July, 191 2. Chinese Pottery. 35 



imitations are included. It is a mistake to designate all Gohon as 

 Korean. 1 



Toyotomi Hideyoshi (1 536-1 598) despatched a ship from Sakai to 

 Luzon and had a genuine jar (tsubo) made there. At that time, not 

 only jars were brought home from there, but it is also probable that he 

 sent to Luzon samples of Furuori Enshu. 2 Among Namban ware we 

 find a cup to wash writing-brushes in (fude-arai) called Hana Tachi- 

 bana, 3 copied from Raku ware, 4 and also a plain bowl in the style of 

 Shigaraki Enshu Kirigata. 5 The fact that the lord of Enshu allowed 

 the seal of this ware to be placed only on the pottery for his own royal 

 household and on that of Ido 6 is of deep significance. 



The Mishima bowls (domburi) now in general use are made of pur- 

 yellow ware of Seto (Ki-Seto), some of which are attributed by tradition directly to his 

 hand. The later copies of his work were, as in so many other cases, named for 

 him, and this makes the point of coincidence with the Irapo of Genyetsu. 



1 This is a repetition of what was stated above in regard to the Gohon. 



2 The Takatori pottery named for the lord of Enshu, Kobori Masakazu (see 

 above, p. 32). The term furuori (or according to Sinico-Japanese reading ko-shoku) 

 means "ancient weavings," and possibly refers to a group of pottery decorated 

 with textile patterns. If the above statement should really prove to be an historical 

 fact, it would shed light on the piece of alleged Enshu pottery discussed by our 

 author in the beginning of this chapter and explained by him as Namban. We 

 could then establish the fact of an interchange of pottery between Takatori and 

 Luzon which would have resulted in mutual influences and imitations. 



3 /. e. decorated pottery with an orange glaze. This ware was produced toward 

 the middle of the eighteenth century at Agano, Buzen Province; its glaze was 

 granulated so as to resemble the skin of an orange, hence known as tachibana (Brink- 

 ley, p. 403). The process is of Chinese origin (St. Julien, Histoire et fabrication de 

 la porcelaine chinoise, p. 195; S. W. Bushell, Description of Chinese Pottery and 

 Porcelain, p. 58). 



* Raku is the designation of a hand-made pottery originating from a Korean 

 potter Ameya Yeisei who settled at Kyoto in 1525. His son Chojiro was protected 

 by Hideyoshi and presented by him with a gold seal bearing the character Raku 

 ("Joy") derived from the name of his palace Juraku erected at Kyoto in 1586; 

 hence the mark and name of this pottery. 



5 Shigaraki is a place in the Nagano district, Omi province, where pottery 

 furnaces were at work as long ago as the fourteenth century. Large tea-jars for 

 the preservation of tea-leaves were the dominant feature of its manufacture. A 

 tea-jar of this kind, of extraordinary size, glazed a light-reddish tinge with splashes 

 of pale-green overglaze on the shoulders, is in the collections of the Field Museum. 

 The variety of Shigaraki mentioned in the text is usually called Enshu-Shigaraki, 

 named after Kobori Masakazu, the lord of Enshu, to whom reference was made 

 above (p. 32). According to Brinkley (p. 369), the productions with this label 

 offer no distinctive features, but are valued by the tea-clubs for the sake of their 

 orthodox shapes and sober glazes. 



6 Ido is a keramic district in Korea from which Shinkuro and Hachizo hailed, 

 two Korean captives who after Hideyoshi's expedition to Korea settled at Takatori 

 in Chikuzen and started a kiln there. During the early years of their work they 

 used only materials imported from their native country, and these productions were 

 therefore designated as Ido. Kobori Masakazu, the feudal chief of Enshu, interested 

 himself in the Korean potters and became influential in the perfection of their work. 

 The Ido-yaki seems to have served also the Korean potter of Hagi as a model, for 

 the chief characteristic of his productions was grayish craquele glaze with clouds of 

 salmon tint (Brinkley, p. 344). 



