Studio: international art (46.1909)

The Chci-no-yii Pottery of Japan

FIG. 14. TEA JAR, ORIBE WARE

of legitimacy as laid down in the canons of art
of the Cha-jm. It may be that to such severe
masters as Rikiu some of the productions of these
potters would be unacceptable; and yet they were

in proportion to the weight of the pot and its
contents was requisite in the handle, and is duly,
but not excessively, provided for. I think the
examination of such a vessel as this is of value to
enable us to gauge the standard of what was con-
sidered by the Cha-jin to be in correct taste. Their
judgment on this matter is, in my opinion, entirely
supported by the most correct and refined laws of
constructive art, although it is more than probable

FIG. 16. PERFUME BOX, ORIBE WARE

both capable of entering into the pure spirit of
Cha-no-yu and producing wares delightful to its
votaries, if required to do so. “ Not to depict
but to suggest ” was the effort of some of Japan’s
greatest artists, and “ ornament is not necessarily
art ” was an axiom thoroughly understood by her
greatest craftsmen.

The right spirit of Cha-no-yu is superbly presented
by Kenzan in the Raku bowl here shown (Fig. 18).
Simple in form like the bowls of Chojiro and his
successors, it is covered with an iridescent pink

FIG. 15. PERFUME BOX, ORIBE WARE

that no potter in this country would
dream of imitating it for use in an Eng-
lish drawing-room.

Although in this short article I must
of necessity pass over the names of many
makes and makers of Cha-no-yu pottery
which are in much repute, I cannot
omit some mention of the great potters,
Kenzan and Ninsei. In dealing with
their work, we come near to the confines

FIG. 17. HOT WATER PITCHER, SHINO WARE

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