268 



THE MUSEUM. 



one might say almost filial love for 

 art, that has won such laurels for his 

 efforts. In striving to attain that 

 which alone proceeds from "art for 

 art's sake," the Japanese have given 

 us truly marvelous representations of 

 what the human hand can do toward 

 lending to mere clay the beauty of na- 

 ture and the tones of the sky. Every 

 article which they are instrumental in 

 producing in porcelain and pottery is 

 ilistinguished for a scientific exactness 

 and an almost marvelous completeness 

 — no crude or partially formed artistic 

 conception is ever permitted to pass 

 from their hands. The infinite variety 

 of designs and shapes which this 

 special branch of art assumes is re- 

 markable, when its thoroughness and 

 real beauty is considered. 



As to the decoration of their wares 

 if would seem that the Japanese have 

 a positive aversion to repetition of de- 

 signs, for rarely, if ever, is the same 

 detail and method of execution pur- 

 sued. This alone is strongly indica- 

 tive of their freedom from a merely 

 formal compliance with the demands 

 of art and conventional patterns. No 

 true artist will countenance routine — 

 the Japanese certainly do nnt. The 

 same skill that is exhibited in the 

 formation of the object is shown in its 

 surface ornamentation, floral subjects, 

 figures, and not infrequently, repro- 

 ductions of dieties constitute the great- 

 er part of the decorations used. 



As to the wares of Japanese ceram- 

 ics and porcelains — these are as varied 

 and diversified as as their shapes, col- 

 orings and decorations. There are, of 

 course, the finer and less common 

 wares as well as the more ordinary 

 specimens. Of the former may be 

 mentioned the fine Satsuma, which is 



notable for its rare beauty and exquis- 

 ite combinations of the lighter color- 

 ings. Many of Satsuma pieces are 

 rendered remarkable by reason of a 

 certain delicate tracery of gold, which 

 in connection with its flower or figure 

 design, creates a most pleasing effect. 

 The craquele wares, so designated be- 

 cause of an actual and very apparent 

 cracked surface effect, have long been 

 regarded as extremely valuable. The 

 process of securing this effect must 

 have been more or less of a difficulty, 

 attended by many losses, for good 

 specimens are not common. The ex- 

 posure of the heated object while yet 

 in the oven to a sudden draft of chilled 

 air is one way of giving the network 

 appearance to porcelains not liable to 

 shrink while baking — the natural 

 shrinkage of some wares, however, of- 

 ten precludes the use of artificial 

 means. 



Other interesting and really remark- 

 able productions in porcelains and 

 potteries there are without number. 

 Fine old curios and choice modern bits 

 as well may safely mingle one with the 

 other in the most "proper" drawing- 

 room or interior. The one great feat- 

 ure of the Japanese porcelains and ce- 

 ramics which commends itself to every 

 lover of Oriental art is their compara- 

 tive inexpensiveness. 



Simplicity and rapidity of construc- 

 tion, combined with the genuine artis- 

 tic elements inbred in the constructor, 

 give us wondrous results and make it 

 possible for a very general dissemina- 

 tion of the beautiful among those of 

 limited means but unlimited artistic 

 tastes. 



Newark Valley, Tioga Co., N. Y. , 



