a wares, however, is widespread use of purposeful distortion of shape, similar to that found in Oribe ware (Mino province, modern Gifu prefecture) of the same period. Wares of this type from the Uchigaso kiln have been recovered in large numbers in teaware-related excavations in Kyoto, proving not only that Uchigaso wares were exported to other parts of Japan during the early seventeenth century, but that they were even popular with the most sophisticated tea connoisseurs in Japan's cultural center. (Figures above: water jar for tea with decorative handles, Fukuoka Art Museum; and cake dish for tea with bridge handle and openwork design). Transfer of the Takatori StyleThe potters at nearby Nishi Sarayama, however, had wider experience in practical matters of ceramics as a business and made use of their established production system to take over the recently liberalized Takatori style. It is unclear how soon after the beginning of the Meiji period this began, but it is evident that within ten years of the Meiji emperor's accession in 1868, wares in Takatori style were being produced in large numbers by potters who had made only utilitarian ware during the Edo period. The new wares bore the marutaka mark on the bottom and were thinly made of lightly colored clay and glazed with Takatori style glazes. In comparison to Higashi Sarayama wares, Meiji period wares from Nishi Sarayama kilns have a somewhat dry-looking, less dense and less hard whitish clay, a tendency toward elaborate carved and molded decoration on vessels and very widespread use of dkeiy glazing (see sake flask below). The marutaka mark also varies slightly from its Edo period counterpart, with the corners of the taka character somewhat rounder than the original. Relatively few tea ceremony wares appear to have been made at these kilns compared to objects such as decorative flower vases, steeped tea (sencha) utensils as well as stylishly fashioned tablewares. So completely di...
