LITMIR.BIZ

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V Imari Border Designs 20/21 VI Map of Japan, showing Location of Kilns 38/39 VII Plate by Eiraku Wazen 52/53 VIII Eiraku Flower Vase 56/57 IX Sometsuke, or Blue and White Plate 72/73 X Karatsu-Mishima Type Plate 76/77 XI Covered Jar of Satsuma Ware 78/79 XII Old Japan Wares 90/91 XIII Old Imari or Old Japan Plate 92/93 XIV Old Imari Nishikide 94/95 XV Kakiyemon Vase 96/97 XVI Imari Some-Nishikide or Brocade Style Under-the-Glaze Blue Plate 98/99 XVII Early Five-colour Imari Plate 100/101 XVIII Japanese Border Designs 104/105 XIX Early Imari Sometsuke, Blue and White Plate 106/107 XX Nabeshima Sometsuke, Blue and White Plate 108/109 XXI Japanese Border Designs 112/113 XXII Modern Sometsuke, Blue and White Imari Plate 116/117 XXIII Sometsuke or Under-the-glaze Blue and White 120/121 XXIV Wave Designs 124/125 XXV Green Kutani 130/131 XXVI Old Kutani Plate 134/135 XXVII Red Kaga Plate 136/137 XXVIII Lotus Shaped Incense Burner made by Ninsei 140/141 XXIX Kyoto-ware Plate 146/147 XXX Japanese Border Designs 152/153 XXXI Old Banko Wine Pot 154/155 XXXII Chinese Designs 176/177 XXXIII Five Colour Old Imari Bowl 178/179 XXXIV a Old Japan Plate 182/183 XXXIV b Reverse of Old Japan Plate 182/183 XXXV Imari Sometsuke, Blue and White Plate 184/185 XXXVI Old Imari Bowl 186/187

      Longfellow's "Keramos"

      Cradled and rocked in Eastern seas,

       The islands of the Japanese

       Beneath me lie; o'er lake and plain

       The stork, the heron, and the crane

       Through the clear realms of azure drift,

       And on the hillside I can see

       The villages of Imari,

       Whose thronged and flaming workshops lift

       Their twisted columns of smoke on high,

       Cloud cloisters that in ruins lie

       With sunshine streaming through each rift,

       And broken arches of blue sky.

      All the bright flowers that fill the land,

       Ripple of waves on rock or sand,

       The snow on Fujiyama's cone,

       The midnight heaven so thickly sown

       With constellations of bright stars,

       The leaves that rustle, the reeds that make

       A whisper by each stream and lake,

       The saffron dawn, the sunset red,

       Are painted on those lovely jars;

       Again the skylark sings, again

       The stork, the heron, and the crane

       Float through the azure overhead,

       The counterfeit and counterpart

       Of nature reproduced in Art.

      PUBLISHER'S FOREWORD

      Japan has been called the cultural melting pot of the Orient. This is especially true in reference to ceramics. Greek ceramic art has died out; that of Persia belongs to history; China, where the ceramic art reached glorious perfection, has fallen on evil days and has little to teach us now. Only in Japan are there strong traces of that cultural stream still pursuing eastward outlets.

      In the development of the ceramic art, Japan of course owes much to its close cultural contacts with China and Korea. China, in the T'ang and Sung dynasties, reached a pinnacle in art which has never been surpassed and seldom equaled elsewhere in the world.

      The Japanese were eager pupils of China's master artists, and from the 16th century onward Japanese pottery developed rapidly. At the beginning of the 17th century the discovery of important deposits of porcelain stone in the Arita district of Hizen Province put the porcelain industry on a firm basis—and Japanese ceramics were in full flower. This book was originally published under the title Japanese and Oriental Pottery.

      INTRODUCTION

      Historical Outline - Glaze - Design - Colour

      Classification and Identification

      Potters' Marks and Seals

      How can one distinguish Japanese porcelains from Chinese, and how can one recognise modern reproductions of genuine old wares are

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