JAPAN
plied; but in very rare instances designs in low relief, executed with the utmost delicacy, were left uncovered. Excellence in modelling was, indeed, characteristic of the Mikawachi keramist. It is difficult to conceive anything more perfect in this line than some of his tiny figures of children or old men; and the mythical Shishi and Kirin became, in his hands, animals instinct with life and motion. At Arita, also, modelling was practised with fair success. A favourite subject, which afforded scope for the art both of the modeller and the decorator, was the figure of a girl, dressed in flowing robes of rich silk and brocade. Considerable numbers of these were produced, and many have found their way into Western collections. But it must be admitted that in the vast majority of cases they are by no means chefs-d'œuvre. The folds and fall of the drapery generally show skilful management, but the faces do not command admiration: the delicacy of their outlines is marred by the glazing material. Warriors in armour, seated on Shōgi (a kind of stool), and forming censers, were more happily treated. Their features, generally unglazed, were often excellently modelled, and the details of their armour were produced with the utmost fidelity in coloured enamels.
With rare exceptions Hirado porcelain is not marked. The habit—so common elsewhere—of copying Chinese marks was not contracted at Mikawachi, and on pieces manufactured by command of the feudal chief of Hirado the potters seldom put their names. When, however, they worked for the ordinary market, they sometimes stamped the name of both kiln and maker on the bottom of a specimen. This is especially true of wares destined for export to China
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