibata, and occasionally an additional 
 mark of Okunisan, has long been a puzzle to experts. Ninagawa identified a cup 
 of this pottery as Kyoto; other specimens did not confirm this identification, and 
 from the resemblance of one piece to a later Satsuma bowl, coupled with the mark 
 Okunisan (Honorable Province), the pottery was doubtfully referred to Satsuma. 
 Now Mr. Hiromichi Shugio, who had long sought for some light in regard to these 
 enigmas, has written to me from Japan that Kakitsubata was made in the province 
 of Mikawa, and not in Satsuma. He has found that the pottery was made in the 
 village of Kusumura, Mikawa, about sixty years ago. On the authority of Mr. Shugio 
 the following pieces bearing the mark Kakitsubata are included with Mikawa. 
 
 4535 • Tea-cup. D. 2 J in. Modeled by hand with strong finger-mark impressions. 
 Light reddish clay, brown glaze clouded. Kakitsubata (imp.). 1840 
 
 4530 . Tea-bowl. D. 4 J in. Reddish-brown clay, dead seal-brown glaze mottled 
 with greenish fawn, with reddish rim. Kakitsubata (imp.). 1840 
 
 4537 • Tea-bowl. D. 4I in. Modeled by hand. Dead gray-drab clay, fawn glaze with 
 bluish drops strongly crackled. Okunisan (imp.). 1840 
 
 453° • Flower-holder, in form of melon. H. 4J in. Brown clay, grayish 
 underglaze, olive-green overglaze. Kakitsubata and Okunisan (imp.). 1840 ^g 
 
 Gift of W. S. Bigelow. W 
 
 4539*- Flaring bowl. D. 7J in. Modeled by hand. Light buff clay, drab HOT 
 
 glaze with light bluish shading. Inside, spray of plum tree modeled and applied. \^' 
 Kakitsubata and Okunisan (imp.). 1840 4538 
 
 Gift of W. S. Bigelow. 
 
 PROVINCE OF TANGO 
 
 A RECTANGULAR plate, moulded after the style of Shido, Sanuki, bears a 
 raised inscription of Hashidate, Tango, etc. Nothing is known about the 
 potter or oven. 
 
 HASHIDATE 
 
 454*^ • Cake-plate. L. 9 in. Rectangular, wavy edge. Soft light fawn clay, bright green 
 
 glaze. Landscape moulded inside with dull purplish tinges and ye 'low clouds. 
 
 Hashidate, Tango, in relief inside, with poem. 1800 
 
PROVINCE OF AWA 339 
 
 PROVINCE OF MIMASAKA 
 
 In the early part of the eighteenth century potters were invited to the 
 castle of the Daimyos of this province for the purpose of making tea-utensils. 
 The tea-jars were globular in shape, square-shouldered with black glaze, and 
 are known as Ko-katatsuki. 
 
 KO-KATATSUKI 
 
 4541*. Tea-jar. H 
 
 of brighter overglaze. Wavy zone incised about body. Coarse thread-mark. 1700 
 
 4541*- Tea-jar. H. 2^^ in. Dull black clay, thin lustreless seal-brown glaze, with drops 
 
 PROVINCE OF KAI 
 
 The records are scant regarding the potters of this province. The two 
 objects are placed here on the authority of Japanese experts. 
 
 454^** Bowl. D. 4^ in. Very coarse clay, yellowish-white glaze. Large white granules 
 from which coarse cracks radiate into the glaze. 1830 
 
 MEIZAN rz— 
 
 4543 • Water- JAR. H. 6f in. Looped handles. Fine gray-drab clay, roughened \\\j 
 
 surface, brown underglaze, splash of deep blue overglaze, running. Meizan (imp.). L^ 
 
 This piece might have been made by Meizan of Kyoto. 1870 4543 
 
 PROVINCE OF AWA 
 
 No information can be obtained regarding the pottery of this province. 
 In 1879 a peculiar type of rough pottery with pine in relief, and bearing the 
 mark Togentei, was sold in the Tokyo shops. It was said to have been 
 made in Awa near by. 
 
 TOGENTEI 
 
 4544 • Bowl, for tea-rinsings. D. 5 in. Deeply scalloped edge. Hard rough 
 light brown clay, coarse brown glaze mixed with sand. Disks of pine leaves 
 moulded and applied. Unglazed. Togentei (imp.). 1880 
 
 .# 
 
 4545 • Flower-vase, cylindrical. H. 9I in. Light reddish-brown clay, rough 
 brown sanded glaze. Pine branch modeled, and pine disks moulded and applied, 
 glazed green. Unsigned. 1880 4S44 
 
 Ik. 
 
340 
 
 THE CATALOGUE 
 
 PROVINCE OF ETCHU 
 
 This province, on the western coast just north of, and contiguous to, 
 Kao-a, has Httle to show in the way of pottery. In the village of Uyefu an 
 oven was built in 1820. The clay was poor and the pottery was bad. Nina- 
 gawa records a tea-jar said to have been made in Etchu in 1701. In the 
 village of Seto a rough brown glazed pottery was made by a potter from 
 Seto, Owari. It has no mark nor merit. 
 
 SETO 
 
 4546*. Dish, crenulated rim. D. 7iin. Buff clay, deepest brown Seto glaze mottled. 1878 
 
 PROVINCE OF UZEN 
 
 The only specimen, in the collection, representing this province is a 
 bowl made to commemorate the opening of a famous tunnel near Yamagata. 
 
 YAMAGATA 
 
 4547*' Shallow bowl. D. 4f in. Light brown clay, light gray glaze, 
 brush-mark of white inside and out. Characters written in brown. 
 Yamagata ken (imp.). 1870 
 
 4547 
 
 PROVINCE OF ECHIGO 
 
 Within fifty years a pottery has been made in the town of Shibata. 
 The two specimens in the collection are tea-pots, hand-made after Banko 
 style. 
 
 SHIBATA 
 
 4548*. Tea-pot. D. 2^ in. Moulded by hand. Fine light reddish clay unglazed. 
 Handle in form of fungus. Tea-service, flowers, fruit, and poem incised. Fret im- 
 pressed around rim. Hoshina and Beikoku (imp.). 1840 
 
 4549*- Tea-pot, similar to last, with poem only incised on side. 
 
 Hoshina and Beikoku (imp.). 1840 
 
PROVINCE OF INABA 341 
 
 PROVINCE OF RIKUOKU 
 
 In 1858 an attempt was made to establish a pottery in Tsugaru, and 
 small vessels were made, among which were some good examples of glaze. 
 The pottery was known by the name of Akuto. 
 
 AKUTO 
 
 4550*' Beaker. D. 3! in. Fine gray-drab day, clear brown glaze clouded, irregular 
 splashes of light olive-green overglaze. Inside, thick white glaze running over rim. The 
 piece shows the work of a skilful potter. 1850 
 
 PROVINCE OF SHIRABESHI 
 
 In this province on the north-west coast of Yeso, there has been estab- 
 lished within recent years an oven, the products of which, judging by the 
 single example in the collection, show the work of an ingenious potter. 
 The specimen is ornamented with incised lines, the motive being taken 
 from prehistoric pottery found in the shell heaps just south of the town of 
 Otaru. 
 
 OTARU #l'J^t> 
 
 455^** Tea-pot. D. 3J in. Fine dark grayrdrab clay unglazed. Rude decora- 
 tion incised on cover. Cord-mark impression on side. 
 Hokkukai, Otaru, Honda \_Tori1'\ f« (imp.). 1886 455' 
 
 PROVINCE OF INABA 
 
 A NUMBER of specimens in the collection signed In Kyuzan (the In being 
 in a separate square) have proved veritable puzzles to the Japanese expert. 
 The objects all differ widely from one another in character. A bowl was 
 variously identified as Ohi, Suruga, and Kyoto ; another bowl resembles 
 Kitakoji pottery; a third might be mistaken for Zeze. The pieces alto- 
 gether suggest the work of a Kyoto potter. They are all designed for the 
 tea-ceremony, and may have an age of fifty years. At one time I was in- 
 clined to regard them as having been made by Kyuzan of Osaka, and I am 
 
342 THE CATALOGUE 
 
 not yet persuaded that this attribution is wrong. The /«, however, is said, 
 by those to whose authority I reluctantly yield, to stand for Inaba. I can 
 find no records of the potter or furnace, and for some years no pottery 
 of this description has been made in the province. The objects are in 
 Case 39. 
 
 KYOZAN (Case 39) 
 
 4552. Tea-bowl. D. 5J in. Dead reddish-brown clay, rich yellow-orange glaze with darker 
 areas. In Kyuzan (imp.). 
 
 4553. Tea-bowl. D. 4^ in. Coarse brownish clay, transparent glaze mot- WJ ^ 
 tied with cream-white and rich olive-brown glaze, with bluish flecks running. ^X^ ^ 
 In Kyuzan (imp.). 1X4 ^ 
 
 4554. Tea-jar. D. 3 in. Fine fawn clay tinged with red, mottled light 4552 4553 
 olive-brown glaze, cream-white overglaze on shoulder. In Kyuzan (imp.). 
 
 4555. Incense-box (rabbit). L. 2| in. Hard white clay, cream-white glaze. Eyes and 
 nose touched with blue. cd 
 In Kyuzan and Kan [?] (doubtful mark only is figured) (imp.). , ^ 
 
 455^' Rest for tea-pot cover (boy looking in well). H. \\ in. Fine «^* ^ 
 
 light reddish clay, light gray glaze closely covered with dots of white slip. ^^ 
 
 Drapery of figure, green glaze. Hat, white glaze. Clay closely resembles IsaD 
 
 Kyuzan of Settsu. In Kyuzan and Kan (imp.). 4SSS 4SS6 
 
 4557. Bowl, for rinsings. D. 5^ in. Coarse dead light brown clay, thick light greenish 
 glaze. Strong left-hand spiral on base. In Kyuzan and Anshi (imp.). «^ 
 
 4558. Tea-bowl. D. 4I in. Dark brown cla)', thick dark brown glaze punctured, jr 
 In Kyuzan and obscure mark (imp.). t^ 
 
 4559- Incense-burner. D. 4I in. Perforated silver cover. Fine light brown clay, 
 clear light olive-brown glaze, splashes of fawn glaze running. In Kyuzan (imp.). 
 
 4SS7 
 
 The objects thus far catalogued have been grouped under their respec- 
 tive provinces and potters. There are a number among these, however, 
 upon which fair doubts may be entertained, and these doubts have been 
 expressed in the catalogue. There are many other objects in the collection 
 which have not been included in the main catalogue, and these are either 
 of doubtful attribution, or enigmas which have puzzled every one. Many 
 of these were submitted to famous experts in Japan, antiquarians such as 
 Ninagawa, Maida, Kohitsu, Shioda, and others, with no success as to the 
 
OF DOUBTFUL PROVENANCE 343 
 
 provinces to which they belong. Among the unidentified pieces are many 
 made by amateur potters or Chajins, and the difficulties attending the 
 identification of this material have already been dealt with in the Introduc- 
 tion (page 5). For convenience of reference all of these pieces, doubtful and 
 unknown, are serially catalogued with those objects already described in 
 this volume. Some of these may found in Case 39. 
 
 The objects brought together to illustrate the various uses for which 
 pottery is designed are also catalogued continuously with the rest, but 
 slight allusion will be made to them further than may be found in the brief 
 notes on pp. 13-21. 
 
 OF DOUBTFUL PROVENANCE 
 
 PROVINCE OF CHIKUZEN (Case 39) 
 
 4572*. Tea-pot. D. 2f in. Fine brown clay, chocolate-brown glaze with slight lustre, 
 Kan-un (imp.). 1850 t . r\r\ 
 
 4573* Jar. H. 6| in. Light fawn clay, hard light blue glaze. Panels and i^^J-Jf'-M 
 bands of impressed circles, flowers, etc., in white Mishima. 
 
 4574. Tea-bowl. D. 4J in. Dark brown clay and glaze. Mitsuko (inc.). 4572 
 
 4575*. Shallow bowl. D. \\ in. Fine gray-drab clay, dull brown underglaze, rich 
 brown overglaze becoming nearly black inside ; area of thick gray glaze 
 inside. Sada ichi (inc.). 1850 
 
 ^1 f,^ 
 
 4S7S 4577 
 
 PROVINCE OF ECHIZEN 
 
 4577*' Tea-jar, with handle. H. 2J in. Light brown clay, dull light 
 yellow glaze. Roughly turned. Fukuyama (imp.). 
 
 PROVINCE OF HARIMA (Case 39) 
 
 4579- Hand-warmer, in form of elephant, strongly modeled. L. 14I in. Brownish clay, 
 thick dull green glaze with brownish areas. 
 
 PROVINCE OF HIGO (Case 39) 
 
 4583—4585- Incense- BURNERS. These three objects have been doubtfully 
 attributed to Yatsushiro. They have a hard reddish-brown clay, dark or light 
 gray glaze. Various designs in white and black Mishima. All unsigned. 
 
 4586. Globular bottle, with pottery cover, roughly made. H. 4^ in. Dull 
 
 fawn clay, dull olive-green glaze with areas of white. Gen (imp.). 1850 4586 
 
 # 
 
344 
 
 THE CATALOGUE 
 
 PROVINCE OF HIZEN (Case 39) 
 
 4598. Bowl. D. 5^ in. Light yellowish clay and glaze. Floral decoration in brown. 
 
 The basal ring has been carefully turned, and another ring has been applied, the joint 
 distinctly showing. 
 
 PROVINCE OF IGA 
 
 4605*. Incense-box. D. \\\ in. Soft light buff clay, 
 transparent underglaze, splash of dull greenish- 
 white overglaze. Zen kyu (imp.). 1830 
 Evidently the work of an amateur. 
 
 PROVINCE OF ISE (Case 39) ^(^^ 
 
 4616. Plate, roughly made. D. 9} in. Hard fine clay, 
 thick gray glaze with wide cracks. Over-decoration of 
 rock in blue, plum branch in dark gray, blossoms in white 
 slip. Goyo dokoro on dokishi Sawaragi Marudayu (imp.). 
 
 1870 
 
 4617 . Tea-pot. D. 3I in. Fine reddish-brown clay, 
 unglazed. Delicately modeled with 
 exceedingly thin walls. /^ 
 
 Mugan-raku (imp.). IBk) 
 
 4618*. Plate. D. zjin. Moulded. I 
 
 Blue glaze. An (imp.). 4617 
 
 4619*. Flower-vase on three short legs. H, 
 greenish-blue glaze. Kido (imp.). 
 
 % 
 
 ihn^ 
 
 I 
 
 4618 
 
 35 in. Modeled. 
 
 4616 
 Light brown clay, light 
 
 PROVINCE OF lYO 
 
 NINKEI 
 
 4621*. Sauce-dish. L. 4 in. Rough light fawn clay, transparent glaze, 
 and zigzag lines in white Mishima. Ninkei (imp.). 
 
 Recent 
 PROVINCE OF KAGA 
 
 4623*. Incense-box, turtle. L. 2| in. Light brown 
 
 clay and glaze. Kuho (imp.). 4621 
 
 4624*. Bowl. D. 5J in. Soft light salmon clay, transparent under- 
 glaze, thin white overglaze. Outside and half of inside with over- 
 decoration of leaves in olive-brown, and wavy lines in light blue. 
 Towo (written). 
 
 4626*. Bowl, irregular. D. 5^ in. Thick walls, modeled. Ohi 
 clay and glaze. Hatara (inc.). 
 
 Inside, flowers 
 
 J^ 
 
 ciay ana giaze. Jiaiara (vac). ^^ 
 
 4629*. Incense-box, bird. L. 2f in. Modeled. Green- ^^^F 
 ish-yellow glaze with brownish areas. A kakihan (imp.). 4629 
 
 %'^ 
 
 4626 
 
OF DOUBTFUL PROVENANCE 345 
 
 PROVINCE OF KII 
 
 4636 . Incense-burner. H. 2^111. Greenish-blue glaze. Landscape in black. A'a«(imp.), 
 
 PROVINCE OF MINO (Case 39) 
 
 4^39- Cylindrical flower-vase. H. 7J in. Hard light clay, finely 
 mottled brown underglaze, streams of white overglaze closely mottled with 
 fawn. Tanzan (imp.). Recent 4636 4639 
 
 PROVINCE OF MUSASHI 
 
 MAKUDSU 
 
 4640*. Heavy bowl. D. s| in. Light clay, thick white glaze. Dragon in blue inside 
 Makudsu (imp.). 
 
 Probably made by Makudsu at Yokohama. 
 
 4643*. Sauce-dish. L. 2| in. Moulded. Light brown clay, thin green 
 glaze. Inside, white, purple, and green glaze. Design of flowers and 
 leaves in high relief. Zen (imp.). 
 
 
 4645 
 
 
 KEIZAN (Case 39 and Plate XXVIII. 4645, 4646) 
 
 4645. Fire-vessel, bail handle. H. 10 J in. Light brown clay, thin ochre-colored glaze, not 
 crackled. Elaborate designs of scrolls, etc., incised. Cover, with 
 perforated designs. Aya matsu ga and Keizan (imp.). 
 
 4040. Ornamental vase, modeled after form in bronze. H. 15J in. 
 Elephant handles with rings pendent. Light olive-brown glaze, coarsely 
 crackled. Unglazed panels on sides with formal scrolls deeply cut, 
 touched with light yellow and bright blue enamels. Ornamental rim 
 and base with formal scrolls deeply cut. Ayayaki and Keizan (imp.). 
 These two pieces have been veritable puzzles to Japanese experts. 
 Under Teizan it is recorded that two princes of the Tokugawa, in the early part 
 of this century, made objects in pottery after their own fancy. This work was 
 done at the oven of Korakuyen. They signed their work Teizan and Keizan 
 respectively. The single authoritative piece from Ninagawa (No. 4071), made 
 by Teizan, is such as an amateur might make. The two doubtful pieces above 
 described bear the mark Keizan, and one of the pieces has in its ornamentation the crest of 
 the Tokugawa. With these faint clues and the evidences of fair age I venture to suggest that 
 they might have been the work of Keizan, — a strong objection against this 
 attribution being that the work is far beyond the ability of an amateur. A 
 
 PROVINCE OF OMI (Case 39) 
 
 4653 • Tea-jar. H. 3I in. Light brown clay, Seto glaze with 
 splashes of lustrous golden-brown and deepest brown overglaze. 
 Base depressed, no threadmark. Ji (inc.). 
 
 4657- Tea-pot. D. 3^ in. Modeled. Fine dark brown clay, 
 unglazed. Formal design of flowers, rock, etc., carved in relief. 
 Handle of cover carved in scrolls and perforated. Incised design 
 Shizen-an (inc.). 
 
 -ft 
 
 f 
 
 4653 4657 
 
 about rim and cover. 
 
346 
 
 THE CATALOGUE 
 
 4660. Bowl, roughly modeled. D. 4^ in. Fine white clay, glistening yellow glaze with 
 areas of rich golden-brown overglazC. Baikei Shujin kore wo tsukuru (inc.). 
 Supposed by some to be the work of Bairin. 
 
 PROVINCE OF OWARI 
 
 4667*. Tea-jar, with tea-pot nozzle. H. 2 J in. 
 Light brown clay, light brown glaze finely mot- 
 tled. Streams of dark brown overglaze running 
 from shoulder. Kanko (imp.). 
 
 4672*. Basket-shaped dish. 
 L. 6J in. Light brown clay, 
 unglazed. Surface deeply in- 
 dented to represent basket- 
 work. Baishi (imp.). Recent 
 
 4660 
 
 Dish. D. 
 
 4^ 
 
 4678* 
 
 Rings on sides adherent. Light brown clay, lustrous dark brown glaze. Yoki (imp.). 1830 
 
 4680*. Dish, lotus leaf, knobbed supports. D. 5J in. Moulded. 
 
 Hanko (imp.). 
 
 * 
 
 4678 4680 
 
 4681 
 
 4684 
 
 Light gray clay, cream-white glaze. 
 Strongly resembles Hagi. 
 
 4681*. Tea-pot, square mouth. D. 3I in. Modeled. Brown 
 clay and glaze. Sei (imp.). 
 
 Closely resembles Tokoname. 
 
 4684 . Bowl. D. 3^ in. Hard light clay, glistening brown glaze, mottled with large round 
 spots of light brown glaze. Inside, light greenish-blue glaze with spots of 
 dark brown glaze, coarsely crackled. Yoshi (imp.). 
 
 4686*. Deep bowl, sides slightly flattened. D. 6 J in. Light fawn clay, 
 transparent glaze, large splash of thick green overglaze inside and out. 
 Rough sketch of branches in brown. Utatsu (imp.). Recent 
 
 4693*. Covered bowl, deeply turned. D. 3J in. Soft salmon clay and glaze, 
 white glaze. Tanoshii (imp.). 
 
 PROVINCE OF SANUKI (Case 39) 
 
 4696. Cake-box, hexagonal. D. 7 in. Fine light salmon clay and glaze. 
 Recessed panels on sides and cover, with widely perforated designs of diapers, 
 glazed alternately blue and green. 
 
 4697*. Tea-bowl. D. 4} in. Raku clay, light red Raku glaze, with fawn 
 mottling and large areas of greenish overglaze. Ten (imp.). 
 
 PROVINCE OF SETTSU (Case 39) 
 
 4701. Bowl. D. 4 J in. Thick and heavy. Coarse fawn clay, very thick 
 rich brown underglaze, rich white overglaze mottled and streaked with brown. Keiben (imp.). 
 This mark has perplexed the readers of Chinese characters. It has been read Keishoku and 
 Yoshina. The mark turns out to be a double impression overlapping, and is now read Keiben. 
 
 4701 
 
OF DOUBTFUL PROVENANCE 
 PROVINCE OF TAMBA (Case 39) 
 
 4706*. Wine-bottle, square with corners beveled. H. 7I in. White clay, thick 
 glaze. Panels of diapers and frets, lower portion landscape in relief moulded. 
 Triangle within triangle impressed. ^^ 
 
 47II. Fire-bowl, twisted handles adherent. D. 4J in. Fine light reddish- 1,2] 
 brown clay, thick grayish - white glaze without lustre. Vertical and hori- ^^ 
 zontal incised lines representing basket-work. Manzai (imp.). 
 
 47^3- Wine-bottle. H. 9J in. Fine light brown clay, yellowish-gray 
 
 glaze with gray areas, thick splash of green overglaze. Storks and plum blossoms in 
 
 and dark gray. Sa7iko (imp.). 
 
 tm 
 
 white 
 
 Light fawn 
 High basal 
 
 4722 
 
 4726 
 
 PROVINCE OF YAMASHIRO (Case 39) 
 
 4722*. Plate, thick walls. D. 5 in. Modeled, 
 clay unglazed. Radiating figure inside in slight relief, 
 ring. Uni (imp.). 
 
 Probably made in Fushimi. 
 
 4726 . Tea-pot, octagonal. D. 3J in. Light brown clay, Awata glaze. Decoration of 
 grass in faint olive-brown. Kanka (imp.). 
 
 4729- Flower-vase, bucket form. H. 7I in. Light yellow clay and glaze, thick 
 whitish overglaze running. Chojiro and Giokutei (imp.). Recent 
 
 4730 • Bottle, thick walls, modeled in form of leather bag surrounding bottle. 
 H. 4| in. Gray-drab clay, dead purplish-brown glaze. Protruding neck of bottle 
 and cord of bag grayish-white glaze touched with blue. Ho (imp.). 
 This may be the work of Hozan of Kyoto. 
 
 4731*' Incense-box, square. H. i| in. Coarse brown 
 clay, thick fawn glaze. Impressed mark has been vari- 
 ously read Hakusan, Shirado, and Shirano. 
 
 4732*. Tea-cup. D. 2% in. Porcelain clay, white glaze. '*^-^' 
 Bright red surface with leaves and scrolls in gold. 
 Honzan (imp.). Recent /^\ 
 
 4730 
 
 4732 4733 
 
 Gift of Sir William H. Van Home. 
 4733- Furnace for tea-pot. H. 6 in. Light 
 straw clay, body unglazed. Around rim thick light 
 blue glaze. Inscription signed by Rai Sanyo, a famous historian. 
 Hosai (imp.). Tsuten Kyo Sanyo gwaishi Gi to (inc.). 
 
 The inscription is recognized as the handwriting of Rai Sanyo, 
 and the piece is very interesting on this account. 
 
 4735 • Wine-bottle, double gourd-shaped. H. 8^ in. 
 Light reddish Shigaraki clay with red areas, lines of thick 
 whitish glaze around centre and body. Tokugawa crest in 
 red. Shinadsuma (imp.). 
 
 This piece resembles the pottery grouped under the 4735 
 name of Tsuyen. 
 
 4733 
 
348 
 
 THE CATALOGUE 
 
 D. 8| in. Gray stone clay, light blue glaze. Design of 
 In centre, Chinese at table with tea-utensils at side, colored 
 
 
 D. 3f in. Light yellowish clay and 
 
 4736*. Plate, scalloped rim, 
 flowers impressed about border, 
 black. Doko (written). 
 
 This piece was identified by Ninagawa as the work of Seifu. 
 
 4743*. Tea-bowl. D. ^\ in. Raku clay, light red 
 Raku glaze with irregular splashes of white glaze. 
 Fugetsu (imp.). Recent 
 
 4744. Plate. D. 9} in. Raku clay, dull reddish 
 Raku glaze, silvered inside. Raku (imp.). 
 
 4745. Tea-pot. D. 3J in. Modeled. Light yellow- 
 ish clay, yellow glaze, irregular splashes of bright 4736 4743 4744 474S 
 green overglaze. Anshun Raku Seki-o (imp.). 
 
 4746. Incense-burner, twisted handles, three legs, 
 glaze. 
 Toyushi kore wo tsukuru (inc.). 
 
 4747' Tea-pot. D. 3Jin. Modeled. Light 
 yellowish clay, light red Raku glaze mottled 
 with white splashes of green overglaze. 
 Choshi (imp.). Recent 
 
 4748. Incense-box, thick walls. W. 2J in. ^^^^ ^^^g 
 
 Light brown clay, deepest brown Raku glaze. 
 Yoshun-en (imp.). Recent 
 
 4749- Tea-pot. D. 3 in. Modeled. Fine brown 
 clay, salmon Raku glaze coarsely crackled, splashes 
 of pale greenish glaze. Setsu-o (imp.). Jiraku 
 sat Setsu-o tsukuru Kotobuki roku-ju roku (inc.). 4749 4750 
 
 Recent 
 
 475^* Tea-pot. D. 2| in. Modeled. I^ight drab clay, thick yellowish-white Raku glaze 
 coarsely crackled. Magatama for handle of cover glazed light red. Setsu-o (imp.). 
 
 475^** Tea-bowl. D. 4J in. Grayish-white clay, black Raku glaze. Fujiyama incised on 
 side and glazed yellowish-white. Sui (imp.). 
 
 4757** Deep Raku tea-bowl. D. 3^ in. Fawn clay, fawn underglaze, light 
 red Raku overglaze. Leaves, etc., deeply incised. Matsuoka (imp.). 
 
 4758*- Deep vessel, flaring rim with spout. H. 8J in. Hard light fawn clay, 
 transparent glaze coarsely crackled, irregular spots and splashes of dark green 
 glaze. Taihei (imp.). 
 
 % 
 
 1() 
 
 IS' 
 
 
 4746 
 
 47S7 
 
OF UNKNOWN PROVENANCE 349 
 
 OF UNKNOWN PROVENANCE 
 
 Among the objects catalogued under the above head are many tea-jars. 
 Some of these are of considerable age and merit. A few of the tea-jars 
 are signed with the incised mark of a cross, or T, or other simple device. 
 Some of these are undoubtedly fraudulent, notably those representing the 
 work of Moyemon. Others among the tea-jars are the work of amateurs 
 or Chajins. For want of room they are not exhibited. Unless otherwise 
 indicated, the objects may be found in Case 39. 
 
 4803*. Tea-jar. H. 2\ in. Light brown clay, deepest lustrous brown glaze flecked with 
 black. Tsuno (imp.). .^K^ 
 
 4807*. Tea-jar. H. 3} in. Fine light brown clay, brown glaze, ,_ ^ ^vJ J 
 splash of thick olive-brown overglaze running. Mark in form of i im- "^ * 
 
 pressed. '^^ ^^ 
 
 4809. BoTfLE. H. 10 J in. Hard light fawn clay, light yellowish-brown glaze mottled, 
 clouded, and iridescent. Long leaves of an aquatic plant in clear white glaze strongly 
 outlined in dark blue. 
 
 Gift of W. S. Bigelow. 
 
 4810. Large bowl, scalloped rim. D. 9J in. Fine fawn clay, transparent underglaze, thick 
 lustrous cream-colored overglaze with curious vermiform crackle. Inside, over-decoration of 
 pine in deep brown and thick green. 
 
 Gift of Denman W. Ross. 
 4812*. Shallow tea-bowl. D. 5^ in. Reddish-brown clay, transparent underglaze. 
 Roku-ju-shichi Tosei tsukuru (inc.). Recent 
 
 4813*. Box, irregular, thick and heavy. H. 2f in. Fine salmon clay, salmon glaze with 
 large splash of bright green overglaze. Cloth-mark impression on surface. Yuchiku (imp.). 
 
 4814*. Fire-bowl, in form of badger. D. i,\ in. Coarse brown clay, black Raku glaze. 
 Ko (imp.). Recent 
 
 4824. Water-jar. H. 4I in. Light brown clay and glaze with splashes of lighter brown 
 overglaze. Peculiar wavy thread-mark. Nobushige (imp.). Recent 
 
 4825*. FiRE-VESSEL, jar form, thick walls. H. SJ in. Coarse light ^ 
 
 brown clay, thin greenish-gray underglaze, splashes of thick light green a 
 
 overglaze. Fubun (imp.). Recent 
 
 Q 4S24 
 
 4o27. Bowl, side cut and lapped. D. 3 in. Modeled. Fine light 
 
 brown clay, deepest brown glaze with mottling of yellowish underglaze showing through. 
 
 Seiju (imp.). Recent 
 
 4828*. Tea-bowl. D. 4f in. Composed of two colored clays, yellow and reddish-brown, 
 the yellow showing a marbled appearance outside, transparent glaze. Seiju (imp.). 
 Gift of W. S. Bigelow. 
 
 4829*. Bowl. D. 5 in. Yellowish-gray clay and glaze. Ebisu and mythological 
 tortoise in light blue. Ke-ichi saku and Shichi-ju-shi-ichi (imp.). 4828 
 
35° 
 
 THE CATALOGUE 
 
 4830*. Bottle, thick walls, H. 7! in. Light clay, light yellowish glaze with light reddish 
 
 tinges with bluish-gray glaze on one side. On remaining 
 
 surface figure obscurely drawn with inscription in white. 
 
 Giokuto (imp.). 
 
 4831*. Tea-pot, irregular, pinched in shape by fingers. 
 
 D. 3f in. Light brown clay and glaze, splashes of light 
 
 greenish-fawn overglaze. Keito (imp.). 
 
 4832*. Bowl. D. 4 in. Coarse gray-drab clay, deep 
 brown underglaze, light greenish overglaze. Koshun-do (imp.). 
 
 4833. Bowl. D. \\ in. Light gray clay, lustrous light brown glaze, settling into deep- 
 est brown inside. Mihako yaki (imp.). 
 
 4834*. Tea- JAR. H. 3^ in. Light reddish-brown clay, thick /g 
 
 reddish-brown glaze, finely mottled. Nankai (imp.). 
 
 4836. Incense-box, mountains and cascade. W. 2^ in 
 Soft light pinkish clay; light green, blue, and brown glazes 4^533 4834 
 marking trees and other features on surface. Ippei (imp.). 
 
 4837. Incense-box. H. 2 in. Light brown clay and nearly white glaze. 
 
 4836 
 
 Koko (imp.). 
 H. 2\\ in. Light fawn clay, thin light green glaze. /Jfjl 
 
 4838. Tea-jar, square. 
 Yamanoi (imp.). 
 
 4840*. Wine-bottle, double gourd-shaped. H. 6 in. Light brown clay, 
 brown glaze clouded, irregular splashes of yellowish overglaze. Kin (imp.). 
 Gift of W. S. Bigelow. 
 
 4843. Bottle, with globose body, narrow opening, broad base. H. 4I in. 
 brown clay, thick deep green glaze. Impressions of radi- 
 ating figures around body. 
 Motte Antozan no tsuchi Rinzan 
 kore wo tsukuru (inc.). 
 
 4844- Figure of mythological V^SK 
 lion. H. i\ in. Fine light fawn ' ■*' 
 clay, thick golden-yellow glaze. 
 Koromogawa (imp.). 
 
 4845*- Bowl. D. 3I in. Thick and heavy 
 
 maroon glaze, richly mottled with darker spots merging 
 
 into black. Gen (imp.). 
 
 4846 . Flower -VASE, in form of makimono. 
 H. 9f in. Fine light yellow and fawn clay, show- 
 ing graining under transparent glaze. (Resembles 
 No. 555.) /— (imp.). ^3^^ ^3^3 
 
 4847 • Square bowl. D. 6J in. Figure modeled 
 
 on side. Fine light gray clay, light gray glaze, dragon in deep brown. Shbzen (imp.). 
 Gift of Baldwin Coolidge. 
 
 ill 
 
 4837 4838 
 
CASE 39 
 
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 '1^3S 
 
 DOUBTFUL AND UNKNOWN 
 
ETHNOLOGICAL 
 
 il^ 
 
 4849. Covered cake-dish. D. 7J in. Nearly white clay. Inside and base, clear light 
 gray glaze. Outside, chrysanthemums in high relief with thick white glaze, centres gilded. 
 Intermediate spaces smooth black lacquer. Hiakusuke (imp.). 
 
 4850 . Jar. H. 4 in. Soft light clay, light gray surface with bamboo and poem in lighter 
 color unglazed. Kisen (imp.). 
 Gift of Rufus E. Moore. 
 
 4851. Bowl, with blunt support. D. 4J in. Light gray clay, white glaze, strongly crackled. 
 Basket-work surface moulded. Soniu (imp.). 
 
 4853* Sauce-dish, with handle and spout. L. 3 in. Reddish-brown clay, deep salmon 
 glaze outside, white glaze coarsely crackled inside. Inscription in white states that the 
 piece is made of clay from the old battle ground at Yashima. 
 
 4^54- Tea-pot, lion knob on cover. D. 3 in. Light fawn clay with light reddish areas, 
 tangle of yellow thread-like glaze. Takamitsu (imp.). 
 
 4855 • Plate, for lantern. D. 7J in. Fine light red- 
 dish-brown clay, gieen glaze. Fukuji (imp.). 
 
 4859 • Plate. D. yf in. Coarse light brown clay, thick 
 deepest brown glaze with splashes of running fawn over- 
 glaze. Kichibei (imp.). 
 
 It has no relation to the old Kyoto Kichibei. 
 
 4860. Square tray. W. 6 in. Brown clay and glaze. 
 
 Bat inside moulded. Cloth-mark impression on bottom. Gocho (imp.). 
 
 4861*. Incense-box, form of folded cloth. L. 3^ in. Whitish clay, yellowish glaze inside, 
 thick deep blue glaze outside. Hachiyei (imp.). 
 
 -k 
 
 m 
 
 4859 
 
 4860 
 
 i860 
 
 ETHNOLOGICAL 
 
 Under two hundred and eighteen catalogued numbers, from 4863 to 
 5081, are included objects brought together to illustrate the various uses to 
 which pottery is applied. A brief allusion to these uses has already been 
 made in the Introduction. Among these are a number of unde- 
 termined objects. No. 4879 (Case 39) is a vessel for steaming rice, -^l^ 
 bearing the impressed mark Kiraku. This may be Kiraku of 
 Kyoto. No. 5006* is a long tobacco pipe, bearing the impressed ^5 
 mark Kinko, and probably representing the work of some T5kyo 5006 
 potter. 
 
,f 
 
 
 352 
 
 
 THE CATALOGUE 
 
 RECENT ACCESSIONS 
 
 Many objects have been added by gift and purchase during the final 
 preparation of the catalogue, and after the photogravure plates of the cases 
 were made, and consequently too late to insert in their proper places. As 
 some of these objects are of great rarity and importance a continuous cata- 
 logue for convenience of reference has been made. These objects, unless 
 otherwise indicated, are installed in Case 40. 
 
 1 
 
 5085 
 
 PROVINCE OF BIZEN 
 
 5085*. Wine-bottle. H. 7^ in. Cho (imp.). 
 
 5086. Wine-bottle. H. 8^ in. 
 
 PROVINCE OF BUZEN 
 5090. Tea-jar. 
 
 HOSHO 
 
 5091*. Hanging flower-vase. H. 7J in. This object is interesting in having the thick 
 gray glaze with light brown areas seen in certain forms of Agano. 
 Moku and spiral line (imp.). 
 
 5096*. Flower-vase. H. 13 J in. Coarse gray brown clay, thick white glaze with coarse 
 ramifying crackle, light robin's-egg blue overglaze. This object is of great interest as prov- 
 ing the correctness of attributing this pottery to Buzen. By an accident of the furnace two 
 typical Agano bowls have tumbled upon the top of the vase, and have been cemented to it 
 by the blue overglaze. These bowls in clay and glaze are identical with the Ninagawa type, 
 No. 1460. Ho and spiral line (imp.). 
 Gift of Thomas E. Waggaman. 
 
 PROVINCE OF CHIKUZEN 
 TAKATORI 
 
 5098*. Flower-vase, two mice moulded as handles. H. gf in. Ki (inc.). 
 
 This object has the incised mark Ki, and is interesting as having the dark lustrous 
 yellowish glaze seen on certain Takatori jars. 
 
 5099. Jar. H. i\ in. 
 
 5100*. Square trav. Ki (imp.). 
 
 PROVINCE OF HARIMA 
 
 hOyen 
 
 5103. Incense-box. Maiko and Hoyen (imp.). 
 
 This piece in form and technique is identical with a Maiko piece (No. 1786). 
 
RECENT ACCESSIONS 353 
 
 ASAGIRI 
 
 5104. Rest for wine-cup. W. 3J in. Asagiri (imp.). 
 
 PROVINCE OF HIGO 
 
 5106. Bowl, irregular. D. 6 in. Fine reddish clay, warm gray glaze, thick whitish over- 
 glaze. Crane and cloud in white and black Mishima. Inside, stars, scrolls, etc. 
 
 This object was identified by Ninagawa as Korean. An examination of a rather exten- 
 sive collection of Korean pottery lately acquired by this Museum does not sustain Ninagawa's 
 identification. 
 
 5108. Tea-pot. D. 3 in. Higo and Yatsushiro (imp.). 
 This is typical Koda of recent years. 
 
 PROVINCE OF HIZEN 
 
 KARATSU 
 
 51 10. Tea-jar. 
 
 5II4- Plate, Mishima decoration. 
 
 5115*. Bottle. 
 
 Gift of Charles G. Weld. 
 
 UTSUTSUGAWA 
 51 16. Bowl. 
 
 IMARI (?) 
 
 5II7" Plate. D. 12-f^ in. Light clay, white glaze deeply stained. Landscape and border 
 roughly sketched in blue. 
 Gift of Denman W. Ross. 
 
 PROVINCE OF IZUMO 
 
 FUJINA 
 
 5120. Bowl. D. 4J in. Fine light clay, thick grayish-yellow glaze coarsely crackled. 
 Over-decoration of flowers in various colored enamels and gold. Unyei (imp.). 
 
 FUMAI 
 
 In the latter end of the last century an oven was established by the Duke of Dewa, 
 who was commonly known as Fumai. Whether he actually worked at the potter's 
 wheel is uncertain. It is possible he may have signed some of the essays of the oven. 
 
 5121*. Pan. D. 11} in. Yellowish clay. Base and halfway up, which is overhanging 
 and slightly curved, dull greenish glaze. A circle of dark green glaze just 
 within the basal ring. Side and interior deep rust-colored glaze. From centre 
 inside are successive rings like a target, the centre iron-rust glaze, then a circle 
 of light grayish-yellow glaze crackled, then irtjn-rust glaze, the last ring being 
 mottled green glaze. Around vertical portion outside deeply carved scrolls. S'2i 
 
 Fumai (imp.). 1790 
 
 Gift of Denman W. Ross. 
 
354 '^HE CATALOGUE 
 
 PROVINCE OF IZUMI 
 
 5122. Water-holder for ink-stone. , 
 
 5123. Bottle, gourd-shaped. Kitani (imp.). 
 
 5124. Tea-jar. Akagi {^va^^. 
 
 PROVINCE OF IGA * 
 
 TOSENZAN Jj 0* 
 
 e J27. Covered cake-dish. D. 8^ in. Nearly white clay, transparent under- '3 * 
 
 glaze, light greenish-yellow overglaze. Decoration of pine in brown and bright '^ * 
 green. Iga (imp.). Tosenzan (written in red). S^ 
 
 5130. Cup. ^ 
 
 S127 
 PROVINCE OF ISE 
 
 BANKO 
 
 5132. Cake-plate. Banko (imp.). 
 
 5133- Bottle. Banko (imp.). 
 
 Gift of W. S. Bigelow. 
 5135- Dish. Banko (imp.). 
 5 1 36' Bottle. Yusetsu (imp.). 
 
 Gift of Miss Lucy Ellis. 
 5138. Deep cup. Akogi (imp.). 
 5139- Bottle. Isawa (imp.). 
 
 PROVINCE OF IWAKI 
 
 SEIJIYEMON 
 
 5142. Bottle, pyriform, looped handles. H. 6| in. Light fawn clay and glaze finely 
 crackled ; splashes of thick white overglaze coarsely crackled, 
 Sei, in circle within square (imp.). (See 4189.) 
 Gift of W. S. Bigelow. 
 
 OHORI SOMA 
 
 5144. Bowl. 
 
 5145. Bowl. 
 
 Gift of W. S. Bigelow. 
 
 PROVINCE OF KAGA 
 KUTANI 
 
 5150. Plate. D. ii^in. 
 Th^s is typical red Kutani. 
 Gift of Miss S. Minns. 
 
RECENT ACCESSIONS 355 
 
 5152. Incense-stick burner. 
 
 PROVINCE OF KII 
 
 MEPPOTANI 
 
 5158. Dish. D. s| in. Fine light brown clay, grayish glaze. Stars and 
 coarse lines incised and impressed in white Mishima. Zuishi (imp.). 
 
 A type of Meppotani not shown in main collection. 
 5^59*' Covered jar, pine cone for handle. H. 2\ in. White clay, light 
 blue glaze. Pine trees in black. Yo sho (written). 
 
 4 
 
 i 
 
 S«S9 
 PROVINCE OF MUSASHI 
 
 RAKURAKUYEN 
 
 5163. Tea-bowl. D. 5 in. Thick and heavy. Light yellowish-gray clay, thick white 
 Shino glaze. 
 
 This is signed with the square mark of Rakurakuyen set. (See No. 4074.) 
 
 5164. Tea-bowl. D. 4 in. Masaki (imp.). 
 Identical with No. 4073. 
 
 Gift of Denman W. Ross. 
 
 NIHEI 
 
 5165*. Tea-jar. H. 3J in. Soft yellowish clay. Vertical bands of green, brown, blue, 
 fawn, yellow, and white glazes bordered with red. Ni, in panel (imp.). 
 
 Said to have been made by a pupil of Kenzan. 
 
 Gift of Rufus E. Moore. 
 
 5165 
 
 HANSHICHI 
 
 5166. Box. Two shells. L. 5 J in. Hanshichi Itnado Hamaguri (written). 
 
 5167. Tea-bowl. Shirai Hanshichi (imp.). 
 
 TOKUZAN 
 
 5168. Tea-jar. 
 
 TAMAGAWA 
 
 5170*. Squat jar. Tamagawa sai (imp.). 
 
 PROVINCE OF NAGATO 
 
 5172. Jar. a kakihan incised. 
 5175. Cup. 
 
 S172 
 PROVINCE OF OMI 
 
 BAIRIN 
 
 5179. Flower-vase. H. 6^ in. Deep yellow clay and glaze. Light brown overgraze. 
 
356 THE CATALOGUE 
 
 MOMPEI 
 
 5182*. Box, in form of bivalve shell (Corbicula), hinged, L. sJ in. Fine 
 Shigaraki clay, deep yellow glaze, thick white glaze about umbones. Three 
 spiral shells for supports and a small bivalve shell for knob on top. 
 Seki shotei Mompei (inc.). 
 
 This was made by Mompei at the suggestion of Ninagawa, and is a most 
 ungainly object. 
 
 
 5182 
 
 PROVINCE OF OWARI 
 
 KI SETO 
 
 5189. Water-jar. H. 5J in. 
 
 A most beautiful example of this pottery. 
 
 FUKE 
 
 5193*. Incense-box, two birds. L. 2\ in. Light fawn clay, transparent underglaze, dark 
 yellowish Raku overglaze, resembling Ohi. Hachi (imp.). 
 Interesting as bearing the rare mark Hachi (see No. 2727). 
 
 SHUJI 
 
 This potter is said to have been a Samurai and a 
 the latter part of the eighteenth century he made 
 pieces for the tea-ceremony. Shuji was considered 
 by his contemporaries as ranking above them all 
 in the excellence of his work, and the two pieces in 
 the collection justly bear out this estimate. 
 
 5196*. Shallow tea-bowl. D. sJ in. Light yellow 
 clay and glaze, a few large round spots in dark green 
 glaze. 
 
 Shuji Roku-gatsH Shofu no Koye and other characters 
 (inc.). 1800 
 
 5197*" Furnace for tea-pot. H. 9I in. Finest 
 light terra-cotta clay. A poem delicately incised over 
 mouth. Tsuchinoto u natsu no hi ShUji itsujin kore wo 
 tsukuru (inc.). 1800 
 
 5198*' Tea-bowl. D. 4J in. Light gray clay, thick 
 white Shino glaze with pinkish fawn tinge outside. Rude 
 under-decoration in dark gray. ShOji (inc.). 1800 
 
 SUIKOTEI 
 
 5199 • Hanging flower-holder, boat-shaped. L. 
 7f in. Light gray clay, thick glossy brown glaze 
 mottled. Suikotei tsukuru (inc.). 1830 
 
 most devoted lover of pottery. In 
 
 ^ -^ *■ 
 
 
 
 ^ 
 
 
 5197 
 
 4^ 
 
 5198 
 
 
 5199 
 
1 ) f 
 
 RECENT ACCESSIONS 357 
 
 TAKADA 
 
 5200 . Dish, bird-shaped. D. 4 in. Moulded. Light brown clay, reddish-brown glaze. 
 Takada (imp.). 1850 
 
 GONBEI \M\ 
 
 5201 . Bowl. D. 5 in. Thick walls, yellowish - gray clay, dark brown glaze. I®l 
 Double row of finger impressions. Deep spiral on base. Se Gon (imp.). ^^oo 
 
 Said to have been made by Gonbei of Seto. 
 
 SOBOKAI 
 
 5202. Jar, four looped handles. H. 9I in. Fine yellowish-fawn clay, light brown under- 
 glaze, brilliant splashes of rich brown and goldenrbrown overglaze. Sobokai (inc.). 1780 
 
 A fine example of this work. 
 
 SHUNZAN 
 
 5204. Squat bottle. D. 45 in. Light fawn clay and glaze, thick white overglaze run- 
 ning nearly to base. Shunzan (imp.). 1770 
 
 SHUNTAN (Case 24) 
 
 5205. Cup-rest, rim scalloped, D. d^^ in. Fine gray-drab clay, light greenish-yellow 
 glaze. Shunzan (imp.). 1780 
 
 5206. Wine-holder, bail handle. H. 6 in. Light brown clay, yellowish-white glaze, thick 
 bottle-green overglaze running. Net, scrolls, etc., in brown. 
 Shuntan (written). 1780 
 
 SHUNRIN (Case 24) 
 
 5207. Vessel, for rinsings. D. 5 in. Gray-drab clay, brown glaze, 
 rich brown and bluish overglaze running in streams. Around rim golden- 
 brown and yellow glaze showing. Shunrin (imp.). 1830 
 
 
 SHUN-U (Case 24) 5206 
 
 5208. Leaf-shaped dish. L. 7§ in. Yellowish-clay, thick glossy green glaze. 
 Shun-u (imp.). 1790 
 
 Gift of W. S. Bigelow. 
 
 SHUNKYO 
 
 5209. Deep bowl, vertical sides strongly grooved by hithe marks, modeled figure on rim. 
 D. 4J in. Light brown clay, pale yellow underglaze, transparent green 
 
 overglaze. Shunkyo (imp.). 
 
 SHUNBAI ,„_ 
 
 5210. Jar. H. 5 J in. Light brown clay, deepest brown glaze; four 
 large splashes of white glaze streaked with blue. Shunbai (imp.). 5209 5210 
 
 SHUNTAI (Case 24) 
 
 521 1. Cake-dish. D. s| in. ,S/i««to' (imp.). 
 Gift of W. S. Bigelow. 
 
3s8 THE CATALOGUE 
 
 5212. Deep bowl, flattened on sides, square basal support. D. 6| in. Coarse light brown 
 clay, thick white Shino glaze coarsely crackled. Shuntai and Koki (imp,). 
 
 Gift of W. S. Bigelow. 
 
 5213. Haisen. H. 4| in. Shuntai (imp.). 
 
 5214. Tea-bowl. D. 3J in. Shuntai and Koki (imp.). 
 
 SHUNKA (Case 24) 
 
 5215. Cake-dish, incurved rim. D. s| in. Light reddish-brown clay, transparent glaze, 
 purplish-brown overglaze. Inside, light gray glaze. Plum tree in brown, flowers in /to- 
 white enamel touched with green. Shunka (imp.). Recent Wp/ 
 
 SHINO (Case 24) ^^'^ 
 
 5216*. Incense-box. D. 2 in. Light brown clay, light warm gray glaze, radiating and 
 circular zigzag lines in deepest brown. Kyit (imp.). 
 
 5217- Water-jar, pottery cover, looped handles, rim hexagonal. H. 6f in. 
 Grayish-drab clay, light fawn glaze, splash of dark brown overglaze. Cloud 
 lines deeply incised. 1700 
 
 KAYEMON 5216 
 
 5218. Chess-board. W. 13 in. Shino clay and glaze. Carved wooden legs covered with 
 red lacquer. Kayemon (inc.). 1650 
 
 MASAKI 
 
 5219. Flower-holder. H. 4J in. Fine brown clay, Shino glaze. Broom 
 in brown. Masaki (imp.). 
 
 SAKUSUKE 
 
 5221 . Beaker. D. 6 in. Light brown clay, pale yellow glaze, large 
 
 splashes of dark green overglaze. Network and leaves in black. 
 
 Sakusuke sei (imp.). Recent 
 
 SHIGEMASA 
 
 Kato Shigemasa lived in Seto from 1760 to 1809. 
 
 5222*. Water-holder for ink-stone, Hotel with bag. L. 5J in. Hard 
 light gray glaze, brown Seto glaze with golden-brown splashes. Figure of 
 Hotel unglazed. Shigemasa (inc.). 1800 
 
 SETO >— » 
 
 5223. Well-wheel, with iron support. D. 13 in. Light clay, trans- \ // 
 parent underglaze, areas of thin green overglaze. Scrolls and flowers deeply L. ■* 
 
 incised around rim. 1750 S"* 
 
 Gift of S, Bing. 
 
RECENT ACCESSIONS 359 
 
 SHINKAIZAN 
 
 5224*. Heavy jar, small aperture, no neck. H. 8J in. Hard stone clay, rich brown 
 underglaze with lustrous transparent blue overglaze, flecked and running over entire surface, 
 Shinkaizan (imp.). 
 
 Gift of Shigejiro Yamanaka. 
 
 INUYAMA 
 
 5227*. Bowl. D. 3{ in. Dull brown clay, greenish-white glaze with light brown streams 
 running. Inuyama (imp.). 
 
 A very curious type and mark of Inuyama. Jt 
 
 SUISETSU (Case 24) ds 
 
 5227 
 5229. Tea-pot. D. 6 in. Yellowish-white clay 
 
 and glaze. Jewels and splash in green on cover. 
 
 Handle and large area on body in green. Fuji in green 
 
 with peak in thick white slip. Suisetsu (imp.). 
 
 Gift of W. S. Bigelow. 
 
 YEIROKU 
 
 5231*. Jar. H. 6J in. Light fawn clay, dull yellowish 
 
 glaze with irregular brown areas. 
 
 Yeiroku san-nen Kiku-getsu tsukuru (inc.). Recent 
 
 FUZO (Case 24) 
 
 5231 
 
 \ 
 
 5232. Dish, in form of shell (haliotis). L. 1^ in. Fawn clay. Outside, 
 unglazed. Inside, white glaze, with fishes and leaves in blue. 
 Fuzo tsukuru (written). 
 
 SASASHIMA (Case 24) 
 
 5233- Bowl. D. s| in. Sasashima (imp.). \jLm ^ 
 
 TOKONAME ^^^^ 
 
 5236. Comfit-bottle. H. 3J in. Reddish-brown clay, transparent glaze. 5232 
 
 Rosettes in relief. Shuku-o tsukuru (inc.). 
 
 5239*- Wine-bottle, flaring mouth. H. 5I in. Fine light fawn clay unglazed. fi? 
 Choko (imp.). 1^ 
 
 PROVINCE OF SETTSU 5239 
 
 SHOSAI 
 
 5242*. Fire-vessel, octagonal. D. 4I in. Soft clay, black lacquer surface. Incised 
 lines, panels, etc., gilded. Shosai (inc.). 
 
 This piece has also been identified as Imado. 
 
36o THE CATALOGUE 
 
 PROVINCE OF SANUKI 
 
 INARIYAMA 
 
 5243 • Fire-bowl, lotus petals modeled and applied. D. 7§ in. Pale yellow clay, green 
 glaze. Taka (imp.). 
 
 A remarkable piece of work. 
 
 Gift of W. S. Bigelow. 
 
 5244. Fire-bowl, perforated metal top. H. 3I in. Very light fawn clay, light fawn glaze 
 strongly crackled. Over-decoration of lotus in green and blue enamel with red blossoms. 
 Taka (imp.). 
 
 YOHACHI 
 
 5245. Incense-burner, thick walls, roughly made. D. 3J in. Soft yellowish clay, trans- 
 parent underglaze. Below, dark green overglaze. Above, light reddish glaze. 
 Ornamental diaper around body incised with alternate bands glazed green and % ^ 
 light red. Yohachi (ym^.^. Bunsei nensei (y/ntten on side). 1818-1827 ^ *^^ 
 
 This specimen is signed with a very rare mark of Yohachi. (See No. 2128.) ^'f t% 
 
 MINZAN 5245 
 
 5246. Dish. D. 5^ in. Similar to jar, No. 2106. 
 YASHIMA 
 
 5247. Large box, bird. L. 7 in. Nearly white clay, warm gray glaze, tail-feather, bill, 
 and eyes in bright blue. Inside, white glaze coarsely crackled. Yashima (written). 
 
 5248. Paper-weight, sacred tortoise, with small turtle on back. L. 5 j in. White clay, 
 bright yellow glaze. Yashima Rinso hachi-ju-hachi 5 saku (written). 
 
 Gift of W. S. Bigelow. 
 
 NAOHACHI 
 
 5249. Cylindrical flower-vase. H. ii in. Yellowish clay, transparent underglaze. 
 Flowers and leaves outlined in white slip, leaves dead orange-yellow glaze, stems purple, 
 flowers white, ground thick dark green glaze. Naohachi (imp.). 
 
 This object is simply hideous. The work, however, is rare. 
 
 SHIDO 
 
 5251. Plate. D. 5J in. Min (imp.). 
 
 PROVINCE OF TAMBA 
 
 NAOSAKU 
 
 5254, 5255- Wine-bottles. Naosaku (imp.). 
 
RECENT ACCESSIONS 
 
 361 
 
 TAMBA? 
 
 5256*. Hanging flower-holder, gourd-shaped. H. 6J in. Light fawn clay, deep brown 
 glaze, comb-lines on surface. Strongly turned, roughly made. Zuisei(i) and kakihan (inc.). 
 
 PROVINCE OF TSUSHIMA 
 
 RITEI 
 
 5257* Incense- BOX, shape of top. D. 2^ in. 
 Fine light salmon clay and glaze. Apex light 
 brown glaze followed by encircling area of 
 greenish-blue glaze. 
 Chosen Ritei Uukuru (written). 
 
 PROVINCE OF YAMATO 
 
 AKAHADA 
 
 5261. Plate. D. 5f in. Akahada (imp.). 
 
 5263. Plate. D. 3i in. 
 
 . ^ 
 
 
 
 ^ 
 
 5257 
 
 PROVINCE OF YAMASHIRO 
 
 TAKAGAMINE 
 
 5268. Tea-jar. H. 3^^ in. Coarse light fawn clay, no underglaze ; thick light yellowish- 
 
 fawn glaze on shoulder running down in stream on side. Kuchu (inc.). 
 Gift of W. S. Bigelow. 
 
 1630 
 
 GOBOSATSU 
 
 5270. Cake-dish, fluted. D. 5^ in. Gobosatsu (imp.). 
 Gift of Baldwin Coolidge. 
 
 RAKUTOZAN 
 
 5271. Wine-cup. D. 2^ in- Rakutozan (imp.). 
 
 TAIZAN 
 
 5272*. Pillow-rest. L. ioJ in. Light reddish-fawn clay, gray glaze. Formal waves in 
 
 white slip. Awata Taizan (imp.). 
 
 1840 
 
 HOZAN 
 
 5273- Fire-vessel, fluted. D. 44 in. Grayish-white clay, pale bluish-green glaze. 
 Hozan (imp.). 
 
 5274- Jar. H. 3^ in. Hozan (imp.). 
 
 5275- Still. H. 13]^ in. Warm gray clay, light brown glaze with flowers in white slip. 
 
 Hozan (imp.). 
 
 5272 
 
362 THE CATALOGUE 
 
 KINKOZAN 
 
 5277- Bowl. D. 4^ in. Light brownish clay, grayish-brown glaze. Outside, one half 
 covered with white glaze with chrysanthemums in brown and light blue. Inside, yellowish- 
 white glaze strongly crackled. Kinkozan (imp.). 
 Gift of W. S. Bigelow. 
 
 IWAKURAYAMA 
 
 5278. Wine-bottle. H. 7f in. Light Awata clay and glaze. Vine in brown and blue. 
 
 Iwakurayama (imp.). 
 
 SAHBI 
 
 5280*. Round box. D. i-^^ in. Fine light fawn clay, light gray glaze coarsely crackled. 
 Over-decoration in red consisting of band about rim of zigzag lines with interspaces 
 
 filled with hatched lines. Same design around cover. In centre of cover comb jffl(| 
 
 designs and circles. Magnolia flowers and stem in brown with green enamel leaves j{^ 
 
 outlined in black. Poem in red. Base with fine radiating lines. Sahei (imp.). \^ 
 
 This beautiful specimen may be the work of the first Zoroku. S^iio 
 
 Gift of Mrs. Helen Abbott Michael. 
 
 DOHACHI 
 
 5283. Cup. D. 2^ in. Dohachi tsukuru (written). 
 
 5284. Large bowl. D. 6J in. Gray-drab clay, gray glaze. Over-decoration of maple 
 leaves and plum blossoms in red, bluish-green, light green and brown, outlined in black. 
 Plum blossoms in white slip. Omuroyama Shi Saku and Dohachi (imp.). 179° 
 
 For mark see No. 3431. 
 
 5286. Dish, in form of triton shell. L. \o\ in. Unsigned 
 
 5287. Shallow bowl. D. 7J in. Dohachi, in shell (imp.). 
 
 5288. Tea-cup. D. 3f in. Dohachi (imp.). 
 
 KITEI 
 
 5290. Shallow bowl. D. 1% in. Identical in clay and glaze to No. 5287. Kitei (imp.). 
 
 SHUHEI 
 
 5292. Wine-bottle. H. 6J in. ShUha (imp.). 
 
 5294. Tea-pot. D. 3 in. Light yellow clay, transparent underglaze, deep green overglaze. 
 Chrysanthemums incised. Shuhei tsukuru (imp,). 
 
 YOSOBEI 
 
 5295. Bowl, on three short legs. D. 4I in. Yoso (imp.). 
 KYURAKU 
 
 5297- Deep bowl. D. 3J in. Black Raku glaze. KyUraku (imp.). 
 Gift of W. S. Bigelow. 
 
RECENT ACCESSIONS 363 
 
 SOSHIRO 
 
 5298. Fire-vessel. D. gi in. Finest terra-cotta clay, unglazed surface with green stain. 
 Around body broad band deeply carved in scrolls. Above and below this band narrow 
 ornamental bands impressed. Tenka ichi Sdshiro (\vd.t^.). 1640 
 
 Gift of Charles L. Freer. 
 
 CHIKUSO 
 
 5300*. Bowl. D. 5 in. Pale yellowish clay, pinkish-yellow glaze. Thick white glaze 
 running in drops from rim. Young dogs in black and brown. Chikuso (imp.) Recent 
 
 SEINIU 
 
 5301*. Box, for toothpick. L. 2^f in. Seiniu (imp.). (See No. 3729.) 
 
 ZENSHIRO 
 
 5303*. Water-jar, globular with handle and spout. H. 6 in. Fine fawn clay with reddish 
 tinges, lighter fawn glaze. Over-decoration of leaves and flowers in light and dark green, 
 yellow and maroon enamels. Omuro (imp.). (See No. 3892.) 
 
 A most interesting piece, departing widely from the two objects already catalogued 
 (Nos. 3892, 3893). 
 
 Gift of Denman W. Ross. 
 
 KIYOMIZU 
 
 5306. Incense-box, bamboo shoot. L. 4^ in. Kiyomizu (imp.). 
 
 5307- Flower-vase. H. 6| in. Unsigned. 
 
 4) 
 
 SHOHEI ,^1^ 
 
 5308*. Tea-cup. D. 2^^ in. Porcelain clay and glaze. Shells in blue. ^,3 
 
 5/4 J/5« (written). i860 "^"^w^^ 
 
 5309*. Tea-cup. D. 2^ in. Hard white clay, thick white glaze. Paulonia ^* 
 
 leaves impressed. Surface indented by finger-marks. ? (imp.). i860 
 
 KENZAN 
 
 531 1. Oval dish. L. 6f in. Kenzan (written). 
 
 MARUOKA 
 
 53^2*. Mask. L. 8J in. Maruoka Sukenobu isukum (inc.). ^^°^ 
 
 KENTEI 
 
 53^3- Cake-dish. D. 5 in. Salmon-colored clay and glaze with vine in 
 black. Ken (imp.). 
 
 OKAZAKI 
 
 
 5314* Jar. H. 3J in. Pale salmon clay and glaze, 
 splashes of thick white overglaze. Kaguraoka (imp.). 
 
 A peculiar example of this work. 5313 5314 5312 
 
 
364 THE CATALOGUE 
 
 ASAHI 
 
 5315. Tea-pot. D. 3I in. Asahi (imp.). 
 
 5317. Bowl. D. 5J in. .4jaA« (imp.). 
 Gift of W. S. Bigelow. 
 
 KOSAI 
 
 5318. Fire-vessel. D. 6} in. Coarse light fawn clay, large area of deep brown glaze, 
 unglazed area with netting of white glaze. Inside, thick whitish glaze. Kosai (imp.). 
 
 Gift of W. S. Bigelow. 
 
 KOSUIZAN 
 
 5319*. Bowl, flattened on sides. D. 4^ in. Fawn clay, thick white glaze. Rude scrolls, 
 etc., in blue. Kosuizan (imp.). j^a^ 
 
 SHO-U •^ 
 
 5320*. Small cup. D. 2 in. SAo-u (imp.). Recent 5319 
 
 NINRAKU 
 
 5321 . Jar, sides cut in imbricated leaves. H. 4f in. Green glaze. Ninraku (imp.). 
 Gift of Charles G. Weld. 
 
 KYOTO Iv4»> 
 
 5324- Figure. H. 9 in. Mark impressed has been read Sozan, Kazan, and ^^^ 
 Tiaizan. 5324 
 
CASE 40 
 
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 RECENT ACCESSIONS 
 
FINAL NOTES . 
 
 Collectors of Japanese pottery may in many cases identify their pieces by first 
 having the signatures translated ; and if this collection contains a similar example, a 
 reference to the index of marks at the end of the volume will give the desired infor- 
 mation. 
 
 The collection will certainly provide a mine for the student of Japanese pottery. 
 Some objects of doubtful attribution or of unknown provenance are still to be identi- 
 fied ; the unsigned Awata pieces especially present material for much study in ascrib- 
 ing them correctly to their respective potters. This can be done only by a careful 
 comparison of clay, glaze, decoration, etc., with signed pieces. The proper assignment 
 of Kenzans to their respective families, and the detection of fraudulent Kenzans, will 
 offer another field for study. 
 
 This catalogue is the result of continuous labor for twenty years. No pains have 
 been spared to secure accuracy, yet with the last page I can only express the regret 
 that I cannot rewrite the entire work. Errors in attribution, in the interpretation of 
 signatures, and in the estimates of age must inevitably exist, and the frankest criticism 
 is solicited. In addition, I would ask for objects bearing marks, or representing the 
 essays of potters or provinces, or for information of any kind which will add new mate- 
 rial to the collection, as in a few years a supplement will be prepared to illustrate 
 acquisitions of this nature as well as to rectify errors which may be contained in the 
 present catalogue. 
 
INDEXES 
 
INDEX OF PROVINCES 
 
 Numbers refer to Pages 
 
 Aki, 162. 
 Awa, 339. 
 Awaji, 124. 
 
 Bingo, 336. 
 Bizen, 49, 352. 
 Buzen, 126, 352. 
 
 Chikugo, no. 
 Chikuzen, 164, 343, 352. 
 
 Echigo, 340. 
 Echizen, 109, 343. 
 Etchu, 340. 
 
 Harima, 149, 343, 352. 
 Hidachi, 115. 
 Higo, 75, 343, 353. 
 Hizen, 36, 344, 353. 
 Hoki, 336. 
 
 Iga, 142, 344, 354. 
 
 Inaba, 341. 
 
 Ise, 94, 344, 354. 
 
 Iwaki, 309, 354. 
 Iwami, 135. 
 Iwashiro, 334. 
 lyo, III, 344. 
 Izumi, 129, 354. 
 Izumo, 156, 353. 
 
 Kaga, 85, 344, 354. 
 Kai, 339. 
 Kawachi, 336. 
 Kii, 137, 345, 3S5. 
 Kozuke, 114. 
 
 Mikawa, 337. 
 Mimasaka, 339. 
 Mino, 115, 345. 
 Musashi, 290, 345, 355. 
 
 Nagato, 81, 355. 
 
 Omi, 66, 345, 355. 
 
 Osumi, 318. 
 
 Owari, 182, 346, 356. 
 
 Rikuzen, 317. 
 Rikuoku, 341. 
 
 Sado, 121. 
 
 Sanuki, 170, 346, 360. 
 Satsuma, 319. 
 Settsu, 61, 346, 359. 
 Shimotsuke, 112. 
 Shinano, 132. 
 Shirabeshi, 341. 
 Su5, 117. 
 Suruga, 136. 
 
 Tajima, 337. 
 Tamba, 178, 347,360. 
 Tango, 338. 
 Tosa, 58. 
 Totomi, 147. 
 Tsushima, 56, 361. 
 
 Ugo, 336. 
 Uzen, 340. 
 
 Yamashiro, 217, 347, 361. 
 Yamato, 105, 361. 
 
INDEX OF POTTERIES 
 
 Adachi, 335. 
 Agano, 126. 
 Aidsu, 334. 
 Aiina, 120. 
 Akagi, 142. 
 Akahada, 105, 361. 
 Akahiko, 46. 
 Akasaka, 117. 
 Akashi, 150, 221. 
 Akatsu Oribe, 193. 
 Akita, 336. 
 Akogi, 95. 
 Akuto, 341. 
 Amakusa, 81. 
 Amidayama, 79. 
 Anto, 94. 
 Ao (variety), 54. 
 Arashiyama, 253. 
 Arita, 44. 
 Asagiri, ISO, 353. 
 Asahi, 271, 364. 
 Asahi-ken, 104. 
 Asahimine, 253. 
 Asahi Shunkei, 186. 
 Asahitei, 253. 
 Asakura, 290. 
 Asano, 89. 
 Awata, 224. 
 Awata Guchi, 225. 
 Awaji in general, 125. 
 
 Bairin, 70, 355. 
 Baizan, 68. 
 Banko, 96, 354. 
 Banko, odd forms, 104. 
 Bashodo, 74. 
 Beizan, 66. 
 Benjiro, 304. 
 Betsukafu, 328. 
 Bizan, 230. 
 Black Oribe, 193. 
 Black Seto, 194. 
 Black Shino, 193. 
 Bogasaki, 45. 
 Bokusai, 133. 
 Bukkado, 140. 
 Buzen in general, 129. 
 
 Chiku-mei, 136. 
 Chikuso, 363. 
 
 Numbers refer to Pages 
 
 Chikutei, 254. 
 
 Chinese Bowls, 187. 
 
 Choiu, 91. 
 
 Chokyu, 285. 
 
 Choniu (7th gen. Raku), 261. 
 
 Chosa, 318. 
 
 Chosen Karatsu, 39. 
 
 Choson, 290. 
 
 Chozan, 119. 
 
 Chozo, 204. 
 
 Denko, 128. 
 
 Dohachi, 240, 362. 
 
 Doniu (3d gen. Raku), 260. 
 
 Earliest Glazed Pottery, 36. 
 Early Glazed Pottery (Korean), 
 
 28. 
 Early Historic Pottery, 35. 
 Ebamura, 163. 
 Echizen in general, no. 
 Enouye Riosai, 306. 
 
 Fueki Banko, loi. 
 Fuji, 223. 
 Fujimi, 216. 
 Fujina, 159.353- 
 Fukagawa, 84. 
 Fukakusa, 285. 
 Fuke, 356. 
 Fukui, no. 
 Fukuroyama, 283. 
 Fukushima, 335. 
 Fumai, 353. 
 Fushimi, 286. 
 Fiiya, 132. 
 Fuzo, 359. 
 
 Gempin, 202. 
 Gengen, 265. 
 Genjiro, 307. 
 Genko, 117. 
 Giozan, 230. 
 Gobosatsu, 228, 361. 
 Gojo, 108. 
 Gojosaka, 287. 
 Gombei, 157. 
 Gonbei, 357. 
 Goroshichi, 43. 
 Gorosuke, 254. 
 
 Granulated Karatsu, 42. 
 Green Kutani, 86. 
 
 Hafugama, 186. 
 
 Hagi, 82. 
 
 Hagiyama, 212. 
 
 Hakeme Karatsu. 41. 
 
 Haku-an (Ki Seto), 201. 
 
 Hangaya, 315. 
 
 Hanshichi, 208, 299, 355. 
 
 Hansuke, 104. 
 
 Harima, 222. 
 
 Haritsu, 292. 
 
 Hashidate, 338. 
 
 Hatayeta, 284. 
 
 Heigen, 308. 
 
 Hidasuke (variety), 54. 
 
 Higo, 75. 
 
 Higo Celadon, 75. 
 
 Higo in general, 81. 
 
 Hira, 73. 
 
 Hirado, 44. 
 
 Hirono, 317. 
 
 Hiroshima, 164. 
 
 Hohei, 206, 324. 
 
 Hoki, 336. 
 
 Hoko, 325. 
 
 Hoju, 322. 
 
 Honobono, 156. 
 
 Hosho, 127, 352. 
 
 Hoyei, 324. 
 
 Hoyen, 151, 352. 
 
 Hoyu, 325. 
 
 Hozan, 226, 361. 
 
 Hozen (iith gen. Zengoro), 274. 
 
 Ichibei, 155. 
 
 Ichigen, 265. 
 
 Ichigo, 212. 
 
 Ichiniu (4th gen. Raku), 261. 
 
 Ichiyemon, 209. 
 
 Ichiyu, 235. 
 
 Iga, 146. 
 
 Igara, 132. 
 
 limuro, 132. 
 
 Ikichiruya, 133. 
 
 Ikko, 205. 
 
 Imado, 308. 
 
 Imari (?), 353. 
 
 Imbe, 49. 
 
INDEX OF POTTERIES 
 
 37' 
 
 Imbe with colored glazes, 52. 
 
 Imbe, with mark Terami, 52. 
 
 Inariyama, 170, 360. 
 
 Inouye, 107. 
 
 Inuyama, 207, 359. 
 
 Ippodo, 2J2. 
 
 Isaka, 335. 
 
 Isawa, 103. 
 
 Isobe, 114. 
 
 Iwakurayama, 226, 362. 
 
 Izumi, 328. 
 
 Izumi in general, 132. 
 
 Izumo in general, 161. 
 
 Izushi, 337. 
 
 Jinoka, no. 
 
 Johachi, 209. 
 
 Joki (2d gen. Raku), 260. 
 
 Joshiro, 286. 
 
 Jozan, 122, 127. 
 
 Kaga, 85. 
 
 Kairaku, 115. 
 
 Kairakuyen, 137. 
 
 Kairakuyen Raku, 139. 
 
 Kakimayachi, 163. 
 
 Kakitsubata, 338. 
 
 Kamesuke, 282. 
 
 Kameyama, 44, 73. 
 
 Kamioka Pottery, 33. 
 
 Kanashige, 316. 
 
 Kanaya, 311. 
 
 Kanraku, 266. 
 
 Kanzan, 234. 
 
 Karaku, 308. 
 
 Karatsu, 37, 353. 
 
 Karatsu, irregular forms, 42. 
 
 Karatsu Tea-jars, 42. 
 
 Kasana, 115. 
 
 Kaseizan, 295. 
 
 Kasugayama, 91. 
 
 Kasuke, 103, 236. 
 
 Katei, 255. 
 
 Kawachi, 336. 
 
 Kawakaya, 164. 
 
 Kayemon, 358. 
 
 Keiniu (nth gen. Raku), 264. 
 
 Keizan, 245. 
 
 Kenjo Karatsu, 41. 
 
 Kentei, 279, 363. 
 
 Kenya, 294. 
 
 Kenzan, 268, 292, 363. 
 
 Kichibei, 235. 
 
 Kichiroku, 113, 303. 
 
 Kichiyemon, 130. 
 
 Kichizayemon (12th gen. Raku), 
 
 264. 
 Kiho, 256. 
 
 Kikko, 63, 119, 134, 302. 
 Kimbei, 123. 
 Kimpeizan, 121. 
 Kinchozan, 288. 
 Kinkazan, 187. 
 Kinko, 307. 
 Kinkozan, 229, 362. 
 
 Kinryuzan, 81. 
 
 Kinsei, 255. 
 
 Kintaro, 121. 
 
 Kiraku, 257. 
 
 Kisan, 155. 
 
 Ki Seto, 200, 201, 356. 
 
 Ki Seto (Haku-an), 201. 
 
 Ki Seto (Wari-Sakura), 201. 
 
 Kishu, 140. 
 
 Kisui, 248. 
 
 Kitani, 131. 
 
 Kitei, 247, 362. 
 
 Kits, 248. 
 
 Kiyomizu, 232, 363. 
 
 Kochi, 60, 140. 
 
 Kochiiiten, 108. 
 
 Koda, 76. 
 
 Kodzu, 65. 
 
 Kogai, 335. 
 
 Kohei, 60. 
 
 Koishikawa, 307. 
 
 Ko-katatsuki, 339. 
 
 Komaru, 314. 
 
 Komatsu, 234. 
 
 Kondo, 315. 
 
 Korakuyen, 299. 
 
 Korean Pottery in general, 30. 
 
 Korean Pottery, Modern, 31. 
 
 Koren, 305. 
 
 Kosai, 256, 364. 
 
 Kosobe, 62. 
 
 Koson, 289. 
 
 Kosuizan, 364. 
 
 Kosuna, 113. 
 
 Koto, 71. 
 
 Koyemon, 284. 
 
 Koyetsu, 217. 
 
 Kozan, 232, 257, 334. 
 
 Kuhei, 280. 
 
 Kujiri, 115. 
 
 Ku-ken, 128. 
 
 Kurihara, 282. 
 
 Kuro, 210. 
 
 Kuromuta, 43. 
 
 Kutani, 85, 354. 
 
 Kutani, green, 86. 
 
 Kutani in general, 88. 
 
 Kutani, red, 87. 
 
 Kwaisuiyen, 303. 
 
 Kyoto, 364. 
 
 Kyoto in general, 258. 
 
 Kyozan, 308. 
 
 Kyuraku, 265, 362. 
 
 Kyuta, 235. 
 
 Kyuzan, 65, 342. 
 
 Maiko, 152. 
 
 Makudsu, 280, 305, 345. 
 Makusa, 200. 
 Manyemon, 290. 
 Marubashira, 142. 
 Maruoka, 363. 
 Masa, 210. 
 Masaki, 211, 358. 
 Masakichi, 91. 
 
 Masatomo, 288. 
 Matsumoto, 81, 82, 285. 
 Matsushiraa, 318. 
 Matsuyama, iii, 309. 
 Megakite (variety), 53. 
 Meizan, 339. 
 Meppotani, 139, 355. 
 Michisuke, 84. 
 Mikawa, 337. 
 Mikawachi, 49. 
 Miki, 281. 
 Mimpei, 124. 
 Minato, 129. 
 Minzan, 174, 360. 
 Mishima, 326. 
 Mishima Karatsu, 40. 
 Miyajima, 162. 
 
 Miyakawa Chozo (loth gen. Ma- 
 kudsu), 280. 
 Mizuno, 296. 
 Mokubei, 93, 270. 
 Mokuhaku, 107. 
 Mompei, 69, 356. 
 Mori, 53, 104. 
 Mortuary Pottery, 33. 
 Mortuary Pottery (Korean), 26. 
 Motozo, 209. 
 Moyemon, 208. 
 Murasakino, 266. 
 Mushiage, 55. 
 
 Nagami, 135. 
 
 Nagarayama, 74. 
 
 Nakamura, 313. 
 
 Nakusa, 142. 
 
 Naniwa, 61. 
 
 Naohachi, 177, 360. 
 
 Naosaku, 181, 360. 
 
 Nara, 105. 
 
 Narumi, 194. 
 
 Nayeshiwogawa, 334. 
 
 Ne-u, 102. 
 
 Nihei, 355. 
 
 Nihon Matsu, 335. 
 
 Niko, 205. 
 
 Ninkei, 344. 
 
 Ninraku, 364. 
 
 Ninsei, 218. 
 
 Nishiki-de (White Satsuma), 330. 
 
 Odd Forms of Banko, 104. 
 
 Odo, 59. 
 
 Ofuke, 195. 
 
 Ohi, 90. 
 
 Ohori Soma, 316, 354. 
 
 Okamura, 254. 
 
 Okayama, 55. 
 
 Okazaki, 265, 337, 363. 
 
 Okiaku, 156. 
 
 Omuro, 278. 
 
 Onko, 116. 
 
 Ono, 92. 
 
 Onohara, 178. 
 
 Oribe, black, 193. 
 
 Oribe, red, 192. 
 
37» 
 
 INDEX OF POTTERIES 
 
 Ota, 137, 141. 
 Otafuku-an, 282. 
 Otakayama, 204. 
 Otaru, 341. 
 Otowa, 278. 
 Otokoyama, 141. 
 Otsu, 70. 
 Oye, 68. 
 
 Prehistoric Pottery, 32. 
 
 Raizan, 288. 
 
 Raku, 80, 259. 
 
 Raku Pottery in general, 266. 
 
 Rakurakuyen, 298, 355. 
 
 Rakuto, 225. 
 
 Rakutozan, 231, 361. 
 
 Rakuzan, 158. 
 
 Rantei, 283. 
 
 Red Kutani, 87. 
 
 Red Oribe, 192. 
 
 Red Shino, 192. 
 
 Rendaiji, 89. 
 
 Rengetsu, 281. 
 
 Risoku, 209. 
 
 Ritei, 361. 
 
 Riyoniu (9th gen. Raku), 262. 
 
 Rokubei, 236. 
 
 Rokuzan, 294. 
 
 Rozan, 255. 
 
 Ryozan, 156. 
 
 Ryozen (loth gen. Zengoro), 
 
 273- 
 Ryvishi, 150. 
 
 Sada, 232. 
 
 Sado in general, 123. 
 
 Sahei, 96, 362. 
 
 Sakamoto, 315. 
 
 Sakigaki, 304. 
 
 Sakurai, 64. 
 
 Sakusuke, 358. 
 
 Sakuyemon, 300. 
 
 Same, 327. 
 
 Sampei, 125. 
 
 Sanda, 66. 
 
 Saniu (6th gen. Raku), 261. 
 
 Sanko, 206. 
 
 Sanrakuyen, 301. 
 
 Sanuki, 177. 
 
 Sasashima, 216, 359. 
 
 Satsuma, 320. 
 
 Satsuma, White, 329. 
 
 Seifu, 250. 
 
 Seijiyemon, 311, 354. 
 
 Seikanji, 221. 
 
 Seikozan, 327. 
 
 Seiniu, 363. 
 
 Seishi, 305. 
 
 Seiunzan, 257. 
 
 Seizan, 254, 256. 
 
 Sekisen, 117. 
 
 Sekivo, 135. 
 
 Sendai, 317. 
 
 Senka, 114. 
 
 Sen Baku, 57. 
 Seshima, 333. 
 Seta, 69. 
 
 Seto, 42, 188, 340, 358. 
 Seto, Black, 194. 
 Seto-Kusuri, 325. 
 Setosuke, 102, 109, 190. 
 Setsuzan, 84. 
 Shibata, 48, 340. 
 Shibuya, 304. 
 Shichibei, 239. 
 Shido, 172, 360. 
 Shidoro, 147. 
 Shiga, 56, 316. 
 Shigaraki, 67. 
 Shigemasa, 358. 
 Shimbei, 208. 
 Shimpaku, 209. 
 Shinjiro, 146. 
 Shinkaizan, 359. 
 Shino, 190, 358. 
 Shino, Black, 193. 
 Shinomine, 42. 
 Shino, Red, 192. 
 Shinshiroyama, 112. 
 Shinyemon, 208 
 Shirai, 306. 
 Shiro (variety), 55, 
 Shiroyama, 48. 
 Shizuhata, 136. 
 Shodai, 80. 
 Shofu, 80. 
 Shofudo, 315. 
 Shohaku, 48, 58. 
 Shohei, 363. 
 Shoi, 289. 
 Shoka, 163. 
 Shoreido, 92. 
 Shosai, 66, 359. 
 Shotei, 94. 
 Shoto, 47. 
 Sho-u, 364. 
 Shozo, 210. 
 Shuhei, 245, 362. 
 Shuji, 356. 
 Shunbai, 357. 
 Shunka, 358. 
 Shunkei, 200. 
 Shunki, 199. 
 Shunkozan, 198. 
 Shunkyo, 357. 
 Shunrin, 200, 357. 
 Shunsai, 257. 
 Shunsho, 199. 
 Shunsui, 200. 
 Shuntai, 198, 357. 
 Shuntan, 198, 357. 
 Shun-u, 197, 357- 
 Shunzan, 170, 197, 357. 
 Shuzan, 65, 287. 
 Silver Karatsu, 38. 
 Sobaitei, 213. 
 Sobiyo, 315. 
 Sobokai, 196, 357. 
 Soha, 48. 
 
 Sohaku, 289. 
 
 Sohei, 154. 
 
 Sohen, 221. 
 
 Sohin (6th gen. Zengoro), 273. 
 
 S6-i, 289. 
 
 Sokan, 60. 
 
 Soma, 311. 
 
 Song-do Pottery (Korean), 29. 
 
 Soniu (5th gen. Raku), 261. 
 
 Sosaburo, 277. 
 
 Sosentei, 89. 
 
 Soshichi, 170. 
 
 Soshiro, 277, 295, 363. 
 
 Soyemon (?), 209. 
 
 Sozen (3d gen. Zengoro), 273. 
 
 Successors of Toshiro, 185. 
 
 Suikotei, 356. 
 
 Suisetsu, 212, 359. 
 
 Suma, 154. 
 
 Sumidagawa, 300. 
 
 Sumizome, 284. 
 
 Sunkoroku, 321. 
 
 Suruga, 137. 
 
 Suwa, 114. 
 
 Suyehiroyama, 112. 
 
 Tachikui, 179. 
 
 Tachino, 333. 
 
 Tada, 117. 
 
 Taiga, 116. 
 
 Tainei, 289, 307. 
 
 Taizan, 228, 361. 
 
 Takada, 357. 
 
 Takagamine, 218, 361. 
 
 Takahara, 61, 291. 
 
 Takamatsu, 177. 
 
 Takato, 134. 
 
 Takatori, 165, 352. 
 
 Tamagaki, 102. 
 
 Tamagawa, 187, 303, 355. 
 
 Tamba (?), 361. 
 
 Tamba in general, 181. 
 
 Tanniu (loth gen. Raku), 
 
 263. 
 Tanzan, 231. 
 Tashiro, 312. 
 Teizan, 297. 
 Tobi-Kusuri, 186. 
 Tobimura, 112. 
 Togentei, 339. 
 Tohaku, 205. 
 Tokoname, 203, 359. 
 Tokubei, 232. 
 
 Tokuniu (8th gen. Raku), 262. 
 Tokusai, 145. 
 Tokuzan, 29(5, 355. 
 Tokuzen (13th gen. Zengoro), 
 
 276. 
 Tomikawa, 177. 
 Tomita, 173. 
 Tomitaro, 123. 
 Tomotsu, 336. 
 Torakichi, 74. 
 Toroku-Ura, 47. 
 Tosa, 61, 286. 
 
Tosai, 213. 
 
 Tosenyen, 302. 
 
 Tosenzan, 354. 
 
 Toshiro, 183. 
 
 Toshiro (Successors of), 185. 
 
 Totei, 146, 283. 
 
 Totoken, 154. 
 
 Toyen, 252. 
 
 Toyosuke, 214. 
 
 Tozan, 155. 
 
 Tozen, 204. 
 
 Tsuboya, 321. 
 
 Tsujii Harima, 222. 
 
 Tsuruga, no. 
 
 Tsushima in general, 57. 
 
 Tsuyen, 251. 
 
 Ubagamochi, 73. 
 Udzurayama, 284. 
 Ureshino, 48. 
 Utsutsugawa, 45, 353. 
 
 INDEX OF POTTERIES 
 
 Wafuken, 151. 
 
 Wagen (12th gen. Zengoro), 
 
 275. 
 Wakichi, 204. 
 
 Wari-Sakura (Ki Seto), 201. 
 White Satsuma, 329. 
 
 Yagami, 45. 
 Yaheda, 57. 
 Yamada, 223, 314. 
 Yamagata, 340. 
 Yamagawa, 328. 
 Yamahara, 333. 
 Yamake, 223. 
 Yamamoto, 92. 
 Yamato in general, 109. 
 Yanagawa, in. 
 Yasan, 61. 
 Yashima, 175, 360. 
 Yedo Banko, 309. 
 Yedogawa, 306. 
 
 Yeiraku, 92, see Hozen. 
 Yeiroku, 359. 
 Yeisen, 235. 
 Ye-Karatsu, 39. 
 Yenami, 164. 
 Yohachi, 176, 360. 
 Yokuro, 278. 
 Yoshitoyo, 213. 
 Yosobei, 245, 362. 
 Yotsuya, 307. 
 Yoyama, n6. 
 Yukichiruya, 134. 
 Yuko, 74. 
 Yusetsu, 99. 
 Yuzan, 232. 
 
 Zengoro, 272. 
 Zenniu, 306. 
 Zenshiro, 1 58, 278, 363. 
 Zeze, 69. 
 Zoroku, 249. 
 
 373 
 
INDEX OF MARKS 
 
 Numbers refer to Catalogue 
 
 Aihi, 3648. 
 
 Akagi, 1525, 1526-1617, 5124. 
 
 Akahada, 1262-1265, 1267-1270, 1277, 1279, 1281, 
 
 1282, 1285, 1287, 1289-1292, 5261. 
 Akahada and Inouye sei, 1295. 
 Akahada and Ki, 1293. 
 Akahada and Mokuhaku, 1304, 1306-1308. 
 Akahada and Tsuna, 1266. 
 
 Akahada yama, 1271-1275, 1278, 1280, 1283, 1286. 
 Akahada yama and Mokuhaku, 1300-1303, 1305, 
 
 1310. 
 Akasaka, 137 1. 
 Akashi, 1759, 3083. 
 Akashi and Mikuni, 1765. 
 Akashi Ichibei, 1832. 
 Akashi Minato, 1764. 
 Akashi-ura, 1760. 
 Akaura and Kigetsu an, 1761. 
 Akebono, 2605. 
 Akihiko, see Mikawa. 
 Akita, 4524. 
 
 Akogi, 1122-1(24, 5138. 
 An, 4618. 
 Ansei san nen, Shimotsuke no kuni Nasu-gori 
 
 Kosuna-mura ni oite kore wo tsukuru, 1349. 
 Anshun raku Seki-6, 4745. 
 Anto, 1 1 07- 1 120. 
 Anyei go nen Naniwa Shuzan sei, mi tokobashira 
 
 Yoki, 613. 
 Ao Mokubei, 3808, 3809. 
 Arashi Tanemune, 2015. 
 Arashiyama, 3567-3569. 
 Asa, 534. 
 
 Asagiri, 1 767-1 770, 5104. 
 Asagiri and Sohei, 1816. 
 Asahi, 3815-3835. 5315. 5317- 
 Asahi-ken tsukuru, 1 250. 
 Asahimine, 3573, 3574. 
 Asahitei, 3570-3572. 
 Asakura, mark of, 4023. 
 Asano, 1063. 
 
 Awata, 3102, 3103, 3106, 3117,3118, 3126. 
 Awata Guchi, 3146. 
 Awata Guchi Tokubei tsukuru. Kayei ju kiki 
 
 san-gatsu, 3246. 
 Awata Taizan, 5272. 
 Aya matsu ga and Keizan, 4645. 
 Aya yaki and Keizan, 4646. 
 
 Baigetsu-gfa, 1257. 
 
 Baikei Shujin kore wo tsukuru, 4660. 
 
 Bairaku, 2990. 
 
 Bairin, 745, 748-7S4- 
 
 Baishi, 4672. 
 
 Bai so yen sei, 3292. 
 
 Baitei kore wo tsukuru, 2924. 
 
 Baiyen, 3682. 
 
 Baizan, 708. 
 
 Bakesuke and Hachi-ju-ichi 6, 2601. 
 
 Bandai lyeko and Kurihara, 3932. 
 
 Bankeian and K6, 3616. 
 
 Banko, 1121, 1127, 1130, 1131, 1133-1135, 1138- 
 
 1147, 1152-1166, 1169-1194, 1240, 5132-5135. 
 Banko and Gando [Sanjin?], 1254. 
 Banko and Hideno, 1245. 
 Banko and Koyuno motomeni ojite. Kore wo 
 
 tsukuru, 1 1 36. 
 Banko and Mine, 1256. 
 Banko and Nihon Yusetsu, 1202, 1203. 
 Banko and Seitoken, 1255. 
 Banko and Shazan tsukuru, 1252. 
 Banko and Shosendo Giokurin tsukuru, 4515. 
 Banko and Yusetsu, 1207. 
 Banko Fueki, 1216-1221, 1224. 
 Banko Fueki and Banko, 1225. 
 Banko Fueki and Sekitokuyen sei, 1 239. 
 Banko Senshu, 1 21 5. 
 Banko Yiisetsu, 121 1. 
 Ban Ryozan no saku nari, 1841. 
 Banzai Raku, 759. 
 Bashodo, 797. 
 
 Beikoku and Hoshina, 4548, 4549. 
 Beizan and Uji, 620. 
 Benjiro, 4133. 
 Bizan, 2722, 3230-3234. 
 Bogasaki, 344, 346, 351. 
 Bogasaki and Bo, 340. 
 Bogasaki and inscription, 341, 348, 350. 
 Bokusai zoi, Temponen sei, 1538. 
 Bokusui-hen ni oite, 4120. 
 Bokusui-hen ni oite kore wo seisu and Kikko, 
 
 41 19. 
 Bokusui, see Shichi-ju-6, etc. 
 Bokuta Toko and Kikko, 41 1 7. 
 Bukkado, 1599. 
 Bunji, 2884. 
 Bunro, 2607. 
 Bunsei inu-doshi Geiyo Takeyama Shoka sei, 
 
 Dotei ga, 1937. 
 Bunsei Jissai. Inu ju-ichi-gatsu and Soshichi, 
 
 Masaki Yukihiro, 2060. 
 Bunsei ju-san Kanoye tora shi-gatsu, ju-bachi 
 
INDEX OF MARKS 
 
 375 
 
 nichi and Hoka shictii-ju-hachi 6 Tokuzan and 
 
 kakihan, 4068. 
 Bunsei nensei and Yohachi, 5245. 
 Bunshi, 2599. 
 Bunzan, etc., 4005. 
 
 Chikuso, 53CX3. 
 
 Chikutei, 3578. 
 
 Cho, 398, 399, S085. _ 
 
 Chojiro and Giokutei, 4729. 
 
 Choiu, 1088. 
 
 Choko, 5239. 
 
 Choraku, 141 6. 
 
 Choraku and Naniwa Hokuensai Choraku tsukuru, 
 
 606. 
 Chosen Ritei tsukuru, 5257. 
 Choshi, 4747. 
 Choza, 2857-2860, 2862. 
 Chubei, 817. 
 
 Dai and Izumo Wakayama, 1894. 
 
 Daiboku Jozan tsukuru, 1428. 
 
 Dai Nihon Konan Yeiraku Hozen tsukuru, 3845. 
 
 Dai Nihon Yeiraku tsukuru, 3846. 
 
 Dai Nippon Kutani sei, 1059. 
 
 Dai Nippon Tokyo Enouye Ryosai, 4145. 
 
 Denko, 148 2- 1484. 
 
 Densho, 2589. 
 
 Dohachi, 3413-3423, 3425, 3426, 3428, 3429, 3433. 
 
 3436-3438. 3452. 3455-3466, 5287, 5288. 
 Dohachi and Omuro shi saku, 5284. 
 Dohachi (not given) and Omuroyama, 3430. 
 Dohachi and Omuroyama shi saku, 3431. 
 Dohachi (not given) and Shohachi, 3434. 
 Dohachi sei, 3427. 
 Dohachi tsukuru, 3424, 5283. 
 Doko, 4736. 
 Domi, see Asakura. 
 
 Eio, 4534. 
 
 Ei-shin-sha, 4528. 
 
 Enkio san Hinoye tora Ten. Roku-gatsu ju-go- 
 
 nichi. Koka sandai no mago, Kanaya tsukuru 
 
 and Soma Nakamura, 4192. 
 Enouye Ryosai, 4144, 4146, 4148. 
 Ensosha Shisei, 1249. 
 
 Fubun, 4825. 
 
 Fugetsu, 4743. 
 
 Fuji, 3013, 3015, 3016, 3018, 3020, 3021, 3023, 
 
 3024, 3027, 3094-3096. 
 Fuji fumoto no tsuchi wo motte tsukuru Chiku- 
 
 meido, 1561. 
 Fuji-hachi, 414. 
 Fujimi yaki, 3019. 
 Fuji Sanjin, 3025. 
 Fukakusa and Ichigo, 3948. 
 Fukakusa and Matsumoto, 3947. 
 Fukakusa and Shinsai, 3949. 
 Fukakusa and Udzurayama, 3946. 
 Fukakusa no. Hana, 3950. 
 Fuke, 2723. 
 
 Fuke kore wo tsukuru, 2725. 
 Fuke sei and Shochi, 2726. 
 Fuke yaki, 2724. 
 
 Fuku, 1008, 1009, 1016, 1017. 
 
 Fukui and Kaseyama, 1332. 
 
 Fukuji, 4855. 
 
 Fukuroyama, 3940. 
 
 Fukuyama, 4577. 
 
 Fumai, 5121. 
 
 Furnace marks, conventional signatures, etc., 373, 
 375. 385. 404, 477, 478, 525-527, 2679, 2926, 2929, 
 2931-2935, 2938-2940, 2946, 2947, 4020-4023, 
 4316, 4427, 4458, 4706, 4807. 
 
 Fuya, 1536, 1537. 
 
 Fuzo tsukuru, 5232. 
 
 Ga and Sochiu, 4132. 
 
 Gagi, 4001. 
 
 Gando [Sanjin ?^ and Banko, 1254. 
 
 Gempin and kakihan (fraudulent), 2830-2831. 
 
 Gen, 2821, 4586, 4845. 
 
 Gengen, 3731. 
 
 Gengo, 4438. 
 
 Genjiro, 4158. 
 
 Genko, 1370, 2880, 2881. 
 
 Gen = Minamoto, 867-874. 
 
 Gensen sai, 2882. 
 
 Genshosai Ho in, 1892. 
 
 Gioii (or Jioji), 3255. 
 
 Gioku Ho sei, 4462. 
 
 Giokutei and Chojiro, 4729. 
 
 Giokuto, 3751, 4830. 
 
 Gionen hachi-ju-san sai Totoki Hosho kore wo 
 
 tsukuru and Ho, 1478. 
 Gionen roku-ju-hachi sai, Sojiku kore wo tsukuru 
 
 and kakihan, 3749. 
 Giosotan, etc., 4344. 
 Giozan, 3224-3227. 
 Giozan and Kinji, 3228. 
 Giozan tsukuru, 3229. 
 Gobosatsu, 3184-3193, 3195, 3196, 5270. 
 Gocho, 4860. 
 
 Gohonzan onaratame, 3626. 
 Gojohashi and Kitei, 3510. 
 Gorosuke saku, 3577. 
 Goshotei and Kichibei, 3994. 
 Goshu Seta Kyoto Tokishi Mompei, 742. 
 Gountei saku and Toto, 3984. 
 Goyo dokoro on dokishi Sawaragi Marudayu, 4616. 
 Gu and San yo and inscription, 2140. 
 
 Hachi, 2727, 5193. 
 
 Hachi-ju-ga, Raku-6 and kakihan, 3746. 
 
 Hachi-ju ga Sobaitei Rojin tsukuru, 2977. 
 
 Hachi-ju-ichi-6 and Bakesuke, 2601. 
 
 Hachi-ju-6 Sobaitei Rojin kore wo tsukuru, 2978. 
 
 Hachiyei, 4861. 
 
 Hagiyama yaki, 2962, 2963, 2966. 
 
 Hagiyama yaki (not figured) and [?], 2964. 
 
 Hagiyama yaki and Kinjo-raku. Tempo ham 
 
 Senshotei saku, 2965. 
 Haku, 3756. 
 
 Haku unzan and Yuraku, 1521. 
 Hakusan, 4731. 
 Hanashiki, 2676. 
 Hanji, 2593. 
 Hanko, 4680. 
 Hanko, 2879. 
 
376 
 
 INDEX OF MARKS 
 
 Hanshichi, 4094. 
 
 Hanshichi and Imado Hamatoyo, 4095. 
 
 Hanshichi Imado Hamaguri, 5166. 
 
 Harima, 3089. 
 
 Haritsu, 4030. 
 
 Hashidate, Tango, 4540. 
 
 Hatara, 4626. 
 
 Hayashi, 4486. 
 
 Heian Chokyu tsukuru, 3952. 
 
 Heigen, 4185. 
 
 Hiafcu, 2622. 
 
 Hiaku ju, 3529, 3530. . 
 
 Hiaku-kiyoku, 3755. 
 
 Hiakusuice, 4849. 
 
 Hideno and Banko, 1245. 
 
 Higo, 865. 
 
 Higo Amidayama no toko, Kansei nensei, 887. 
 
 Higo and Yatsushiro, 5108. 
 
 Higo, Udo-gori, Amidayama sei, 888-890. 
 
 Higo Yamaga Matsumoto Chozo, 907. 
 
 Himiji ni oite Okiaku sei, 1837. 
 
 Himuro Awata Rioundo sei, 3143. 
 
 Hinoshita ichi [Fusa?], 2182. 
 
 Hinoshita ichi Kono, 2181. 
 
 Hira, 786-788, 2167. 
 
 Hiraga and Shunmin, 2079. 
 
 Hirono, 4283. 
 
 Hiroshima Yenami sei, 1943. 
 
 Hitotsu yaki and Tama, 4126. 
 
 Ho, 4730. 
 
 Ho and Gionen hachi-ju-san sai Totoki Hosho 
 
 kore wo tsukuru, 1478. 
 Ho and kakihan, 1479. 
 Ho and spiral, 1480, 1481, 5096. 
 Hogoen sei, 3615. 
 Hohei, 4362-4366. 
 Ho-itsu and Taka, 2009. 
 Hoju, 435S, 4356, 4359-4361. 
 Hoka hachi-ju-shi-6 Tokuzan saku, 4069. 
 Hoka shichi-ju-hachi-6 Tokuzan and kakihan, 
 
 Bunsei ju-san Kanoye tora shi-gatsu, ju-hachi 
 
 nichi, 4068. 
 Hoki no Kami, 4525. 
 Hokio and Tashiro, 4212. 
 Hokio and Tashiro tsukuru, 4213. 
 Hokkukai, Otaru, Honda [Tori ?] sei, 4551. 
 Hoko, 4381, 4382. 
 Hokokushi Kanro, 2825. 
 Hoko sei in, 4383, 4384. 
 Hokusei Ensosha Shujin sei, 1248. 
 Hompo, 4150, 41 51. 
 Honobono and Kado, 1839. 
 Honzan, 4732. 
 Hora Saniin, 3435. 
 
 Hpsai and Tsuten Kyo Sanyo gaishi Gi to, 4733. 
 Hoshina and Beikoku, 4548, 4549. 
 Hoyei, 4367-4374. 
 Hoyen, 1773. 
 Hoyen and crest, 1 776. 
 Hoyen and Maiko, 1775, 1777, S103. 
 Hoyu, 4379. 
 
 Hozan, 3158-3161, 3163-3176, 5273-5275. 
 Hozan, see Kuniyama, 4003. 
 Hozan and Taihei, 3181, 3182. 
 Hozan tsukuru, 3178. 
 
 Hozen, 3854. 
 
 Hozen tsukuru and Kahin Shiriu, 3857. 
 
 Ichi, 393, 967. 
 
 Ichibei and Maiko, 1831, 
 
 Ichigen tsukuru, 3730. 
 
 Ichigo, 2961. 
 
 Ichigo and Fukakusa, 3948. 
 
 Ichi hiaku, 2649. 
 
 Ichi jo, 444. 
 
 Ichi-saka [.'] Shokoen oite sei, 3771. 
 
 Ichiyu, 3306, 3307. 
 
 Iga, 1640, 1645-1647, 1649, 1672. 
 
 Iga and [?], 1626, 1639. 
 
 Iga and Iwa, 1642. 
 
 Iga and Ko [ju ?], 1657. 
 
 Iga and Tosenzan, 5127. 
 
 Iga, Hosokawa Masatsugu, 1659. 
 
 Iga no kuni and Marubashira mura, 1623. 
 
 Iga yaki, 1650. 
 
 Ikao Senka tsukuru, 1355. 
 
 Ikao yaki and Senka tsukuru, 1353. 
 
 Ikko, 2868, 2870. 
 
 Ikko sei, 2869. 
 
 Imado Hamatoyo and Hanshichi, 4095. 
 
 In Kyuzan, 4552-4554, 4559. 
 
 In Kyuzan and Anshi, 4557. 
 
 In Kyuzan and [Kan i"], 4555, 4556. 
 
 In Kyuzan and obscure mark, 4558. 
 
 Inouye sei and Akahada, 1295. 
 
 Inuyama, 2900, 2903, 2904, 2910, 29»i, 2912, 2920, 
 
 2921, 5227. 
 Ippei, 4836. 
 
 Ippodo, 3558-3561, 3563- 3564- 
 Ippodo Shichi jissai tsukuru, 3562. 
 Isawa, 1233-1236, 5139. 
 Iwa and Iga, 1642. 
 Iwa Koshi, 1552. 
 
 Iwakuni ni oite Jusan-ken tsukuru, 1406. 
 Iwakuni ni oite kore wo tsukuru and JSsan-ken, 
 
 1398, 1404. 
 Iwakuni sei, 1374, 1375. 
 Iwakuni sei Chosan tsukuru, 1394. 
 Iwakuni Tada, 1372, 1373. 
 Iwakura, 3149, 3150. 
 Iwakurayama, 31 51, 3 1 53-3 1 57, 5278. 
 Iwakurayama Ippo, 3152. 
 Iwami Kuni Sangai San Ka Nagami [?] kore wo 
 
 tsukuru, 1548. 
 Iwao, 1549, 1 551. 
 Izumo Wakayama, 1889. 
 Izumo Wakayama and Dai, 1894. 
 
 Ji, 883. 
 
 Jin, 2169, 2170. 
 
 Jinoka tsukuru in, 1333. 
 
 Jin Roku saku, see Sei, etc. 
 
 Jioji, see Gioji. 
 
 Jiraku sai Setsu-6 tsukuru Kotobuki roku-jii roku 
 
 and Setsu-6, 4749. 
 Jiu, 1997. 
 Jo, 405, 423. 
 J6-ichi, 419, 480. 
 Jo jo dai kichi, 3614. 
 Joshiro, 3964. 
 
INDEX OF MARKS 
 
 377 
 
 )> 
 
 Jota kore wo seisu, 4401. 
 Jozan, 1429, 1477, 3959. 
 Jozan Mumei-i To, 1431. 
 Jozan tsukuru, 3958. 
 
 Ju, 4653- 
 
 Ju and Kutani, 1053. 
 
 Juraku, 3742. 
 
 Jusan, 4846. 
 
 Jusan, 605. 
 
 Jusan-ken, 1397, 1399-1403, 1405. 
 
 Jusan-ken and Iwakuni ni oite kore wo tsukuru, 
 
 1398, 1404. 
 Jusendo Hohei-rojin tsukuru, 2883. 
 
 Ka, 863, 1992, 3315. 
 
 Kachutei Dohachi, 3443. 
 
 Kachutei Dohachi sei, 3444. 
 
 Kado and Honobono, 1839. 
 
 „ . ,.-, ( raku limuro Tadanobu 
 
 Kaei gannen Moka | ^^ ^^^^^ Tadayuki sei. 
 
 Hakusai Kanhiro hachi jissaiga, 1531. 
 
 Kagamichi, 2889. 
 
 Kagura, 3734-3737- 
 
 Kaguraofca, 5314- 
 
 Kahin, 3864. 
 
 Kahin Shiriu, 3858-3862. 
 
 Kahin Shiriu and Hozen tsukuru, 3857. 
 
 Kahin Shiriu and Yeiraku, 3855, 3856. 
 
 Ka-ichi, 382. 
 
 Kairaku, 1357, 1358. 
 
 Kairaku and Kairakuyen, 1577. 
 
 Kairakuyen, 1578. 
 
 Kairakuyen and Kairaku, 1577. 
 
 Kairakuyen and Nanki, 161 1. 
 
 Kairakuyen sei, 1 565-1 576. 
 
 Kairakuyen sei and Raku, 1579. 
 
 Kairakuyen sei and scroll, 1 584. 
 
 Kairakuyen sei and Tempo ju-ichi nen Shocho 
 hodo ye, 1 564. 
 
 Kairakuyen sei and Ya, 1582. 
 
 Kaishu and Kyozan, 4182. 
 
 Kakihan, also written Kaki-han. (" A seal made 
 with a pen." Hepburn.) 453. 548, 13' 5. '337- 
 1339. 1436, 1479. 1533. 2663, 2830, 2831, 2957, 
 3030, 3194, 3275, 3654, 3697, 3746, 3749, 3752, 
 3757, 3836, 3837, 4061. 4062, 4068, 4070, 4084, 
 4127, 4179, 4344, 4620, 5172, 5256. 
 
 Kakitsubata, 4535, 4536. 
 
 Kakitsubata and Okunisan, 4538, 4539. 
 
 Kaku-ichi, 388. 
 
 Kamamoto Kimura Kinko do, 452. 
 
 Kameyama, 323, 785. 
 
 Karaeyama and inscription, 322, 325, 326. 
 
 Kan, 459, 3953, 4636. 
 
 Kan and In Kyuzan, 4556. 
 
 Kan [?] and In Kyuzan, 4555. 
 
 Kanashige, 4244-4252. 
 
 Kanka, 4726. 
 
 Kan Kenei ni nen tsukuru and Zamakiu Shimpo 
 utsushi Shiamu Shosei sei and kakihan, 1 533. 
 
 Kanki-tei, 3992. 
 
 Kanko, 4667. 
 
 Kano, 2587. 
 
 Kanraku, 3739. 
 
 Kanreki and Sekiran, 2808. 
 
 Kan-un, 4572. 
 
 Kanriku, etc., 2959. 
 
 Kanriu, 2950, 2951. 
 
 Kanzan, etc., 3302. 
 
 Karaku Sanzo, Shu [?] dai, 4181. 
 
 Karamine, 925. 
 
 Kasai, 2899. 
 
 Kasei nensei, 3622. 
 
 Kaseizan, 4054-4056. 
 
 Kaseyama and Fukiu, 1332. 
 
 Kasugi ? and Nishiki, 2077. 
 
 Kasuke, 3312-3314. 
 
 Katei, 3582. 
 
 Katei and Mi ushi roku-gatsu Keishi tsukuru, 
 
 3583- 
 Katei Shichi-ju-shi, 3581. 
 Katsu, 858. 
 
 Kawauchi and Satsuma, 4437. 
 Kayemon, 5218. 
 Kazan ?, 5324. 
 Keiben, 4701. 
 
 Ke-ichi saku and Shichi-ju-shi-ichi, 4829. 
 Keiden, etc., 4416. 
 Keien sei in, 1214. 
 Kei-6 san unotoshi ju-ichi-gatsu. Unyei kore wo 
 
 tsukuru and Unyei, 1880. 
 Keiraku, 2992. 
 
 Keitando Sekisui and Mumei-i, 1433. 
 Keito, 4831. 
 
 Keizan and Aya Matsu ga, 4645. 
 Keizan and Aya yaki, 4646. 
 Ken, 1991, 3773, 3902-3904, 3908, 5313. 
 Ken and Kuhei, 391 1. 
 Ken and Otowa, 3905, 3906. 
 Kensai, 3986. 
 Kenshin, 2953. 
 Kenshin and Shun-u, 2745. 
 Kenya, 4048, 4049. 
 Kenya, etc., 4052. 
 Kenya tsukuru, 4047. 
 Kenzan, 2901, 2902, 3763-3770. 3776-3779. 378i- 
 
 3783, 4031, 4032, 4037-4043, 531 1. 
 Kenzan, etc., 4044. 
 Kenzan (spurious mark), 1592. 
 Kenzan and Kinkozan, 3207. 
 Kenzan and Seifu, 3547. 
 Kenzan and Tok5 Toto, 3784. 
 Kenzan, Hoyei tsukuru and obscure name, 3780. 
 Kenzan Sho kaku, 4036. 
 Kenzan Sho kaku and Korin ga. Kenzan Okina, 
 
 4035- 
 Kenzan Sho. Kenzan, 4033. 
 Ki, 1294, 1998-2006, 3495, 3496, 3509, 351 1, 5098, 
 
 5100. 
 Ki and Akahada, 1293. 
 Ki and Raku, 3760. 
 Kichibei, 3304, 4859. 
 Kichibei and Goshotei, 3994. 
 Kichibei, see Senshu. 
 Kichi in, 2130. 
 Kichiroku saku, 4131. 
 Kichiyemon, see Senshu. 
 Kido, 4619. 
 
 Kigetsu an and Akaura, 1761. 
 Kiho tsukuru, 3599, 3600. 
 
378 
 
 INDEX OF MARKS 
 
 Kijo no sei, 1600. 
 
 Kikko, 593,594. 1546, 1547,4115,4116, 41 22-41 24. 
 
 Kikko and Bokusui-hen ni oite kore wo seisu, 
 
 41 19. 
 Kikko and Bokuta Toko, 41 17. 
 Kikko and Toshun ishoku nashi, 1396. 
 Kikko tsukuru, 4121. 
 Kikunojo tsukuru, 2688. 
 Kikutani, 3885. 
 
 Kikutani and Yeiraku, 3882-3884. 
 Kimbei, 1435. 
 Kimura-uji, 420. 
 Kin, 3658, 4840. 
 Kinchozan Tokubei, 3991. 
 Kinji and Giozan, 3228. 
 Kin-jin, 364. 
 Kinjo-raku. Tempo haru Senshotei saku and Hagi 
 
 yami yaki, 2965. 
 Kinju, 1 103. 
 Kinkei, 1438. 
 Kinko, 4164, 5006. 
 
 Kinkozan, 3207-3212, 3215-3222, 5277. 
 Kinkozan and Kenzan, 3207. 
 Kinkozan and Otani, 3650. 
 Kinoye-ne, 2588. 
 
 Kinrin Godaibo and kakihan, 1436. 
 Kinryuzan, 909. 
 Kinsei, 3586, 3587, 3590. 
 Kio, 1668. 
 Kio Toraku, 3754. 
 Kiraku, 3605, 4879. 
 Kiraku tsukuru, 3606. 
 Kisaki, 1102. 
 Kisen, 4850. 
 Kisui, 3517, 3518. 
 Kisui tsukuru, 3519. 
 Kitakoji, 897. 
 
 Kitakoji and Shodai, 895, 896. 
 Kitakoji and Shofii, 898. 
 Kitani, 1522-1524, 5123. 
 Kitei, 3494, 3497-3 502, 3S04-35o8, 35' 2-351 5, 
 
 5290. 
 Kitei and Gojohashi, 3510. 
 Kits, 3516. 
 Kiyo, 3264. 
 
 Kiyo, a mark of Ninsei, 3043. 
 Kiyodo, 2996. 
 
 Kiyodo and Toyoraku, 2995. 
 Kiyohiro, 2594. 
 
 Kiyomizu, 3250, 3251, 3253, 3319, 5306. 
 Kiyomizu and Shunsai, 3604. 
 Kiyomizu and Yoso, 3477. 
 Kiyomizu Bairin zan, 745. 
 Kizan, see Suma, etc., 1830. 
 Kizen, 4002. 
 Ko, 3031. 
 Ko, 2586, 4814. 
 K6.?, 3982. 
 
 Ko and Bankeian, 3616. 
 Kochi sei, 4000. 
 Kochiaten, 1312-1314. 
 Kodzu, 857. 
 Kohei, 554. 
 Koitsu, 2891. 
 Koitsudo, 2892. 
 
 Ko [ju ?] and Iga, 1657. 
 
 Koki and Raku, 3692. 
 
 Koki and Sliuntai, 5212, 5214. 
 
 Kokikwan Mokubei, 3805. 
 
 Kokikwan Mokubei tsukuru, 3799, 3800. 
 
 K5ko, 3996, 4837. 
 
 Kokwa ni nen Giosotan Kiyohoku and kakihan, 
 
 4344- 
 Komaru, 4224. 
 
 Komaru tsukuru and S5ma, 4227. 
 Komatsu kichi, 3303. 
 Kono, 2180. 
 Konosaku, 2178, 2179. 
 Koraku, 4085, 4087, 4090-4093. 
 Korakuyen sei, 4086, 4088, 4089. 
 Korakuyen sei and kakihan, 4084. 
 Koran Joshi tsukuru, 4138. 
 
 Koren and Meiji ju-liachi nen. Koren saku, 4136. 
 K6ren-ri Horaku-ken kore wo tsukuru, 2983. 
 Korin ga, Kenzan Okina and Kenzan Sho Kaku, 
 
 4035- 
 Koromogawa, 4844. 
 Kosai, 3593-3598, 5318. 
 Koshun-do, 4832. 
 Kosobe, 566-592. 
 Kosobe and Tainen, 582. 
 Koson, Mark of, 4022. 
 Kosui, Kosui ga and [.?], 599. 
 Kosuizan, 5319. 
 
 Koto, 760-762, 764-768, 771, 778. 
 Koto and Meizan, 777. 
 Koto Mokubei dojin tsukuru, 3813. 
 Koto sei, 769. 
 Koto Sekisui sei, 770. 
 Koyemon, etc., 3942, 3943. 
 Koyoshida and Tozan, 1836. 
 Koyuno motomeni ojite. Kore wo tsukuru and 
 
 Banko, 1136. 
 Kozan, 3245, 3608-3612, 4007. 
 Kozan, etc., 4510. 
 Kuchu, 3032, 3033, 5268. 
 Kudai tsukuru and kakihan, 3697. 
 Kuhei and Ken, 391 1. 
 Kuhei and Otowa, Ken, 3910. 
 Kuho, 4623. 
 Kujirimura Kama Horeki Ku nen Uno Shichi- 
 
 gatsu Kichi nichi, 1363. 
 Ku-ju-ni-6, Rinso saku and Yashima, 21 16. 
 Ku-ju-roku-6 Rinso tsukuru and Yashima, 21 17. 
 Ku-ken, 1485. 
 Kuniyama or Hozan, 4003. 
 Kurihara, 3931. 
 
 Kurihara and Bandai lyeko, 3932. 
 Kuritani, 3886. 
 
 Kutani, 1022, 1023, 1033, 1035-1050, 1093, 1104. 
 Kutani and Ju, 1053. 
 Kutani and Yei, 1096. 
 Kutani and Yeiraku, 1094. 
 Kutani ni oite Yeiraku tsukuru, 1095. 
 Kutani sei and Sosentei Ichigo ga, 1062. 
 Kuyemon, 2597. 
 Kwaisuiyen sei, 4125. 
 Kwan, 3810. 
 
 Kyogoku Shijio ju Miki Raiki Toseizan, 3927. 
 I Kyoto Shorin-an ni oite tsukuru, 3750. 
 
INDEX OF MARKS 
 
 379 
 
 Kyozan, 4183, 4184. 
 Kyozan and Kaishu, 4182. 
 Kyu, 5216. 
 
 Kyukyu 6 and kakihan, 3960. 
 Kyuraku, 3732, 3733, 5297. 
 Kyuta, 3310, 331 1. 
 Kyuzan sei, 616, 617. 
 
 Magoku, 2596. 
 
 Maiko, 1778-1781, 1784, 1786-1795. 1797. 1798. 
 
 1800, 1801, 1803-1805, 1807-1811, 1813, 1814. 
 Maiko and Hoyen, 1775, 1777, 5103. 
 Maiko and Ichibei, 1831. 
 Maiko and Sohei, 1817, 1819. 
 Maiko and Totoken, 1822, 1823. 
 Maiko and Wafuken, 1771, 1772. 
 Makudsu, 497, 3912-3918,4139, 4141, 4640. 
 Makudsu and Mushiage, 496, 499. 
 Makudsu Kozan, 4140. 
 Makusa, 2772-2776. 
 Makusa ?, 2602. 
 Man, 456. 
 Manshichi, 2925. 
 Manzai, 471 1. 
 
 Marubashira mura and Iga no kuni, 1623. 
 Maru-ichi, 390, 1970. 
 Maru-ji, 381. 
 Maru-ni, 407, 481. 
 Maruoka Sukenobu tsukuru, 5312. 
 Maru-san, 397, 413. 
 Masa, 2958. 
 
 Masa and Ohata Chuzayemon, 2945. 
 Masaki, 2954, 2956, 5164, 5219. 
 Masaki and Icakihan, 2957. 
 Masaki and Rakurakuyen, 4073. 
 Masakichi, 1089. 
 Masatomo, 3990. 
 
 Masatomo, Dai Nippon Imbe to, 446. 
 Matsu, 875, 2948, 2949. 
 Matsu and Tsukuru, 2824. 
 Matsuoka, 4757. 
 
 Matsumoto and Fukakusa, 3947. 
 Matsusaburo and Taka, 2019. 
 Meiji hachi nen tsukuru, 1246. 
 Meiii ju-hachi nen Koren saku and Koren, 4136. 
 Meiji ju-san nen Koshin gatsu Iwashiro Hongo 
 
 Tokoshi Onodera Kozan tsukuru, 4510. 
 Meiji Kichu-nen gentan Tenrokudo Kenya, 4052. 
 Meizan, 4543. 
 Meizan and Koto, 777. 
 Mihaku yaki, 4833. 
 Mikawa, Akahiko tsukuru, 352, 
 Miki konomi, 3926. 
 Mikuni and Akashi, 1765. 
 Mimpei, 1439-1445, 1447-1450. 
 Min, 2084, 2096-2099, 5251. 
 Min ?, 2086. 
 Minamoto, see Gen. 
 Minato, 1496, 1501, 1510. 
 Minato Ryoko, 1513. 
 Minato yaki, 1497-1500, 1502, 1503, 1505-1509, 
 
 I5II- 
 
 Mine and Banko, 1256. 
 
 Minzan, 2105-2110. 
 
 Mitani Soshiu, kakihan of, 3757. 
 
 Mitsuko, 4574. 
 
 Mi ushi roku-gatsu Keishi tsukuru and Katei, 
 
 3583- 
 
 Miyajima, Osuna yaki, 1936. 
 
 Miyajima sei, 1933, 1935. 
 
 Miyajima yaki, 1928, 1929, 1931, 1932, 1934. 
 
 Miyajima yaki and crest, 1926, 1927. 
 
 Mizoro yaki and kakihan, 3194. 
 
 Moku, 5091. 
 
 Mokubei, 3785, 3786, 3788-3798, 3804, 3806, 3814. 
 
 Mokuhaku, 1 296-1 299, 1309. 
 
 Mokuhaku and Akahada, 1304, 1306-1308. 
 
 Mokuhaku and Akahada yama, 1300- 1 303, 1305, 
 1310. 
 
 Moku moku, 2893, 2894. 
 
 Mokumoku an and Tokusai, 1665. 
 
 Mompei, 740. 
 
 Mompei, etc., 5182. 
 
 Mompeizan, 739. 
 
 Mori, 475, 1247. 
 
 Mori [Ya ?], 400. 
 
 Moriyoshi, 4531. 
 
 Mosaku, 2177. 
 
 Motte Antozan no tsuchi Rinzan kore wo tsu- 
 kuru, 4843. 
 
 Mugan-raku, 4617. 
 
 Mukogaoka tsuchi nite tsukuru Hiaku-Kiyoku, 
 3748. 
 
 Mumei-i and Keitando Sekisui, 1433. 
 
 Murasakino, 3740, 3741. 
 
 Mushiage, 498, 500. 
 
 Mushiage and Makudsu, 496, 499. 
 
 Nagami Iwao kore wo cho-kokusu, 155a 
 
 Nagarayaraa, 789. 
 
 Nagaye (or Hase) tsuchi bakari, 1377. 
 
 Nagaya (or Hase) tsuchi han to kore wo awase, 
 
 1376. 
 Naka, 821. 
 Nakusa, 1616. 
 Naniwa, 562, 564, 565. 
 Naniwa Hokuensai Choraku tsukuru and Cho- 
 
 raku, 606. 
 Nankai, 4834. 
 Nanki, 161 2. 
 
 Nanki and Kairakuyen, 161 1. 
 Nanki Otokoyama, 1608-1610. 
 Nanzenji and Raizan, 3989. 
 Naohachi, 2131, 5249. 
 Naohachi (not given) and [?], 2132. 
 Naokata, 2897. 
 
 Naosaku, 21 74-2176, 5254, 5255. 
 Nara Dai Butsu Ogane, 1261. 
 Nari, 4061, 4062. 
 
 Natsume and Shichi-ju-go-6, Ho tsukuru, 2942. 
 Naye, 4501. 
 
 Nennensha Kiraku tsukuru, 3607. 
 Ni, 5165. 
 
 Nihon Banko, 1222, 1223. 
 Nihon Banko Hori Tomonao tsukuru, 1253. 
 Nihon Yijsetsu, 1196, 1201. 
 Nihon Yusetsu and Banko, 1202, 1203. 
 Nihon Yusetsu and Sosho, 1212. 
 Niko, 2871-2876. 
 Nin-a, 3440. 
 
38o 
 
 INDEX OF MARKS 
 
 Nin-ami, 3439, 3441. 3442, 3445-3448. 34S3. 3454- 
 
 Nin-ami and Tozan, 3449, 3450. 
 
 Ningioslii Koyemon K6, 3942. 
 
 Ninkei, 4621. 
 
 Ninraku, 5321. 
 
 Ninsei, 3034-3038, 3042. 3044, 3046-3082, 3321, 
 
 4508. 
 Ninsei (imitation), 1872. 
 Ninsei and Saien, 3887. 
 Nippon Awaji Sampei, 1451, 1452. 
 Nippon Bunzan kore wo utsusu, 4005. 
 Nippon Kagura-oka Tokuniu, 3738. 
 Nishiki and Kasugi ?, 2077. 
 Nobushige, 4824. 
 Nobutada, 3999. 
 Nobuyuki, 3745. 
 Noclii Asahi, 910. 
 
 Obscure marks, 320, 1354, 1532, 1706, 1707, 3636, 
 4004, 4316, 4346, 4349, 4463, 4485, 4558, 5309. 
 
 Obscure marks (Korean), 52, 58. 
 
 Odo, 547. 
 
 Ohata Chuzayemon and Masa, 2945. 
 
 Ohi, 1067-1086. 
 
 Ohi Kambei saku, roku-ju issai. Temmei hachi 
 nen saru hachi-gatsu ju-go-nichi, 1065. 
 
 Okamura, 3575. 
 
 Okayama, 493. 
 
 Okei, 757, 758. 
 
 Okiaku ro, 1838. 
 
 Oki Horaku, 3003. 
 
 Okina, 4494. 
 
 Oki-uji sei Horaku, 3001. 
 
 Okunisan, 4537. 
 
 Okunisan and Kakitsubata, 4538, 4539. 
 
 Omuro, 3872-3874, 3893, 5303. 
 
 Omuro and Toho, 3892. 
 
 Omuro and Ouchi-yama sei en, 3870. 
 
 Omuro Slii saku and Dohachi, 5284. 
 
 Omuroyama and Dohachi (not given), 3430. 
 
 Omuroyama shi saku and Dohachi, 3431. 
 
 Onko, 1367, 1368. 
 
 Ono Zenroku, 1091. 
 
 Otafuku-an, 3928-3930. 
 
 Dtakayama, 2855, 2856. 
 
 Ota Manjiro shichi-ju-o kore wo tsukuru and 
 Shizuhata, 1562. 
 
 Otani, 3524, 3525. 
 
 Otani and Kinkozan, 3650. 
 
 Otokoyama, 1613. 
 
 Otowa, 3896-3898, 3907. 
 
 Otowa and Ken, 3905, 3906. 
 
 Otowa, Ken and Kuhei, 3910. 
 
 Otsu and Zen, 4229. 
 
 Otsu Meisan, 743. 
 
 Otsu Meisan and Yorodsu tei, 744. 
 
 Ouchi-yama Hatsu kama and Yeiraku, 3875. 
 
 Ouchi-yama sei en, 3871. 
 
 Ouchi-yama sei en and Omuro, 3870. 
 
 Raizan and Nanzenji, 3089. 
 
 Raku, 1064, 1528, i860, 3663-3666, 3669-3678, 
 3680, 3681, 3683-3686, 3688-3691, 3693-3695, 
 
 3698-3710, 4744- 
 Raku and Kairakuyen sei, 1579. 
 
 Raku and Ki, 3760. 
 
 Raku and Koki, 3692. 
 
 Raku and Sho, 3687. 
 
 Rakurakuyen, 4076-4081. 
 
 Rakurakuyen and Masaki, 4073. 
 
 Rakurakuyen and Sobokai, 4072. 
 
 Rakurakuyen sei, 4074, 4075, 4082, 4083, 5163. 
 
 Raku Ryosuke, 21 11. 
 
 Raku sai and Shunmin, 2089. 
 
 Rakushi-tei Kasuke, 3316. 
 
 Rakuto, 2100, 3147. 
 
 Rakuto ko Kanzan tsukuru, 3302. 
 
 Rakutozan, 3239-3242, 5271. 
 
 Rakuzan, 1862, 1864, 4225. 
 
 Rantei, 3934, 3936, 3937. 
 
 Rantei sen tsukuru, 3935. 
 
 Rengetsu, 3919, 3921, 3923-3925. 
 
 Rengetsu and Ryokozan, 3922. 
 
 Ri and So, 2941. 
 
 Rikei, 2979. 
 
 Rikishin, 2583. 
 
 Riku, 421. 
 
 Rinso, see Yashima, etc. 
 
 Rinzan, 1020. 
 
 Rinzan, etc., 4843. 
 
 Ritei, etc., 5257. 
 
 Riyoniu tsukuru, 3696. 
 
 Robei Moku, 3802. 
 
 Robei tsukuru, 3801. 
 
 Roku, 465, 3317, 3318, 3330. 
 
 Rokubei, 3322, 3331, 3352, 3354, 3360, 3361, 3369, 
 
 3384-3391- 
 Roku-ichi, 3320, 3376, 3383. 
 Roku-ju-ku, 3000. 
 
 Roku-ju-shichi o Tosei tsukuru, 4812. 
 Rozan, 3584, 3585. 
 Ryo, 2166. 
 
 Ryokozan and Rengetsu, 3922. 
 Ryozan Denkaku shi, 3983. 
 Ryozen, 3838, 3839, 3841, 3842. 
 Ryuho, 4385. 
 
 Ryujiu Kitsuroku z6, 1351. 
 Ryukengo, 3955. 
 Ryushi, 1766. 
 
 Saburo, 3761. 
 
 Sada, 3247. 
 
 Sada ichi, 4575. 
 
 Sada nao, 441. 
 
 Sado Jozan, 1430. 
 
 Sado Kinginzan Mumei-i Saku Sekisui, 1434. 
 
 Sahei, 11 25, 11 26, 3533, 5280. 
 
 Sai, 2162. 
 
 Sai ?, 876. 
 
 Saien and Ninsei, 3887 
 
 Saji, 92^. 
 
 Sakigaki, 4134, 4135. 
 
 Sa Kin, 1424. 
 
 Sa Kin saku, 1421, 1422, 1425. 
 
 Sakurai no Sato, 607-612. 
 
 Sakusuke sei, 2592, 5221, 
 
 Sampei, etc., 1451, 1452. 
 
 San-dai Kenzan tsukuru. Shodai Kenzan motte 
 
 and Tempo nensei, 4044. 
 Sangen and Sumidagawa, 4102. 
 
INDEX OF MARKS 
 
 381 
 
 Sanko, 4713. 
 
 Sanko, 2877, 2878. 
 
 Sannose, 960. 
 
 Sanrakuyen sei, 4107-41 12. 
 
 Sansho, 3747. 
 
 San yo, 2 136-2 139. 
 
 San-yo and Gu with inscription, 2140. 
 
 Sanyo, etc., 4733. 
 
 Sasashima, 3004-3006, 3008-301 1, 5233. 
 
 Sashu Kinginzan Mumei-i wo motte tsukuru and 
 
 Tomitaro, 1432. 
 Sashu Kintaro saku, 1420, 1426, 1427. 
 Satsuma and Kawauchi, 4437. 
 Satsuma no Kuni Keiden sei, 4416. 
 Satsuma Seshima sei, 4498, 4499. 
 Satsuma Tateno Bunsei san nen ni-gatsu futsuka, 
 
 4478. 
 Satsu sei, 4496. 
 Se Gon, 5201. 
 Sei, 2582, 3039, 3040, 3323-3329. 3333-3351. 3355, 
 
 3357, 3359. 3362, 3368, 3393- 3394, 3396, 3397. 
 
 3400-3412, 4189-4191, 4681, 5142. 
 Sei£u, 3541-3543, 3545-3548- 
 Seifu and Kenzan, 3547- 
 Sei, Jin Roku saku. Bunseki hitsu, 3358. 
 Seiju, 4827, 4828. 
 Seikanji, 3084, 3085. 
 Seikozan, 4417. 
 
 Seinei and crest of Tokugawa, 1580, 1581. 
 Selniu, 3729, 5301. 
 Sei Roku, 3353, 3356, 3365, 3392. 
 Seisai, 2895. 
 Seishi, 4142, 4143. 
 Seitoken and Banko, 1255. 
 Seiunzan, 3601-3603. 
 Seiwodo, 1906, 3951. 
 Seizan, 3579, 3580, 3591, 3592. 
 Seki, 3993. 
 
 Sekiran and Kanreki, 2808. 
 Seki Shotei Mompei, 5182. 
 Sekitokuyen sei and Banko Fueki, 1239. 
 Sekiyo Iwayama, 1553. 
 Sekizen, 1369, 4006. 
 Semba, 3956. 
 Sen, 1994-1996. 
 Senka Ikao, 1354. 
 Senka tsukuru and Ikao yaki, 1353. 
 Sen Saku, 518. 
 
 Senshu Sakai Hon-Minato yaki Kichibei, 1514. 
 Senshu Sakai Hon-Minato yaki Kichiyemon, 1515, 
 
 1 518-1520. 
 Senzai-raku, 3744. 
 Seshima sei, 4497. 
 Seta seki sho, 741. 
 
 Setosuke, 1230, 1232, 1326-1330, 2609. 
 Setsu-6, 4750. 
 Setsu-6 and Jiraku sai Setsu-o tsukuru Kotobuki 
 
 roku-ju roku, 4749. 
 Setsuzan, 975. 
 Setsuzan saku, 976. 
 Shazan tsukuru and Banko, 1252. 
 Shibata Dentaro tsukuru, 366. 
 Shichibei, 3398. 
 Shichibei tsukuru, 3399. 
 Shichi-ju-go-o, Ho tsukuru and Natsume, 2942. 
 
 Shichi-iu-go-6 Kanriku tsukuru, 2959. 
 
 Shichi-ju-6 Sasashima Bokusai, 3012. 
 
 Shichi-ju-shi-ichi and Ke-ichi saku, 4829. 
 
 Shidoro, 1710, 1717, 1718, 1720-1722, 1724, 1725, 
 1 727-1 733, 1735, 1736. 
 
 Shidoro and Tetsuji, 1726. 
 
 Shido Shunmin, 2085, 2092-2095. 
 
 Shiga, 509, 510. 
 
 Shigekata and Taka, 201 1, 2012. 
 
 Shigemasa, 5222. 
 
 Shigenori, 2580. 
 
 Shiho an Sohen, 3086, 3088. 
 
 Shin, 1669. 
 
 Shinadsuma, 4735. 
 
 Shingetsu ken, 4514. 
 
 Shin itsu sei, 2590. 
 
 Shinkaizan, 5224. 
 
 Shin Koshinga, Ryokwan ni oite. Rokubei tsukuru, 
 3332. 
 
 Shinsai and Fukakusa, 3949. 
 
 Shinshiroyama, 1344. 
 
 Shinzan, 2112, 2606. 
 
 Shirado, 4731. 
 
 Shirai Hanshichi, 4153, 5167. 
 
 Shirai Sakuyemon, 4096. 
 
 Shirai Seijiro, 4154. 
 
 Shirai Zenniu, 41 55-41 57. 
 
 Shirakiyo, 2898. 
 
 Shirano, 4731. 
 
 Shizen-an, 4657. 
 
 Shizu, 1558, 1559. 
 
 Shizuhata, 1 554-1 557. 
 
 Shizuhata and Ota ManjirS Shichi-jii-6 kore wo 
 tsukuru, 1562. 
 
 Shizuhatayama no tsuchi wo motte tsukuru, 156a 
 
 Sho and Raku, 3687. 
 
 Sho and Shunsho, 2766. 
 
 Sho and Sobiyo, 4234. 
 
 Shochi and Fuke sei, 2726. 
 
 Shoda, 4221. 
 
 Shodai, 893, 894. 
 
 Shodai and Kitakoji, 895, 896. 
 
 Shofu, 899-903. 
 
 Shofu and Kitakoji, 898. 
 
 Shofudo, 4235. 
 
 Shohachi and Dohachi (not given), 3434. 
 
 Shohaku, 365. 
 
 Shohei, 5308. 
 
 Shokoen, etc., 3771. 
 
 Shonsui Gorosuke, 3576. 
 
 Shoreido no in, 1092. 
 
 Shosai, 618, 619, 5242. 
 
 Shosendo Giokurin tsukuru and Banko, 4515. 
 
 Shotei, 1 105. 
 
 Shoto, 361, 362. 
 
 Sho-u, 5320. 
 
 Shozen, 4847. 
 
 Shozo, 2943, 2944. 
 
 Shu, 675, 676. 
 
 Shuhei, 3468-3471, 3473, 5292. 
 
 Shuhei tsukuru, 3472, 5294. 
 
 Shuji, 5198. 
 
 Shuji, etc., 5197. 
 
 Shuji Roku-gatsu Shofu no Koye and other char- 
 acters, 5196. 
 
382 
 
 INDEX OF MARKS 
 
 Shuku-6 tsukuru, 5236. 
 
 Shun, 2064. 
 
 Shunbai, 5210. 
 
 Shun ichi, 2955. 
 
 Shun itsu, 2604. 
 
 Shunka, 2603, 5215. 
 
 Shunkei, 2770. 
 
 Shunki, 2767, 2768, 2960. 
 
 Shunko, 2753. 
 
 Shunkozan, 2752. 
 
 Shunkyo, 5209. 
 
 Shunmin, 2087. 
 
 Shunmin and Hiraga, 2079. 
 
 Shunmin and Raku sei, 2089. 
 
 Shunrin, 2769, 5207. 
 
 Shunsai and Kiyomizu, 3604. * 
 
 Shunsendo, 2591. 
 
 Shunsho and Sho, 2766. 
 
 Shunsui, 2771, 2890. 
 
 Shuntai, 2754-2762, 521 1, 5213. 
 
 Shuntai and Koki, 5212, 5214. 
 
 Shuntan, 2746-2751, 5205, 5206. 
 
 Shun-u, 2743, 2744, 5208. 
 
 Shun-u and Kenshin, 2745. 
 
 Shunyetsu, 2598. 
 
 Shunzan, 2738-2742, 3987, 3988, 5204. 
 
 Shuzan, 3987, 3988. 
 
 So and Ri, 2941. 
 
 Sobaitei, 2976. 
 
 Sobiyo and Sho, 4234. 
 
 Sobokai, 2728-2737, 5202. 
 
 Sobokai and Rakurakuyen, 4072. 
 
 Sochu and Ga, 4132. 
 
 Sogen and Yatsushiro, 885. 
 
 Sohei, 1818. 
 
 Sohei and Asagiri, 1816. 
 
 Sohei and Maiko, 1817, 1819. 
 
 Sohenzan Ninsei kore wo yaku, 3087. 
 
 Sohin and kakihan. Toshi roku-ju-san, 3837. 
 
 S5-i, mark of, 4021. 
 
 Sokan tsukuru and kakihan, 548. 
 
 Soken ga and kakihan, 3654. 
 
 Sokichi and kakihan, 3752. 
 
 Soma, 4230-4232, 4242, 4243, 4253-4280. 
 
 Soma and cre^ t, 4233. 
 
 Soma and Komaru tsukuru, 4227. 
 
 Soma and Zen, 4236. 
 
 Soma Nakamura, and Enkio san Hinoye tora 
 Ten. Roku-gatsu ju-go-nichi. Koka sandai 
 no mago, Kanaya tsukuru, 4192. 
 
 Soniu, 4851. 
 
 Sonshiu tsukuru, 2888. 
 
 Sosaburo, 3889. 
 
 Sosentei Ichigo ga and Kutani sei, 1062. 
 
 Soshichi, 2061-2063. 
 
 Soshichi, Masaki Yukihiro and Bunsei Jissai 
 Inu ju-ichi-gatsu, 2060. 
 
 Soshiro, etc., 3888, 4053, 5298. 
 
 Sosho, 4512. 
 
 Sosho and Nihon Yusetsu, 121 2. 
 
 Sosho-Unke, 451 1. 
 
 Sozan ?, 5324. 
 
 Sozen utsutsu kore wo tsukuru [nari ?] and kaki- 
 han, 3836. 
 
 Suga Sobei, 3223. 
 
 Sui, 4756. 
 
 Suikotei tsukuru, 5199. 
 
 Suisetsu, 2967, 2968, 5229. 
 
 Suisetsu saku and Suisetsu, 2969. 
 
 Suizen, 2952. 
 
 Suma, 1825-1828. 
 
 Suma and Totoken, 1829. 
 
 Suma Kisan sei, 1830. 
 
 Sumidagawa, 4009-4101, 4103-4106. 
 
 Sumidagawa and Sangen, 4102. 
 
 Sumidagawa sei, 4097. 
 
 Sumizome, 3944. 
 
 Suwa and Hachi-ju-san, 1356. 
 
 Suyehiroyama, 1345, 1346. 
 
 Taand [?], 4316. 
 
 Tachibana, 483. 
 
 Tada, see Iwakuni. 
 
 Taiga Sanka Seifutei tsukuru, 1366. 
 
 Taihei, 3180, 4758. 
 
 Taihei and Hozan, 3181, 3182. 
 
 Taihei tsukuru, 4163. 
 
 Taihei, mark of, 4020. 
 
 Tainen and Kosobe, 582. 
 
 Taisa, 3520. 
 
 Taizan, 3197-3206. 
 
 Taizan ?, 5324. 
 
 Taizan, etc., 4490, 5272. 
 
 Taka, 2007, 2008, 2018, 2066-2075, S243, 5244. 
 
 Taka and Arashi Tanemune, 2015. 
 
 Taka and H6-itsu, 2009. 
 
 Taka and Matsusaburo, 2019. 
 
 Taka and Shigekata, 201 1, 2012. 
 
 Taka and Tei ichi, 2016. 
 
 Taka and Yeigen, 2017. 
 
 Takada, 5200. 
 
 Takamitsu, 4854. 
 
 Taka Teiten, 2013. 
 
 Takatori Teiten, 2014. 
 
 Takatori Yo, 1988. 
 
 Taka Yoshiwa, 2010. 
 
 Tama, 4128, 4129, 4341. 
 
 Tama and Hitotsu yaki, 4126. 
 
 Tama and Tamagawa-shisui, 4130. 
 
 Tamagaki tsukuru, 1229. 
 
 Tamagawa Sai, 5170. 
 
 Tamagawa-shisui and Tama, 4130. 
 
 Tamagawa yaki and kakihan, 4127. 
 
 Tanoshii, 4693. 
 
 Tanzan, 3236-3238, 4639. 
 
 Tashiro .'', 4207. 
 
 Tashiro and Hokio, 4212. 
 
 Tashiro tsukuru and Hokio, 4213. 
 
 Tatsumonji Hoyu, 4380. 
 
 Tei, 836, 3503. 
 
 Teigai Chiushu Taizan ga and kakihan, 4070. 
 
 Tei ichi and Taka, 2016. 
 
 Teiju san. Keicho hachi nen. San-gatsu-itsu-ka, 
 
 2826. 
 Taizan, 4071. 
 Tempi 6 Hoji [?], 1 794. 
 Tempo Harukawa Shotei saku, see Kinjo-raku. 
 
 Tempo haru Sensho-tei saku, 2965. 
 Tempo hinoye-saru haru. Hakuden-an kore wo. 
 
 Konomu Iwakuni yama Kikko tsukuru, 1395. 
 
INDEX OF MARKS 
 
 383 
 
 Temp5 ju-ichi nen Shocho hodo ye and Kairaku- 
 
 yen sei, 1 564. 
 Tempo ju-ni-nen ushi ku-gatsu Kichi nichi Tai- 
 
 zan, 4490. 
 Tempo nensei and San-dai Kenzan tsukuru. 
 
 Shodai Kenzan motte, 4044. 
 Ten, 4697. 
 
 Tenka-ichi Soshiro, 3888, 4053, 5298. 
 Tenroku-do, 4050. 
 Tera ?, 402. 
 Terami, 454, 455. 
 
 Terami Gorobei saku and kakihan, 453. 
 Tetsuji and Shidoro, 1726. 
 To, 859. 
 To, 2227. 
 Tofukuji-Monzen Ningioshi Koyemon tsukuru, 
 
 3943- 
 Togentei, 4544. 
 Togiyoku, 3649. 
 Tohaku no saku, 2867. 
 Toho and Omuro, 3892. 
 T6-i, 416. 
 
 Toin Rokuzan saku, 4046. 
 Toko, 1061. 
 
 Toko Toto and Kenzan, 3784. 
 Tokubei, etc., 3991. 
 Tokuhin, 1666. 
 
 Tokusai and Mokumoku an, 1665. 
 Tokuzan, 4064. 
 Tokuzan, etc., 4068, 4069. 
 Tokuzan zo, 4067. 
 Tomikawa, 2135. 
 Tomita, 2101, 2102. 
 Toroku-ura, 360. 
 Tosa, 3965, 3967, 3968. 
 Tosai, 2885, 2974, 2975. 
 Tosai, etc., 4812. 
 Tosen, 3997. 
 Tosenyen sei, 4113. 
 Tosenzan and Iga, 5127. 
 To-shin kichi, 2887. 
 Toshi Nobushige, 1437. 
 
 Toshi roku-ju san and Sohin and kakihan, 3837. 
 Toshun, 2886. 
 
 Toshun ishoku nashi and Kikko, 1396. 
 Toso tsukuru, 1544. 
 Totei, 443, 1670, 1671, 3938, 3939. 
 Toto, 3985. 
 
 Toto and Gountei saku, 3984. 
 Totoken, 1820, 1821. 
 Totoken and Maiko, 1822, 1823. 
 Totoken and Suma, 1829. 
 Totomi marks, undecipherable, 1706, 1707. 
 To Wakichi, 2854. 
 Towo, 4624. 
 Toyen, 3565. 
 Toy en tsukuru, 3566. 
 Toyo, 2981. 
 Toyo ?, 884. 
 
 Toyohachi, 2980, 2982, 2988. 
 Toyoraku, 2984, 2997. 
 Toyoraku and Kiyodo, 2995. 
 Toyotsune, 2600. 
 Toyosuke, 2985-2987, 2991, 2999. 
 Toyushi kore wo tsukuru, 4746. 
 
 Tozan, 1833-1835, 3451, 3651. 
 
 Tozan and Koyoshida, 1836. 
 
 Tozan and Nin-ami, 3449, 3450. 
 
 Tozen, 2863. 
 
 Tsuchinoto u natsu no hi Shuji itsu jin kore wo 
 
 tsukuru, 5197. 
 Tsujii Harima, 3090-3093. 
 Tsukuru and Matsu, 2824. 
 Tsuno, 4803. 
 
 Tsuna and Akahada, 1266. 
 Tsuru, 1407. 
 
 Tsuten Kyo SanyS gaishi Gi to and Hosai, 4733. 
 Tsuyen, 3549-3SS3. 3SS6, 3SS7- 
 
 Ubagamochi, 781-783. 
 Udzurayama, 3945. 
 Udzurayama and Fukakusa, 3946. 
 Uho, 1364, 1365. 
 Uji, 4008. 
 
 Uii and Beizan, 620. 
 Ukaku tsukuru, 4160. 
 Uma, 2581. 
 Uni, 4722. 
 Unyei, 1881, 5120. 
 
 Unyei and Kei-6 san unotoshi ju-ichi-gatsu. Un- 
 yei kore wo tsukuru, 1880. 
 Unzen, 1851, 1852, 1856, 1888. 
 Utatsu, 4686. 
 
 Wafuken and Maiko, 1771, 1772. 
 Wakasugi, 3652. 
 
 Ya, 881, 1583,3759- 
 
 Ya and Kairakuyen sei, 1582. 
 
 Yagayemon, 386. 
 
 Yakitora, 791-793. 
 
 Yama, 474, 908. 
 
 Yamada, 3098, 4228. 
 
 Yamagata ken, 4547. 
 
 Yamagawa, 4419. 
 
 Yamaguchi, 2608. 
 
 Yamahara tsukuru, 4500. 
 
 Yama-j6, 410. 
 
 Yama Ka, 1993. 
 
 Yamake, 3097. 
 
 Yama-maru, 424. * 
 
 Yamamoto, 1090. 
 
 Yamanoi, 4838. 
 
 Yamato?, 1325. 
 
 Yanagawa, 1341, 1342. 
 
 Ya no Kashiu Sano Shomatsu-mura Koseibaku- 
 
 tei nite Yoshu Kenzan-toin Shinsei tsukuru 
 
 Kichiroku kore wo bosu, 1350. 
 Yasan, 555. 
 
 Yashima, 21 13-21 15, 2120-2122, 5247. 
 Yashima and Ku-iu-ni-o, Rinso saku, 21 16. 
 Yashima and Ku-ju-roku-6, Rinso tsukuru, 21 17. 
 Yashima Ku-ju-hachi-o Rinso dan Shichi-ju-ichi, 
 
 Rinso tsukuru, 21 19. 
 Yashima Rinso, 21 18. 
 
 Yashima Rinso hachi-ju-hachi o saku, 5248. 
 Yatsuhashi tsukuru, 4530. 
 Yatsushiro, 891. 
 Yatsushiro and Higo, 5108. 
 Yatsushiro and Sogen, 885. 
 
384 
 
 INDEX OF MARKS 
 
 Yei, 401. 
 
 Yei and Kutani, 1096. 
 
 Yeigen and Taka, 2017. 
 
 Yeiraku, 1097-11 01, 3843, 3844.3847-3853,3863, 
 
 3865-3869, 3876, 3877, 3879. 
 Yeiraku and Kahin Shiriu, 3855, 3856. 
 Yeiraku and Kikutani, 3882-3884. 
 Yeiraku and Kutani, 1094. 
 Yeiraku and Ouchi-yama Hatsu kama, 3875. 
 Yeiraku tsukuru, 3880. 
 Yeiroku san nen Kiku-gatsu tsukuru, 5231. 
 Yeisen, 3308. 
 Yeishin, 3395. 
 
 Yenami, see Hiroshima, etc. 
 Yd, 1990. 
 
 Yohachi, 2123, 21 25-21 29. 
 Yohachi and Bunsei nensai, 5245. 
 Yoki, 4678. 
 Yokuro, 3890, 3801 . 
 Yorodsu tei and Otsu Meisan, 744. 
 Yoshi, 4684. 
 Yoshimitsu, see Hoko. 
 Yoshimura, 380. 
 Yoshitoyo, 2970-2973. 
 Yo she, 5159. 
 Yoshu Matsuyama, 1343. 
 Yoshun-en, 4748. 
 
 Yoso, 3475, 3478, 3480-3486, 3489, 3490, 5295. 
 
 Yoso and Kiyomizu, 3477. 
 
 Yoso tsukuru, 3474, 3476, 3479, 3487, 3488. 
 
 Yotsune, 389. 
 
 Yuchiku, 4813. 
 
 Yugai kore wo tsukuru, 3995. 
 
 Yukichiruya, 1542. 
 
 Yuko, 794-796. 
 
 Yuraku and Haku unzan, 1521. 
 
 Yusetsu, 1195, 1198, 1205, 1206, 1208, 1213, 
 
 5136. 
 Yusetsu and Banko, 1207. 
 Yutokusai, 3962. 
 Yuzan, 3243, 3244. 
 
 Zamakiu Shimpo utsushi Shiamu Shosei sei and 
 
 kakihan and Kan Kenei ni nen tsukuru, 1533. 
 Zen, 1853-1855, 1886, 1887, 4643. 
 Zen ?, 4226. 
 Zen and Otsu, 4229. 
 Zen and Soma, 4236. 
 Zen kyu, 4605. 
 Zenshun, 4281, 4282. 
 Zo ichi, 3256. 
 
 Zoroku, 3521-3523, 3526-3528, 3532, 3534-354°- 
 Zui sei ? and kakifian, 5256. 
 Zuishi, 1585-1 59». '593-1 598. l^S^' 
 
PLATE I 
 
 1 80 
 Karatsu 
 
 Province of Hizen 
 
 179 
 
 243 
 
 181 
 
 Karatsu Karatsu Karatsu 
 
 252 
 Karatsu 
 
 315 
 Goroshichi 
 
 Province of Hizen 
 
 197 
 
 Karatsu 
 
 206 
 Karatsu 
 
^^1 
 
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 Or= THE \^ 
 
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 y 
 
PLATE II 
 
 Province of Bizen 
 
 404 372 38s 
 
 Imbe Imbe Imbe 
 
 Province of Tosa 
 
 544 545 530 
 
 Odo Odo Shohaku 
 

PLATE III 
 
 512 
 Yaheda 
 
 Province of Tsushima 
 
 508 
 
 Shiga 
 
 SO9 
 
 Shiga 
 
 Province of Settsu 
 
 582 
 Kosobe 
 
 563 
 
 593 
 
 616 
 
 610 
 
 Naniwa Kikko Kyuzan Sakurai no Sato 
 
PLATE IV 
 
 Province of Omi 
 
 631 
 
 
 747 
 
 
 Shigaraki 
 
 
 Bairin 
 
 
 781 
 
 787 
 
 
 711 
 
 Ubagamochi 
 
 Hira 
 
 
 Zeze 
 
 Province of Higo 
 
 835 
 
 799 
 
 814 
 
 836 
 
 902 
 
 Koda 
 
 Higo 
 
 Koda 
 
 Koda 
 
 Shofu 
 
PLATE V 
 
 984 
 Fukagawa 
 
 Province of Nagato 
 
 975 
 Setsuzan 
 
 977 
 
 Michisuke 
 
 1061 
 
 Rendaiji 
 
 Province of Kaga 
 
 1067 1068 1070 
 
 Ohi 
 
 Ohi Ohi 
 
 1016 
 
 Kutani 
 

O^ THt \. 
 
 UNlVL...SrfY j) 
 
PLATE VI 
 
 Province of Ise 
 
 
 
 1 108 
 
 
 
 
 
 Anto 
 
 
 
 II38 
 
 1 142 
 
 
 "39 
 
 "34 
 
 Banko 
 
 Banko 
 
 
 Banko 
 
 Banko 
 
 1208 
 
 Yusetsu 
 
 Province of Ise 
 
 1127 
 Banko 
 
 1221 
 Fueki Banko 
 
 1235 
 Isawa 
 
>- % 
 
 Of xt \l 
 
 aVL.-.SJTYj 
 
PLATE VII 
 
 Province of Echizen 
 
 1326 1330 1327 
 
 Setosuke Setosuke Setosuke 
 
 Provinces of Awaji, Mino and Hidachi 
 
 1439 1363 1357 
 
 Mimpei Kujiri Kairaku 
 
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 PLATE XIII 
 
 
 Province of 
 
 Kir 
 
 
 1564 
 
 1567 
 
 
 1588 
 
 Kairakuyen 
 
 Kairakuyen 
 
 
 Meppotani 
 
 Province of Iga 
 1676 1640 1658 1665 
 
 Shinjiro Iga Marubashira Marubashira Tokusai 
 
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PLATE XIV 
 
 Province of Totomi 
 
 1738 
 
 Shidoro 
 
 1708 171 1 
 
 1710 
 
 Shidoro Shidoro Shidoro 
 
 1734 
 
 Shidoro 
 
 1766 
 Ryijshi 
 
 Province of Harima 
 1760 
 Akashi 
 
 1778 
 Maiko 
 
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PLATE XV 
 
 Province of Izumo 
 
 i8S3 
 
 Zenshiro 
 
 1875 1850 1864 
 
 Fujina Zenshiro Rakuzan 
 
 Province of Chikuzen 
 
 1989 1988 
 
 Takatori Takatori 
 
 2001 1971 1967 
 
 Takatori Takatori Takatori 
 
t".-cai!J[ii.i>*-- '"i" ;T'.'(S."rs~ 
 
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PLATE XVI 
 
 2106 
 Minzan 
 
 Province of Sanuki '■• 
 
 2092 
 Shido 
 
 2123 2117 2138 
 
 Yahachi Yashima Sanuki 
 
 2131 
 Naohachi 
 
 2158 
 Tachikui 
 
 Province of Tamba 
 
 2175 2215 2163 2157 
 
 Naosaku Tamba Tachikui Tachikui 
 
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PLATE XVIII 
 
 2656 
 Shino 
 
 Province of Owari 
 
 261 1 
 
 2624 
 
 Shino 
 
 2618 
 Shino 
 
 2768 
 
 Shunki 
 
 Province of Owari 
 2744 
 Shun-u 
 
 2741 
 Shunzan 
 
 i 
 
PLATE XIX 
 
 2821 
 
 Gempin 
 
 Province of Owari 
 2778 
 Ki-Seto 
 
 2822 
 Gempin 
 
 Province of Owari 
 
 
 3005 
 
 3022 
 
 
 
 Sasashima 
 
 Fujimi 
 
 
 2966 
 
 
 2955 
 
 2982 
 
 Hagiyama 
 
 
 Masaki 
 
 Toyosuke 
 
i 
 
 PLATE XX 
 
 Province of Yamashiro 
 
 
 
 3101 
 
 
 
 
 
 Awata 
 
 
 
 3232 
 
 3148 
 
 3176 
 
 3100 
 
 3236 
 
 Bizan 
 
 Iwakurayama 
 
 Hozan 
 
 Awata 
 
 Tanzan 
 
 3324 
 
 Rokubei 
 
 Province of Yamashiro 
 
 3494 
 Kitei, 1=' Gen. 
 
 3475 
 Yosobei 
 
 3478 3501 3401 
 
 Yosobei Kitei, 3'''' Gen. Shichibei 
 
^u:j&'ti 
 
Of 'H^. 
 
 \jNivu.-srrY 
 
 i?iL,(rv>-«~"*l--'' 
 
4 
 
. PLATE XXI 
 
 3413 
 DShachi, 1=' Gen. 
 
 Province of Yamashiro 
 
 3435 
 Dohachi, 2°^ Gen. 
 
 3453 
 Dohachi, 2'"^ Gen. 
 
 3415 
 Dohachi, i"' Gen. 
 
 Province of Yamashiro 
 
 
 3765 
 
 
 
 Kenzan 
 
 
 3800 
 
 3799 3305 
 
 3766 
 
 Mokubei 
 
 Mokubei Kichibei 
 
 Kenzan 
 
BK. 
 
PLATE XXII 
 
 Province of Yamashiro 
 
 
 
 3836 
 
 
 
 
 S5zen 
 
 - 
 
 3843 
 
 3865 
 
 3891 
 
 3845 
 
 Hozen 
 (Yeiraku) 
 
 Wagen 
 
 Yokuro 
 
 Hozen 
 (Yeiraku) 
 
 Province of Yamashiro 
 
 3687 3683 3682 
 
 Riy5niu Riyoniu Riyoniu 
 
PLATE XXIII 
 
 Province of Yamashiro 
 
 
 3898 
 
 
 
 
 Otowa 
 
 
 
 3040 
 
 3039 
 
 303; 
 
 3034 
 
 Ninsei 
 
 Ninsei 
 
 Ninsei 
 
 Ninsei 
 
 Province of Yamashiro 
 
 
 4016 
 
 4017 
 
 
 
 Sohaku 
 
 Shoi 
 
 
 3033 
 
 402 I 4022 
 
 4020 
 
 3815 
 
 Takagamine 
 
 So-i Koson 
 
 Taihei 
 
 Asahi 
 
PLATE XXIV 
 
 Province of Musashi 
 
 4072 
 
 Rakurakuyen 
 
PLATE XXV 
 
 Province of Musashi 
 
 
 
 4035 
 
 
 
 Kenzan 
 
 4047 
 
 4064 
 
 4061 
 
 Kenya 
 
 Tokuzan 
 
 Mizuni 
 
 4086 
 
 4126 
 
 Kor^kuyen Tamagawa 
 
 Province of Iwaki 
 
 4191 
 Seijiyemon 
 
 
 4193 
 
 
 
 Soma 
 
 
 4194 
 
 4224 
 
 4222 
 
 Soma 
 
 Komaru 
 
 Nakamura 
 
UNIVL..SITY 
 
 
PLATE XXVI 
 
 Province of Satsuma 
 
 
 4315 4309 
 
 4313 
 
 
 
 Satsuma Satsuma 
 
 Satsuma 
 
 
 4364 
 
 4352 
 
 4338 
 
 4337 
 
 Hohei 
 
 Hoju 
 
 Sunkoroku 
 
 Sunkoroku 
 
 4305 
 
 Satsuma 
 
 Province of Satsuma 
 
 4332 4336 
 
 Tsuboya Tsuboya 
 
w 
 
PLATE XXVII 
 
 Province of Satsuma 
 
 
 
 4368 
 
 
 
 
 
 Hoyei 
 
 
 
 4404 
 
 4437 
 
 4395 
 
 4412 
 
 4399 
 
 Mishima 
 
 Betsukafu 
 
 Mishima 
 
 Samd 
 
 Mishima 
 
 Province of Satsuma 
 
 
 
 4442 
 
 
 
 White Satsuma 
 
 4457 
 
 4452 
 
 
 Nishiki-de 
 
 Nishiki-de 
 
 
 4489 4453 
 
 White Satsuma Nihiki-de 
 (blue decoration) 
 
s-;:<5»ai ■sr^rmsfs^:^?- 
 
PLATE XXVIII 
 
 Province of Musashi ? 
 
 4645 4'^' 
 
 -^ . Keizan 
 
 Keizan 
 
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