Page 444 - Catalogue of the Edward Morse collection of Japanese pottery MFA BOSTON

292 THE CATALOGUE
HARITSU (Case 35)
Haritsu, or Ritsu-5, as he is more commonly known, was a native of Yedo. He
was justly famed for his lacquer work. He was a pupil of Korin and of Kenzan.
From the former he learned lacquering and painting, and from the latter the art of
pottery-making. It is said that Haritsu was the first one to use pottery in the
decoration of lacquer. His master Korin had used lead and pearl with marked effect,
and Haritsu conceived the idea of using pottery in the same way. His lacquer-work
signed Ritsu-o has been eagerly sought for by collectors. Specimens of pottery with
this signature are extremely rare. Haritsu was born in 1683, and died in 1747.

4030. Tea-cup. D. 2|J in. Fine fawn clay, light Japanese yellow glaze, with pecul- ^%
iar glistening lustre. Over-decoration of toys in white, brown, and yellow outlined in '^
black. Haritsu (inc.). 1700 4030

KENZAN (Case 35 and Plate XXV. 4035)
From a late manuscript of Ninagawa the following information is derived : Kenzan
(Ogata Shinsho) came from Kyoto and built an oven in Iriya, Tokyo. Here he made
a kind of soft pottery in the form of square trays, rarely bowls. These were decorated
with flowers, etc., in dark brown or black, poems were also inscribed upon them, and
the signature of the potter was written on the bottom in bold characters in black. In
one case, at least, his brother, the famous artist KSrin, decorated a piece, signing his
name as painter (see Cat. No. 4035). Kenzan died in 1743, at the age of eighty-one.
A pupil of Kenzan inherited his name, and continued making the same kind of pot-
tery, signing with the name of Kenzan. In 1767 he gave the name Kenzan to his
pupil Miyasaka, who continued the work in precisely the same spirit, signing his
pieces Kenzan. He finally transferred this family name and oven to his wife in
1810.
Sakai Hoichi, known as Kiokwan, assumed the work with the name of Kenzan
from the wife of the third Kenzan. His work was less decorated and much poorer in
quality. The fifth Kenzan, known as Kasando, continued the work in the old way.
He is said to have been a skilful writer of old Chinese characters. Ninagawa says
this potter's name was Nishimura Sozen ! The sixth Kenzan is said to have been
represented by Miura Kenya, who learned the potter's art from Nakada Kachiroku,
afterwards studied under Kasando, and finally inherited the name of Kenzan, signing
his pieces Kenzan. It is said that Kenya worked as late as 1867, when he removed
to Kawagoe, about forty miles from Tokyo. Ninagawa offers the opinion that the
impressed mark of Kenzan was used by Miyasaka, the third Kenzan.
If these records of Ninagawa have any foundation, then the numerous pieces signed
Kenzan, either written or impressed, when they bear evidences of fair age may be
regarded as genuine.
It has been impossible to separate the different generations of this family, and so
they are all catalogued under the general name of Kenzan.