Kyoto Pottery.
Much of the later pottery from Kyoto was made in imitation of Satsuma. At the Paris Exhibition of 1878, such imitations of pieces decorated in relief had a great success. But Kyoto has one name which stamps the seventeenth century productions as marking the adoption of the representative Japan style. There was Ninsei, who shook himself free from the influence of China and Korea, and, having acquired the secrets of decoration with enamels, he set to work to practice and impart them in the various factories at Kyoto where he worked.
He introduced a crackle, which of itself is a test between old and modern ware. The glaze was of a light buff or cream colour, and the crackle was nearly circular and very fine, and is best described as "fish-roe crackle." The paste of his pieces varied from hard, close brick-red clay to a fine-textured yellowish grey. The coloured glazes—blue, green, red, black, and gold—were also introduced by him to the Kyoto kilns. The black glaze was run over a grass-green one, so as to give brilliancy of effect, whilst panels of cream crackle on the surface were painted in diaper patterns or with floral designs in gold, silver, or coloured enamels. Another glaze, since imitated successfully, was a pearl white with a kind of pink blush spreading through it.
As a rule Ninsei marked his pieces; the mark is given. Two or three hundred dollars are readily paid in Japan for a small bowl of the best type, so genuine specimens are exceedingly rare in Europe. It is well to reiterate two tests which may be easily applied to Ninsei pieces—the paste is hard and brick-red or yellowish grey in colour, and the crackles are equal and circular in shape.
Awata Ware.
Here, too, Satsuma ware has in recent years been largely imitated. At the Amsterdam Exhibition a fine collection was on view. But Awata had kilns as early as the beginning of the seventeenth century, and a clever workman, Kinkôzan, about a century later, did much to bring back the reputation lost after Ninsei's influence had passed away. The glaze under his treatment was creamy and lustrous. The enamels, which harmonised so well with the glaze, were grass-green, ultramarine, and red. Gold was almost invariably used in decoration. Silver, purple, and yellow are most uncommon.
It must be borne in mind that the majority of the Awata pieces were unmarked.
Generally, three rules are equally valuable in judging the age of all Kyoto wares, including Awata and other places close by. First, the paste of the old pieces is close-grained and hard; second, the glaze has a lustre, which may be due to atmospheric influence long continued; third, the enamel colours are carefully painted, and are very bright and clear.
Marks:—
(1) The chrysanthemum, arms or crest of the Mikado.
(2) The kiri, said to be stamped on articles for royal use exclusively.
(3)(4)(5) Satsuma marks.
(6) The marshmallow, crest of Tokougava Satsuma ware.
(7) Ninsei's name; stamped with sunk letters, Kyoto.
(8) Shimizu, a maker's name, in a long oval. Kyoto.
(9) Taizan, a potter of Kyoto.
(10)(11) Used at Kyoto by Yeiraku.
(12) Awata ware, also used in a small size.
(13) Awata, mark of another factory.
(14) On pottery made in imitation of Satsuma.