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CERAMICS] their reputation by reverting to Chinese models, is not only another tribute to the perennial supremacy of Chinese porcelains, but also a fresh illustration of the eclectic genius of Japanese art. All the products of this new effort are porcelains proper. Seven kilns are devoted, wholly or in part, to the new wares: belonging to Miyagawa Shōzan of Ota, Seifū Yōhei of Kiōto, Takemoto Hayata and Katō Tomojiro of Tōkyō, Higuchi Haruzane of Hirado, Shida Yasukyo of Kaga and Kato Masukichi of Seto.

Among the seven ceramists here enumerated, Seifū of Kiōto probably enjoys the highest reputation. If we except the ware of Satsuma, it may be said that nearly all the fine faience of Japan was manufactured formerly in Kiōto. Nomura Ninsei, in the middle of the 17th century, inaugurated

a long era of beautiful productions with his cream-like “fish-roe” craquelé glazes, carrying rich decoration of clear and brilliant vitrifiable enamels. It was he who gave their first really artistic impulse to the kilns of Awata, Mizoro and Iwakura, whence so many delightful specimens of faience issued almost without interruption until the middle of the 19th century and continue to issue to-day. The three Kenzan, of whom the third died in 1820; Ebisei; the four Dōhachi, of whom the fourth was still alive in 1909; the Kagiya family, manufacturers of the celebrated Kinkōzan ware; Hōzan, whose imitations of Delft faience and his pâte-sur-pâte pieces with fern-scroll decoration remain incomparable; Taizan Yōhei, whose ninth descendant of the same name now produces fine specimens of Awata ware for foreign markets; Tanzan Yōshitaro and his son Rokuro, to whose credit stands a new departure in the form of faience having pâte-sur-pâte decoration of lace patterns, diapers and archaic designs executed in low relief with admirable skill and minuteness; the two Bizan, renowned for their representations of richly apparelled figures as decorative motives; Rokubei, who studied painting under Maruyama Ōkyō and followed the naturalistic style of that great artist; Mokubei, the first really expert manufacturer of translucid porcelain in Kiōto; Shūhei, Kintei, and above all, Zengoro Hōzen, the celebrated potter of Eiraku wares—these names and many others give to Kiōto ceramics an eminence as well as an individuality which few other wares of Japan can boast. Nor is it to be supposed that the ancient capital now lacks great potters. Okamura Yasutaro, commonly called Shōzan, produces specimens which only a very acute connoisseur can distinguish from the work of Nomura Ninsei; Tanzan Rokuro’s half-tint enamels and soft creamy glazes would have stood high in any epoch; Taizan Yōhei produces Awata faience not inferior to that of former days; Kagiya Sōbei worthily supports the reputation of the Kinkōzan ware; Kawamoto Eijiro has made to the order of a well-known Kiōto firm many specimens now figuring in foreign collections as old masterpieces; and Itō Tōzan succeeds in decorating faience with seven colours sous couverte (black, green, blue, russet-red, tea-brown, purple and peach), a feat never before accomplished. It is therefore an error to assert that Kiōto has no longer a title to be called a great ceramic centre. Seifū Yōhei, however, has the special faculty of manufacturing monochromatic and jewelled porcelain and faience, which differ essentially from the traditional Kiōto types, their models being taken directly from China. But a sharp distinction has to be drawn between the method of Seifū and that of the other six ceramists mentioned above as following Chinese fashions. It is this, that whereas the latter produce their chromatic effects by mixing the colouring matter with the glaze, Seifū paints the biscuit with a pigment over which he runs a translucid colourless glaze. The Kiōto artist’s process is much easier than that of his rivals, and although his monochromes are often of most pleasing delicacy and fine tone, they do not belong to the same category of technical excellence as the wares they imitate. From this judgment must be excepted, however, his ivory-white and céladon wares, as well as his porcelains decorated with blue, or blue and red sous couverte, and with vitrifiable enamels over the glaze. In these five varieties he is emphatically great. It cannot be said, indeed, that his céladon shows the velvety richness of surface and tenderness of colour that distinguished the old Kuang-yao and Lungchuan-yao of China, or that he has ever essayed the moss-edged crackle of the beautiful Ko-yao. But his céladon certainly equals the more modern Chinese examples from the Kang-hsi and Yung-cheng kilns. As for his ivory-white, it distinctly surpasses the Chinese Ming Chen-yao in every quality except an indescribable intimacy of glaze and pâte which probably can never be obtained by either Japanese or European methods.

Miyagawa Shōzan, or Makuzu, as he is generally called, has never followed Seifū’s example in descending from the difficult manipulation of coloured glazes to the comparatively simple process of painted biscuit. This comment does not refer to the use of blue and red sous couverte. In that

class of beautiful ware the application of pigment to the unglazed pâte is inevitable, and both Seifū and Miyagawa, working on the same lines as their Chinese predecessors, produce porcelains that almost rank with choice Kang-hsi specimens, though they have not yet mastered the processes sufficiently to employ them in the manufacture of large imposing pieces or wares of moderate price. But in the matter of true monochromatic and polychromatic glazes, to Shōzan belongs the credit of having inaugurated Chinese fashions, and if he has never fully succeeded in achieving lang-yao (sang-de-bœuf), chi-hung (liquid-dawn red), chiang-tou-hung (bean-blossom red, the “peach-blow” of American collectors), or above all pin-kwo-tsing (apple-green with red bloom), his efforts to imitate them have resulted in some very interesting pieces.

Takemoto and Katō of Tōkyō entered the field subsequently to Shōzan, but followed the same models approximately. Takemoto, however, has made a speciality of black glazes, his aim being to rival the Sung Chien-yao, with its glaze of mirror-black or raven’s-wing green, and its leveret

fur streaking or russet-moss dappling, the prince of all wares in the estimation of the Japanese tea-clubs. Like Shōzan, he is still very far from his original, but, also like Shōzan, he produces highly meritorious pieces in his efforts to reach an ideal that will probably continue to elude him for ever. Of Katō there is not much to be said. He has not succeeded in winning great distinction, but he manufactures some very delicate monochromes, fully deserving to be classed among prominent evidences of the new departure. Tōkyō was never a centre of ceramic production. Even during the 300 years of its conspicuous prosperity as the administrative capital of the Tokugawa shōguns, it had no noted factories, doubtless owing to the absence of any suitable potter’s clay in the immediate vicinity. Its only notable production of a ceramic character was the work of Miura Kenya (1830–1843), who followed the methods of the celebrated Haritsu (1688–1704) of Kiōto in decorating plain or lacquered wood with mosaics of raku faience having coloured glazes. Kenya was also a skilled modeller of figures, and his factory in the Imado suburb obtained a considerable reputation for work of that nature. He was succeeded by Tozawa Benshi, an old man of over seventy in 1909, who, using clay from Owari or Hizen, has turned out many porcelain statuettes of great beauty. But although the capital of Japan formerly played only an insignificant part in Japanese ceramics, modern Tōkyō has an important school of artist-artisans. Every year large quantities of porcelain and faience are sent from the provinces to the capital to receive surface decoration, and in wealth of design as well as carefulness of execution the results are praiseworthy. But of the pigments employed nothing very laudatory could be said until very recent times. They were generally crude, of impure tone, and without depth or brilliancy. Now, however, they have lost these defects and entered a period of considerable excellence. Figure-subjects constitute the chief feature of the designs. A majority of the artists are content to copy old pictures of Buddha’s sixteen disciples, the seven gods of happiness, and other similar assemblages of mythical or historical personages, not only because such work offers large opportunity for the use of striking colours and the production of meretricious effects, dear to the eye of the average Western householder and tourist, but also because a complicated design, as compared with a simple one, has the advantage of hiding the technical imperfections of the ware. Of late there have happily appeared some decorators who prefer to choose their subjects from the natural field in which their great predecessors excelled, and there is reason to hope that this more congenial and more pleasing style will supplant its modern usurper. The best known factory in Tōkyō for decorative purposes is the Hyōchi-en. It was established in the Fukagawa suburb in 1875, with the immediate object of preparing specimens for the first Tōkyō exhibition held at that time. Its founders obtained a measure of official aid, and were able to secure the services of some good artists, among whom may be mentioned Obanawa and Shimauchi. The porcelains of Owari and Arita naturally received most attention at the hands of the Hyōchi-en decorators, but there was scarcely one of the principal wares of Japan upon which they did not try their skill, and if a piece of monochromatic Minton or Sèvres came in their way, they undertook to improve it by the addition of designs copied from old masters or suggested by modern taste. The cachet of the Fukagawa atelier was indiscriminately applied to all such pieces, and has probably proved a source of confusion to collectors. Many other factories for decoration were established from time to time in Tōkyō. Of these some still exist; others, ceasing to be profitable, have been abandoned. On the whole, the industry may now be said to have assumed a domestic character. In a house, presenting no distinctive features whatsoever, one finds the decorator with a cupboard full of bowls and vases of glazed biscuit, which he adorns, piece by piece, using the simplest conceivable apparatus and a meagre supply of pigments. Sometimes he fixes the decoration himself, employing for that purpose a small kiln which stands in his back garden; sometimes he entrusts this part of the work to a factory. As in the case of everything Japanese, there is no pretence, no useless expenditure about the process. Yet it is plain that this school of Tōkyō decorators, though often choosing their subjects badly, have contributed much to the progress of the ceramic art during the past few years. Little by little there has been developed a degree of skill which compares not unfavourably with the work of the old masters. Table services of Owari porcelain—the ware itself excellently manipulated and of almost egg-shell fineness—are now decorated with floral scrolls, landscapes, insects, birds, figure-subjects and all