was always scanty, and, owing to official prohibitions, the ware did
not find its way into the general market.
The history of Kiōto ware—which, being for the most part faience, belongs to an entirely different category from the Hizen porcelains spoken of above—is the history of individual ceramists rather than of special manufactures. Speaking broadly, however, four different varieties are usually distinguished. They Kiōto. are raku-yaki, awata-yaki, iwakura-yaki and kiyomizu-yaki.
Raku-yaki is essentially the domestic faience of Japan; for, being entirely hand-made and fired at a very low temperature, its manufacture offers few difficulties, and has consequently been carried on by amateurs in their own homes at various places throughout the country. The raku-yaki Raku. of Kiōto is the parent of all the rest. It was first produced by a Korean who emigrated to Japan in the early part of the 16th century. But the term raku-yaki did not come into use until the close of the century, when Chōjiro (artistic name, Chōryū) received from Hideyoshi (the Taikō) a seal bearing the ideograph raku, with which he thenceforth stamped his productions. Thirteen generations of the same family carried on the work, each using a stamp with the same ideograph, its calligraphy, however, differing sufficiently to be identified by connoisseurs. The faience is thick and clumsy, having soft, brittle and very light pâte. The staple type has black glaze showing little lustre, and in choice varieties this is curiously speckled and pitted with red. Salmon-coloured, red, yellow and white glazes are also found, and in late specimens gilding was added. The raku faience owed much of its popularity to the patronage of the tea clubs. The nature of its paste and glaze adapted it for the infusion of powdered tea, and its homely character suited the austere canons of the tea ceremonies.
Awata-yaki is the best known among the ceramic productions of Kiōto. There is evidence to show that the art of decoration with enamels over the glaze reached Kiōto from Hizen in the middle of the 17th century. Just at that time there flourished in the Western capital a potter of remarkable ability, Awata. called Nomura Seisuke. He immediately utilized the new method, and produced many beautiful examples of jewelled faience, having close, hard pâte, yellowish-white, or brownish-white, glaze covered with a network of fine crackle, and sparse decoration in pure full-bodied colours—red, green, gold and silver. He worked chiefly at Awata, and thus brought that factory into prominence. Nomura Seisuke, or Ninsei as he is commonly called, was one of Japan’s greatest ceramists. Genuine examples of his faience have always been highly prized, and numerous imitations were subsequently produced, all stamped with the ideograph Ninsei. After Ninsei’s time, the most renowned ceramists of the Awata factories were Kenzan (1688–1740); Ebisei, a contemporary of Kenzan; Dōhachi (1751–1763), who subsequently moved to Kiyōmizu-zaka, another part of Kiōto, the faience of which constitutes the Kiyōmizu-yaki mentioned above; Kinkōzan (1745–1760); Hōzan (1690–1721); Taizan (1760v1800); Bizan (1810–1838); and Tanzan, who was still living in 1909. It must be noted that several of these names, as Kenzan, Dōhachi, Kinkōzan, Hōzan and Taizan, were not limited to one artist. They are family names, and though the dates we have given indicate the eras of the most noted ceramists in each family, amateurs must not draw any chronological conclusion from the mere fact that a specimen bears such and such a name.
The origin of the Iwakura-yaki is somewhat obscure, and its history, at an early date, becomes confused with that of the Awata yaki, from which, indeed, it does not materially Iwakura. differ.
In the term Kiyōmizu-yaki may be included roughly all the faience of Kiōto, with the exception of the three varieties described above. The distinction between Kiyōmizu, Awata and Iwakura is primarily local. They are parts of the same city, and if their names have been used to designate particular Kiyōmizu. classes of pottery, it is not because the technical or decorative features of each class distinguish it from the other two, but chiefly for the purpose of identifying the place of production. On the slopes called Kiyōmizu-zaka and Gojō-zaka lived a number of ceramists, all following virtually the same models with variations due to individual genius. The principal Kiyōmizu artists were: Ebisei, who moved from Awata to Gojō-zaka in 1688; Eisen and Rokubei, pupils of Ebisei; Mokubei, a pupil of Eisen, but more celebrated than his master; Shūhei (1790v1810), Kentei (1782–1820), and Zengoro Hozen, generally known as Eiraku (1790–1850). Eisen was the first to manufacture porcelain (as distinguished from faience) in Kiōto, and this branch of the art was carried to a high standard of excellence by Eiraku, whose speciality was a rich coral-red glaze with finely executed decoration in gold. The latter ceramist excelled also in the production of purple, green and yellow glazes, which he combined with admirable skill and taste. Some choice ware of the latter type was manufactured by him in Kishū, by order of the feudal chief of that province. It is known as Kaira-ku-yen-yaki (ware of the Kairaku park).
No phrase is commoner in the mouths of Western collectors than “Old Satsuma”; no ware is rarer in Western collections. Nine hundred and ninety-nine pieces out of every thousand that do duty as genuine examples of this prince of faiences are simply examples of the skill of modern forgers. In Satsuma. point of fact, the production of faience decorated with gold and coloured enamels may be said to have commenced at the beginning of the eighth century in Satsuma. Some writers maintain that it did actually commence then, and that nothing of the kind had existed there previously. Setting aside, however, the strong improbability that a style of decoration so widely practised and so highly esteemed could have remained unknown during a century and a half to experts working for one of the most puissant chieftains in Japan, we have the evidence of trustworthy traditions and written records that enamelled faience was made by the potters at Tatsumonji—the principal factory of Satsuma-ware in early days—as far back as the year 1676. Mitsuhisa, then feudal lord of Satsuma, was a munificent patron of art. He summoned to his fief the painter Tangen—a pupil of the renowned Tanyū, who died in 1674—and employed him to paint faience or to furnish designs for the ceramists of Tatsumonji. The ware produced under these circumstances is still known by the name of Satsuma Tangen. But the number of specimens was small. Destined chiefly for private use or for presents, their decoration was delicate rather than rich, the colour chiefly employed being brown, or reddish brown, under the glaze, and the decoration over the glaze being sparse and chaste. Not until the close of the l8th century or the beginning of the 19th did the more profuse fashion of enamelled decoration come to be largely employed. It was introduced by two potters who had visited Kiōto, and there observed the ornate methods so well illustrated in the wares of Awata and Kiyōmizu. At the same time a strong impetus was given to the production of faience at Tadeno—then the chief factory in Satsuma—owing to the patronage of Shimazu Tamanobu, lord of the province. To this increase in production and to the more elaborate application of verifiable enamels may be attributed the erroneous idea that Satsuma faience decorated with gold and coloured enamels had its origin at the close of the 18th century. For all the purposes of the ordinary collector it may be said to have commenced then, and to have come to an end about 1860; but for the purposes of the historian we must look farther back.
The ceramic art in Satsuma owed much to the aid of a number of Korean experts who settled there after the return of the Japanese forces from Korea. One of these men, Boku Heii, discovered (1603) clay fitted for the manufacture of white craquelé faience. This was the subsequently celebrated Satsuma-yaki. But in Boku’s time, and indeed as long as the factories flourished, many other kinds of faience were produced, the principal having rich black or flambé glazes, while a few were green or yellow monochromes. One curious variety, called same-yaki, had glaze chagrined like the skin of a shark. Most of the finest pieces of enamelled faience were the work of artists at the Tadeno factory, while the best specimens of other kinds were by the artists of Tatsumonji.
The porcelain of Kutani is among those best known to Western collectors, though good specimens of the old ware have always been scarce. Its manufacture dates from the close of the 17th century, when the feudal chief of Kaga took the industry Kutani. under his patronage. There were two principal varieties of the ware: ao-Kutani, so called because of a green (ao) enamel of great brilliancy and beauty which was largely used in its decoration, and Kutani with painted and enamelled pâte varying from hard porcelain to pottery. Many of the pieces are distinguished by a peculiar creamy whiteness of glaze, suggesting the idea that they were intended to imitate the soft-paste wares of China. The enamels are used to delineate decorative subjects and are applied in masses, the principal colours being green, yellow and soft Prussian blue, all brilliant and transparent, with the exception of the last which is nearly opaque. In many cases we find large portions of the surface completely covered with green or yellow enamel overlying black diapers or scroll patterns. The second variety of Kutani ware may often be mistaken for “old Japan” (i.e. Imari porcelain). The most characteristic examples of it are distinguishable, however, by the preponderating presence of a peculiar russet red, differing essentially from the full-bodied and comparatively brilliant colour of the Arita pottery. Moreover, the workmen of Kaga did not follow the Arita precedent of massing blue under the glaze. In the great majority of cases they did not use blue at all in this position, and when they did, its place was essentially subordinate. They also employed silver freely for decorative purposes, whereas we rarely find it thus used on “old Japan” porcelain.
About the time (1843) of the ao-Kutani revival, a potter called lida Hachiroemon introduced a style of decoration which subsequently came to be regarded as typical of all Kaga procelains. Taking the Eiraku porcelains of Kiōto as models, Hachiroemon employed red grounds with designs traced on them in gold. The style was not absolutely new in Kaga. We find similar decoration on old and choice examples of Kutani-yaki. But the character of the old red differs essentially from that of the modern manufacture—the former being a soft, subdued colour, more like a bloom than an enamel; the latter a glossy and comparatively crude pigment. In Hachiroemon’s time and during the twenty years following the date of his innovation, many beautiful examples of elaborately decorated Kutani porcelain were produced. The richness, profusion and microscopic accuracy of their decoration could scarcely have been surpassed; but, with very rare exceptions, their lack of delicacy of technique disqualifies them to rank as fine porcelains.
