Page 446 - Catalogue of the Edward Morse collection of Japanese pottery MFA BOSTON

THE CATALOGUE
294
4043* Box, square. W. 2f in. Coarse light brown clay, warm gray glaze. Plum-tree in
rich brown and white, touched with gold. Kenzan (written).
1840
4044*. Hand-warmer. H. 6 in. Soft clay, white glaze.
Shoulder with round and square perforations alternating.
Cover with petalated perforations. Overglaze decoration of
flowers in various bright colors. On cover Tempo nensei
(written). San-dai Kenzan tsukuru. Shodai Kenzan motte
4043
(written on base in square panel).
This piece, if genuine, is the work of the third Kenzan, copying the first Kenzan.
R0KU2AN (Case
35)
A tea-pot most skilfully modeled by hand bears the incised mark of Toin Rokuzan
saku. It recalls the best work of Koren. (See No. 4136.) It has been adjudged by
one expert to have been made by one of the Kenzan generations, and as Toin was one
of the numerous marks of Kenzan this may be so.

4046. Tea-pot. D. 4^ in. Modeled by hand. Light brown clay, smooth sur-
face, unglazed. Toin Rokuzan saku (inc.). 1850
Exquisite piece of modeling.
7^
Gift of W. S. Bigelow.
KENYA (Case 35 and Plate XXV. 4047)
Miura Kenya, a potter of Tokyo, began his work in Asakusa in 1830.
a.
Kenya was a great admirer of Haritsu and of the early Kenzan. He fol-
lowed these artists as guides. His pottery signed Kenya shows the Kenzan
spirit. If the records regarding the Kenzan generations are reliable, then
many of the pieces made within forty years signed Kenzan may be the work 4046
of Miura Kenya.
4047- Bowl, sides compressed. D. 4J in. Drab clay, gray glaze spotted with brown.
Fan in olive-brown, flower and leaf in white and dull blue. Signature in blue on white gourd
bordered with blue. Basal ring broken away. Kenya tsukuru (ytxiXX&Vi), 1840

rt \ »

4047 4048 4049 4050

4048. Tea-box. H. 3 in. Light fawn clay ; irregular area of white glaze upon which is
decoration of clouds in bright blue, remaining surface thick black glaze. Trunks of trees in