Page 338 - Catalogue of the Edward Morse collection of Japanese pottery MFA BOSTON

2i8 THE CATALOGUE

tea-ceremony, employing in some of these Shigaraki clay. His work is of extreme
rarity.

3030. Tea-bowl. D. 45 in. Massive and heavy. Hard light brown
/at»
clay, thick light purplish-gray glaze, closely pitted, dull lustre.
Signed with a kakihan. 1600
TAKAGAMINE (Case 34 and Plate XXIII. 3033)

Pottery, known under the name of Takagamine, was made by Honnami Kuchu, also
known as Koho. He was a son of the famous Koyetsu, and became so skilful that he
succeeded with credit to his father's work. He made incense-boxes of Shigaraki clay,
and bowls which resemble Hagi. A number of marks were used by this potter, among
which were Kuchu, incised, and Kd and Akaski, impressed.
3031. Cover rest (cylinder). H. 2 in. Modeled by hand. Yellowish-white clay, light
glistening buff glaze, clouded. Rough surface. % _
Koiim^.). 1630 /^^^^^^\ '^ ^>V
3032. Incense-box. D. 2| in. Modeled by hand.
Light fawn clay, roughly cut, thin transparent glaze.
t
Insect rudely modeled on cover. Kuchu (inc.). 1630 +
3033- Tea-bowl. D. 4 J in. Modeled by hand.
Hard whitish -fawn clay, thin glistening iridescent 303' 303* 3033
wine-colored glaze running, exposing nearly white areas. Kuchu (inc.). 1630
Gift of John C. Bancroft.

NINSEI (Case ^^ and Plate XXIII. 3034, 3037, 3039, 3040)
Nonomura Seibei, son of Seiyemon, of Ninwaji village, stands foremost in the ranks
of Japanese potters. His pseudonym was compounded from the first character of his
birthplace, Ninwaji (some authorities state that he was born in Tamba), and the first
character of his name, Seibei. Artists in Hizen claim the distinction of first decorating
in vitrifiable enamels in 1650. The secrets of their methods, though well guarded, came
into the possession of Ninsei, and through him to the knowledge of contemporary and
subsequent potters who studied under him. Ninsei's influence so elevated the art in
Ky5to that it became at that time, and has since remained, the keramic art centre of
Japan. Early records vary as to whether Ninsei learned the rudiments of the art from
Shohaku, of Tosa, or imparted his knowledge to ShShaku. The fact that Ninsei was
active in 1680 is attested by evidences from other sources. Ninsei was a skilful painter
as well, and in Japanese works is recorded as an artist with date of activity. There is
also in the Weld collection, belonging to the Museum of Fine Arts, Boston, a kake-
mono with the signature of Ninsei identical in character to the cachet with which he
signed his pottery. Ninsei established ovens in Seikanji, Otowa, Gobosatsu, and after-
wards in Kiyomizu. The pottery made in Seikanji is said to have been signed with
the mark Sei in square panel. Ninagawa refers this mark, and I think justly, to the
Kiyomizu work, as the Seikanji pottery bears the full mark Seikanji. At these vari-