DOI Heft:
No. 390 (September 1925)
DOI Artikel:Harada, Jirō: Old Corean pottery
DOI Seite / Zitierlink: https://doi.org/10.11588/diglit.21403#0146
OLD COREAN POTTERY
The finest examples of the potter's art over varying crackles in the body is
are found in the works of the Korai fascinating. It stirs the imagination; you
dynasty, known in Nippon as Korai-yaki. see in it a vast expanse of waving field
A thick, transparent celadon glaze was with myriads of blossoms. The floral
most popular with them. It varied slightly pattern, though conventional in form,
in translucency, resembling jade in texture seems but one of them, growing with
with a satiny feeling to the touch. Generally fragrance by the peaceful winding stream,
the colour is greyish blue with a tinge of As in nature, the varying degree of light
green, but there is a certain clearness and and shade cast different moods over the
freshness described in the Orient as " the whole landscape so well suggested on the
colour of the clear sky after the rain," celadon vase. 0000a
though most of them contain a shade It is claimed that this is merely acci-
suggesting a quality of young grass. This dental and that it was beyond the intention
glaze on some of the wares has turned, by of the potter who made it. It is even
varying intensity of heat in the kiln, to denied that the quality thus shown to us
luminous yellow of exquisite delicacy in by the ware was in the soul of the maker,
parts as if a portion of a young leaf had Be that as it may, some of these products
turned by a sudden untimely frost. 0 0 of old Corean potters are truly exquisite.
Some of them hold poetry under their In their unpretentiousness to any artistic
translucent glaze. There is one, not at triumphs, in their naive method (almost
all conspicuous in the collection, with a childish in many instances), and in the
simple form, a vase that we call ichirin- simple, easy natural outflow of their minds,
zashi (meaning one-blossom-thrust) with as it were—therein seems to be the cause
a rotund base tapering to the mouth at of their fascination. 0000
the end of a long neck. It is graceful in Mr. Kanji Kawai, a young Kyoto potter
form and has a simple dignity. It is very of much promise, thinks that the ancient
sparingly decorated with two rings in- Corean potters, who made these beautiful
cised on the neck and simple floral patterns things, never thought about beauty in
on three sides. The patterns are " slip " their products. They were by the force
painted in black, dark brown and white, of life driven to produce as many as they
covered all over with transparent thick could with the least cost to them as
celadon glaze, the unevenness of which possible. In the ardour of their work,
140
HARD EARTHENWARE OF
THE SHIRAGI DYNASTY
(In Mr. Yamaoka's Colin.)
The finest examples of the potter's art over varying crackles in the body is
are found in the works of the Korai fascinating. It stirs the imagination; you
dynasty, known in Nippon as Korai-yaki. see in it a vast expanse of waving field
A thick, transparent celadon glaze was with myriads of blossoms. The floral
most popular with them. It varied slightly pattern, though conventional in form,
in translucency, resembling jade in texture seems but one of them, growing with
with a satiny feeling to the touch. Generally fragrance by the peaceful winding stream,
the colour is greyish blue with a tinge of As in nature, the varying degree of light
green, but there is a certain clearness and and shade cast different moods over the
freshness described in the Orient as " the whole landscape so well suggested on the
colour of the clear sky after the rain," celadon vase. 0000a
though most of them contain a shade It is claimed that this is merely acci-
suggesting a quality of young grass. This dental and that it was beyond the intention
glaze on some of the wares has turned, by of the potter who made it. It is even
varying intensity of heat in the kiln, to denied that the quality thus shown to us
luminous yellow of exquisite delicacy in by the ware was in the soul of the maker,
parts as if a portion of a young leaf had Be that as it may, some of these products
turned by a sudden untimely frost. 0 0 of old Corean potters are truly exquisite.
Some of them hold poetry under their In their unpretentiousness to any artistic
translucent glaze. There is one, not at triumphs, in their naive method (almost
all conspicuous in the collection, with a childish in many instances), and in the
simple form, a vase that we call ichirin- simple, easy natural outflow of their minds,
zashi (meaning one-blossom-thrust) with as it were—therein seems to be the cause
a rotund base tapering to the mouth at of their fascination. 0000
the end of a long neck. It is graceful in Mr. Kanji Kawai, a young Kyoto potter
form and has a simple dignity. It is very of much promise, thinks that the ancient
sparingly decorated with two rings in- Corean potters, who made these beautiful
cised on the neck and simple floral patterns things, never thought about beauty in
on three sides. The patterns are " slip " their products. They were by the force
painted in black, dark brown and white, of life driven to produce as many as they
covered all over with transparent thick could with the least cost to them as
celadon glaze, the unevenness of which possible. In the ardour of their work,
140
HARD EARTHENWARE OF
THE SHIRAGI DYNASTY
(In Mr. Yamaoka's Colin.)