476 ART INDUSTRY AND RELATED OCCUPATIONS. 



itself at Tano-ura, beautifully situated about 2 miles from the 

 capital city Kagoshima on the bay. 



The white porcelain stone Kaseda or Kaseda-ishi was discovered 

 between 1624 and 1644 A.D., and took its name from the place of 

 discovery in the neighbourhood of the little town of Kaseda, south- 

 west of Kagoshima. An analysis of this material, with which I am 

 not further acquainted, is given in Table B, IV. The discovery of 

 the kaolin of Ibusuki^ occurred also at this time. The art of 

 polychromatic painting was introduced at the close of the i8th 

 century by two Coreans who had learned it in Kioto. 



At present the material is prepared in Tano-ura of 13 parts 

 Kaseda, 18 parts Ibusuki and 3 parts of Kirishima-tsuchi, the glaze 

 of 10 parts of white Kaseda (Shira-ishi) and 5 parts of Nara-bai, 

 i.e. oak-wood ashes. 



Imitations of the fine Faience of Satsuma, more or less success- 

 ful, have l)een made for many years in several Japanese towns, 

 and are exported to foreign countries in large quantities and at low 

 prices, some under the name of Satsuma and some by the rightful 

 designation Awata-yaki, Awai-yaki, Ota-yaki. The durability of 

 the most of them is much less, and the colouring in many cases 

 somewhat different, now more yellow as in Awata-yaki, and again 

 changing in tint to grey or white. It needs, however, a practised 

 eye to distinguish many of these products from genuine Satsuma 

 ware. 



The Pottery in Kioto. 



As the silk and metal industry is concentrated on the right side 

 of the Kamo-gawa, in the principal part of the old Japanese capital, 

 the ceramic manufacture has established itself upon the left side, in 

 the eastern part of the city. It furnishes, besides ordinary pottery, 

 Faience and porcelain in large quantities and excellent quality. 

 The beginning of this industry dates back to the middle of the 

 17th century. 



Ninsei, an amateur potter of the family Nonomura, which was 

 numbered with the Fujiwara, gave a new impulse and higher aim 

 to the manufacture of pottery in Kioto in the second half of the 

 above-named century, by the introduction of transparent glaze into 

 several factories in the suburbs, and by the manufacture of a kind 

 of Faience and half-porcelain. The productions, Ninsei-yaki, 

 created by his art from Shigaraki and other clays of the vicinity, 



' Ibusuki is made out of a mixture of three kinds of kaolin, viz : 10 parts 

 Neba, 3 parts Bara, and 5 parts Matsuyakubo. Nara-bai, the oak-wood ashes of 

 the glaze, is analyzed by Atkinson as follows : 3'33 per cent, water, 8405 per 

 cent. siUcic acid, 4785 per cent, alumina, 3*300 per cent, iron oxide, 42765 

 per cent, lime, 2415 percent, (.^), potash 074 percent., soda, o'2i5 percent, 

 carbonic acid 34*145 per cent. Tlie high percentage of carbonic acid and lime 

 shows that Atkinson could not have had a pure specimen of wood ashes for 

 examination, but one mixed with carbonate of lime. 



