Page:A Grammar of Japanese Ornament and Design (1880).djvu/34

16 OR the following brief outline of the history and characteristics of Japanese pottery and porcelain I am indebted to my friend Mr. W. Anderson, and to Mr. A. W. Franks’s Notes in his ‘Catalogue of a Collection of Oriental Porcelain and Pottery lent for Exhibition.’

The art of pottery is one in which the Japanese greatly excel, and which they appear to have practised from a very early period: some specimens found on the sites of ancient burial-grounds are said to belong to pre-historic times. None, however, but very rudimentary hand-made unglazed products of the art appear until the eighth century, when a famous priest of Corean parentage, named Giyogi, is said to have invented the potter's wheel, and the first glazed ware appears to have been made a little later. In the thirteenth century Kato Shirozayemon, commonly known as Toshiro, a native of Seto, in Owari, visited China for the purpose of studying the art, and upon his return settled at Seto, where he produced a kind of stoneware which was much esteemed. Various other potteries were established in Owari and other provinces, the wares produced being coarse in substance, simply glazed, of various colours, and sometimes inlaid with a white clay in the Corean style. Little attempt at decoration appears to have been made until the sixteenth century, owing perhaps to the great admiration of the Japanese for Corean ware, which was always plain in character. In the sixteenth and seventeenth centuries the popularization of the Cha-no-yu, or tea clubs, gave a great impetus to the potter’s art, and many of the quaint specimens to be met with owe their production to this institution. The leaders of ceremonials favoured vessels of a rough archaic character, not turned in the lathe. Raku ware, as it is called, which was made at Kiôto, and takes its name from “Raku,” the mark it bears, and which signifies “happiness,” appears to have been especially popular with the tea clubs, but all kinds of ceramic ware were used.

The potteries at Kiôto and those in the province of Satsuma chiefly produced the more ornamental ware. Pottery making was first introduced into the province of Satsuma from Corea in the fifteenth century, when only stoneware, glazed with coloured oxides, and a white ware were at first made; the finely crackled creamy white ware dates from about 1630; and decoration in gold and colours commenced about the middle of the seventeenth century. The decorated pottery of Kiôto may be considered to commence with a noted artist named Ninsei, early in the seventeenth century, when the use of gold and enamels outside the glaze may be said to begin. Modern Satsuma is largely decorated at Tokio and elsewhere. The highly decorated work, so admired in Europe, was produced almost entirely in the present century. Soma ware, produced in the province of Oshiu, consists chiefly of small drinking cups with a rough indented exterior surface, and with a horse painted or in relief, a design said to have been invented by a painter named Kano Naonobu about 1670. Potteries have long existed in other provinces of Japan, and ware of varying character has been produced, but it is unnecessary to give a list of these here.

The introduction of porcelain into Japan was generally supposed to be of some antiquity, but this supposition appears to have arisen from some confounding of pottery with porcelain, and it has now been ascertained that the manufacture of true porcelain, and its decoration (in blue under the glaze), was introduced at the commencement of the sixteenth century by a Japanese potter, named Gorodayu Shondyui, of Isé, who, like Toshiro, had passed an