Page 280 - Catalogue of the Edward Morse collection of Japanese pottery MFA BOSTON

i84 THE CATALOGUE
family to which Toshiro belonged) to make tea-bowls and other forms, and througn
these efforts Toshiro acquired the art. Another opinion is that in 12 14 one Eisei
returned from China, bringing home the art of pottery-making, which he imparted to
Toshiro. Yet another account, and the usually accepted one, is that after Toshiro
learned the rudiments of the art, he went to China, and there acquired a full know-
ledge of all the secrets of the potter, and upon his return brought back clay and
glazing materials, from which the early pieces accredited to him were made. The
great historian, Rai Sanyo, says that in the time of the Ashikaga Shogunate, Shiro, of
Seto (Toshiro), imitated foreign glaze and methods, and gives a much later date than
that usually ascribed to Tdshiro.
It is perhaps safe to say that Kato Shirozayemon, a young potter of Seto, made a
perilous voyage to China in the year 1223 for the sole object of learning the secrets of
the potter's art, that he remained in China six years, and on his return brought back
with him clay and glazing materials. The records say that even on shipboard he
made a few bowls. A monument erected to his memory, in Seto, records that Toshiro
as a boy was fond of modeling in clay and making earthen vessels, and always lamented
that his skill was inferior to that of foreign potters. On his return from China he
traveled extensively in search of proper materials, and after testing clays in various
places he finally discovered a clay of the right quality in Seto. The name Toshiro is
compounded of the last character of his name Kato, and the first character of Shiro-
zayemon. His name is justly honored in Japan, and pieces attributed to his hand are
deservedly held in the highest veneration. Only those animated by the true spirit of
a collector can appreciate this feeling, as witness in Europe the eager competition
for early printed books, rude wood cuts, and primitive essays of early ovens. All the
types of Toshiro and his successors, as figured by Ninagawa, are with but one excep-
tion in this collection. A water-jar figured by Ninagawa is said to have been made
by Toshiro before he went to China. It was baked upside down, the rim being
ground after baking to remove the dripping glaze. The specimen certainly bears
evidence of great age. The two tea-jars attributed to Toshiro also bear indications
of high antiquity. The one with brown spots of glaze on a crackled yellow glaze is
unique. The tea-jar, Cat. No. 2242, has been repeatedly imitated in every century.
2240. Water-jar. H. 6f in. Hard brown clay, underglaze transparent, thin brown over-
glaze, flecked with golden -brown areas. Baked upside down. Rim ground. Roughly
potted, much worn. Said to have been made by Toshiro before he went to China. 1200
Type Ninagawa. Part II., Fig. 14.
2241. Tea-jar. H. 2 J in. Brown clay, brown glaze, richly mottled with dark brown. Fine
left-hand thread-mark. 1230
Type Ninagawa. Part II., Fig. 15.
2242. Tea-jar. H. i\ in. Fine reddish-brown clay, lustrous reddish-brown glaze. Fine
left-hand thread-mark. 1230
Type Ninagawa. Part II., Fig. 16.
2243. Tea -jar. H. 2^ in. Dark gray clay, dark brown glaze with yellowish tinges.
Roughly made. Fine thread-mark. 1230
Type Ninagawa. Part II., Fig. 17.