Page 283 - Catalogue of the Edward Morse collection of Japanese pottery MFA BOSTON

PROVINCE OF OWARI 187

2305* Tea-jar. H. 3J in. Light fawn clay, brown glaze with irregular splashes of golden-
brown overglaze. 1480
This is the typical form,
2306—2313. Various forms of Tobi-kusuri tea-jars. 231 i has concentric circles cut
on bottom, the others have smooth bottoms. 1480
KINKAZAN (Case 21)
2314. Tea-jar. H. 3J in. Reddish-brown clay, rich brown glaze with splash of dark
brown overglaze running. 153°
Kinkazan refers to name of oven.
2315-2318. Tea-jars, similar to above. 1580-1680

TAMAGAWA (Case 21)
2319- Tea-jar. H. 3 in. Fawn clay, dark brown glaze with large area of golden-brown
glaze. 1580

SETO (Case 21)
2320-2376. Tea-jars. 1400-1500
Among these are many rare shapes and glazes.
2377-2390. Tea-jars. 1530-1580
239^' Tea-jar. H. 2,%in. Fine reddish clay, light olive glaze on one side. Inside, olive-
brown glaze, deep vertical incised marks on body. Band of knobs about neck. 1580
This tea-jar is known as Majuko.
2392. Tea-jar, tall and slender. H. 4 in. Brownish-fawn clay, seal-brown glaze beauti-
fully mottled. Bottom concave and smooth. Rare form. 1580
2393-2492. Tea-jars. 1580-1800
2493—2505. These numbers include a form of tea-jar, tall, irregularly cylindrical in shape,
sides usually sliced or cut. Rude designs in brown with dashes of white glaze occurring on
some and many with incised lines on bottom. These are usually known as Seto Oribe.
1580-1850
CHINESE BOWLS (Case 21)
The three following bowls, exhibited with the early Seto, were made during the
Sung dynasty at a place called Kien-gan in China. Captain F. Brinkley, in a cata-
logue of pottery exhibited by him at the Boston Museum of Fine Arts in 1886, says
that the work flourished until the close of the Yuen dynasty of the Mongols (1270-
1367). The bowl catalogued 2505^ dates from 1250 to 1300, and is known as Kien-yo.
The bowls 2505^ and 2505^ are known as Temmoku, andareprobably of thesame period.
These Chinese bowls are introduced in this place to illustrate types of pottery which
served as models for Toshiro and the early Seto potters, and which they despairingly
sought to imitate. It is needless to say that the peculiar technique displayed in glaze
and decoration has never been approached by the Japanese potter. Indeed the Chinese
potters have never been able to imitate these old pieces, and objects of this nature are
of great rarity.