Page 32 - Catalogue of the Edward Morse collection of Japanese pottery MFA BOSTON

12 INTRODUCTION :
summer rain," or a sentiment expressed in a few words, " long life, never
old." Usually, however, if the pottery has any character, the inscription
is an extract from some Chinese classic, a stanza of poetry or poetic senti-
ment, an appeal to the beauties of nature, etc. The following are a few
translations to illustrate. One refers to a man in a strange place think-
ing of home, and being specially homesick in the springtime ; another calls
attention to the beautiful sound of water striking against the rocks. On
one bowl, upon which is drawn a single wild flower, is the inscription
"Transparent, simple, far away from noise and dust." Another tells
us, " The dew of bamboo makes a very pleasant sound in falling on the
leaves below." On another is depicted a gourd hanging on its vine ; the
legend refers to a happy life, without care, and one can either sit or stand.
The gourd typifies it : if the gourd is light, it hangs all right ; but if
heavy, the vine breaks ; so with a man weighted with business cares. The
Japanese love of nature, in its sweetest phase, is conveyed in the following:
" The fair wind blows, the branches turn green, and those on the south side
blossom."
Glazes

In certain kinds of pottery, as in that of Chikuzen, and notably in
special forms, as in the tea-jars, the potter depends upon his glazes for
striking effects. The over-glazes are so applied as to run down in streams
of contrasting color. The effects are often unique, and the behavior of
the glazes, while not under complete control, is yet so managed that the
features aimed at are usually attained.
Brush Marks

Simple strokes of the brush either in broad dashes, scrolls, lines crossed
in lattice form, or dots, are often used to modify a plain surface. In
roughly made pottery, as in certain forms of Karatsu and Shino, this
decoration is often seen. It gives a rude and archaic appearance to the
piece.

Schools Followed in Decoration
With the help of Prof. E. F. Fenollosa a rapid survey was made of the
collection to note the schools followed by the potters in the decoration of
their pieces. The result was interesting, as showing the refinement and
intelligence of the potter in that he went to classical sources for his themes.
Thus roughly may be stated that the Kano school was dominant, even