Page 364 - Catalogue of the Edward Morse collection of Japanese pottery MFA BOSTON

THE CATALOGUE S
3^6
3310. Tea-pot. D. 3^ in. Dull brown clay. Unglazed. Rough surface. Kyuta (imp.).
1820
331 1. Tea-pot, similar to last. Band of scrolls incised around shoulder. 1^1
Kyiita (imp.). 1820 \§/
33'°
KASUKE (Case 31)
A Kyoto potter, named Kasuke, made pottery in the latter part of the eighteenth
century. He was a contemporary of the first Rokubei, and a pupil of Yeisen. His
imitation of foreign models was good, and would have been deceptive, had he not signed
his pieces. Specimens of his work are rare.
3312. Shallow cake-dish, with low basal ring. D. 6| in. Fawn clay and glaze. Inside,
cranes and grass in black and white. Strong right-hand thread-mark.
Kasuke (imp.). 1780
33^3- Boat-shaped dish, with handle and scalloped edge. L. 8 in.
Light fawn clay, with elaborate festoon of jewels in high relief, moulded.
Outside, shiny yellow glaze ; inside, rich green glaze. 1780
Kasuke (imp.). 3312 33«3
3314. Fire-vessel. H. 3J in. Thick walls, Light gray-drab clay, thick yellowish-white
glaze. Rough over-decoration of birds, iris, and
flowers in red and green.
Kasuke (written in red). 1780
3315. Tea-pot. D. 4f in. Modeled. Red- ^ r#?
dish-fawn clay, unglazed. On side, poem in
relief. Ka, in pentagon and oval, impressed.
1780
3314 33'
3316. Oval platter. L. lof in. Fine fawn
clay. Elaborate decoration inside and out of horses, flowers, spirals, diaper, etc., in yellow,
green, and purple on white ground. Kakushi-tei Kasuke (yiriit&n in
black). 1780

ROKUBEI (Case 29 and Plate XX. 3324)
Rokubei is the name of a family of famous Kiyomizu pot-
ters whose founder was a pupil of Yeisen. The first Rokubei
began in 1737. The fourth generation of this family is now
at work, and like the second and third generations has adhered
to the typical Kiyomizu style established by the founder of the
family.

FIRST GENERATION
Kiyomizu Rokubei, or Gusai, acquired the potter's art of Yebeiya Seibei in 1737.
Rokubei first worked in Shigaraki, Omi, and there learned the excellent quality of
Shigaraki clay, and often used it in his work after settling in Kiyomizu. Such pieces
were usually signed with the incised mark Roku. His later work bore the impressed
mark Set, in hexagon, also Seifn, in double-gourd. In some of his pieces the incised