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illustrated book. Moreover, these divergent forms show how knowledge and

understanding of porcelain was not a unitary and given concept, but rather a changing

one, borne out of specific contexts of goals and ambitions.

In 1907, a Japanese translation was published in Kyoto. At this point, existing

documents have not yet clarified the nature of the interaction between Kyoto-based

producers and collectors of porcelain and porcelain appreciators living within Qing

territorial boundaries. A Japanese ceramicist named Fujie Eiko ᖸϪ͑ѽ translated and

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perhaps redrew the original woodblock prints in producing the Japanese version. Tao lu,
or Keitokuchin tô roku as it is in Japanese, was released by a private publisher, Hosokawa

Kaiekido ୚ʇකूੀ, with the cover pages written in old-style calligraphy contributed

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by an artist writing at the Tokyo Museum ؇ԯ௹ي᎜ (Figure 8). There is also a

preface at the beginning of the Japanese version that bore the striking calligraphy of

Temmioka Tessai, the Kyoto-born nanga (Southern Style) and bunjinga ˖ɛ೥ “literati

style” painter (Figure 9). In the preface, Tessai praised the book for increasing the wealth

not of potters and of the nation. While giving an overview of how the translated edition

came about in Japan, Tessai mentioned a famous potter of the Meiji period, a time during

which Kyoto ceramics were undergoing revival in production and change. That potter

was Miura Chikusen ɧऌ϶ݰ, who helped with translating the Japanese text by adding

footnotes and annotations. Miura Chikusen was a well known potter in Kyoto, who

lived from 1853 till 1915. In 1883 he established his own kiln in Kyoto and his work

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was known for its adoption of colors and glazes. Compared with the original Chinese
book’s prefaces, the Tessai preface highlighted the utility of the book in terms of