I1ERAMIC STUDIO 
109 
This anecdote will convey some little idea of the advisa- 
bility of careful procedure in analyzing and placing wares, and 
the claims of broad classification are urged upon students of 
the potter's art. 
In making a collection of pottery of any country it is 
wise to secure as far as possible specimens made for native 
use. The most important ceremonies of Japan that call for 
special objects, have given us incense burners, tea jars, tea 
bowls, incense boxes, braziers, vases for holding various ob- 
jects, brushes, pencils, etc., Sake cups and bottles, cups and 
cup stands, flower vases for the " flower arrangement," images 
for altar use, images of household gods, and many things 
illustrative of the history and mythology of the Japanese. 
In decoration, symbols and emblems are used extensively, 
the motif almost invariably is based on ancient themes. 
Signs of longevity and good luck figure largely on all pottery 
and porcelain. 
Tv 
Personages most commonly portrayed are the seven 
household gods, who though somewhat different in character- 
istics and attributes, suggest the eight immortals of China. 
In fact, they are often mistaken by collectors, the one group 
for the other. Although the Japanese often copy the legen- 
dary beings of China upon their wares, we less often see upon 
Chinese porcelain anything suggestive of Japanese mythology. 
The trained eye sees differences in so called "grotesque" 
ornamentation. 
Chinese and Japanese porcelains are often mistaken for 
each other, and careful analysis is necessary in order to prop- 
erly place wares. Collectors establish ways of their own to 
determine the quality of paste, and it is surprising to note the 
progress made by careful students determined to learn. 
Without further consideration of the general subject let 
us proceed to cull some definite information regarding the use 
of blue in the Keramic art of Japan. Eliminating all precon- 
ceived opinions, we may build definitely a small amount of 
absolute knowledge upon the few facts gleaned from close 
study, securing specimens that will illustrate what we learn, 
and will help us on our way to more advanced investigation. 
In Japan, as elsewhere, it was in remote times and places 
that styles were developed, those styles, when known, could 
very readily be copied in the near vicinity of cities, where both 
potters and clays could be brought by wealthy princes and pa- 
trons of the art. It is always the case, that reproductions can 
be more successfully carried out near great centers where ob- 
jects are brought from other places and known and talked 
about. So in London, in the early history of the potter's art 
in England, we find " the mystery of porcelain" talked about 
and attempts made to copy the wonderful new material, long 
before the Staffordshire potters were aware of its existence. 
It is of great assistance to us to grasp this thought in working 
out theories for ourselves. 
It is often the case in Japan that wares carry various 
names. Princes, potters, cities and individuals lending for 
adoption either their own names or words of recognition or 
commendation. For example, the word " RAKU," so often 
used, meaning "enjoyment," was given on a gold seal to a 
potter in the 16th century, who made satisfactory wares for 
the " tea ceremony," for a patron of the potter's art. This 
seal has been handed down through many generations, and 
has been used by different individuals in direct line, as well as 
by many who have copied it, and by its use merely expressed 
their desire to follow so illustrious a lead, and to produce per- 
fect wares. To distinguish between these and other similar 
wares is no easy task, and many collectors frankly admit that 
they group the wares of Japan under styles, without regard to 
the names of individual potters. 
Japanese Kakemono — The Seven Household Gods. 
Plate to left of cut, of old '• Hizen " 
right, modern "Arita" porcelain. 
decoration. Cup to the 
tare. Middle plate of "C 
Cup of "Imari" with ban 
right ot Japanese crackle w 
" Dish to 
nd pine 
The best known of Japanese wares decorated with blue, 
