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A CATALOGUE OF THE CHATER COLLECTION
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JAMES ORANGE
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INTRODUCTION
The collection which is illustrated in this book was made, during many years residence in Japan, by the late Mr. F. S. James, of Yokohama, a well- known connoiseur of Japanese Art and specially of Bizen-ware. It was acquired by Messrs. W. F. Mitchell and C. B. Bernard and is now in the possession of Sir C. P. Chater, C. M. G. of Hongkong.
All the articles have been carefully examined and studied in the presence of the author by several Japanese experts, including Mr. 8. Fujiya of the Imperial Museum, Tokyo.
The author wishes to acknowledge the services of Mr. E. Nagahara in translating native documents and obtaining local information; also the kind assistance of his friend Mr. W. B. Mason in seeing the proofs through the press.
JAMES ORANGE Yokohama, Oct. 1916.
The photographs and printing of the illustrated pages have been done by Messrs. K. Tamamura & Son, Yokohama.
The printing and binding is the work of the Box of Curios Printing & Publishing Co. of Yokohama.
BIZEN-WARE
The pottery known as Bizen or Imbe ware (yaki) has been manufactur- ed since ancient times at and near Imbe in the province of Bizen, on the Inland Sea of Japan.
Itis one of the most distinctive and original of Japanese Arts, the delicacy of modelling, precision of finish and vigour of the product comparing favour- ably with Ceramic Art in any part of the world. It comprises a variety of objects which are described later. This treatise is confined principally to ornamental and sculptured work and not to tea-ceremony utensils with their numerous forms, glazes and colours.
Capt. Brinkley in his monumental! work, ‘‘China and Japan” says, “.... figures of mythical beings and animals as well as birds, fishes and so-forth were modelled with a degree of plastic ability that-can scarcely be spoken of in too high terms, Representative specimens are truly admirable, every line true, every contour faithful; they will bear comparison with similar works produced in any country at any age.”
M. Louis Gonse in his “ L’Art Japonais” calls Bizen-ware a class of pottery which shows a purely Japanese origin without any foreign influence. He praises the material and the skill of the artists who have modelled the works, and says, “ It is impossible really to represent with greater fidelity the birds full of life and movement nor to endow with more characteristic feeling the figures human or mythical.”
Capt. Brinkley avers that: “There can be little doubt that the motive of the potters was to imitate the red Boccare pottery of China but their success: in this respect was only partial.” According to R. L. Hobson, “ Chinese
(v7)
BIZEN-WARE
Pottery and Porcelain,” Boccaro is a Kuropean term for Yi-Hsing stoneware made at Yi-hsing-Hsien in the prefecture of Ch’ang Chou, in Kiangsu, at no great distance from Shanghai. Early in the 16th century, one potter was famed for teapots of the colour of chestnut, with subdued lustre like oxidized gold. Later in the century, vases and other objects showed singularly fine moulding and chiselling. Vases in the form of flowers, leaves, and fruit, decorated with insects, dragons among storm-clouds, and_ statu- ettes, ete. were made chiefly in red, dark and light chocolate-brown, buff and drab, and usually without glaze. Small Yi-Hsing objects show considerable resemblance to Bizen-ware in the precision and clear-cut nature of the finished product, but as far as is known to the author there is nothing in the Yi-Hsing production to compare with the sculptural quality of the Bizen modelling ; and if the Bizen potters ever attempted to copy Yi-Hsing ware, they soon surpassed the Chinese in quality.
History
Tradition assigns a very early date to the manufacture of pottery at Imbe, Wake district, province of Bizen (see No. 1, page 28).
An ancient book informs us that when Susa-no-o, the elder brother of Ama-terasu (sun-goddess) went to slay the terrible Yamata-no-orochi of Izumo, he ordered Ittoku-jin, a famous potter to make 8 jars, the result ‘being that the great serpent, with 8 heads and 8 tails was so overcome with the poisonous liquor and the virtue of the material of which the jars were made, that the monster was slain by the prince. The jars are said to have been made at Ishigami, Akasaka district of Bizen, situated 15 miles N. W. of Imbe, and of clay obtained at that place.
Until the reign of the Emperor Suinin (29 B.C.—A.D. 70) it had been customary for vassals of the Emperor and high nobles to give up their lives
ae
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HISTORY
on the death of their masters in order to accompany them to the other world; but the Emperor Suinin, being a humane and merciful prince, ordered his officials to suggest some means to modify this cruel practice, whereupon a noted potter of Bizen (then a portion of Kibitsu province) was commanded to make figures so that they might be buried in place of human beings. These were manufactured at Hashi, a village m the Oku district of Bizen province, by potters brought from Izumo and the ancestors of the long line of Imbe potter-artists.
There are remains of kilns in several places near Imbe which are believed to be those where the first Bizen figures and pottery were made. The origin of the word Imbe is interesting. It was Imibe, a family or tribe who made sacred utensils or objects of worship, and the name became in time that of . the village where they dwelt.
Flower vases (hana-ike) were produced by Imperial order in the 6th century. In the 7th century, the utensils for Shintd ceremonies, incidental to the coronation of the Emperor, were manufactured in Bizen. At the beginning of the 15th century, kilns were built in the village of Imbe at the foot of hills, the North Kiln at Furé-san, the South Kiln at Kayabara-yama, and the West Kiln at Id-yama.
When Minamoto-no-Yoritomo brought the country under his sway in
A.D. 1192, some products of this Bizen pottery were presented to him by
Otdnai, the priest of a temple in the province.
In A.D. 1582, Hideyoshi visited the district and stayed with Oae Goro- zaemon, head of one of the six chief families of potters who were called upon to exhibit their skill in making tea-utensils, flower-vases and figures of birds and animals. In order to express his sense of the great merit of the potters and also to enable them to carry on their trade in peace, Hideyoshi personally drew up a notice prohibiting any military camp in, or visit of soldiers to, the village. Also another document was issued exempting the: trees and bamboos of the district from public requisition. These documents are preserved in the Amatsu Shinto Temple at Imbe.
BIZEN-WARE
When Hideyoshi was made Taiko (or Regent, the actual ruler of the country) Imbe pieces were presented to him and became greatly valued. Official heads of the potteries were appointed by the lord of the province with annual allowances of rice; and the products were presented to many famous personages and temples.
The three great kilns, North, South, and West, belonged to associations
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formed by the ‘Six Families of Bizen-ware”’ viz: Mori, Kimura, Tongi, Kaneshige, Terami, and Oae (commonly but erroneously pronounced Oba). These families continued from the 14th century and some of their descendants still carry on pottery work at Imbe.
Prior to the abolition of the clan or samurai system at the commence- ment of the Meiji era, the Imbe potters were honoured with thetitle O Saiku- nin (honourable artists) and allowed to use family names and wear swords. They were not permitted to dispose of an interest in a kiln; nor were they. allowed to follow the common custom of adopting young men in order to marry their daughters and thus continue the family name and enable them to carry on the business or establish a branch house or factory. Even a son could not establish a new or branch house though he might join another as successor to a potter. When any of these houses became extinct, the successor thereto was chosen from the members of the six families.
The above regulations, some of many, show the antiquity and the rigid customs of this long-continued guild of potters.
Pottery
Considerable difficulty has been experienced in obtaining information as ‘to the clay and manufacture of the artistic productions of old Bizen-ware. Native writers say that the clay used originally was “ tatsuchi”’ (field-clay) obtained from the Iso-no-kami village, Oku district, about 3 miles S.W. of
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POTTERY
Imbe and that ‘‘ The clay is unparalleled in quality throughout the country but that its excellence can only be developed by masters of renown. Even a good sword does not fly and slay a devil by itself.”
It is written in an old book: ‘“‘A sword called Murakuno, worn by Prince Yamato-dake, spontaneously flew out of its sheath and cut down the grass for the prince’s benefit, but this was because the sword was actuated by the spirit of the hero by whom it was worn and became a living thing for the time being. Clay is also inanimate but it became alive at the hands of Ittoku-jin and assisted in the destruction of the great serpent.”
The manufacture from the 16th century underwent great improvement with more careful manipulation of materials. The clay principally used for Aka-Bizen and Ao-Bizen wares was a clay, rich in silica, found at the village of Imbe, and locally called hiyose. It is a light gray, almost white, clay with some portions of light yellow. Gray portions or layers are found in hiyose, and this gray or black clay is used entirely for the Hidasuki-yaki; it is obtained from 8 to 6 feet below the surface, in beds of about 8 feet thick. With hiyose was mixed a third part of a dark slate-gray clay from Iso-no-kami, which is rich in oxide of iron.
The clay was sun-dried, pounded into a fine powder, passed through a sieve, poured into water and well stirred; the sediment is said to have been put into porous earthenware vessels to get rid of the moisture, and the residue kneaded into the modelling-clay. At present the above process is practically carried out except that the watered clay is placed into square receptacles lined with straw mats. Probably other different clays produced the varia- tions of p&te found in Bizen-ware; but no definite information can be obtained.
The next process in the manufacture of pottery would be the glazing material used. The variations of Bizen-ware are numerous (see page 16), the surfaces vary froma matte or unglazed surface to part dull and part with a thin, diaphanous glaze, to bright and glossy, and to the goma effect which consists of spots and splashes of yellow on the red surface.
PETE -}
BIZEN-WARE
Old writers say that “‘no glaze is ever used”’; also “‘ no material is used to produce the glaze. Pieces made from clay, other than field-clay only, are hard and have a goma-gusurt.”’
Experts and local authorities consulted all agree thatno glazing material was used. They all declare that the bright surfaces, the yellow spottings and enoki-hada (bark of the enoki tree) effect are entirely due to the clays used and the methods of firing.
Capt. Brinkley mentions that “‘the records of the factories say that for choice ware the earth found in the Imbe district was mixed after careful preparation with fine particles of mud from a pond in Hatada village and that the latter with a proportion of lixiviated ash of the sesamum orientalis (goma) served for the glazing material.” The potters of the present day use a solution of Hatada (Wake district) clay, which is buff-yellow in colour, mixed with a small quantity of wood ash and coat with it ornamental objects, but the surface obtained after firmg does not resemble the goma effect.
It is probable that Capt. Brinkley was misled by the expression goma- gusuri used by old writers and presumed that the goma was part of the glaz- ing material. The word gusuri is the composition-form of kusuri (medicine), and although Capt. Brinkley defines it as “‘ the material used in glazing porcelain,” experts aver that the word goma-gusuri means a glaze or glossy exterior with the goma or sesamum effect. Sesamum seeds are very small and of a straw or light-yellow colour little resembling the characteristic yellow spots and splashes ; yet the word goma is used in a fanciful manner in other compounds, viz’: goma-shio (sesame-salt) meaning gray or grizzled hair and goma-no-hai (flies of sesame) meaning thieves who formerly infested the Tokaid6 highway.
The juice of the enoki tree (celtis sinensis) has similarly been er- roneously supposed to produce the goma effect, but articles are sometimes. called enoki-hada on account of a resemblance to the bark of the enoki tree.
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POTTERY
The opinion of Mr. Mimura, principal of the Imbe Pottery School, is interesting. “‘ In ancient times Hatada clay-wash was not used. In later periods some pieces were painted with it, others were not. The question of whether Hatada clay was or was not used cannot be decided. Some Imbe pieces are glossy, some are not. This depends on the position in which they were placed in the kiln. In the case of pieces which are exposed to an . intense heat the surface melts and produces a glossy coating ; and, accerd- ing to the position, some parts obtaining the greatest heat are highly glossy while others which are sheltered have absolutely no gloss. Straw was some- times placed in the saya (saggars) and the alkali, ete. helped to produce a gloss. But all depends on conditions within the kiln. Even pieces made from the same clay are of different colours according to the different degrees of heat to which they are exposed, to their various positions in the kiln, and to whether they were in direct contact with fire or were baked in saya, ete. Much depends on chance, whieh is the reason why we cannot produce Imbe-ware of a fixed colour.”
It is difficult to understand how some pieces show no glaze and others partial gloss ; the surface of some of the modelled objects bears no sign of any coating or “ touching up ”’ but is clean and sharp from the hand or tool of the modeller. The bright metallic gloss, sometimes resembling black-lead polish, does not look like the production of a glazing material,
The insistence of ancient and modern authorities on the absence of glazing material leads one to think that the merit of the ware depends solely on the actual virtues of the clays and the methods of firing, but the partial use of the wash of Hatada clay may have helped to give the bright surface of some articles, especially in the Ao-Bizen class.
Articles were placed loose or naked and in saya (saggars) with holes -at the sides and burned in kilns built on a hillside. The kilns were divided by walls, with openings at the base, into chambers and alternately fired from ‘the sides. The fuel used was exclusively pine, wood and needles, which give a gradual increase in temperature. The smoke and fire from pine-wood is said
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BIZEN-WARE
to permeate more thoroughly than any other fucl throughout the whole kiln.
The goma effect is supposed to have been due to the ashof the pine-wood, which was carried by the draught and deposited and melted on the surface of some pieces ; the fumes of the resin of the fuel is also thought to have heightened the gloss of the ware.
Hiyose melts at between 1280° and 1270° C. while Iso-no-kami and Hatada clays require a lower temperature.
At the end of the 14th or beginning of the 15th century the “ great kilns (Ogama) were built at Imbe,”’ and were about 120 feet long and 15 feet wide. The period of burning is said to have been 60 days and of cooling another 60 days, so that there was but one burning in a year. Great official
ceremony attended the opening of each kiln. These large kilns were probably _
used for merchantable goods such as jars, tea-utensils, tiles, ete. as well as for ornamental objects.
In 1832 the large kilns were discarded and no remains exist; smaller kilns were built about 60 feet long and 12 feet wide, and the time necessary for baking was reduced to about 13 days. One of these kilns, called Temps- gama, is still used and is situated at Furé-san on the site of the “‘ Great North Kiln.” There are the remains of several small kilns on the south side of Kumayama, 3 miles N.W. and at Ura-Imbe, 1 mile S.E. of Imbe and the broken pieces of pottery found there are of the same hardness and quality as the best old Bizen-ware. It may be that each potter-family possessed a small kiln in which were baked some of their own produc- tions and those of other artists, though native writers all lay stress on the
66
merits of the burnings done in the “ great kilns.”
The articles produced in early days were of a very hard, coarse, red stone-ware and consisted chiefly of large jars, vases for religious festivals, vessels of various sizes for storing and germinating agricultural seeds (see No. 2, page 28) and ordinary utensils. These products are known
as Ko-Bizen (old Bizen).
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POTTERY
From the 16th century, articles for the use of the tea-ceremony (cha-no-yu), such as jars, censers, ewers, ete. were manufactured. Tiles were also made; in the village of Shizutani stands an old school, built in the early 17th eentury, roofed with these tiles which were manufactured at Imbe and are still in perfect preservation.
During the 17th and 18th centuries noted Kyéto artists and potters are known to have visited Bizen to exhibit their skill in medelling in the famed material and to have the pieces baked in the noted kilns. (see Nos. 4, 47). The manufacture of figures of mythical beings, gods, animals, fish, birds, ete., was brought to high perfection.
Most of the products have the red pate. The baking produces the closest resemblance to the finest bronzes, ranging in colour from copper-red to almost black. This surface is unique in the ceramic productions of the Far East. Practically all the productions of Bizen are characterized by great hardness which entails intense heat in the kilns, yet the delicacy and sharp finish of the artistic modelling is not impaired and the surfaces, asa rule, are without cracks or flaws.
The products of Bizen or Imbe have not in all cases the red pate nor the bronze colour and the variations of the ware are treated separately (see page 16).
There is considerable difficulty in ascribing pieces to Imbe or Bizen, and experts seldom agree. Actually, the two are synonymous and it will be interesting to quote the opinion of old authorities. One writer says, “The pottery is at Imbe village, Bizen province, whither it is said all the pieces of earthernware produced in the whole province are brought, with oven marks affixed thereon, to be baked for days and allowed to cool for a similar time. Some pieces are called Imbe. and some Bizen ; but really they are all Bizen-ware. They are named ac-. cording to their more or less satisfactery workmanship. Of Imbe-ware,. those superior pieces, which have been baked in large jars and are glazed, are popularly called Takatori from the resemblance to Takatori-ware ; these-
ey
BIZEN-WARE
are made of red clay. Bizen-ware looks like red clay coated with shibu {juice of the unripe persimmon) and exhibits a metallic oxidation.”
Another native authority says, “There is no difference between Bizen and Imbe wares. At the time of Ittoku-jin, the founder of pottery, Bizen and Imbe were unknown names. After a long interval the province came to be called Bizen and the village, Imbe.”’
It seems to be generally conceded that so-called Imbe work was of a superior quality often having the goma effect; also that the craftmanship was of a high standard. Some pieces in the Catalogue have been ascribed by experts to Imbe, but, as remarked above, there is considerable doubt as to whether any such distinction should be made.
Varieties of Bizen-Ware
AKA-BIZEN, (red Bizen) is a close, heavy, red pottery made as describ- ed on page 10. The mixture of clay and the intense firing produces wonder- ful bronze-like effects varying from light-yellow bronze to deep copper colour, almost black. There is a metallic sheen or oxidation which is quite remarkable and helps to give the illusion of metal, some of the pieces having a black-lead polish; the illusion is assisted by the hardness and weight of the material, the fineness and sharpness of outline and the clever, delicate modelling. Many of the pieces have the goma splashes and spots described on page 12. Aka-Bizen forms the bulk of Bizen-ware.
AO-BIZEN, (blue Bizen) is a rarer variety. The material is practically the same as Aka-Bizen ; probably greater care was taken in the manufac- ture of the fine pate which resembles pipe-clay but is very hard. The name Ao-Bizen is a modern term and not specially designated in old native records being regarded as merely a variation of Aka-Bizen.
The modelling of Ao-Bizen wares has always been of a perfect and delicate finish in every detail, The colour of articles ranges from a blue-tinted steely
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VARIETIES OF BIZEN-WARE
surface to a green and slate-blue. The blue colour is said to be produced by preventing the circulation of air in the kiln. The articles, in saggars without holes at sides, were exposed to the fiercest heat and placed behind wall of kiln or among a pile of other pieces so as to prevent the passage of air. The intense heat caused many breakages and may account for the com- parative rarity of perfect pieces. Applying this principle to practice, some modern pieces have been made by using coke in a kiln and obstructing the circulation of air; the pieces are gray-blue and yellow-gray in colour, and, while smooth, have little artistic value.
The brilliant steel-like surface of some objects (Nos. 20 and 45 are good examples) is supposed to be due to the use of a proportion of Hatada clay which contains a large percentage of oxide of iron.
In the Toky6 Museum there is a koro of light slate colour with dull sur- face, and an okimono of glossy slate-blue colour. (See Nos. 20, 23, 28, 45, ete.)
HIDASUKTI is a species of Bizen-ware greatly prized by Japanese con- noisseurs. It is made from a gray portion of hiyose clay and is somewhat porous though used for water vessels. It is generally light yellow in colour with the characteristic sienna marking, which is sometimes also seen in Aka-Bizen pieces. (See No. 23.)
T'asuki is the word for a cord or band which is used to confine or ‘* hitch- up ” the sleeves of a Japanese dress when the wearer wishes to use his arms. freely. It passes round the shoulders and is crossed on the back. Hidasukt thus signifies a red (hi) kiln-mark resembling the tasuki. This marking was. obtained by tying a rice-straw rope round the piece before placing it in the kiln. When the straw was consumed there appeared, on the surface of the pottery, streaks of brightly shaded orange-red or burnt-sienna colour. (See Nos, 23, 37, 48, ete.)
SHIZUTANI-YAKI is much esteemed and of great rarity. The Shizu- tani or Kankoku (different pronunciations of the same ideographs) kiln was: constructed during the period of Kwanbun (A.D. 1661-73) when Ikeda Mitsu- masa, lord of the province, established the factory chiefly for making roof
( 17 )
BIZEN-WARE
tiles. Noted Imbe potters were employed to manufacture various articles such as Koro, Okimono, ete. Most pieces were glazed and some were colour- ed. The distinctive feature of Shizutani-ware is that it is white in substance, close and hard, and the clay resembles very fine white pipe-clay.. The glaze is sometimes white and transparent with a blue tinge. There are also pieces resembling Satsuma-ware, painted with gold, etce.; but these are extremely rare. A piece in the Tokyo Museum has a slate-tint ground with pink glaze. An old book says “‘ These pieces are named after Shizutani, a village in Bizen and are of great repute. But they are seldom seen, as they are treasured by nobles and rich men. It appears that they were baked in the kiln conducted by the lord of the province........ Though the material is close and fine, soft and smooth, the pieces have been baked at a great heat and are hard.” (See Nos. 8 and 135.)
ONIWA-YAKT (literally Honourable Garden Baking) is a particularly esteemed variety. During the Genroku period (A.D. 1688-1704) a kiln was constructed in the Koraku-en garden at Okayama, Bizen province, and pieces were made similar to Shizutani wares by Imbe potters. The productions of this kiln therefore are often ascribed to those of the Kankoku kiln. Some pieces have portions of coloured glazes similar to Ye-Bizen ware.
The Tokyo Museum contains a white cock, with red comb, standing on black rocks ; also a boy on an ox, yellow glaze. (See No. 156.)
SHIRO-BIZEN (white Bizen) has a gray, almost white pate with a thin glaze-surface of the same colour and is a product of the Kankoku kiln (see Shizutani-ware). The Tokyo Museum possesses a small Hotei which is exactly like an old ivory carving. (See No. 8.)
YE-BIZEN (picture Bizen) is often attributed to the Oniwa kiln. It ‘was made from various clays, has little gloss but always with bright touches of coloured enamels, Some pieces have had the coloured glazes added at a considerable period after the original manufacture. (See Nos. 64, 72, ete.)
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=
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VARIETIES OF BIZEN-WARE
IRO-BIZEN (colour Bizen), a term used where the Aka-Bizen piece has been lacquered in colours on portions of the figures. (See No. 111.)
MUSHIAKEH is a term applied to articles made at Mushiake near Oka- yama, Bizen province, in the kiln of Mori Kakutard about A.D. 1870, Tea utensils were mostly made and one distinctive feature of the ware is the presence of yellowish-gray spots in the interior of red coloured articles.
The famous potter of Ota district, Yokohama, Makuzu Kozan, worked at the above-named kiln from 1870 to 1872 under the patronage of Igi Nagato-no-kami, a chief official of the lord of Bizen. (No. 35 is the produc- tion of a fellow-worker of Makuzu Kozan.) .
~ KI-BIZEN (yellow Bizen) was a product of the Kankoku kiln and has a hard fine paste with usually a brilliant yellow glaze similar to Fujina (Izumo) ware. The term is generally ascribed to pieces made by Wata- nabe Katsumasa, at one time a vassal of a lord of Bizen, who when a 7énin
({masterless Samurai) became a potter. There is a fine Hotei koro in the ‘Toky6 Museum, light burnt-sienna with blue-gray portions. (See No. 51.)
Potter-Artists
** Information as to the Bizen potters is quite commensurate with their merits, for without doubt choice specimens of their work during the 18th and the first half of the 19th centuries are amongst the very highest achievements of Japanese plastic art.’’ (Brinkley.)
Previous to the 16th century the following marks are to be found but
the names are unknown ; 3 (cherry blossom) x ; A.
PHD OK Grex
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_BIZEN-WARE
In A.D. 1582 when Hideyoshi visited Bizen there were the ‘“‘ six families
of Bizen-ware ” viz: Mori, Kimura, Tongu, Kaneshige, Terami and Oae.
Hideyoshi stayed at the house of Oae Gozaemon. Kimura Choyemon
was appointed chief potter at the end of the 17th century.
From the 15th to 16th century the following potters are famed,
principally for tea utensils.
OE Nhat &
409%
Mikazuki (new moon) Rokubei, sometimes called Ketsugetsu, No. 96.
Shimbei, a Ky6té artist, who worked at various places in the 16th century.
Shogen, a native of Kyéto, who worked at various kilns,
Moemon, an Owari artist, who lived in Kyoto.
Sohaku, a priest of the Seikan-ji Temple, Kyoto, who became noted for tea-utensils made for his own use and not for
sale.
During the 17th century noted names are :— Terami Gohei, No. 7. Kaneshige Rikichi, No. 9.
Kimura Chojiro, No. 12.
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POTTER-ARTISTS
Kimura Rokurobei, No. 14.
During the 18th century there were many skilled artists, among whom may be noted :—
eum «0 “were Marks of Kimura Shinshichird, Nos. 24, 80, 32..
9
Kimura Kwanshichi, No. 55. AG, Kimura Sakujiird, No. 75. Mori Buheiji, No. 84.
a ee Mori Hikichi, Nos. 90, 107. During the early half of the 19th century :—
Kimura Kiyochika, Nos. 133, 136, 140, 161.
Kimura Choyemon, Nos. 152, 153, 155, 157.
Kaneshige Juntar6, Hattori Shohei, I- Mori Gohei, and
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BIZEN-WARE
Mori Takejiro are considered skilled adepts, by the Japanese, probably for tea-ceremony utensils only. It is, however, difficult to discriminate these artists from others whose works, with or without marks, appear to have equal excellence.
It is not easy to assign dates to objects as the successors to various. factories or houses kept the same names and in many cases the same marks; one can only judge from the appearance of the pieces and the skill in modelling. In some cases old and famous marks have been added to works. which are of real merit on their own account. In 1850 the official head- potters were Kimura Chojird and Kaneshigi Rikichi (names dating from the 14th century) and Kimura Shinshichiro.
The manufacture of artistic works fell to a low ebb after the abolition of the fendal system in A.D. 1868, Capt. Brinkley mentions
‘6
the Kimura and Mori families as carrying on the trade, but says “ none of these potters produce anything comparable with the wares of their predecessors, the admirable plastic skill of the latter and their technical methods seem to be beyond the range of the modern Bizen Keramist.’’ At the present time Imbe is practically given up to utilitarian products, Bricks (ordinary, ornamental, and for fire) also drain-pipes, for which the clays are peculiarly adapted, form the principal trade. There is one large modern factory employing about a thousand work-people.
Mimura Mosaburoé founded some years ago a private pottery school to train pupils exclusively for ornamental work, but the large factories have drawn away most labour and the fine minute work of the old style does. not appeal to the modern spirit. There are eight or nine potters, descen- dants of the Oae, Kimura, Mori, and Kaneshige families, who aré carry-' ing on artistic work, the total number of workmen being about sixty. Some of their products shew an attempt to carry on the old Bizen spirit, the modelling is good but the quality and colour of the wares leave much to be desired. The demand for the old-fashioned ware, peculiar to Imbe, is not great and the potters now make colour-glazed and painted pottery of which there is a larger sale.
( 22 )
List of Potter-Artists
(Represented in the Chater Collection)
KEICHO PERIOD (A.D. 1596-1615)
d DASESUDA INGBAINOEO cence chee es dos anus
ie No. 4
GENROKU PERIOD (A.D. 1688-1704)
é Terami Gohel ...... 6000s ce des oe Ken war
Sct: Fite <td AOS 0 5]
Manan CRG | tin Voie ines 2E8O OS
PRIEST ORO? oo nb 5 ae oss Bk ea
Miresagae ols Sr ete oe eee
Waprestiineg Sidon ee os otek es ae eres
ii No. 7
de ret No 9
are No ll
eet. No 12
oy No. 14
ae No. 15
HO-EI PERIOD (A.D. 1704-11)
@ Kimura Naoyemon (Sadakata) ......... weorcees
( 23 )
ee No. 22
Nos. 24, 30, 32.
BIZEN-WARE
SHOTOKU PERIOD (A.D. 1711-16)
REO PINGING: Sin cs sei des Cie ees
Kuna. Seiyomen a US HR Nos.
ENKYO PERIOD (A.D. 1744-48)
Watanabe Katsumasa ..........-cceeececs
Kimura Kiwanshicht. ic csced ccna oR so cies
HOREKI PERIOD (A.D. 1751-64)
Mori $61 (SozmaemMon) 2. ines iebeses Yn | a a a eee Kimura Mokusuke or Mokujir6 ............
We ies ied ai ES
MEIWA PERIOD (A.D. 1764-72)
Tongu Saburobed, iors xj weily Reina ceig tye « « he
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No. 38
No. 55
No. 61
No. 62
No. 68
No. 69
No. 72
LIST OF POTTER-ARTISTS
MeanehNUse BARBED (os 5 oes oo a og a Rares pce hye No. 74 Kiger Saker. so pdeas to eawheths 54 24 No. 75
(tale] Neem Kimura Naoyemon ..............000 00s No. 80
MOTE NOTES i. canes sag ek wrk FR ETS SOR No. 81 MGT) AUCLE | Sipe hows H wendy Fas Sen eee No. 84 BEE Ay 5-5 5h Vis ek A ea hr No. 90 Chae! FSeRenee Sofi dc 3 vos Oe wc Nos. 92, 98 3 TOS Sacha Be Cig yee nnee Mentha No. 95 Manerhine WeuRe «7G, 3 ee eet eset is No. 97
TEMMET PERIOD (A.D. 1781-89)
Kanamori Jantard: pedot eis Soe fs os No. 103
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BIZEN-WARE
KYOWA PERIOD (A.D. 1801-4)
452) PON OIG 5 eos RS ee No. 106
ete SN 5 as ok ee ee No. 109 a ii | BUNKWA PERIOD (A.D. 1804-18) i Kimura Kiyochika ..........0....ce0de00s No. 114 | ae rE Mori Genzaemon........s.seeee8- Rei eo No. 116 “as ee: : ‘Ee ae Senkicht ... s. . 6 e.sss5 Nos. 118, 128, 124, 125, 130 PIN Shs gp ir at Bak 8 Base OA Nos. 121, 128
TEMPO PERIOD (A.D. 1830-44)
Kimura Kiyochika ..............4.. Nos. 133, 136, 140
HI , DiagOR WWAG spi ade eatined st oe sa od No. 143
LIST OF POTTER-ARTISTS
KAKI PERIOD (A.D. 1848-54)
Miniita SiIgenise Oa tina pes ns 2s eres No. 148
3 96 SEB a Ry Pte eee No. 150 Mork V OSDIR fe biae's Rea es Seg eee pS No. 151 Kimura Choyemon .......+-e+. Nos. 152, 158, 155, 157
MEIJI PERIOD (A.D. 1868-1912)
27
Catalogue of the Chater Collection
The following articles form the collection of Sir C. P. Chater C.M.G. of Hongkong, and are all illustrated. Though many objects appear to be similar, there is a subtle difference which has been deemed worth showing.
Articles are sometimes called by their Japanese names as follows : HANAIKE ; a vase or vessel for flowers, sometimes made with flat back and
hole for hanging on wall.
Koro ; a censer, a vessel or figure in two or more parts in which incense was burned, and with outlet in the upper part for emission of the vapour.
MiIzUSASHI ; water-jar used in the tea ceremony for washing cups, ete.
OKIMONO ; ornament placed in the alcove (toko-no-ma) of a room.
Toxxurt! ; bottle generally used for sake, the spirituous liquor of Japan.
The words “ glaze’ and “ glazing ’’ have been used to describe the appearance of the articles and not necessarily the result of use of glazing material (see page 11 et seq.), objects with yellow spots or splashes may be regarded as having the goma effect.
No. 1.— JAR ; 9” h., 8” dr :—
Globular shape tapering to narrow base with low curved mouth.
Very ancient pottery pitted with age and gray in colour. Found in a shell heap in Bizen ; probably has been in the sea as _ parts of shell adhere to the surface. This is a specimen of the earliest Japanese pottery and is con- sidered to be at least 1000 years old.
No. 2. — JAR ; 83” h., 9” dr :—
Ko-Bizen. A fine specimen of the old manufacture and ascribed to the 12th century. Circular, globular outline tapering to wide base with beaded rim and scalloped edge near rim. Dark brown pottery with slight glaze, nearly black and with metallic lustre. Probably used for storing seed.
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CATALOGUE KEICHO PERIOD A.D. 1506-1615)
No. 3. — Koro ; 8” h., 44” w :—
Imbe Aka-Bizen. Hotei (see page 61) carrying stick with “ lucky- bag ”’ on shoulder. Boldly modelled with effective lines. Dark red, almost black, thin glaze with roughened surface and yellow patches.
No. 4. — Toxkurt ; 11” h., 84” dr: of dise, 3” thick :-—
Imbe Aka-Bizen. Disc shape with two plain flat feet at an angle, and slender neck. In centre of dise, at each side, is a small plum blossom. Rough- ened surface and thick yellow glaze which has run down surface near top.
Mark called Matsuba, made by Matsuba Nagamoto or Yozae- 4 mon, a great adept of this period. The mark also of Shégen, a
Kydto artist, who made articles for various kilns at this period.
GENROKU PERIOD (A.D. 1688-1704)
No. 5. —- Okrmono ; 183” h., 124” w :—
Aka-Bizen. Hotei dancing on one leg with war-fan, gumbai-uchiwa, held behind head. The fan was probably originally in pottery and has been replaced by wood. On it are in raised characters “ made when 73 years old in Bizen Province”. Dark copper-red colour, roughened surface and metallic glaze. Vigorously modelled and very heavy pottery.
Seal is on fan, and is supposed to be one of those used by Séhaku of Kyoto, the famous potter of end of 16th century, but this
piece is ascribed to a later period.
No. 6. — OKIMONO ; 15” h., 9” w :—
Aka-Bizen. Eagle perched on rock with one claw clasping a small monkey, whose mouth is open and one paw clutches at the talons of the bird. Dark-red copper-bronze colour of metallic lustre. Unknown mark.
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BIZEN-WARE
No. 7. — Koro ; 5” h., 33” w :—
Imbe Aka-Bizen. Hotei with ‘“ lucky-bag” over shoulder. Dark Ce copper glaze with upper portions shewing yellow. ‘=. Mark of Terami Gohei, a noted adept at figures. No. 8. — Koro ; 83” 1., 43” h., 5” w:—
Shizutani Shiro-Bizen. A finely modelled figure of Hotei reclining on top of a large bag with small child, kara-ko, at side. Poreellanous ware, covered all over with a thick light-gray glaze, almost white.
No. 9. — Ok1mMono ; 133” h., 124” w :—
Aka-Bizen. Pheasant on a rock, finely modelled, dark bronze colour, almost black, with irideseent thin glaze of metallic lustre, there being only a faint tinge of red and some sparse yellow.
Seal of Kaneshige Rikichi, one of the “ six families ”; obtain- ed from the temple of Taiseikiji, Suruga.
No. 10. — Okrmono ; 9” 1., 6” h., 64” w :— Aka-Bizen. Boldly and elaborately modelled figure of Hotei seated on bag with palm-leaf fan in hand. Dark reddish-black colour unglazed except
for surface of fan, fingers and toes which are a brilliant black.
No. 11. — Mizusasui ; 63” h., 52” dr: of rim :—
Imbe Aka-Bizen. Cylindrical jar with flanged lp, reeded horizontally and with elephant-head handles. Dark brown glaze with yellow patches and copper patina.
Seal of Terami Jirobei.
N.o. 12 — Tokkurt; 11” h., 52” dr :— Imbe Aka-Bizen. Quaint shape imitating bamboo with sprouts at side. Lacquered wood stopper. Dark-brown and copper-red colours slightly glazed and with yellow spotting. Mark of Kimura Chojiré, a noted potter.
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Set
CATALOGUE
No. 18. — Oximono ; 10}” 1., 73”h., 53” w:
Aka-Bizen. Rdshi (Lao-Tze, the founder of the Chinese system of philosophy sitting near a large water jar, see page 64). Deep purple copper colour unglazed, water jar glazed . Unknown mark.
No. 14. — Oxruono ; 35” |., 32” h., 203” w :—
Aka-Bizen. Exceptionally large figure of a Kara-shishi (Chinese lion, see page 62) crouching on its fore-paws with head side-turned. Boldly modelled and a remarkably large piece of pottery; tail is separate. Copper- red colour with very thin glaze.
Inscription at back ‘‘made by Kimura Rokurobkei ” a noted and skilled artist, and presented to the Kwaneiji Temple, Uyeno, Toky6 by Ikeda, Daimyo of Bizen. The temple was destroyed by the Tokugawa troops in 1868.
No. 15. — Toxxurti ; 10” h., 5” dr :—
Aka-Bizen. Circular bottle with dome-shape shoulder curving te narrow neck and finished with copper top. Body is incised with representa- tion of faggots tied with a narrow band. Brown-brenze colour, slightly glazed finish with roughened top and yellow mottled glaze. Mark of Hirosawa.
No. 16, — Toxxur ; 8}” h., 54” dr :—
Aka-Bizen. Sake-bottle of elongated oval outline with small neck and opening, three indentations are formed in body. Lustrous brown-bronze colour, fine glaze with iridescent quality.
No. 17. — Oxrmono ; 9}” h., 73” w :— . ;
Aka-Bizen. Upright figure of Hotei with flowing robes and smiling face deeply eut. One hand is in robe and other upheld with the hoshi-no- tama (sacred orb) on palm. Notice the skilful modelling of hand and nails of fingers. Dark-red colour, unglazed. Unknown mark.
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BIZEN-WARE
No. 18. —- Mizusasut ; 6}” h., 52” dr :-—
Imbe Aka-Bizen, Cylindrical straight-sided jar inscribed with lines, opposite portions of body dented in and two leaf-handles. Brown lightly- glazed surface with some yellow spots. Cover with handle is also of pottery and has a dark metallic roughened surface.
No. 19. — Mizusasui ; 7” h., 6}” dr. of base :—
Imbe Aka-Bizen. Conical shape jar with bulbous mouth and reeded outline. Rough dark-red surface, slightly glazed, with some yellow spots. Lacquered wood top. Unknown mark,
No. 20. — Koro ; 8” h., 72?” 1, 5” w :—
Imbe Ao-Bizen. A vessel for burning cloves, choji-buro. In three parts: lower, elliptical-shape vessel with large oval hole at one side, four lion-head feet, and two animal-head handles at side. On top of vessel, an oblong box with panels ornamented by leaves in low relief; separate cover represents a thatched roof. Very delicately modelled and coated with a smooth greenish- bronze iridescent glaze.
HO-EI PERIOD (A.D. 1704-11)
No. 21. — Oximono ; 24” h., 15”1, 122” w:—
Imbe Aka-Bizen. Figure of Hotei carrying bag in which appears two children, kara-ko. Exceptionally large in size and fine modelling ; such big pieces cannot now be made. Copper-red glaze of metallic lustre with some
yellow mottling. Inseription at back “‘ made by Kimura Gisaburo at Imbe-
mura (village) in the provinee of Bizen.”’
No. 22. — Oxrmono ; 143” h., 10” L, 7” w:— Aka-Bizen. A stork with one leg on a branch and other leg on the stump of a tree, head of bird is tucked up by side of body. Finely modelled
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———
CATALOGUE
with detail finish to feathers and surface of tree trunk. Rich deep red-bronze
family of Kimura Naoyemon (Sadakata), see No. 94.
colour, slightly glazed. Seal supposed to be earlier mark of the @ Obtained from a temple at Shiba, Tokyo.
No. 28. — Oximono ; 83” h., 43” w :— Ao-Bizen or Hidasuki. Upright figure of Fukurokuju (see page 61)
2
with stick in one hand and bearing the “‘ lucky-bag ” slung on shoulder, and in other, a Chinese fan. Very finely modelled. Smooth yellowish-bronze
colour, resembling pale bamboo, unglazed. Slight hidasuki marking.
No, 24, - Oximono ; 8” h., 8” L., 64” w:—
Aka-Bizen. Daikoku (see page 59) sitting on bag with cap on head and arm upraised with mallet in hand. Purple-copper colour, glaze darkened and roughened in portions by age. = Mark of Kimura Shinchichird family, North kiln association,
see mark of No. 30.
No. 25. — Kéro; 6” 1., 43” h:—
Imbe Aka-Bizen. A Kara-shishi lying down with head which forms cover, turned sideways. Boldly modelled. Chocolate-bronze colour, glazed with sparse yellow spots.
No. 26. — Koro ; 9” 1., 6}” h :-—
Imbe Aka-Bizen. Body of vessel formed by an ox recumbent, and cover by a Réshi seated on back of animal. Boldly and cleverly modelled. High glaze of old red-bronze colour with roughened metallic surface and yellow portions.
No. 27. — Koro ; 83” 1., 43” h., 52” w:— ) Aka-Bizen. Body of vessel formed by a large “ lucky-bag” and
leaning on it, Hotei asleep ; cover formed by top of figure. Dark purple-red colour with portions of clotted yellow glaze.
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BIZEN-WARE
No, 28. — Hanarke ; 63” h., 5” w:— Imbe Ao-Bizen. Vase for hanging against a wall to contain flowers. In shape of a ribbed bag with open mouth tied in with cord. Black irides- cent glaze like iron. An early 15th century famous mark of unknown maker, ie This piece is a very good copy of Ko-Bizen (old Bizen-ware).
No. 29. - Oxrmono ; 12” 1, 7” h:— Imbe Aka-Bizen. Shape ofan ox with matting cover on back, vigorously modelled. Red-copper colour with portions of yellow glaze and roughened
surface.
No. 30. — Oxrmono ; 94” 1, 93” h :—
Aka-Bizen. A Kara-shishi with two front paws resting on raised portion of rocks. Deep red-brown colour, slightly glazed, with metallic were’
lustre and some yellow parts. A mark of the Kimura Shinshichiré family, see No. 24.
No. 31. — Koro; 11” h., base 6}” x 6}” :-—
Aka-Bizen. Shape of a temple drum with the mitsu-tomoye design at end, bosses round rims and rings at sides. The cover has on it a seated cock. The four-legged stand of typical temple pattern is separately made (see page 59). Delicately modelled with sharp finish. Dark red unglazed surface like rusty iron. Unknown mark. .
No. 32. — K6ro ; 9}” h., 10” w. across handles :—
Aka-Bizen. Globular body with tapering base and flanged mouth, three triangular shaped feet and flat moulded handles of conventional cloud pattern. Under lip is an inscribed arabesque pattern with holes; cover, with indented pattern, has a very finely modelled kara-shishi on top. Dark -eopper-bronze colour, unglazed ; surface of upper part of vessel and top of ‘cover resembles repoussé work.
Mark (under cover) of the Kimura Shinshichiré family, see No. 24,
{ 34 )
CATALOGUE
No. 83. — Oxrmono ; 9?” h., and | :—
Imbe Aka-Bizen. A Kara-shishi climbing down side of rocks, and boldly modelled. Almost entirely covered with roughened surface of yellow-gray glaze with part of the copper-red base of the pottery showing. High metallic lustre.
SHOTOKU PERIOD (A.D. 1711-16)
No. 34. — ToKKuRI ; 12}” and 93” h., 52” and 44” dr :— Imbe Aka-Bizen. Pair of sake-bottles in shape of figures of Shojo,
(see page 63). One figure bears a jar which forms spout of bottle, and top- knot of flowing hair is the stopper. The other figure bears a jar as if in act of receiving the liquor. Bold modelling and expressive countenances. Very dark red-bronze colour with sparse yellow mottling, slightly glazed, and in certain light exhibiting a silver sheen.
Copies or imitations of early Bizen productions, on smaller figure is an unknown mark which resembles that of Mori Buheiji, No, 84.
No, 35. — (see page 57).
No. 36. — Okrmono ; 144” h., 7?” L, 52” w :— Aka-Bizen. Hawk on stump of pine tree with branch and leaves. Very finely modelled. Deep red-bronze colour, slightly glazed. Unknown mark.
No. 37. — Mizusasagi ; 6” h., 6}” x 53” dr :—
Hidasuki. Oval-shape straight-sided jar with indented moulding in centre and rabbeted mouth for lacquered wood cover. Rough yellow pottery with streaks of thin orange-red glaze.
No, 38, — Oximono ; 103” h., 103” L, 7” w:— Aka-Bizen. Vigorously modelled figure of Busho slaying a Korean
tiger with his mailed fist in mouth of the beast (see page 62). Slightly glazed surface ; yellow, brown and red similar to a bronze alloy.
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BIZEN-WARE
. i One of the marks of Mori Jinjird, the North kiln association, weg a family dating back to the 15th. century.
No. 39, — Oxrmono ; 11” h., 734” 1 :— Aka-Bizen. Vigorously modelled cock on a rocky pedestal, yellowish- brown bronze colour, very slightly glazed.
No. 40. — Mizusasut ; 6}” h., 734” dr :-—
Aka-Bizen. Roughly modelled circular jar, horizontally fluted and shaped to four flattened sides merging from circular top and base. Lacquered wood cover. Red-brown colour, thin metallic glaze spotted with yellow.
Mark (yama-ichi). Used by family of Kimura Seiyemon, North 4x kiln, one of the 15th century “‘ houses,”
No. 41. — Ok1MONO ; 15” L, 72" h., 4” w :—
Aka-Bizen. A boat with prominent prow and curiously shaped stern. In it are a man with bamboo rake and his wife, the spirits of Takasago (see page 66). Copper bronze colour, very slightly glazed.
No, 42. —Oximono; 8” h., 5” w:—
Aka-Bizen. A_ stalk of sago palm with leaves and branch. Very skilfully modelled. Under portions of leaves red-bronze colour with upper parts and stalk rich yellow glaze.
No, 43. — OKIMONO ; 9” h., 6” 1 :-—
Aka-Bizen. Daikoku seated on the “lucky bag” with hammer in one hand. Deep red copper-bronze colour with yellow mottled glaze in portions, rough surface with metallic lustre. Unknown mark.
No. 44, - OKIMONO ; 10” ]., 93” h., 6” w :— Imbe Aka-Bizen. Figure of Hotei sitting on an enormous “ lucky-bag;” the mouth up-standing gives form of a neck so that imagination might
‘6
conceive the idea of Hotei “ playing at horses.” Daikoku, whose hammer is in mouth of bag, is at the side. Red-brown, slightly glazed surface with
some yellow portions. Unknown mark.
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CATALOGUE
No. 45. — Koro ; 12}" h., 7” L., 42” dr. of drum :—
Ao-Bizen. A cock with spreading tail seated on a temple drum. Extremely fine carving of great delicacy and fidelity of imitation. Green- gray bright glaze on red pottery ground.
No. 46. — Koro ; 84” h., 7” L, 54” w :—
Aka-Bizen. Body represents a hut with bamboo frame and reed sides; ends have’conventional clouds modelled in low relief. Cover consists of the thatched roof with a vigorously modelled cock on top. Golden-brown, slightly glazed surface.
Mark of Kimura Seiyemon, (see No. 40.)
ENKYO PERIOD (A.D. 1744-48)
No. 47. — Oxrmono ; 194” 1., 17” h., 10” w :—
Imbe Aka-Bizen. Figure of Kato Kiyomasa, kneeling with one knee, other leg outstretched, and grasping with one hand a Korean tiger, the other hand has sword (see page 62), A bold piece of modelling. Deep purple- copper colour with portions of yellow iridescent glaze.
Mark (matsuba) similar to No. 4,
No. 48. — Mizusasui1 ; 63” h., 6” dr :-— Hidasuki. A circular jar with ovoid form, lined at top portion, lacquer- ed wood cover. Red-brown pottery with faint streaks of brighter glaze.
No. 49. — Oxruono ; 73” L, 6” h., 5” w :— Imbe Aka-Bizen. Boy on back of a recumbent ox. Red-bronze colour, surface nearly entirely covered with the characteristic rough yellow glaze.
No. 50. — Oxrmono ; 13” L., 94” h., 6” w :—
Aka-Bizen. Shumoshiku, the sage (see page 64), is seated in a boat holding a lotus leaf ; at the prow is seated a boy attendant ; at base of boat are conventional waves. Fine deep, rich, copper colour with very small
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BIZEN-WARE
yellow spots in places. On stern of boat are inscribed the characters for ** Shomoshiku Sennin.”
No. 51. — Koro; 7” h., 63” 1, 6” w :—
Ki-Bizen. Figure of Hotei leaning on the “ lucky-bag.”’ Cover of koro is on top of bag and is a silver plate with fan of shakudé (an alloy of copper, silver and gold) inlaid with gold and apparently held in hand of Hotei. This plate probably replaces a cover of pottery. A_ brilliant iridescent golden-yellow glaze is all over the piece. Under base is inseribed “‘ made by Watanabe Katsumasa at the age of 77 ” (see page 19).
No 52. - Oxrmono ; 113” h., 7” w :— Aka-Bizen. A cock sitting on an up-ended bale of rice. Very finely modelled and a dark red-bronze colour, unglazed.
No. 53. — OKIMoNO ; 123” h., 93” 1:— Aka-Bizen. Two finely modelled ducks on rocky points. Red-brown- bronze glaze of metallic lustre with some yellow portions. Unknown seal.
No. 54, — Oxrmono ; 93” h., 9” 1., 7” w :—
Aka-Bizen. Three Sennin: Koshu, Shaka and Moshi standing by a large circular wine jar, sake-isubo. Boldly modelled with expressive countenances. Deep copper-bronze colour, unglazed. This group is known as “‘ The Three
>
Sake Tasters ” and came from a temple in Shiba, Tokyo.
No. 55. - Oxrmono ; 10” h., 10” 1, 732” w :-—
Aka-Bizen. Hotei seated on one leg, knee of other leg raised and one hand with fan, resting on it. Copper-bronze colour with metallic lustre, unglazed.
Mark used by the Kimura Kwanshichi family.
No. 56. — Oxrmono ; 12}” h., 72” 1., 63” w :— Aka-Bizen. Figure of an ow] on a hollow tree stump. Finely modelled with red-bronze and yellow high glaze of iridescent quality. Unknown
mark.
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“CATALOGUE
No. 57. — Oxrmono ; 17}” h., 16” w :—
Imbe Aka-Bizen. Large figure of Otafuku (see page 63) dancing, one hand raised with palm upward (probably to hold a sake-cup) and other held back (probably with a ladle). Vigorously and boldly modelled. Red-brown colour, slightly glazed, with metallie lustre, some yellow in parts.
Mark (matsuba) similar to No. 4. :
No. 58. ~ OkiMoNo ; 8” h., base 5” x 42” :—
Aka-Bizen. Figure of Hotei holding bag before him, in which are two Chinese children, kara-ko. Surface slightly repoussé and a dark copper glaze.
No. 59. — Oxrmono ; 113” h., 72” L, 5° w s—
' Ao-Bizen. Finely modelled figure of Daikoku with cap in hand and usual smiling face, hammer in other hand and bag slung over shoulder. Slightly yellow-tinted bronze colour, smooth finish and thin glaze.
HOREKI PERIOD (A.D. 1751-64)
No. 60. — Koro ; 83" h., 6” dr :—
Imbe Aka-Bizen. Circular vessel of oval outline with eover on which is a fierce Kara-shishi. Red-copper colour, repoussé surface with portions of clotted yellow glaze. This period was particularly famed for the manufac- ture of Kara-shishi.
No. 61. — Oximono ; 91" h., 8}" 1, 6" wi—
Imbe Aka-Bizen. A Kara-shishi stands on a rocky base with fieree open mouth. Bold modelling. Deep red-copper colour with much yellow mottled glaze, having a metallic and iridescent lustre.
YP, Mark used by Mori Séi (Sozaemon) family in the 16th
century.
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BIZEN-WARE
No. 62. —- Okimono ; 15” h., 62” w :-—- Aka-Bizen, Standing figure of one of the Sennin with staff in hand. Light bronze colour, slightly roughened glaze of metallic lustre. O Mark used by the family of Kimura Juzaemon, South kiln, since the 15th century. No. 63. — Koro ; 73” h., 7” w :— Aka-Bizen. Figure of a woodeutter squatting on ground with axe in hand. Face is like a mask and is a separate piece. Dark brown-bronze colour, roughened surface with some yellow spots and metallic lustre.
No. 64. — Koro ; 53” 1., 6” h., 4” w :—
Ye-Bizen. One vertical and one horizontal bale of rice, side by side ; top of vertical bale with cock on it serves as cover to the koro, on other bale is a hen. Cock feathers, tail and combs of both birds have been glazed in red, brown and green. Blue clay covered with thin yellow glaze partly worn away by time.
No. 65. ~ Koro ; 64” h., 6” across sides :-—
Ao-Bizen. Lower part represents a six-sided framed and reeded hut ; top, which forms cover of k6ro, is a thatched roof, on ridge is perched a cock in shibuichi (an alloy of three parts of copper and one part of silver) with gold crest and comb finely chased, An exquisitely finished and modelled work. Brown-bronze glaze, in parts shewing blue-clay colour under.
No. 66. — Oxrmono ; 43” h., 3}” w :-—
Aka-Bizen. Delicately modelled, small upright figure of Hotei with one hand resting on bag and other raised and holding the sacred orb, Dark -ecopper-red colour, unglazed and with metallic lustre.
No. 67. — HANAIKE ; 6}” h., well, 6” square :— Ao-Bizen. The vessel represents the wood top of a well, on one corner is perched a cock, finely modelled. Dark copper colour darkened by age and
with metallic sheen.
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CATALOGUE
No. 68. — Oxruono ; 16” h., 113” L, 8” w:-—
Aka-Bizen. A hawk perched on rock. Very delicately finished with fine etching to feathers and partially repoussé surface. Dark red copper colour with thin metallic and iridescent glaze of fine quality.
Mark used by family of either Kimura Mokusuke or Kimura zs Mokujir6, beth of whom date from end of 14th century. Formerly in a temple at Uyeno, Tokyo.
No. 69. —- Oxrmono ; 153” h., 73” w:— Aka-Bizen. Eagle on dome-shape rock. Fine and vigorous modelling. Copper-red glaze of metallic lustre and some yellow mottling. a J Mark of Kurobei or Otobaya Kurobei, who removed to Bizen from Kyoto about 1750.
MEIWA PERIOD (A.D. 1764-72)
No. 70. - Oximono ; 21" 1., 204” h., 14” w:-—
Imbe Aka-Bizen. Large Kara-shishi crouching on fore-paws and hind- | quarters raised. Boldly modelled on a large scale. Loose tail. Reddish- bronze colour with rough surface of yellow glaze in portions.
No. 71. — Toxxurt ; 9” h., 73" dr : of dise :—
Ao-Bizen. Sake-bottle in shape of a round flat dise with narrow neek and mouth and four feet. Sides or flats of dise have bold kara-shishi in low relief. Slightly glazed surface of yellow-bronze colour with portions of deep- red iridescenee,
No. 72. — Mizusasut ; 5}” h., 53” dr :—
Ye-Bizen. Circular jar of oval outline with lacquered wood cover. Body of unglazed red pottery with decoration, one side, of iris leaves in green and flowers in blue, thick enamels.
SS Mark used by family of Tongu Saburobei, South Kiln, from the 15th century.
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Neo. 73. - Oxrmono ; 8” h., 64" 1, 4” w :—
Imbe Aka-Bizen. Figure of Daikoku sitting on two rice-bales ; in one hand is the sacred ball and in the other upraised, is the mailet.. On one bale near Daikoku is a rat. Dark copper-bronze colour with sparse yellow spots and metallic lustre.
No. 74. — OKIMONO ; 104” h., 8” 1 :— Aka-Bizen. Two monkeys seated on a rock and each bearing in paw a peach. Deep red-bronze colour, reughened surface slightly glazed with metallic lustre. AY One of the marks of the Kaneshige Rikichi family, North Kiln (see No. 9).
No. 75. — Oxrmono ; 8}” h., 6” w :-— Aka-Bizen. Figure of a monkey dressed as a priest with ancient hat, garments and fan. A figure or disguise, called Sambaso, much 4G, used at New Year festivals.. Copper-bronze colour, unglazed. Mark Kiraura Sakujiiré, an artist of this period.
No. 76. —Oximono ; 12” h., 114” w :—
; Imbe Aka-Bizen. Urashima Tar6 (see page 66) in squatting attitude with basket at side, boldly modelled with expressive features, basket finely worked. Dark copper glaze pitted in parts like old metal. Unknown mark.
No. 77. — Oxrmono ; 12” 1, 7” h., ae
Aka-Bizen. Figure of an ox with straw matting covering on back and corded nostrils. Fine copper colour with roughened surface and metallic lustre ; sight yellow mottling on back.
No. 78, — Koro ; 72” h., 43” w:—
Imbe Aka-Bizen. Figure of Kanzan (a legendary servant-priest in a ‘Taoist Monastery) with head turned on one side as if listening and with broom in hands. Red-brown glaze with yellow shades.
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CATALOGUE
No. 79. —- Oxrwono ; 83” h., 84” 1, 54” w :—
Ye-Bizen. Hotei riding on huge lucky-bag, with mouth upraised ; the child (kara-ko), at side, has hand on cord as if he were leading an animal. Robes of Hotei and karako, fan at mouth of bag, are of lustrous green glazes; rest of article is of unglazed red-bronze pottery. Mark unknown.
No, 80. - Oximono ; 83” h., 84” 1, 6” w :—
Aka-Bizen. Two quail seated on the leaves of a large turnip. The vegetable is boldly modelled while the birds have a delicate finish, spec minute on feathers. Red-bronze colour, very lightly glazed.
fale Seal and Mark of Kimura Naoyemon (Teiko 0 Or : : Sadakata) an artist of rare skill who received an allowance from Ikeda, the lord of the province. The mark is used by others
of the Kimura family, see Nos. 24, 30.
No. 81. —- Oxrmono ; 9}” h., 62” L, 53” w :—
Imbe Aka-Bizen. A cock perched on a rocky eminence. Boldly model- led with considerable finish. Deep copper-bronze glaze with metallic lustre and rock partly covered with the characteristic Imbe yellow glaze.
Mark used by the Mori Yojuré family, South Kiln, since the IN 15th century.
No. 82. — Oxrmono ; 9” h., 92” 1., 6” w :— Aka-Bizen. A Kara-shishi mounting a rock and head turned sideways. Dark purple-red colour, almost black, with highly polished metallic
lustre.
No. 83, — Oxrmono ; 10” h., 93” 1., 8}” w :—
Imbe Aka-Bizen. A Kara-shishi with head turned and peony flower in mouth, Very fine modelling and undereut work. Red-bronze colour with with portions covered with yellow glaze. (The finger-marks of the artist- potter can be noticed on the lightly glazed portions).
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| No. 84. — Oxrono ; 8}” bh :-— Aka-Bizen. A hawk perched on top of a rock looks down at a little monkey, whose head emerges from a cleft in the rock. Very
i Il +) clever modelling. Bright glaze of deep copper-bronze colour.
Mark used by Mori Buheiji family since the 15th century.
No. 85. — Oximono ; 15” h., 6}" w:— | | Aka-Bizen. Figure of Shoki (see page 64) sitting on pinnacle of rock, with fierce face and sword in hand as if aiming a thrust. Vigorously model- il led with detailed ornament on breast plate. Dark-brown copper bronze HI colour, lightly glazed and metallie lustre.
| No. 86.— Koro; 7” 1., 4” h., 44” w:—
| Imbe Aka-Bizen. Figure of a cat recumbent, head forms cover to the Hil koro, the body is delicately scored with lines to resemble the fur of skin. HI Copper-red colour with some yellow spots. Unknown mark.
No. 87. —- OKiMoNO ; 63" h., 63" 1, 34" w:— Aka-Bizen. Cleverly modelled group of two sparrows perched on a HN - sheaf of ripened rice. Dark-red copper iridescent glaze.
No. 88. — Oxrmono ; 143” h., 62” 1., 53° w i-— | Aka-Bizen. Standing figure of Tobosaku (see page 64) bearing in one HI hand two peaches. Brown-bronze coloured glaze. Unknown marks.
No. 89. — Koro ; 12" 1, 33” h., 33” w:—
Ao-Bizen. Shape of a fishing beat with cat at prow. Blue-gray finish like burnished steel. There was probably a cover over the hatch on deck of boat but now missing.
| No. 90. —- Oximono ; 7” h., 84" w:-—
| Aka-Bizen. Hotei seated on the typical “lucky-bag” and holding the | hoshi-no-tama in hand, Copper coloured glaze darkened | | a, by age and surface worn at foot and edge of robe.
Mark of Mori Eikichi, one of the famous potter-families.
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CATALOGUE
No. 91. — Koro ; 5” 1., 3}” h., 84” w :-— Aka-Bizen. Hotei asleep with head on arm resting on the large “lucky-
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bag.” Yellow-red bronze colouring, unglazed. Unknown mark,
No. 92. - Oxrmono ; 8” h., 6” w :— Aka-Bizen. Seated figure of Fukurokuju bearing in one hand the sacred orb and in other a Chinese fan. Deep copper colour with high
SS metallic lustre. *Mark used by Oae Yozaemon, one of the old potter-families,
No. 93. — OxrmMono ; 14” h., 9” w :-—
Aka-Bizen. Nearly naked figure of Hotei sitting on a bag and holding on his shoulders a bale of rice. Brown-copper coloured surface, lightly glazed and curiously lined to represent a hairy skin. Particularly heavy pottery.
No. 94. -Oxrmono ; 113” h., 84” w :—
Aka-Bizen. Urashima Taro sitting on rock with fish in hand and basket at side. Copper-bronze colour with sparse yellow spots and and high metallic lustre.
No. 95. -- Oxrmono ; 8” 1, 63” h., 7” w :— Aka-Bizen. Good humoured figure of Daikoku squatting on ground near a bale of rice and with mallet in hand. Dark purple coloured bright glaze (like blister-copper) with parts polished like black-leaded <& steel. Mark used by the family of Oae Yozaemon since 15th century.
No. 96. —- Oximono ; 15” 1, 123” h., 9” w :—
Aka-Bizen. Large figure of Hotei reclining at side of the “‘lucky-bag.”’ Fine seulptural quality. Dark red-brown glaze of metallic lustre. ~ This piece had the mark of Mikazuki Rokubei added after
manufacture, see remarks on page 22.
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No. 97. — Okimono ; 9}” h:—
Aka-Bizen, Pair of pigeons on stump of tree, one bird perched above the other and very delicately modelled with fine finish especially to feathers. Brown-bronze colour with thin diaphonous glaze.
Mark used by Kanashige Usuke, West Kiln, also by the famous Sohaku who flourished end of 16th century.
No. 98.—Ox1mMono ; 9}” h., 43” w:— . Aka-Bizen. A cock seated on a temple drum whose ends bear the mitsu-tomoye device. Very finely modelled and of dark purple colour with metallic lustre and sparse yellow spots, Mark of Oae Yozaemon, see No. 92.
No. 99. — Oximono ; 25” 1, 22” h., 12” w :— Aka-Bizen, Large Kara-shishi crouching down on its fore-legs, very boldly and vigorously modelled. Tail piece is made loose. Red-bronze a= glaze with orange-peel surface and of metallic lustre. Mark appears to be a combination of the mark of Kimura Beoeasl Choyemon family (see No. 152), and the characters for Uyeno. From the temple of Kwaneiji, Uyeno, Tokyo destroyed by the Tokugawa troops in 1868,
No. 100. — Oximono ; 53" h., 53” 1, 5” w :—
Aka-Bizen. <A farmer seated beside a sheaf of rice on which is the sickle, and hands resting on knee. Finely modelled. Copper-bronze colour slightly spotted with yellow. Unknown mark and seal.
No. 101. — Ok1mono ; 10” 1., 8}” h., 6” w:— Aka-Bizen. A boy rests on one knee with sole of foot upturned, he carries over his back a tortoise with outstretched head. (The tortoise is an emblem of longevity). Very cleverly modelled, very dark bronze colour, almost black. ; Mark of the Mori Buheiji family, see No. 84, but there is some doubt as to authenticity of this piece.
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CATALOGUE
TEMMEI PERIOD (A.D. 1781-89)
No. 102. ~ Oximono ; 123” h., 83” w:—
Aka-Bizen, Figure of a Yamabushi (see page 67) blowing a horn and seated on a rock quaintly dressed, with legs crossed. He wears armoured leggings and armlets and a curious small eap on head tied round chin with a cord, At side is a box containing armour of his master.’ Dull copper-bronze surface, almost black, probably due to lacquer covering. Unknown mark. !
No. 103. —- Oxriono ; 141” h., 9” wi—
Aka-Bizen, A duck sitting on a rock. Vigorously modelled with detail
in feathers. Copper-bronze iridescent glaze of metallic lustre and . with some yellow spots. | Mark of probably the Kanamori Juntar6d family, see No. 142.
No. 104. — Okrmono ; 103” h., 8” 1, 6” w.
Aka-Bizen. A Kara-shishi on a rock, very vigorously modelled. Dark red-brown bronze colour.
No. 105. — Koro ; 11}” h., 83" L, 5” w :—
Imbe Aka-Bizen. Lower portion represents an ancient palace gateway with semi-circular opening, surface jointed as if of stone. On top isa balcony and room, cover of kéro being the carved tiled roof. Walls of room have elaborate patterns in low relief. Reddish-chocolate colour with portions of mottled yellow glaze.
KYOWA PERIOD (A.D. 1801-4) No, 106, —Oxrono ; 152” h., 93” 1., 9” w :— Aka-Bizen. Pair of Kara-shishi, male with open and female with closed mouth ; boldly modelled animals, heads resting on fere-feet and bodies and
feet erect, tails are separate pieces. Slots are made under 3 bodies to take a slab or sereen. Dark copper-bronze colour.
6e
Mark and inscription “made by Fuji Yoshikata.”
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No. 107. - Oxrmono ; 9” L, 54” h :—
Imbe Aka-Bizen. Figure of Hotei sitting in his “lucky-bag”’ with Daikoku standing at side, mallet in upraised hand. Sharply modelled with consider- able finish. Copper-bronze colour with some yellow roughened patches.
Mark of Mori Eikichi family, see No. 90.
No. 108. — Oxrmono ; 17” h., 10” w :— .
Imbe Aka-Bizen. Hawks on boldly modelled old tree trunk, one bird with wings partly opened and the other seated on branch. Dark copper- bronze colour, unglazed.
Same mark as previous number, Mori Eikichi.
No. 109. - Oximono ; 94” h., 74” w:—
Ye-Bizen. Well modelled figure of a Rakan (see page 63) blowing a conch-shell (loose), The head, portion of body, hands and feet are deep copper-red colour, smooth and unglazed ; the robes have a thin porcellanous light-gray glaze of rough and dull surface; the horn is chocolate-colour
glaze. Mark of Yoshiaki, probably Mori Eikichi Yoshiaki, a known = master of this period. No. 110. — Koro ; 84” h., 62” w :-—
Imbe Aka-Bizen. Upright figure of Hotei carrying on shoulder stick with seroll (makimono) and in other hand a circular fan. Upper part of figure forms top of vessel. Dark brown-bronze colour with roughened spotted surface and metallic iridescence. Unknown mark.
No, 111. — Oxrmono ; 114” h., 104” w :—
Iro-Bizen. Figure of Hitomaro (see page 61) seated on hip with one knee raised. In one hand is a roll of paper and in other a writing brush (ivory). Face is red-bronze colour, nearly black, rest of figure has been lacquered ; hat black, upper robe bright scarlet, lower robe deep green.
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CATALOGUE
BUNKWA PERIOD (A.D. 1804-18)
No. 112.— Koro; 203” 1, 203” .h., 143” w:—
Aka-Bizen, Large Kara-shishi crouching down on fore-legs with open mouth and prominent tongue (hole is left at side of head for the cover of the vessel formed by the body of animal). Dark red-bronze glaze with metallie lustre and smooth surface.
No, 113. — Hana-IKeE ; 7}” h., 4” dr :-—
Aka-Bizen. A vase of cylindrical shape with bulbous base, represent- ing basket work made of fine bamboo (take-kago). Dark copper bronze colour. Rim and base shew a metallic glaze.
No. 114. — Koro ; 93” 1, 62” w., 6}” h -—
Imbe Aka-Bizen. Shape of an archaic tortoise with head turned towards back. Cover is the shell with rocks growing on top, which, with the long hair on body, signifies longevity. Dark red-bronze colour with sparse yellow portions.
Inscription under base ‘‘ manufactured by Kimura Seiji or Moriji (Kyochika)’’,
No. 115. - Oxrmono ; 1934” h., 9" w:—
_ Aka-Bizen. Upright figure of Daruma (see page 60), boldly modelled, with flowing garments held up to chest by hands under robe Red-bronze colour darkened by age. Inscription at back is a long and meaningless name, probably of a Buddhist priest, for whose temple the image was made.
No, 116. — Oxrmono ; 5}” 1, 52” h., 4” w:—
Imbe Aka-Bizen. A Kara-shishi in a crouching attitude as if for attack. wem Bronze colour surface with dull gray-green and steely patina. - Mark used by Mori Genzaemon family since the 15th century.
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No. 117. — Koro ; 53” h,, 5” 1:-— 2
Imbe Aka-Bizen. A Kara-shishi squatting on haunches with straight fore-legs. Head is detachable to form the cover of vessel. Boldly modelled - of archaic pattern, feet and claws particularly good. Partly of gray colour eovered with some yellow glaze, and the deep copper-red base shews in parts,
No. 118. - Oxrmono ; 14” h., 10}” w :—
Aka-Bizen. Figure of Shoki seated on a rock, sharpening his sword on the flat stone. Vigorously modelled, fine contrast between the smooth surface of the figure and the roughness of the rocks. Red-bronze colour,
unglazed. Seal used by the family of Oae Senkichi, one of the 15th century houses.
No, 119. — Oximono ; 72” 1., 53” h., 43” w:—
Aka-Bizen. Exceptionally well modelled figure of a Kara-shishi with one paw on a ball of brocade, thread is twisted and ong end held in mouth. Rich red-brown-bronze colour with yellow portions.
No. 120. — Oxrmono ; 7}” h., 6)” w :—
Aka-Bizen. Figure of a farmer or peasant sitting down with basket of fruit at his side, in one hand is a tobacco pouch, Cleverly modelled, with smiling expressive features. Copper-bronze colour with roughened surface of metallic lustre in front and smooth at back.
No. 121. — Koro ; 63” 1., 6” h :—
Ao-Bizen. Body of vessel is a Kara-shishi reeumbent, exceedingly well modelled, with finely convoluted mane and tail. Cover is formed by the figure of Monju Bosatsu (see page 63) seated on the animal with scroll in one hand, the long flowing hair is finely divided and figure is very minutely
seulptured. Bronze colour but figure shews the influence of the blue clay. Mark .of Moichi.
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CATALOGUE
No. 122. — Oxrmono ; 112” h., 83” w:—
Aka-Bizen. Seated figure of Jurdjin (see page 62) holding fan in hand. Rich eopper-bronze colour, partly roughened and metallie surface and with some yellow glaze spots. é
No. 128. — Oxrmono; 103” h., 74” w:—
Aka-Bizen. Figure of Urashima Tard squatting on hip with fish in one hand and other resting on basket. Dark copper-red colour with some yellow spots and portions very slightly glazed.
Mark of Oae Senkichi, see No. 118.
No. 124. — Oxrmono ; 9?” 1., 10” h., 9” w :—
Aka-Bizen. Daikoku sitting beside a bale of rice; one hand with mallet on the bale and chin rests on the other hand. Very dark red colour resembling iron with a “ black-lead ”’ finish. ,
Mark of Oae Senkichi, same as preceding number.
No. 125. —- Oxrmono ; 102” h., 8” w :— Aka-Bizen. Figure of Hotei looking at the moon (Hotei Tsukimi) one hand upraised to head and the other, with fan, at side of robe. Dark copper colour roughened in parts. Mark of Oae Senkichi, same as preceding two muh bers,
No. 126. — Oximono ; 10” 1., 54” h:—
Aka-Bizen. A favourite Japanese art motive of a quail perched on a eob of millet, a very well finished work. Dark copper colour very slightly glazed.
No. 127. —- Oximono; 9” 1., 104” h:—
Aka-Bizen. A cleverly modelled figure of a fierce kara-shishi standing on rocks. Fine copper colour, slightly glazed. Mark unknown.
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No. 128. — Oxrmono ; 83” 1., 8}” h:—
Ao-Bizen. Exceptionally well modelled cock and hen on ground ; the feathers of the birds are shaped and chased similar to finest metal-work. Steely gray-blue colour, slightly glazed.
Mark of Moichi similar to No. 121.
No. 129. - OkiMono ; 11” L., 92” h., 9° w:—
Hidasuki, Daikoku resting on “lucky-bag” and bale of rice with one hand under chin and the other grasping a maliet. Finely modelled and a warm copper-bronze colour with faint orange-red streaks.
No. 130, - Okimono ; 11" h., 74" L, 62” w:—
Aka-Bizen. Figure of Hotei with bag held in front, in which the small figure of a karako appears holding the sacred orb. Dark brown- bronze with iridescent glaze, part has a roughened surface of metallic lustre with sparse yellow spots.
Mark of Oae Senkichi similar to No. 123,
No. 131.— Hana-1ke ; 93" 1, 43” h:— Hidasuki. Modelled in form of a pointed convoluted conch shell. Red-
-brown-bronze glaze with lighter marks of the hidasuki variety.
TEMPO PERIOD (A.D. 1830-44)
No. 132. — Oxrmono ; 12” h., 6” w:—
Imbe Aka-Bizen. Fukurokuju on bag playing the flute, at his side standing on a bale of rice is a man wearing a fiercely shaped mask, through its open mouth is seen his smiling face; a clever work. Copper- bronze colour with mottled bright yellow glaze over portions.
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CATALOGUE
_No. 133, — Oxrmono ; 8” h., 5” w :— . Aka-Bizen. Boldly modelled figure of a badger (see page 59) erect;
skin is slightly veined to represent fur. Deep copper-coloured. glaze at base but mostly dark brown.
Seal of Kimura Seiji (Kiyochika) a particularly skilled artist, see No. 114,
No. 134. — HANA-IKE ; 63” 1, 42” w., 33” h:— Aka-Bizen. In form of a monkey with one paw against face; effect of fur is cleverly given by raised lines, not inseribed. Warm brown glaze.
No, 135. — Koro ; 63” 1., 32” h:— Shizutani. Daruma clothed in flowing robes in a reclining position. Very well modelled with great delicacy, of “ softpaste,” slightly baked.
clay, and resembling in texture and colour a carving in box-wood. Unknown mark.
No, 186, — Okrmono ; 12” 1., 62” h., 72” w :—
Imbe Aka-Bizen. Shape of Mount Fuji with conventional cloud forms near top. At base reclines Saigy6 Hoshi with stick, hat and bundle at his side (see page 64). Dark copper-bronze colour, slightly glazed, and with metallic lustre.
Two seals, left hand is mark of the Kimura Seiji (Kiyochika) family, see No. 133; right hand seal reads a “* potter of Imbe, Great Japan.”
- No. 137. — HANA-IKE ; 7}” 1, 42” h:—
Imbe Aka-Bizen. Represents a workman painting a large circular lantern. Dark copper colour with some yellow glaze spots.
No. 188. — ToxkuRt ; 44” h., 3” dr :— Aka-Bizen. Slightly reeded globular shape with three indentations to
body and slender neck ; used as a sake bottle. Bright brown glaze. Un- known seal,
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No. 189. - Okrmono ; 103” h., 72” w:—
Aka-Bizen. _ Figure of a seated Daruma (see page 60), very boldly and expressively modelled, with staring face and folds of robes held up to chin. Copper-bronze colour, unglazed, with metallic lustre.
No. 140. - Oximono ; 123” h., 10” w :—
Imbe Aka-Bizen. A Rakan seated cross-legged on a rocky base with hands outstretched in attitude of prayer. Very finely modelled, with bold flowing robes. Dark copper-brown glaze with yellow spots and patches.
Seal mark is practically the same as No. 133, Kimura Seiji (Kiyochika).
No. 141. — K6ro ; 8}” h., 6” w:—
Aka-Bizen. Figure of Terasaka Kichiyemon (see page 65) in the act of committing seppuku (hara-kiri), Dark red-brown slight glaze with some yellow patina,
No. 142. —- OkrMono ; 10” h., 5” w:—
Imbe Aka-Bizen. Boldly modelled figure of Hotei standing on the ““lucky-bag,”” one hand raised and the other with a fan. Dark copper- coloured glaze on figure and on bag the characteristic yellow mottled glaze.
mark was used by Rokubei, one of the ten great potters of the
Mark of Kanamori or Kimura Juntard, North Kiln; a similar 15th century, see No. 103..
No. 143. — OKIMoNO ; 112” h., base 72” x 6}” :—
Imbe Aka-Bizen. Figure of Wake-no-kiyo-maro (see page 66) seated cross-legged on 2 slab of a tree, with ancient head-dress and hands folded in front and bearing a shaku (a baton carried by nobles in the presence of the Emperor). Dark copper-bronze colour slightly glazed with metallic lustre
AZ and portions spotted with yellow. Under base is inscribed, ‘yy Wake-no-kiyo-maro.
Mark ‘‘ made by Nagami Iwao”,
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CATALOGUE
No. 144. — Oxrwono ; 9” h., 6” w :-—
Aka-Bizen. Seated figure of one of the seven Sennin, Chinese Sages. Expressive face and robes, well modelled. Rich brown-bronze colour, slightly glazed.
No. 145. - Okrwono ; 74” h., 7” L. and w:— Aka-Bizen. Bale of rice with rat on top and cat gazing upwards on side. Chestnut-eopper coloured glaze.
No. 146. — Koro ; 33” h., 2” dr :—
Ao-Bizen. A young heron on a stump of kiri-zwmi (Japanese cork). Feathers and modelling extremely fine. A lovely tint of lightly glazed green bronze ; blue clay pate.
No. 147. — Oxrmono ; 74" h., 72” w :—
Aka-Bizen. Figure of Ebisu (see page 60) sitting on a large tai (fish). Fine modelling considerably undereut. Light bronze colour, smooth and unglazed.
KAEI PERIOD (A.D. 1848-54)
No. 148. —- Mrzusasui ; 7}” h., 64” dr :— Aka-Bizen. Water jar of bulbous shape, in imitation of basket-work, with two bamboo handles. Flat cover also of basket-work, EF Dark red-brown colour, slightly glazed. .
Ve Seal of Kimura Shigefusa.
No. 149, ~ Oximono ; 63” 1.,.54" h :—
Aka-Bizen. A Kara-shishi rampant, with fore-paws resting on open- work ball of broeade-thread one end ef which is in its mouth. Cepper- bronze colour, slightly glazed.
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No. 150. - Oximono ; 11” L., 102” h:— Aka-Bizen. A Kara-shishi on a rocky spur boldly modelled and choco- late-brown colour, slightly glazed. Seal of Kimura Shigefusa, probably same potter or family as maker of No, 148.
No. 151. — Mizusasui ; 64” h., 52” dr :—
Hidasuki. Cylindrical water-jar, wide mouth, outline gently curving to smaller base. Lightly baked buff clay with streaks inside and out of 4 burnt-sienna colour, semi-glaze. Lacquered wood top.
Mark of Mori Yoshiyasu, famed for tea utensils.
No. 152. — Oximono ; 12” h., 10” w:—~ Aka-Bizen. Figure of Jurdjin seated with fan in one hand. Dark yellow-bronze colour with slightly roughened surface, un- glazed. Seal of Kimura Choyemon, one of the South Kiln houses,
No. 158. — Oxtmono ; 8” h., 53” w :—
Aka-Bizen. Bird perched on stump of a wild camellia tree (tswbakt), flowers show at side. Deep red-copper colour, slight glaze.
Seal similar to preceding number and though name of Chéyemon is only noted at this period, the article would appear to be of much earlier date, probably H6-ei (A.D. 1704-11).
No. 154, — Koro; 144” L, 6” h:—
Aka-Bizen. Body of vessel formed as a Japanese turnip (datkon) with boldly carved and undercut leaves of vigorous outline. Cover is a quail ‘sitting on end of a leaf, perfectly modelled with feathers finely veined. Dark iron-like lightly glazed surface. Unknown mark,
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CATALOGUE
No. 155. —- OxrMono ; 122” 1, 123” h:i—
Ao-Bizen. A vigorously modelled Kara-shishi with one paw on ball of brocade. Black bronze with polished metallie lustre.
Seal same as No. 152---Kimura Choyemon.
No. 156. — Oxrwono ; 74” h., 64” 1 :—
Oniwa-yaki. Figure of Hitomaro with scroll (makimono) in one hand and ancient hat on head. Finely modelled and of yellow clay, covered with a bright thin light orange glaze.
No. 157. - Ok1mono ; 10” L., 73” h:—
Aka-Bizen. Fukurokuju carrying Hotei in a bag. Boldly modelled work. Red-brown copper colour slightly glazed.
Seal same as No.152-—-Kimura Choyemon.
MEIJI PERIOD (A.D. 1868-1912)
No. 35. — Koro; 63” h., 43” w. :-— Mushiake. Urn-shape body, with two upright boy figures at sides. On top of cover is boy with eymbals. The plainly moulded vase contrasts with the exceedingly fine-cut figures of the Chinese boys. Glossy shaded-umber bronze colour with yellow portions, and a very skilful imitation of 18th century work. Mark of Kuzuo, a fellow-worker of Makuzu Kozan.
No. 158. — Dish (kashi-zara) ; 64" across -—
Ye-Bizen. Octagonal shape with fretted edge. In the centre is @ Kara-shishi in bright white, green and red enamels. Around rim is a con- ventional wave-pattern with panels containing Chinese characters. Red unglazed pottery.
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No. 159. — Dish (hashi-zara); 84” across :—
Aka-Bizen. Octagonal shape with fretted edge. In the centre is the long-tailed tortoise (kame), embiematical of longevity. Around rim is a conventional wave pattern with panels containing Chinese characters. Cho- colate-brown semi-glaze. Unknown seal.
Note :—The above two pieces are interesting from their similarity to Yi-Hsing ware ; one expert pronounced No. 158 to be of that manufacture.
No. 160. — Oximono ; 9” h., 8” w :-—
Aka-Bizen. The figure of Jurdjin seated with hands resting on knee and head en arms. Dark copper-bronze colour, slightly glazed, with bright metallic lustre on portions.
No. 161. — Oxrmono ; 154” h., 8” wi
Aka-Bizen. Figure of Take-no-uchino-tsukune (see page 65) bearing in his arms the infant prince wrapped in robe. Upright figure with court robes and ancient head-dress. Portion of surface smooth and other parts slightly pitted, embossed crests on lower robe. Red-copper colour, slightly glazed. Inscription ‘“‘ Made by Kimura Kiyochika when 81 years old.”
No. 162, - Okimono; Base 94” x 7”, 5” h:-~
Aka-Bizen. An exceptionally well modelled figure of Hotei asleep against a large “lucky-bag”. This piece has probably been the top of a koro, bag, is pierced with holes and there is the discolouration of smoke. Rich copper colour, slightly glazed.
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LEGENDS
The following legends and tales relating to articles in the preceding collection have been chiefly taken from H.L. Joly “‘ Japanese Legendary Art,” B. H. Chamberlain “‘ Things Japanese,’ Chamberlain and Mason “* Handbook for Japan,” and Mitford * Tales of Old Japan.”
BADGER
This animal is credited in Japanese legend with magical powers. It stands on hind-legs with belly distended which when struck with the fore- paws causes sounds as if from a drum. It plays various pranks and assumes various disguises, No, 183.
COCK ON TEMPLE DRUM
A common subject in art treatment illustrating a Chinese story. In ancient times a large drum was kept in the main gateway of a palace to as- semble troops but during a long period of peace, the drum fell into disuse and became a roosting place for fowls. The drum was introduced into Japan in the 7th century and is sometimes ornamented with the mitsu- tomoye design of three comma-shaped figures, points of which are elongated to form a complete circle and which is held to be symbolical of good fortune, Nos, 31, 45, 98.
DAIKOKU
One of the Gods of Luck. According to legend, he was revealed to K6b6 Daishi (the most famous of Japanese Buddhist Saints) who introduc- ed the attribute by which Daikoku is represented: the hammer or mallet with the sign of the sacred orb (hoshi-no-tama). This jewel is in the form of a pearl tapering to a pointed apex and scored across with three lines, it is
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the emblem of purity and embodies the male and female principles in token of the god being a creative divinity. The mallet is also shewn with the three comma figure (mitsu-tomoye).
Daikoku is generally represented as a short stout man with a good- natured countenance, dressed in the old Chinese style and wearing a peculiar cap placed low down on his brow. He is often seated on a bale of goods or rice and carries a bag over his shoulder containing treasures; in the right
hand is his characteristic attribute, a mallet; a rat is often seen with figures
of Daikoku. Nos. 24, 48, 44, 59, 78, 95, 107, 124, 129.
DARUMA
A sage to whom the introduction of the Zen sect of Buddhism in China is attributed. He is said to have retired in the 6th century to Lo Yang where he remained for nine years in profound abstraction until his legs rotted away and fell off. He is often represented as a toy, sometimes with one eye open and one shut, and is the favourite snow-man of Japanese children. Nos. 115, 135, 139.
EBISU
One of the Seven Gods of Luck. Legend says he was the brother of the sun-god, disgraced and reduced from his original high estate to the lot of a fisherman. One of the most popular of gods, he is usually represented as a short stout man with a happy and humorous countenance, dressed in loose garments, wearing on his head the yeboshi or black cap worn by persons of rank, and invariably with his attribute, the tai fish, and sometimes with the
fishing rod with which he caught it. Ebisu is the god of honest dealing, is the
patron of fishermen and the god of daily food. At Nishi-no-miya, between Kobe and Osaka, is the chief temple in his honour. No. 147.
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LEGENDS FUKUROKUJU *
One of the Gods of Luck. He is distinguished by a smiling face and preternaturally long head and typifies longevity and wisdom. This enormous development of fore-head is said to be due to his continually scheming and racking his brain how best to promote human happiness and secure to his votaries their desired long life. He is often represented with the tama (sacred orb), which he carries in his hand. He is sometimes identified with Jurdjin, from whom he borrows the staff and makimono (scroll) or the fan and the peculiar head-gear. Nos. 238, 92, 1382, 157.
HITOMARO
One of the earliest great poets of Japan ; he flourished in the 7th century and is deified as the god of poetry, with his chief temple at Akashi. He is usually shown seated in the Japanese style and holding a makimono (scroll). Nos. 111, 156.
HOTEI
One of the Seven Gods of Luck, typifies contentment and good-nature. He is the personification of a contented spirit in the midst of poverty and is represented as a squat, stout figure with an enormous abdomen, which is generally freely exposed, and with the “ lucky-bag ” containing precious things or which is used as a receptacle for playful children. He is sometimes drawn in or on the bag. by his brother deity, Daikoku. However numerous are his varied presentments one cannot mistake the laughing face and the mountain of flesh. Nos. 38, 5,7, 8, 10, 17, 21, 27, 44, 51, 55, 58, 66, 79, 90, 91, 98, 96, 107, 110, 125, 130, 142, 162.
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. JUROJIN
.
One of the Gods of Luck, represented as a tall old man in the dress of a scholar ; in pictures with the attributes of longevity, the deer or crane or tortoise. He wears a peculiar head-dress upon which is sometimes a circle of the sun, carries a scroll either in his hand or attached to his staff and is generally of solemn mien. It is thought that Jurdjin is only a variant of the ever-smiling divinity, Fukurokuju. Nos. 122, 152, 160.
KARA-SHISHI
Literally kara, Chinese, shishi (lion). These Chinese mythical lions ‘“‘Dogs of Fo” are the guardians of Buddhist temples and images. The open mouth, prominent teeth, seroll-like form of hair with convoluted coils of quaint modelling, long mane, ete. form fantastic animals which are to be seen in varying shapes in every temple and public building in China and in gardens, temples, and entrances to buildings in Japan. The male has generally the fore-paw on an open ball of brocade, and the female often has the left fore- paw on a playful cub. They show traces of the influence upon their first
. designer of the curly dogs which were the pride of the Chinese Imperial
family.
Legend says that the shishi tested the vitality of their progeny by throwing the young from the top of a cliff and that the survivors were certain to live long. Nos. 14, 25, 30, 33, 61, 70, 82, 83, 99, 104, 106, 112, 116, 117, 119, 121, 127, 149, 150, 155, 158.
KATO KIYOMASA AND BUSHO
The figures represent legendary incidents during the invasion of Korea by Hideyoshi at the end of the 16th century. Kato Kiyomasa, a noble
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whose seat was at Kumamoto, was one of his celebrated generals and is often represented as slaying a tiger. No. 47.
Another warrior, Busho, is credited with killing a tiger with a blow of his right fist. No. 38.
MONJU BOSATSU
The apotheosis of transcendental wisdom ; his image is usually seated at the left hand of Shaka (Buddha), and is often shown as riding on a kara- shishi. No, 121.
OTAFUKU
Also known as Okame, the Goddess of Mirth, who helped to get Amatera- su (the sun-goddess) out of the cave into which she had retired. She is often depicted in Japanese Art with puffed-out cheeks, a smiling face, small mouth, narrow fore-head with two ornamental black spots, and the hair brought in two bandeaux over the temples. The face is often used for masks. No. 57.
RAKAN
Properly the perfeeted Arya or “ holy man ” but used to designate net only the perfected saint, but all Buddha’s immediate disciples, more especial- ly his ‘“‘Five Hundred Disciples.” The holy men are represented in various attitudes, many of them being emaciated and scantily clad. Nos. 109, 140.
SHOJO
Mythical creatures living near the sea, who evinced an inordinate taste for intoxieants. Their faces are human in appearance, but with long - straight hair of a red hue. No. 34.
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SENNIN °
Chinese Immortals, the chief being Koshi (Confucius), Shaka (Buddha), and Roshi (Lao Tze, founder of the Taoist philosophy). A common present-. ment of these three is found grouped around a large jar and known as “ The Three Sake Tasters.” No. 54.
Roshi is often shown as an old man seated upon the ox on which he was miraculously carried to Paradise. No. 26.
Shumoshiku Sennin, one of the Immortals, is often represented as con- templating a lotus flower, or in a boat in a pond covered with lotus, in allusion to his poem on the purity of the lotus flower although its roots are in the blackest mud. No. 50.
Tobosaku, a Chinese sage of the Han Dynasy, 3rd century. He is represented as a smiling old man carrying peaches, sometimes accompanied by a deer ; or dancing, tightly hugging a big peach. No. 88.
Roshi and other Sennin are illustrated Nos. 13, 62, 144,
SHOKI
A Chinese mythical being, the Demon-Queller, whose legend dates back to the early period of the T’ang Dynasty 7th to 10th centuries. The Japanese usually depict him in a martial garb, with a naked sword hunting down devils. Nos, 85, 118.
SAIGYO HOSHI
A member of the Fujiwara clan who renounced all his dignities and became a travelling priest. He started on his journey with a big hat and a staff, and is pictured with these attributes. He is said to have been the first travelling priest to go on the first day of the New Year from door to door reciting his own poems. He is often represented reclining at the base of Mt. Fuji. No. 136.
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LEGENDS TERASAKA KICHIYEMON
A foot soldier, one of the celebrated 47 Ronins, whose heroic deeds and
self-sacrifice have been the admiration of succeeding generations.
The story is briefly :—Asano, lord of Ak6, while at Yedo in attendance on the Shogun, was entrusted with the reception of an envoy from the Mikado. Being more warrior than courtier, he engaged a noble versed in ceremonials but forgot to fee him properly, whereupon Kira so grossly insulted Asano that he was slashed across the face in the palace. This was 2 mortal offence and Asano was condemned to perform seppuku (hara-kiri), castle and domains forfeited, family declared extinet and all members of the clan disbanded thereby becoming Ronin (fellows without a home or a lord). This occurred April, 1701. The senior retainer, Oishi Kuranosuke, determined to avenge his lord and after many adventures, with 46 trusty followers attacked, on 30 January 1703, Kira’s mansion during a violent show-storm and slew the noble and all his retainers. That done, the little band marched to the temple of Sengakuji and laid the head of the enemy on their lord’s grave. Then camie the official sentence of seppuku and they were all buried in the same temple grounds as their master. The tombs can be seen to this day.
The enthusiastic admiration of a whole people during two centuries has been the reward of their obedience to the ethical code of their time and coun- try. No. 141,
TAKE-NO-UCHI-NO-TSUKUNE
A court official to whom legend ascribes a life of 255 years. He was a minister of the Emperor Keiko (A.D. 100) and adviser to five subsequent rulers. He went on a visit to Korea with the Empress Jingd K6g6, and is usually represented with the Empress or with the child-emperor Ojin. No. 161.
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BIZEN-WARE TAKASAGO
Situated on the Akashi Straits and famous for its pine trees. The spirits of two ancient pine-trees (Ai-0i-no-matsu) at Takasago, personified as aman and a woman of venerable age, who gather pine needles, form a favourite subject of Japanese art as typifying longevity and earthly felicity. No. 41.
URASHIMA TARO
The Japanese Rip van Winkle is said to have left his home A. D. 477 and to have returned in A.D, 825. His legend takes many forms ; one is as follows :—
Urashima Tari was a fisherman of Yura (west coast of Wakasa) and while fishing he caught a turtle and put it back in the water. On the following day he saw wreckage, to which a beautiful woman was clinging, and at her request and after some days’ voyage, they reached the palace of Rinjin, the Dragon King of the Sea, The woman, Otohime, a princess of high rank, wedded Urashima, and after three years, as he thought, on his wishing to return to see his home, she gave him a box with strict injunctions not to open it. He reached his native shores only to find the place changed and to be told the Urashima family had come to an end and to see his own tomb. He was so astonished that he forgot Otahime’s instructions and opened the box. At onee smoke issued and he understood that instead of three he had been away more than three hundred years. He was now an old man and as the smoke vanished his spirit passed away. Nos. 76, 94, 123.
WAKE-NO-KIYO-MARO
A native of Bizen province who was a high official in the 8th century, He was noted for his honesty and rectitude. When sent to Kyushu by
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Dokyo, a favourite of the reigning Empress who wished to usup the throne, to consult the oracle, he returned with an adverse message and was banished with ignominy. His loyalty and patriotism foiled the schemes of Doky6 and the succeeding Emperor reinstated Wake-no-kiyo-maro and promoted him to high honours. No. 143. |
YAMABUSHI
Literally “‘ mountain warrior.”” Yamabushi are shown in a characteristic dress, partly military and partly that of a monk; they wear, as head gear, small polygonal caps and sometimes carry a basket or travelling-box, besides a sword, a rosary and a trumpet made of a conch-shell. The popular proto- type of the Yamabushi is the Japanese Benkei, the faithful retainer of Yoshitsune, younger brother of the Ist Shogun, Yoritomo, 12th century. No. 102.
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