Page 152 - Catalogue of the Edward Morse collection of Japanese pottery MFA BOSTON

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THE CATALOGUE
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II04. Incense-box (Hotei). W. if in. Hard gray-drab stone clay, greenish celadon
glaze, face unglazed. Kutani (imp.) minute mark. 1807
SHOTEI (Case 10)

A bowl roughly made and decorated in red Kutani style bears the signature of
Shotei, and is believed to be the work of a pupil of Shokado.
II05- Bowl. D. 5^ in. Light fawn clay, dull red glaze. Over-decoration
of flowers and scrolls in yellow, green, and transparent glaze shaded with black.
Flowers, scrolls, and dragons inside and out. Inside, on bottom, circular area
of white glaze strongly crackled, with blue decoration. Shotei (imp.). 1840 1 105

PROVINCE OF ISE

The modern pottery of Ise is known throughout the world under the
common name of Banko, and the objects are almost invariably signed with
the impressed mark of Banko. The product is usually in the form of tea-
pots, little flower-vases, and the like, either modeled by hand or moulded
the walls delicate, with twigs modeled in relief, or flowers in a few vitrifiable
enamels on an unglazed surface, or the body may be made of different
colored clays. The foreign taste has been captivated by the novelty of this
pottery and its cheapness. Ninagawa says this modern work for export
was not made until after 1868. By the material thrown on the market
to-day no one can have the least idea of the remarkable pottery made in
this province in past times. There was hardly any method or style that the
Ise potters could not successfully imitate and if the pottery of this province
;
alone survived, a fair idea of the pottery of Japan would be given.

ANTO (Case 11 and Plate VI. 1108)
According to Ninagawa, a brother of Numanami (see Banko) made pottery in
Tsu in the first half of the last century, using the mark Anto. Other authorities
date the origin of Anto a hundred years earlier. The testimony is conflicting. While
Anto lacks the delicacy and refinement of old Banko it is certainly more vigorous in
manipulation and more spirited in decoration than the early Banko. From the appear-
ance of many of the specimens I am inclined to believe that it goes back to the early
part of the eighteenth century. After many years the work ceased, to be revived
again in 1830 (see Akogi). The work excels in its originality, diversity, and beauty
all other pottery made in Ise. The potters and decorators were skilful artists, but
since that time their work, with the exception of that of Yusetsu, has declined in
character.