Page 104 - Catalogue of the Edward Morse collection of Japanese pottery MFA BOSTON

66 THE CATALOGUE
617. Flower-vase, same as last. H. 8 in. Fine light gray clay, very thin green glaze.
Kyiizan set (imp.). 1874 „

SHOSAI (Case 6) ^
It is recorded that in 1 860 a tea-lover of Osaka, named Furoshi Sh5sai, made ^^
pottery at the old oven of Kikko, and produced among other kinds a red Raku
pottery with decoration in white.
618. Wine-bottle. H. 6 in. Sides sliced. Bright red Raku glaze, with greenish-olive
areas. Twigs of willow twisted in a loop in white. Shosai (imp.). i860
Dig. Wine-bottle, similar to last, with bridge and houses in white.
SAosai (imp.), i860

BEIZAN (Case 6)
A poet and artist of repute made pottery in Osaka in 1830. His
work consisted of diminutive figures modeled in clay, bearing the im-
pressed marks Beisan and Uji.
620. HoTEi, with rice-bags. H. ij in. Fine fawn clay, dull blackish glaze.
Beizan and Uji (imp.). 1830
^*°
SANDA (Case 6)
Ninagawa records, under the name of Arima, the existence of an oven where,
in the early part of the century, three potters of Kyoto, Shuhei, Kamesuke, and
Kamekichi, pupils of Yeisen, made an imitation of Chinese celadon. The beautiful
sea-green celadon made in moulds, the outgrowth of this work, has been produced
in great quantities. The efforts of these potters were preceded by an essay said to
have resembled Tamba.
621. Diamond-shaped cake-dish. L. 13J in. Moulded, supported on four short legs.
Inside, in relief, two conventional cranes. Hard white stone clay, green celadon glaze.
1780
622. Incense-burner, with plum blossoms in slight relief. H. 3 in. White stone clay,
light green celadon glaze. 1850

PROVINCE OF OMI

The merit of Omi pottery, like that of many other provinces in Japan,
is that it has been true to its traditions. The large tea-jars with typical
Shigaraki clay have been the dominant form of its pottery for five hundred
years. The luminous glazed tea-jars and the delicate glazes seen in others
are all good. With the invasion of Kyoto potters at Beppo and Hikone,
and a consequent introduction of Kyoto styles, there has, nevertheless, been