Japan
The information concerning the origin of making porcelain in Japan is very scanty. Dr. Hoffmann of Leyden published a history of the principal porcelain manufactories in 1799, which is appended to M. Stanislas Julien’s account of those of China: it was a translation from a Japanese work. He says it was to a colony of Koræans established in the province of Omi, in the island of Nippon, in the year 27 B.C., that the introduction of this art was attributed. About the same epoch there lived in the province of Idsumi, situated like that of Omi in the island of Nippon, a man named Nomino Sukuné, who made, in pottery and porcelain, vases and notably figures of the size of life, to substitute for slaves, which it had been previously the custom to bury with their masters. Nomino received as a recompense authorisation to take the name of Fazi, in the Koræan language Patzi, artist-workman.
Under Sei-wa (859-876 A.D.) the number of fabriques increased considerably.
Under Syun-tok (1211-1221), a Japanese potter named Katosiro-uye-mon commenced the making of small vases in which to preserve tea, but for want of a better process he placed them in the kiln on their orifices, which consequently appeared as if they had been used, and the vases were little cared for. Desirous of improving himself in the art, Katosiro, accompanied by a Bonze or Buddhist monk, visited China in 1211, with orders from his Government to make himself acquainted with all the secret processes of the manufacture, which was at that time brought to so great perfection there.
On his return, he made such important improvements in the composition and decoration of porcelain that henceforth it became superior in many instances to the Chinese, especially in the manufacture of the best specimens, upon which much time and labour were bestowed. The porcelain of Japan is very much like that of China, but the colours are more brilliant on the fine pieces; it has a better finish, and the designs are more of the European character, the flowers, birds, &c., being more natural, and the ky-lins, dragons, and other monsters less hideous; the paste is of better quality and a purer white, especially in ware of the 17th and 18th centuries.
Perhaps the most beautiful of all the porcelain made in Japan is the egg shell, so called because it is extremely thin and translucent, yet so compact that it can be formed into large vases, as well as plates and bowls or cups.
The small cups without saucers, which are usually placed upon présentoirs of lac, are seldom painted on the exterior; but within is frequently found a fillet of gold, and slight sketches in blue or gold indicating the outline of a mountain, the sun, clouds, and a line of birds taking flight, or sometimes animals, all in outline. On other pieces are birds, flowers, and animals delicately painted in colours.
The art has been continued to the present day; those beautiful and extremely delicate cups and saucers, thin as paper, are frequently seen covered on the outside with a casing of bamboo threads woven together; the larger basins and covers are also made of equally thin porcelain.
All these are produced now, as they were in ancient times, at Imari, in the province of Hizen. It is not in the village itself that these manufactories are established, but as many as twenty-four or twenty-five are situated near the mountain of Idsumi-yama, whence the kaolin is obtained of which the vessels are made.
Crackle china was made in Japan as well as in China from a very early period, and was frequently painted with flowers, landscapes, and birds.
According to the late Sir Augustus W. Franks, K.C.B., “the ceramic wares of Japan exhibit great differences in their composition, texture, and appearance, but may be roughly classed under three principal heads: (1) common pottery and stoneware, generally ornamented simply by scoring and glazing the surface; (2) a cream-coloured faïence, with a glaze, often crackled and delicately painted in colours; (3) hard porcelain.
“To the first of these classes belong the wares of Bizen, old Seto, Shigaraki, and other small fabrics, including the Raku wares. The principal factories of the second class are Awata, Satsuma, and the recent imitations of the latter at Ôta and elsewhere. Among the porcelain, the coarsest is that made at Kutani, but the most celebrated fabrics are in the province of Hizen, at Seto in Owari, and Kiyomidzu near Kiôto.”