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Rh sorts of designs, chaste, elaborate or quaint; and these services, representing so much artistic labour and originality, are sold for prices that bear no due ratio to the skill required in their manufacture.

There is only one reservation to be made in speaking of the modern decorative industry of Japan under its better aspects. In Tōkyō, Kiōto, Yokohama and Kobe—in all of which places decorating ateliers (etsuke-dokoro), similar to those of Tōkyō, have been established in modern times—the artists use chiefly pigments, seldom venturing to employ vitrifiable enamels. That the results achieved with these different materials are not comparable is a fact which every connoisseur must admit. The glossy surface of a porcelain glaze is ill fitted for rendering artistic effects with ordinary colours. The proper field for the application of these is the biscuit, in which position the covering glaze serves at once to soften and to preserve the pigment. It can scarcely be doubted that the true instincts of the ceramist will ultimately counsel him to confine his decoration over the glaze to vitrifiable enamels, with which the Chinese and Japanese potters of former times obtained such brilliant results. But to employ enamels successfully is an achievement demanding special training and materials not easy to procure or to prepare. The Tōkyō decorators are not likely, therefore, to change their present methods immediately.

An impetus was given to ceramic decoration by the efforts of a new school, which owed its origin to Dr G. Wagener, an eminent German expert formerly in the service of the Japanese government. Dr Wagener conceived the idea of developing the art of decoration under the glaze, as applied to faience. Faience thus decorated has always been exceptional in Japan. Rare specimens were produced in Satsuma and Kiōto, the colour employed being chiefly blue, though brown and black were used in very exceptional instances. The difficulty of obtaining clear, rich tints was nearly prohibitive, and though success, when achieved, seemed to justify the effort, this class of ware never received much attention in Japan. By careful selection and preparation of pâte, glaze and pigments, Dr Wagener proved not only that the manufacture was reasonably feasible, but also that decoration thus applied to pottery possesses unique delicacy and softness. Ware manufactured by his direction at the Tōkyō school of technique (shokkô gakkô), under the name of asahi-yaki, ranks among the interesting productions of modern Japan. The decorative colour chiefly employed is chocolate brown, which harmonizes excellently with the glaze. But the ware has never found favour in Japanese eyes, an element of unpleasant garishness being imparted to it by the vitreous appearance of the glaze, which is manufactured according to European methods. The modern faience of Ito Tōzan of Kiōto, decorated with colour under the glaze, is incomparably more artistic than the Tōkyō asahi-yaki, from which, nevertheless, the Kiōto master doubtless borrowed some ideas. The decorative industry in Tōkyō owed much also to the kōshō-kaisha, an institution started by Wakai and Matsuo in 1873, with official assistance. Owing to the intelligent patronage of this company, and the impetus given to the ceramic trade by its enterprise, the style of the Tōkyō etsuke was much improved and the field of their industry extended. It must be acknowledged, however, that the Tōkyō artists often devote their skill to purposes of forgery, and that their imitations, especially of old Satsuma-yaki, are sometimes franked by dealers whose standing should forbid such frauds. In this context it may be mentioned that, of late years, decoration of a remarkably microscopic character has been successfully practised in Kiōto, Osaka and Kobe, its originator being Meisan of Osaka. Before dismissing the subject of modern Tōkyō ceramics, it may be added that Katō Tomatarō, mentioned above in connexion with the manufacture of special glazes, has also been very successful in producing porcelains decorated with blue sous couverte at his factory in the Koishikawa suburb.

Higuchi of Hirado is to be classed with ceramists of the new school on account of one ware only, namely, porcelain having translucid decoration, the so-called “grains of rice” of American collectors, designated hotaru-de (firefly style) in Japan. That, however, is an achievement of no small consequence,

especially since it had never previously been essayed outside China. The Hirado expert has not yet attained technical skill equal to that of the Chinese. He cannot, like them, cover the greater part of a specimen’s surface with a lacework of transparent decoration, exciting wonder that pâte deprived so greatly of continuity could have been manipulated without accident. But his artistic instincts are higher than those of the Chinese, and there is reasonable hope that in time he may excel their best works. In other respects the Hirado factories do not produce wares nearly so beautiful as those manufactured there between 1759 and 1840, when the Hirado-yaki stood at the head of all Japanese porcelain on account of its pure, close-grained pâte, its lustrous milk-white glaze, and the soft clear blue of its carefully executed decoration.

The Owari potters were slow to follow the lead of Miyagawa Shōzan and Seifū Yōhei. At the industrial exhibition in Kiōto (1895) the first results of their efforts were shown, attracting attention at once. In medieval times Owari was celebrated for faience glazes of various colours,

much affected by the tea-clubs, but its staple manufacture from the beginning of the 19th century was porcelain decorated with blue under the glaze, the best specimens of which did not approach their Chinese prototypes in fineness of pâte, purity of glaze or richness of colour. During the first twenty-five years of the Meiji era the Owari potters sought to compensate the technical and artistic defects of their pieces by giving them magnificent dimensions; but at the Tōkyō industrial exhibition (1891) they were able to contribute some specimens showing decorative, plastic and graving skill of no mean order. Previously to that time, one of the Seto experts, Katō Gosuke, had developed remarkable ability in the manufacture of céladon, though in that field he was subsequently distanced by Seifū of Kiōto. Only lately did Owari feel the influence of the new movement towards Chinese types. Its potters took flambé glazes for models, and their pieces possessed an air of novelty that attracted connoisseurs. But the style was not calculated to win general popularity, and the manufacturing processes were too easy to occupy the attention of great potters. On a far higher level stood egg-shell porcelain, remarkable examples of which were sent from Seto to the Kiōto industrial exhibition of 1895. Chinese potters of the Yung-lo era (1403–1414) enriched their country with a quantity of ware to which the name of totai-ki (bodiless utensil) was given on account of its wonderfully attenuated pâte. The finest specimens of this porcelain had incised decoration, sparingly employed but adding much to the beauty of the piece. In subsequent eras the potters of King-te-chen did not fail to continue this remarkable manufacture, but its only Japanese representative was a porcelain distinctly inferior in more than one respect, namely, the egg-shell utensils of Hizen and Hirado, some of which had finely woven basket-cases to protect their extreme fragility. The Seto experts, however, are now making bowls, cups and vases that rank nearly as high as the celebrated Yung-lo totai-ki. In purity of tone and velvet-like gloss of surface there is distinct inferiority on the side of the Japanese ware, but in thinness of pâte it supports comparison, and in profusion and beauty of incised decoration it excels its Chinese original.

Latest of all to acknowledge the impulse of the new departure have been the potters of Kaga. For many years their ware enjoyed the credit, or discredit, of being the most lavishly decorated porcelain in Japan. It is known to Western collectors as a product blazing with red and gold, a very degenerate

offspring of the Chinese Ming type, which Hozen of Kiōto reproduced so beautifully at the beginning of the 19th century under the name of eiraku-yaki. Undoubtedly the best specimens of this kinran-de (brocade) porcelain of Kaga merit praise and admiration; but, on the whole, ware so gaudy could not long hold a high place in public esteem. The Kaga potters ultimately appreciated that defect. They still manufacture quantities of tea and coffee sets, and dinner or dessert services of red-and-gold porcelain for foreign markets; but about 1885 some of them made zealous and patient efforts to revert to the processes that won so much fame for the old Kutani-yaki, with its grand combinations of rich, lustrous, soft-toned glazes. The attempt was never entirely successful, but its results restored something of the Kaga kilns’ reputation. Since 1895, again, a totally new departure has been made by Morishita Hachizaemon, a ceramic expert, in conjunction with Shida Yasukyo, president of the Kaga products joint stock company (Kaga bussan kabushiki kaisha) and teacher in the Kaga industrial school. The line chosen by these ceramists is purely Chinese. Their great aim seems to be the production of the exquisite Chinese monochromes known as u-kwo-tien-tsing (blue of the sky after rain) and yueh-peh (clair-de-lune). But they also devote much attention to porcelains decorated with blue or red sous couverte. Their work shows much promise, but like all fine specimens of the Sino-Japanese school, the prices are too high to attract wide custom.

The sum of the matter is that the modern Japanese ceramist, after many efforts to cater for the taste of the Occident, evidently concludes that his best hope consists in devoting all his technical and artistic resources to reproducing the celebrated wares of China. In explanation of

the fact that he did not essay this route in former times, it may be noted, first, that he had only a limited acquaintance with the wares in question; secondly, that Japanese connoisseurs never attached any value to their countrymen’s imitation of Chinese porcelains so long as the originals were obtainable; thirdly, that the ceramic art of China not having fallen into its present state of decadence, the idea of competing with it did not occur to outsiders; and fourthly, that Europe and America had not developed their present keen appreciation of Chinese masterpieces. Yet it is remarkable that China, at the close of the 19th century, should have again furnished models to Japanese eclecticism.

Lacquer.—Japan derived the art of lacquering from China (probably about the beginning of the 6th century), but she ultimately carried it far beyond Chinese conception. At first her experts confined themselves to plain black lacquer. From