July, 191 2. Chinese Pottery. 39 



happens that Luzon is mistaken for a Tamba. 1 The distinction must 

 be made by examining the particular features, as they closely resemble 

 each other in their general make-up. 



2. Matsumoto Hagi 2 is of soft (yawaraka) clay, its glaze is not 

 transparent (sukitoru), and its sound is mellow (yawaraka) . Luzon has 

 a white clay and lustrous glaze, its lustre being more vigorous than the 

 green of a snake (jakatsu) ; 3 it has a clear sound. There are Tamba 

 which are alike Matsumoto; they are of yellow clay. 4 



3. Takatori is of red clay and crackled glaze. Luzon is of white 

 and yellow clay, with uncrackled glaze, and has the design of a whirl 

 (uzu) on the handle. 



4. Among Seto there are Luzons. 5 Among these there are pitchers, 

 bowls and tea-canisters with gold glaze and black streaks running over 

 it. They are found scattered among those called "certain wares" 

 (naniyaki). 



5. Oribe and Luzon resemble each other. Luzon is hard and 

 lustrous; Oribe is soft and of poor lustre. 



6. There are also Shino which are identical with Luzons. Luzons 

 have a transparent glaze, and on the bottoms and handles of the bowls 



1 The notice of Brinkley (p. 399), presumably derived also from a Japanese 

 source, that the early productions of Tamba, — a peculiar faience having reddish 

 paste and blisters on its surface, — are supposed to resemble an imported ware at- 

 tributed to Siam, is remarkable in this connection. Brinkley, further, alludes to 

 splashed glazes on Tamba which occasionally occur and are not without attractions, 

 and Mr. Morse (p. 179) describes a Tamba jar of rich brown Seto glaze with splashes 

 of lustrous brown, mottled with greenish-yellow; but neither mentions splashes or 

 paints on the bottom. Oueda Tokounosouke (La c£ramique japonaise, p. 90) 

 says regarding the ancient Tamba pieces that their surface is uneven or rough like 

 the Korean vases or those of the Namban, — the only previous instance in our 

 literature where this term has been used with reference to pottery. 



2 Matsumoto is a place in the Abu district, province of Nagato. The Korean 

 Rikei who opened pottery work in Hagi, on his search for suitable clay, first dis- 

 covered it at Matsumoto, and there he settled (Brinkley, p. 344; Morse, p. 82). 



3 Jakatsu is the name of a peculiar glaze invented in China, imitated in a ware 

 of Satsuma; its dark gray and green glaze is run in large, distinct globules, supposed 

 to resemble the skin of a snake (but not the scales on a dragon's back, as Brinkley, 

 p. 137, says). In China, this glaze (called "snake-skin green," shi p'i lii) nrst ap- 

 pears in the era of K'ang-hi (1662-1722) and is still imitated at King-t6-ch6n (St. 

 Julien, Histoire et fabrication de la porcelaine chinoise, pp. 107, 195). 



4 Mr. Morse (p. 178) speaking of the earliest Tamba made in Onohara evidently 

 alludes to this passage when he says: "These are probably the ones mentioned in 

 Tokiko as resembling old Hagi." But Morse maintains that these pieces have 

 reddish clay. 



s Seto is a small village in the province of Owari. The Seto ware {setomono 

 or setoyaki) which has become the generic term for all ceramic manufactures of 

 Japan was originated by Toshiro, the so-called Father of Pottery (regarding his life 

 see Morse, pp. 183-184). In Vol. II, p. 11 of his work, Tanaka remarks that 

 among a kind of yellow Seto (Ki-Seto), to which we referred above (p. 34), with 

 lustrous glaze and metallic sound. Luzon. Annam, and Fukien wares are mixed, that 

 the latter has fine white clay, while Seto clay is coarse. 



