JAPAN
himself to depict figure subjects, he pursues one of three aims: a delineation of cleverly disposed drapery; a suggestion of the music of motion, as seen in the "woven paces and waving hands" of the Kagura and Nō dances: or a portrait of features convulsed by passion or sentiment. With such pigments as vitrifiable enamels these effects could scarcely be produced. Therefore they were seldom attempted. Sometimes copies were made of the stiff, puppet-like Mandarins, warriors, and ladies in which the Chinese keramist delighted. But these, too, are happily rare. In a word, if to floral subjects, scrolls, and diapers are added the mythical phœnix (Dragon), unicorn (Kirin), and lion (Shishi), landscapes in medallions or panels, and figures of women in sweeping robes or of warriors in brightly pointed armour, a complete catalogue is obtained of subjects from which the Arita potter made his choice. The dominant colours of his pieces in those early days were blue and red; the former under the glaze, the latter over it. The quality of the red in all specimens of good Imari ware deserves careful attention. The rich, soft colour of the ancient keramists is no longer present, except in special cases: the common red of modern potters can be compared to nothing but sealing-wax. Gold was used in some profusion during the early period, and, indeed, has always been used. Gold scrolls on a blue ground, phœnixes with gilded feathers, flowers with gilt petals, and leaves with gilt veins are commonly found.
The result of all these modifications was eminently satisfactory to the Dutch. They exported large quantities of the brilliant ware. In 1664 no less than "44,943 pieces of very rare Japanese porcelain" arrived in Holland, and in December of the same
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