628 



EXHIBIT AT THE COTTON STATES EXPOSITION. 



Number 53 in this collection is a specimen of this great potter, and 

 numbers 54, 55, 56, and 57 are copies after his works. Numbers 56 

 arid 57 were copied by Okumura Shozan, of Kioto, who is, perhaps, 

 the best copist of Ninsei since his time, and some of his copies are 

 often mistaken for the originals, even by Japanese connoisseurs. 



Another important epoch in our ceramic art was the discovery of 

 the use of saggers in baking porcelains by Tsuji Kizayemon, a noted 

 potter of Arita, during the Kwhmbum period (1661-1672). The por- 

 celains baked in saggers are called "gokuskin yaki." Number 152 is 

 a specimen of this gokuskin yaki made by one of his descendants, who 

 were honored by being appointed makers to the imperial court of Kioto. 

 The porcelain was and is made at Arita, Okawachi (where Naheshima 

 ware was made), Mikawachi (where Jirado ware was made), Shiraishi, 

 Kameyama, etc., in the province of Hixen; at Seto, in Owari; at 

 Tajimi, in Mino; at Kutani, in Haga; at Kiyomidsu, in Yamashiro; at 

 Sanda, in Settsu; at Himeji, in Harima; at Hikone or Koto, in Omi; 

 at Ota and Tokio, in Musashi; at Okayama, in Kii; Wakamatusu, in 

 Iwashiro, etc., of which nearly all the factories are represented in the 

 collection. Of the important factories where the pottery (faience and 

 stoneware) was and is made this collection represents Satsuina, Kar- 

 atsu, in Hizen; Takatori, in Ckikuzen; Yatsushsro, in Hogo; Shiga, on 

 the island Tsushima; Hagi or Matsumoto, in Nagato; Suwo; Shido, 

 in Sainuki; Kosohe, in Settsa; Akahada, in Yamato; Kioto, in Yama- 

 shiro; Shigaraki, in Omi; Seti, in Owari; Tachikui and Sasayama, in 

 Tamba; Fujiria, in Idsumo; Iga, Sado, Kutani, in Kaga; Soma, in 

 Iwaki; Imbe, in Bizen; Mianto, in Idsumi; Banko, in Ise, etc. 



The collection is displayed in three cases in Alcove K, by provinces, 

 in accordance with the following plan : 



Hizen Karatsu. 



Arita. 



Hirada. 



Nangawara. 



Nabeshima. 



Kakiyenion. 



Tsryi Gokushin. 



Kameyama. 



Bogasaki. 



Shiraishi. 

 Taishiu (island of Tsu- 

 shima) Tsushima. 



Owari Seto. 



Horaku. 



Bizen Bizen. 



Omi Shigaraki. 



Koto. 



Kii Zuishi. 



Iga Iga. 



Tamba Tamba. 



Idzumo Idzumo. 



Idsumi Idsumi. 



Yamato Akahada. 



Survo Survo. 



Nagato Hagi. 



Chikuzen Takatovi. 



Higo Yatsushiro. 



Satsuma Satsuma. 



Settsu Sanda. 



Kirko. 



Kosube. 



Iwaki Soma. 



Kaga Kutani. 



Ise Banko. 



Sado Sado. 



Sanuki Shido. 



Yamashiro Kaku. 



Kioto. 

 Musashi Tokio. 



Ota. 



Across the aisle (Alcove L) was a small series of musical instruments 

 intended to illustrate the character and method of arrangement of the 

 very extensive collection in the National Museum. A series of five 

 times the extent had been selected to be sent to Atlanta, but the limi- 

 tations of space were such as to make it necessary to reduce this, as 

 well as every other exhibit. 



The collection is intended to illustrate a few of the stages in the pro- 

 gressive evolution of stringed instruments. The series begins with a 

 rude musical bow of Mashonaland, which is only used to mark time 



