CHINA
or the Lung-Chuan-yao of the Sung dynasty, no specimens in Japanese possession can be confidently traced farther back than the fifteenth century, that is, to say, two hundred years subsequent to the time when Chao Jukua wrote. This uncertainty, however, must not be taken as indicating that no such specimens had found their way to Japan. It is a question simply of traditional and historical deficiencies. What is beyond doubt is that so soon as the Regent Yoshimasa's (1490) cultivation of the tea ceremonials turned popular fancy into the direction of dilletanteism, a part of the best outcome of the Chinese factories was diverted to Japan. The luxurious old ruler did not allow political conventionalities to interfere with the gratification of his new hobby. When he wanted a specimen of this or that ware, he despatched a special envoy to the Middle Kingdom, ostensibly to convey Japan's good wishes to its rulers, but really to bring back the coveted piece. Among these importations was a vase in shape and size closely resembling a fuller's mallet (Japanese kinuta). It was of fine clay, whiter and harder than the pâte of previous specimens, and the colour of its perfectly uniform, velvety glaze was greenish blue of wonderful depth and delicacy. To Japanese connoisseurs this piece seemed to stand at the summit of keramic skill. After it had remained for a time in Yoshimasa's collection at Higashi-yama, it was placed among the treasures of the Temple of Tōdaiji, whence, more than a century later, it passed into the possession of Iyeyasu, the great founder of the Tokugawa Dynasty. There is a tradition that this prince, being in need of funds for military purposes, pledged the wonderful vase for a sum of ten thousand
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