kidder jomonpottery

The Jomon Pottery of JapanAuthor(s): J. Edward Kidder, Jr.Source: Artibus Asiae. Supplementum, Vol. 17, The Jomon Pottery of Japan (1957), pp. V-200Published by: Artibus Asiae PublishersStable URL: http://www.jstor.org/stable/1522589Accessed: 26/06/2009 10:35

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J. EDWARD KIDDER, JR.

THE

JOMON POTTERY

OF JAPAN

MCMLVII

ARTIBUS ASIAE PUBLISHERS * ASCONA * SWITZERLAND

PRINTED IN SWITZERLAND

TO

CORDELIA

assistant, critic, wife

CONTENTS

List of Maps

List of figures

List of plates

Introduction

Chapter I Jomon pottery and physical conditions ....

Chapter II The Kanto Plain ..........

Chapter III The southern Tokai .......

Chapter IV The Kansai.

Chapter V The Chugoku and Shikoku

Chapter VI Kyushu .....

Chapter VII The Tosan ....

Chapter VIII The Hokuriku

Chapter IX The Tohoku

Chapter X Hokkaido, the Kurile Islands and south Sakhalin

Chapter XI Summary

Bibliographical abbreviations

Bibliography

Figures....

Plates. . . .

Index

X . . . V

I . . v

* 7

* * 49

57

. ... 67

. * * 77

IOI

109

. .* . 'II5

.137

47

153

. . . 1* 54

following I86

I87

IX

LIST OF MAPS

Map I Japan - Regions and Provinces

Map 2 Tokai and Tosan

Map 3 Shikoku, Chugoku and Kansai

Map 4 Kyushu .. ....

Map 5 Tohoku ..

Map 6 Hokkaido.

Stages of Jomon Pottery

Frontispiece

.* 48

.* 56

I 00

I4

136

I46

X

LIST OF FIGURES

I I, 2 Early Jomon profiles in the Kanto Plain

3, 4 Hanawadai site and type rim profiles in Ibaragi Prefecture 5-8 String-impressing in the Kanto Plain 9- 3 Tado type rim designs in the Kanto Plain

I4-I8 Kayama type rim designs in the Kanto Plain 19-22 Sekiyama type rim designs in the Kanto Plain

2 I-3 Rouletting 4-7 Kasubata type rims and profile in the southern Tokai 8 Azuchi site rim designs in Shiga Prefecture 9-14 Moroiso type bamboo stick marked designs in the Tokai and Tosan I5-17 Ento Upper type designs in the Tohoku

3 i-55 Katsusaka type designs in the Tokai and Tosan 4 I-I7 Horinouchi type designs in the Tokai

5 I, 2 Shigasato site rim designs in Shiga Prefecture

3 Katsusaka type vessel in Yamanashi Prefecture 4-I I Undecorated Horinouchi and Kasori type vessels 12-19 Kasori type designs in the Tokai and Tohoku

6 I-9 Horinouchi type designs in the Tokai 10-12 Horinouchi type designs in the Tohoku

7 I-6 Azuchi site designs in Shiga Prefecture 7,8 Okayama site designs in Osaka-fu 9-i2 Kashiwara site designs in Nara Prefecture

I3-18 Ataka type designs and vessels in Kyushu 19-24 Ibusuki type designs and vessels in Kyushu 25-26 Ichiki type vessel and rim designs in Kyushu 27, 28 Izumi type vessel and rim designs in Kyushu 29, 30 Nampukuji type vessel and rim designs in Kyushu

8 1-3 Daigi type designs in the Tohoku

9 I-2I Kamegaoka type designs in the Tohoku 10 I-3 Designs on bowl bottoms in the Kanto Plain

4-9 Designs on bowl bottoms in the Tohoku 10-14 Kamegaoka 4 and 5 type designs in the Tohoku

I I I-6 Early Jomon in the Kanto Plain

7-13 Early Jomon in the Kansai

4-2I Early Jomon in Kyushu 2 2-24 Early Jomon in the Ryukyu Islands

I2 I, 2 Shiboguchi type in the Kanto Plain

3-6 Kayama type in the Kanto Plain

XI

7-12

I3-I8, 23, 24

19-22

13 1-22

23-28

29

30 3 I

14 I-12

13-26 27-30

I5 1-36 i6 1-24

25-36 17 I-i8

19-35 I8 1-36 19 1-22

23-36 20 I-6

7-28

29-30 21 I-47

22 I-I2

13-36 23 I-56 24 1-2

22--26

27, 28

29-32

25 i-i6

17-21 22--26

26 1-12

13-20

31-36 27 1-30

3 -35 28 i-i8

19, 20

21

22-24

25-42

29 i-6

7-I2

3--23

24-3 5

30 I-30 31 --26

27-40

Hanazumi type in the Kanto Plain Sekiyama type in the Kanto Plain Kurohama type in the Kanto Plain Moroiso type in the Tokai Kitashirakawa type in the Kansai Otoshiyama type in the Chugoku Satogi type in the Chugoku Satogi type in the Kansai Ento Lower type in the Tohoku Ento Upper type in the Tohoku Akagawa type and cord-impression variations in the Tohoku Katsusaka type in the Tokai Katsusaka type in the Tokai Katsusaka type in the Tosan Katsusaka type in the Tosan and Hokuriku Atamadai type in the Kanto Ubayama type in the Tokai Ubayama type in the Tokai Ubayama type in the Tosan and Hokuriku Ubayama type in the Tosan Daigi type in the northern Tokai and southeastern Tohoku Daigi type in Aomori and Akita Prefectures Horinouchi A type in the Tokai Horinouchi A type in the Tokai Horinouchi B type in the Tokai Horinouchi B type in the Tokai Horinouchi C type in the Tokai Horinouchi type in the Chugoku Kanegasaki type in Kyushu Nishibira type in Kyushu Horinouchi type in the Tosan and Hokuriku Horinouchi type in the Kansai Horinouchi A type in the Tohoku Horinouchi A type in the Tohoku Horinouchi B type in the Tohoku Horinouchi C type in the Tohoku Omori type in the Tokai Horinouchi type in Hokkaido Kasori type in the Tokai Kasori type in Nagano Prefecture Kasori type in Sado Island Kasori type in Hokkaido Kasori type in the Tohoku Kasori type in the Tohoku Angyo-Kamegaoka type in the Tohoku Kamegaoka type in the Tokai Kamegaoka i type in the Tohoku

Angyo i type in the Tokai Angyo I type in the Tokai Angyo 2 type in the Tokai

XII

32 1-43 Kamegaoka 2 type in the Tohoku 33 I-29 Kamegaoka 2 type in the Tohoku

30-45 Kamegaoka 3 type in the Tohoku

34 i-I8 Kamegaoka 4 type in the Tohoku

19-24 Kamegaoka 5 type in the Tohoku

25-30 Kamegaoka type in Hokkaido

3x Yusu type in Kyushu 35 I-6 Kamegaoka type in the southern Tokai and Kansai

7-16 Miyatake type and site in Nara Prefecture 17-3o Kashiwara type and site in Nara Prefecture

3 -33 Miyatake type in Okayama site, Osaka-fu

34-36 Goryo type in Kyushu 36 I-i2 Hokuto A and B types in Hokkaido

I3-30 Zenhoku A type in Hokkaido

31-36 Zenhoku B type in Hokkaido 37 i-6 Zenhoku B type in Hokkaido

7, 8 Zenhoku type in the Kurile Islands

9-I7 Kohoku A and B types in Hokkaido I8-29 Kohoku C and D types in Hokkaido

38 i-6 Kohoku C and D types in Hokkaido 7-I Kohoku type in the Kurile Islands I2-17 Incised type in Hokkaido

I8-29 Okhotsk Sea A and B types in Sakhalin Island 30-33 Okhotsk Sea A and B types in the Kurile Islands

39 x Okhotsk Sea A and B types in Hokkaido 2-5 Okhotsk Sea C type in Sakhalin Island 6-8, I2-I4, 18-20 Okhotsk Sea D type in Hokkaido

9, I0, 15, i6, 21, 22 Okhotsk Sea D type in the Kurile Islands II, 17, 23 Okhotsk Sea D type in Sakhalin Island

40 I Hanawadai type and site in Ibaragi Prefecture 2, 3 Moroiso type in the Kanto Plain 4 Atamadai type in the Kanto Plain 5-1 5 Katsusaka type in the Tokai and Tosan 16-2I Horinouchi type in the Tokai

22-30, 33 Horinouchi type in the Tosan

3 , 32 Horinouchi type in the Hokuriku 41I -3 Horinouchi type in the Tohoku

4, 5 Horinouchi 'type in Hokkaido 6-17, 21-23 Kasori type in the Tokai 18 Kasori type in Fukushima Prefecture I9 Kasori type in Gifu Prefecture 20 Kasori type in Gumma Prefecture 24, 25 Ento type in Tohoku

26-29 Kasori type in Tohoku

30-35 Goryo type in Kyushu 42 I Ubayama type in Saitama Prefecture

2 Ubayama type in Nagano Prefecture 3 Omori type in Chiba Prefecture 4 Kamegaoka type in Nagano Prefecture 5 Kamegaoka type in Aichi Prefecture

XIII

6-I4 Kashiwara type and site in Nara Prefecture

I5-I7 Figurine-plaques in the Chugoku i8-26 Angyo type in the Tokai

43 I-4 Kamegaoka i type in the Tohoku 6-I 5 Kamegaoka 2 type in the Tohoku

I7-25 Kamegaoka 3 type in the Tohoku 26-28 Kamegaoka 4 type in the Tohoku

5 Kamegaoka i type in Hokkaido I6 Kamegaoka 2 type in Hokkaido

44 I Kamegaoka type in Nagano Prefecture 2- 1i Kamegaoka type in the Tohoku

12 Horinouchi type in Saitama Prefecture

13 Horinouchi type in Chiba Prefecture 14 Horinouchi type in Ibaragi Prefecture

I5 Horinouchi type in Fukushima Prefecture I6 Kasori type in Saitama Prefecture I7, I8 Kasori type in Chiba Prefecture 19 Kasori type in Ibaragi Prefecture 20 Kasori type in Fukushima Prefecture 21 Kasori type in Aomori Prefecture 22 Angyo type in Saitama Prefecture

23 Angyo type in Chiba Prefecture 45 I-4 Kamegaoka i, 3 and 4 types in the Tohoku

5 Kamegaoka type in Ibaragi Prefecture 6 Kamegaoka type in Fukushima Prefecture 7-I2 Kamegaoka 2 type in the Tohoku 13-28 Angyo and Kamegaoka types in the Tokai and Tosan 29-33 Kamegaoka types in Tohoku and Hokkaido

XIV

LIST OF PLATES

I I-6 MoROIso TYPE; 5, KATSUSAKA TYPE; Kyoto University Coll.

I, 2 Moroiso, Kanagawa 3 Kuhiri, Kanagawa 4 Uraga-cho, Kanagawa 5 Agokami-in, Tokyo 6 Shioya, Gifu

II BASES, RIM PROJECTIONS, EARRINGS

I, 2 Daigi, Miyagi; Kyoto University Coll.

3 Kogakure, Kagoshima; Gyokuryu High School Coll. 4 Miyazakihata, Miyagi; Kyoto University Coll.

5 Onue, Aomori; Kyoto University Coll. 6 Uchidorikubo, Toyama; Tokyo University Coll. 7 Magome-cho, Tokyo; Kyoto University Coll. 8 Yoyama, Chiba; Tenri Museum

III I SOBATA TYPE; 2, YOSHIDA TYPE; 3, KASUGA-CHO TYPE; 4, TAMUKEYAMA TYPE

I Hikachiyama, Kagoshima; Terashi Coll. 2 Yoshida, Kagoshima; Gyokuryu High School Coll. 3 Kasuga-cho, Kagoshima; Gyokuryu High School Coll. 4 Tamukeyama, Kagoshima; Terashi Coll.

IV I, 2 ATAKA TYPE; 3, SAINOKAMI TYPE; 4, IWASAKI TYPE; 5, KANEGASAKI, NISHIBIRA AND

NAMPUKUJI TYPES

I Ataka, Kumamoto; Kyoto University Coll. 2, 5 Uki, Nagasaki; Kyoto University Coll. 3 Ishizaka, Kagoshima; Gyokuryu High School Coll. 4 Iwasaki, Kagoshima; Gyokuryu High School Coll.

V I-6 TOGARUISHI TYPE; Kyoto University Coll.

I Kashiwabara, Gifu 2, 4 Kamiyamada, Ishikawa 3, 6 Minamiyamada, Ishikawa 5 Higashida, Gifu

XV

VI i-6 ENTO UPPER TYPE; Kyoto University Coll.

I Site uncertain, Tohoku 2, 5 Ichioji, Aomori 3 Oaza Aiuchi, Aomori 4 Oaza Sawabe, Aomori 6 Shiogama-cho, Miyagi

VII I, 2 CORD- AND STRING-IMPRESSION; 3-6 DAIGI TYPE; Kyoto University Coll.

I Kadomae, Miyagi 2 Yogi, Miyagi 3 Site uncertain, Tohoku 4, 5 Daigi, Miyagi 6 Katsurajima, Miyagi

XVI

INTRODUCTION

T he modern typological system in Jomon research had its inception in the early thirties. In a way that now seems hardly intentional, site terminology came to be used by Matsumoto in

the Tohoku,I and later by Kono for the Kanto.2 Yawata's listing of types in an attempt to inte-

grate his work in Kitasaku county of Nagano with the Kanto lacked the type-site terminology, but is in essence the basis of the typological program.3 By I937 the way had been paved for a full charting of Honshu types, and, in a short article which completely revised the outlook of

Jomonologists, Yamanouchi proposed a quinquepartite divisioning scheme that has almost

completely done away with the Early, Middle and Late grouping that was based on the Atsude, Usude and Mutsu categories.4 The pattern of development in one respect seems unified since that time: most archaeologists have felt that it was merely a matter of filling out the local

chronologies with as detailed a sequence as possible. The validity of the five divisions is no

longer seriously doubted in Japan, though its disadvantages are considerable. There is a long history behind the rapid developments of the thirties. Edward S. Morse

on his arrival in Japan immediately recognized the presence of shell-mounds as an indication of prehistoric existence on the islands, and his work entitled Shell-mounds of Omori, published in

1879, became the prototype of Jomon studies. He was formally affirmed the father of Jo- monology by the erection of a monument on the spot where his diggings took place. Within a few years excavations were underway in many areas, and professional anthropologists were

presenting their theories on Japan's origins. Shogoro Tsuboi established the Anthropological Institute of Tokyo University in 1893, while the Journal of the Anthropological Society of Tokyo, for many decades the chief journal of Jomon studies, had already been in circulation for seven years. In 1896 the Archaeological Society of Japan was founded, but archaeology de- partments have, when possible in the larger schools at least, been usually concerned with con-

I Matsumoto (Tohoku), 1919a. Interestingly enough, Jomon studies at their outset were typological. Yagi and Shimomura in I894 (Tokai) discussed their finds from the Atamadai shell-mound in terms relative to the two pottery types that were then known: Omori and Okadaira.

2 Kono (Tokai), 193 5. Kono's listings varied considerably from those of Sugiyama which had appeared four years earlier (Sugiyama, gen, 193I). The latter gave the following sequence of types: Minowa, Moroiso, Atamadai, Narahara, Kasori, Horinouchi and Yoyama. The first three were considered to be partially Atsude; Narahara pure Atsude; Kasori transitional between Atsude and Usude; and Horino- uchi and Yoyama, Usude.

3 Yawata (Tosan), I934, 7-47. 4 Yamanouchi (gen), 1937.

I

tinental archaeology or investigations of the metal ages of Japan, while anthropologists handle the various aspects of Jomon research.

Much of the work was carried on by foreigners in the early part of this century. Morse, Milne and Munro were the triumvirate, and Munro's monumental Prehistoric Japan (191 i) has never been exceeded as a comprehensive survey. His knowledge of European archaeology was

put to good use, and he was able to give the Japanese periods an interpretation which remained

up to date for twenty years -until the present typological system came into use. Later knowl-

edge notwithstanding, the volume still stands as a vast storehouse of practical information. Since Munro's time few foreigners have worked on Japanese prehistory, but a stream of articles in French and brief translations by Nakaya and Haguenauer have kept the non-Japanese read-

ing world at least partially informed as to developments.5 The real shock to foreigners came, however, as a result of the general lack of information during the time of the evolution of the

typological method, when the program was presented in a full-blown stage in a publication such as Groot's The Prehistory of Japan (195 ).

But to go back to pre-typological history: Ryuzo Torii succeeded Tsuboi at Tokyo Uni-

versity and it was he who was largely responsible for the utilization of the Atsude, Usude and Mutsu categories in pottery classification.6 Nakaya pushed the scheme to the hilt, and made it

intelligible to foreigners. The system itself, however, has few merits and was quickly dropped in the early years of the typological approach. The next landmark of prime importance injomon studies was the establishment of the Prehistoric Institute by Kashiwa Oyama in Tokyo around

1929. It was devoted to world-wide Stone Age research with emphasis on Jomon Japan, and

published concentrated Jomon studies in the form of the Journal of Prehistory. Many of the lead-

ing personalities of Jomonology came and went as faculty members before its complete de- struction took place in the bombing of Tokyo. The devastation of the collection was not the

only unfortunate aspect: Oyama had been a modifying force which one cannot help but appre- ciate when trying to cope with what seems to be a broken dam in the rush to subdivide, create new types, and generally keep the typological ball rolling at top speed. Oyama's sympathies with the new system must have been mixed, for he had the knack of seeing the pottery in family groups and their subdivisions rather than in dozens of miniature classes which, by terminology at least, have no relationship to each other. He also wrote in the framework of prefectures at a time when the initiated were using provincial terms exclusively.

Although the common complaint is that Jomon studies are going in all directions, in recent years there has been a number of integrating factors. The single great consistency is the reduction of its stages to a recognized group of common denominators, Yamanouchi's five major classes, that has provided a generalized structure for the chronology in which all archaeologists find a common platform for communication. In 1948 the Japan Archaeological Association was established; biannual meetings are held, one of which is always in Tokyo, and special committees for organizing studies, and editors with powers of standardization, have been set up. Two volumes of papers on site excavations have been published to date (1948 and 1949).

I have felt that the studies of Jomon pottery need an objective, all-embracing viewpoint. By

5 Haguenauer (gen), I93 . 6 Torii (Tokai), I920.

2

presenting the evolution of Jomon pottery in Japan as a classification of types based on an

analysis and discussion of the designs, their characteristics and distinguishing features, and in reference to regional relationships and stratigraphical information, I am striving toward this

objective. As typological schemes vary with archaeologists in Japan, and no one is entirely sat-

isfactory, a considerable degree of selection and rearrangement has been necessary. Standard- ization has been attempted, and a simpler terminology than is customarily in use in Japan and one which I think is the most expeditious and least likely to create confusion has been employed.

I have leaned rather heavily on the description of types, the typological approach itself

being based primarily on differentiating traits of decoration, though other aspects such as clay quality, tempering and the like are recognized as playing important roles. Although my outlook seems to have been largely indigenous, it is not necessarily so. External factors or influences have been considered only when they have a direct bearing on internal relationships. I felt this to be the case in rather late Jomon times, but the Jomon position itself in Far Eastern prehistory is reserved for another study. The natural geographical areas lend themselves as units that are not too unwieldy for regional discussion. Most of these areas eventually became administrative divisions and are known as Hokkaido, Tohoku, Tokai, Tosan, Hokuriku, Kansai, Chugoku, Shikoku and Kyushu. Their value in such studies is obvious: climate, resources and the various conditions that affect the needs of man and therefore his products are much the same within a unit, while the chief disadvantages are equally recognizable: there are times when types have little regard for such boundaries, and the dividing lines between types are never stationary from period to period.

The typological scheme has undoubtedly far exceeded the expectations of its inventors. In fact, probably to the horror of those who were responsible for its inception, in the haste to fill out the regional chronologies, there are as many chronologies as archaeologists, with sequences reduced to the maximum of minutiae in fine shades of distinction inconsistently based on one or more of the varying elements of design, shape, profile, or clay quality. A corollary is that in such a region as the Kanto with its many well established types, syntheses may follow a pattern of literally wiping out family groups. Esaka in his study "The culture of the Jomon Age"7 gives a chart that reduces the groups from a now intelligible highest common factor to the lowest denominators (hardly common): Hanazumi Lower is drawn and quartered to become Kajiyama, Kikuna, Shimogumi and Ogushi; Moroiso is transformed into Mizuko, Yagami, Shimaibata and Kusabana (Jusanbodai); others go through the same dismembering process, an example of which is the Angyo i, 2, 3 A, B and C group. Granted, these may not have been entirely satisfactory, but the implications of relationship are fully removed when they become Iwai, Angyo, Ishigami (Angyo 3 A and B) and Shimpukuji. Type names now number well over three hundred with no end in sight. The foreigner (and many Japanese include themselves) finds that breaking into this is a formidable undertaking, and at any time after the barrier is penetrated, because of the structure of the system, it is always a staggering task that never seems to simplify itself.

Fractioning of the kind stated above is antagonistic to the attempts of organization and synthesis that are rarely made in Jomon studies. Apparently archaeologists have seldom felt the

7 Esaka (gen) RHV and ff. 1950.

3

need for synthetic studies, looking on a region as the private domain of the investigator to do with as he sees fit, and perhaps only hoping that his chronology will have elements in it that are compatible with neighboring sequences. Local studies are, of course, entirely essential for

solving problems that are not on a country-wide scale, and problems of national scope would never be understood, much less solved, were it not for the detailed sectional investigations, but when progress is identified only with the segregation of new types, the bounds of the realm of reason are dangerously stretched. In most areas regional work is being handled com-

petently; at best, however, each local scheme never seems to lose its laborious intricacies. Their chief disadvantage is the consistent use of local type-site names in chronologies -more pleasant to the ears of local students from high schools on up, and more workable for local archaeol-

ogists -but even legitimate national types receive a local name, leaving a disjointed effect, and

omitting the emphases needed by Jomon studies for greater lucidity in their orientation. Out of all of these, however, the composite picture is unfolding. In the crucial Kyushu area, strati-

graphic findings are now clarifying the pattern of the developments and the possible relation-

ships with neighboring islands and Korea; in the outer Chugoku where shell-mounds are rare and some sites are in thick sand with layers virtually non-existent, relationships are formulated in reference to the Inland Sea side of Chugoku or eastern Honshu; sites are being redug with an eye toward depth relationships, and in one way or another, then, in all areas of Japan the bonds are being drawn tighter and kinships identified.

Yamanouchi's work in splitting the Jomon period into five major stages represents a type of synthesis on a higher level than I am attempting in this study. The way it took hold seems evidence enough that there was some realization that a program of this nature was needed. It

firmly cemented many inter-regional relationships. Its crowning achievement has been to give some consistency and a frame of reference to Jomon studies, and to make available relatively exact terminology when the situation does not permit greater specificity. The classification now in use is the following: So-ki, Zen-ki, Chu-ki, Ko-ki and Ban-ki. These may be translated roughly as Earliest (Initial, Proto), Early, Middle, Late and Latest (Final, Epi). Yamanouchi suggested to me that English translations could well be: Early, Early-middle, Middle, Late-middle, Late.

Yamanouchi's groups were based on the evolution in the Kanto where it is obvious that the lines are neatly cut and the chronology is the most complete. It was first applied to Honshu, Shikoku and Kyushu, but has since been expanded to include Hokkaido. Its applicability to the Kanto is unquestioned, though its value decreases proportionately as types are distant from the Kanto. It is a rigid system with no organic relationship to pottery developments, and has had the unfortunate effect of implying that all steps in pottery changes throughout Japan follow those that are either of or set forth by the Kanto. The Kanto school has become such a powerful force that I have seen Honshu archaeologists leave gaps in their chronologies with the expectation of finding types that correspond favorably to Kanto ones. It may appear to be contradictory to have stated above an emphasis on regionality and then mention here the prime consideration of relativity to the Kanto. There is some incompatability, perhaps, but it is explained by the fact that the viewpoint is not generally inter-regional, but rather a Kanto oriented one.

Such a presupposition of similar developments throughout Japan on precise time levels is as unrealistic as the general belief that the Kanto was the hub of the prehistoric universe. The

4-

Kanto has been the focal point of Jomon studies to be sure, due to the profusion of sites in the

plain and present position of Tokyo as a research center, but the importance of the area is a

fluctuating one. The great style of rouletting hardly affected it; Moroiso may have had its be-

ginnings in the Kansai, Katsusaka in the Chubu mountains; and Kamegaoka played only an

insignificant role in the Kanto. Ultimately it became the population center in Jomon times, but some of the complexities of its evolution are without doubt the result of cross-influences reach-

ing it from remote areas that are poles apart and near points of entry to Japan. Greater efforts in other areas will do much to balance the picture; the number of sites in outlying regions has far surpassed expectation, and the surface has hardly been scratched in some prefectures.

*

In order to counteract what local sequential emphases I have made in the text and to or-

ganize the material on levels throughout Japan when it is possible, the illustrations have been

arranged largely to show similarities and variations in successive styles. I believe this gives more substance to the attempts of demonstrating inter-regional unity. The pottery type is

given in large print on the upper left of each group. 8

The bibliography is organized to correspond with chapters of the text, though when references appear in either the general bibliography or another section, they are followed by the abbreviation (gen) or the title of the section. It is not intended to be a complete bibliography, but it is strong on site reports which I consider to be of obvious importance as indices of distributions.9 Bibliographical limitations due to the hundreds of small and often inaccessible articles in obscure and sometimes privately printed journals and pamphlets are compensated for

by discussions with archaeologists in various parts of Japan and the opportunity to work with their material. Much of the bibliography is in terms of the old provinces. Since the war the trend on the part of archaeologists has been to write in reference to the prefectures, certainly a welcome change, since knowledge of the names and boundaries of the provinces is rapidly disappearing. The transposition, however, is complicated by the fact that the boundary lines are rarely identical. For readings I have used province for koku or kuni, village for mura, and

county for gun or gori. The toleration showed by Japanese for variant readings of a name is not shared by the average foreigner who does not think in such readily transposable terms. I have tried to check all readings, but am consoled by instances in which experienced archaeologists could often give me only sympathy on these little problems. Diacritical marks have been omitted for simplicity in printing.

I am deeply indebted to many Japanese who kindly gave much time and effort to my queries and requests during two stays in Japan, the first in the summer of 1950, and later during a Ful-

8 It has not seemed feasible to list the sources or sites for the illustrations. The drawings have been made from published photographs and drawings the sources of which are all included in the bibliography, or from my own photographs and drawings. I have taken the liberty of using suggested reconstructions in order to indicate vessel shapes when grouping the pottery. This is primarily for Kyushu and the source is chiefly Terashi, I954. Others are Esaka (gen), RH V, and Matsumura (Kyushu), 1920.

9 The entire bibliography of Japanese material is given in English as romanization becomes too bulky. Many of the larger volumes contain English resumes, and a high percentage of the periodicals include an English table of contents.

5

bright year of 1953 -54. I hope that singling out some will not slight others, and the cheerful aid of all made the work stimulating and pleasant. The self-effacing and critical help of Mr. Sugao Yamanouchi of Tokyo University that extended over a number of weeks will never be forgotten. Others who gave time for discussion both day and night are Mr. Nakao Sakazume of Doshisha University; Dr. Mikuni Terashi of Oguchi-machi, Kagoshima; Mr. Sadanori Ka- waguchi of Kagoshima city; Mr. Teijiro Mori of Fukuoka; Mr. Yoshimasa Kamaki, curator of Kurashiki Archaeological Museum; and Mr. Kiyotari Tsuboi of Otsu. The following have aided me in various ways: Mr. Ichiro Yawata, Mr. Kiyo Fukuhara, Professor Motoyoshi Hi- gaki, Mr. Hironori Ueda, Mr. Akira Asayama, Mr. Mitsuo Kagawa, Mr. Satoshi Sato, Mr. Toshitsugu Kojima, Mr. Chosuke Serizawa and Mr. Shinji Kawabata.

While not specifically engaged in Jomon studies, others have been instrumental in making arrangements, locating research materials, and in elucidation of Jomon problems when they arose. I cannot overestimate the generous aid of Professor Kyoichi Arimitsu and Mr. Takayasu Higuchi of the Department of Archaeology, Kyoto University. Without their source of valuable advice and their ability to smooth over the rough spots, not nearly so much could have been accomplished. Work with European collections and in libraries was much facilitated by the staff of the Musee Guimet, and by Mr. F. G. Eldred of the British Museum who put at my disposal a vast quantity of material and notes collected by William Gowland and N. G. Munro. Mrs. Katsuyo Takeshita and Miss Kazuko Imamura of the Japanese section of the Library of Congress provided me with unusual and deeply appreciated privileges and services during the weeks spent with the periodicals. Dr. Alfred Salmony guided me through my years of Jomon studies as a student, and I owe him a debt of gratitude for his constant encouragement and wise counsel.

Last but not least are those to whom I am indebted for aid in translations: Miss Akiko Ugaya, then of Webster College, and later, Miss Constance Ibara, ex-Doshisha University, the latter working tirelessly and conscientiously for many months.

This volume was developed from a dissertation submitted under the same title to the faculty of the Institute of Fine Arts, New York University, in the spring of 1953.

6

CHAPTER I

JOMON POTTERY AND PHYSICAL CONDITIONS

T he term Jomon is an old and well-established label. Some doubt its adequacy, but the term that connotes the period of cord-marked pottery will undoubtedly remain in use. Trans-

lated it means "cord" and roughly "pattern", and stems from the fact that a majority of clay vessels of the period bear on their outer surface impressions made by a cord or string. The most common technique of cord-impression required the use of a slender stick around which string was securely wound and this in turn was rolled over the wet clay surface. The great variety of effects are the results of experimentation, technological advances or geographical differences.

To further clarify the terminology I will use the term "cord-impression" when a series of twisted fibers have been used in close association with each other and have been collectively impressed on the wet pottery surface; "string-impression" will be used for a single twisted strand applied to the surface individually (fig. 1/5-8). The former is a labor saving device intended to enhance the surface with textural effects and avoid the tedious and time-consuming work of using individual fibers. Its origin may have come about when clay was thinned for building the walls by rolling fibers over it, but it soo en esthetic place in pottery decoration quite divorced from function. By way of definition, I am translating jomon as cord-impression (in a collective sense) or cord-marking; yoriitomon as string-impression; surikeshijomon somewhat loosely as zoned cord-impression (fig. 6/1-9), though it means more literally, erased cord-impression; tsumegatamron as nail-impressions (fig. 2/12-14); oshigatamon as rouletting (fig. 2/1-3), though indented designs would be more literal. Yoriitomon is sometimes used for impressions of single fibers, closely spaced, and regular enough to have been done in the same way jomon is handled; I prefer to translate this as cord-impression if it can be determined that such a technique has been the case.

The pottery is always hand-made, often by the coiling process, and is at first baked in an open fire at a temperature between 4000 and 5 ooo C. The tempering material in the early periods is fiber, and later may be sand usually strongly micaceous in content. The sand varies from extremely coarse to fine; small quartz crystals are often clearly visible. An interesting phenomenon is that clays in north Japan have not broken so readily as in south Honshu, Shikoku and Kyushu. A vessel from Kyushu that can be restored is a rarity, but complete or easily restored vessels of the Kanto, Tohoku and Hokkaido number in the thousands. The Kansai is an intermediate zone in this respect.

Both iron oxide and a lacquer substance were occasionally employed to cover the outer surface. Vessels may at time be highly polished, and in the late periods some give evidence of

7

having been smoked or covered with soot before polishing. Clay colors vary by section of country and period, with early pottery generally reddish presumably because it was fired in the open, and the later pottery, gray to black, having been fired in a closed kiln in which oxidiza- tion is prevented. The change takes place in the Horinouchi period.

The methods employed in the decoration also are very wide in range; some are scarcely decorated; cord-impression only may have been used to impress simple fret-work designs; fibers may have been impressed on both inner and outer surfaces, or carved sticks may have been rolled over the clay to form zigzag or honeycomb patterns. In the last mentioned technique, that of rolling a stick over the surface, the term "rouletting" will be used for expediency. Impressions were made by the end of a bamboo shoot or parallel lines formed by using the split end of a bamboo stick. Grooves cut by a blunter instrument may decorate both surfaces. The application of clay bands, ridges, or pellets is a frequent technique; often rims carry large masses of clay, partially moulded, from which designs were carved. A few vessels resemble leather bags, bamboo baskets, reed baskets, and some of the later pottery of the north carries a smooth upper surface of the design and sloping backgrounds as if following a wood-carving technique.

Sizes and shapes vary by both period and region, as would be expected. Most of the early vessels of the north, for instance, are large capacity storage vessels of a shape that is almost cylindrical. Later, during the middle Jomon, a very wide repertory of shapes becomes the ancestors of most later Jomon vessels, but are repeated in smaller sizes.

Storage containers, domestic utensils and ritual vessels, if the distinction can even be made, are all highly ornamented usually, generally lacking a strictly utilitarian appearance. Certain objects may have a primarily ritual function: animal-like vessels, incense burners, torpedo- shaped jars, double-stemmed receptacles, U-shaped vases, and spouted vessels. The only distinction that I think can be drawn between vessels that serve domestic or ritual purposes are the more or less plain or merely cord-impressed Kamegaoka vessels and the ornate pottery of the same period.

The majority of early shapes throughout the country have pointed bottoms and generally flaring lips. Pottery production first appears in an elementary stage, substantial cohesive tempering materials are used, and simple, easily coiled, conical shapes are formed. After the initial phase of experimentation and mastery of the material, shapes in middle periods show a higher percentage of lower, wider and in general horizontal containers. Pouring vessels go through the same transition, and sections added in tiers, a common practice in the north, accentuate this trend.

In the Kanto the greatest concentration of earliest sites occurs in east Saitama and east Kanagawa prefectures, extending into the Miura Peninsula. The middle to late Jomon shell- mounds and dwelling sites are more frequent in Tokyo-to and vicinity, and in Chiba Prefec- ture including the Boso Peninsula. This may be partly explained by the elevation of the land and the likelihood that dwelling sites were abandoned and re-established near the sea as it receded. It also implies that as supplies of shell foods were exhausted new sources were located. If the land had been rising consistently the shell-mounds the greatest distance from the ocean with a majority of sea water shells would be the most ancient. The land elevation, however, has not been systematic geographically, nor has it been at an even rate. The most recent rise has occurred near the Pacific Ocean, and coastal plain areas completely devoid of shell- mounds have been formed. This has obviously taken place since agricultural products became the

8

main food staples, and the coastal strip has emerged to a height of thirty to ninety feet higher than the central part of the plain, though during the centuries when the mounds were being formed it seems that both central and coastal areas were of approximately the same elevation.

The eastern sea coast of Japan is not only supplied with more plains but is the most favorable breeding ground for mussels. The climate during most of the Jomon period and through at least the tenth century was warmer than it is today. This fact becomes evident in connection with two molluscs, the Anadara granosa and Pectenyesoensis, the former a warm sea water shell, the latter a cold sea water scallop. The Anadara granosa is found along all the coast of eastern Japan in early Jomon times, but eventually disappears in northern sites; it is associated with Jomon sherds till late Jomon and only infrequently after that. Today it is quite common south of the Izu Peninsula but rather rarely seen off the Kanto coast. The Pecten

yesoensis, however, exists north of the Bay of Tokyo and only in cooler waters. Both shells have been discovered in the same mounds. The Pectenyesoensis had not made its way as far south as north Honshu during the early Jomon period, although today it extends to Tokyo Bay. Sherds found in layers in which Anadara granosa shells predominate in the north are earlier or contemporary with those layers in which they make their last appearance in quantity in the Kanto mounds. Bivalve shells are the most common types, of course, in shell-mounds, but conch shells are by no means uncommon.

The first serious attempt to determine the age of the mounds was made by Milne in i 88 i. He was aware of the great disparity in apparent elevation of land and deposit of silt in various valleys in the Kanto Plain, and basing measurements on old maps, using averages and seeming similarities in situations in gauging distances of mounds from the present coast line and through the centuries, he established a rough estimate of 2,6oo00 years for the age of the Omori mound. Interestingly enough, in retrospect he came exceedingly close to an appropriate date for it. Munro used statistics considerably more accurate for the Omori mound and thought it could be as old as 10,000 years, but realized the approach was fruitless as one could never ascertain the original distance of the mound from the ocean.2 Toki, in I926, was able to show relative antiquity in sites by their distance from the ocean using the constantly accumulating information concerning land elevation.3 This was a great step forward, but it could not be reduced beyond a series of generalities.

The establishment of an infallible system to show the relationship between most shell- mounds in the Plain was mainly the work of Oyama and the Prehistoric Institute.4 The plan, perhaps usable only for this plain where both watercourses and shell-heaps are numerous, is based on the fact that the waters of the Bay of Tokyo have receded and shell-mounds with a profusion of sea water shells are now located a considerable distance from the coast line and between thirty and sixty feet above sea level. Sea water shell-mounds farthest from the ocean are generally the oldest, and many mounds indicate a transition from marine shells to fresh water shells implying that as the ocean receded the source of shell food became river banks and fresh water lakes. A mound composed only of river shells and in relative proximity to a

I Milne (gen), i 88 i. 2 Munro (gen), 1911. 3 Toki (Tokai), 1926. 4 Oyama (Tokai), I932.

9

mound of salt water shells is, more than likely, a later mound formed from riverine sources and after the land had risen. It is obvious, however, that all sea water shell-mounds are not necessarily contemporary, nor are all fresh water mounds always of the same age. The latest mounds are those nearest the present shore which contain a majority of sea shells.

This plan, however, poses some irregularities (after pottery type sequences have been de- duced from a sufficient number of sites) which can only be explained by assuming that part of the Kanto was actually lowering in the early Jomon period and not until the beginning of the middle Jomon (Moroiso) did the water start receding, re-exposing some of the earlier sites. After the establishment of pottery sequences in a sufficient number of mounds, the theory may then be applied in reverse if one wishes to demonstrate the subsidence of the land. Earlier Jomon shell-mounds, primarily of a marine character, found along the banks of rivers flowing southward into the bay in the neighborhood of Tokyo, are nearer to the coast line than mounds containing Kurohama pottery. This is explained by considering the greatest advance of the ocean to have taken place after the shells were accumulated in the earliest heaps, and recession to have begun during the Kurohama period. Elevation of the plain may have been from west to east and has been slightly greater in the west. The slight promontory just south of Tokyo through which the Tamagawa and Tsurumigawa flow has shell-mounds with early pottery that range from the water's edge to a distance of about ten miles inland. Along the valleys of the Motoaragawa and Ayasegawa where the sites are concentrated, the early Jomon ones are twenty miles or more from the ocean. Visualizing the disposition of these mounds on a map, a long slender inverted U penetrates the Kanto Plain to a depth of approximately twenty miles with Tokyo in the middle, and extends in breadth from the mouth of the Tsurumigawa across toward the Tonegawa where only few early Jomon sites exist. Two arcs, smaller in width than the inverted U and crossing the city of Tokyo on one side and meeting the sea between the Edogawa and Tonegawa on the other side, have for their penetration varying depths of seven to ten miles for the distance of middle Jomon sites and five to seven miles for late Jomon sites from the sea. It may be admitted that these two arcs suggest an artificial ring as middle and late Jomon sites are not frequently seen along the line bisecting the arcs until that line reaches the upper curve of the U.

A number of publications on the evolution of Jomon in the Kanto provide frustrating but valuable checks on the distribution and variety of types in Kanto sites -frustrating because disagreements are so frequent, bibliographic references are insufficient, or as is often the case, varied terminology creates overlaps. Regardless of the difficulties of use, their value in the realm of synthesis and organization cannot be over-rated. Esaka, in I939, started to group together Kanto sites which gave a clear picture of type sequences,s bringing it more up to date in his general Jomon study in I950.6 Sakazume listed all the types known in 541 shell- mounds of the Kanto in the Japanese Race (195 2),7 and Kono's earlier study, "The evolution of the Stone Age Jomon culture in the Kanto"8 provided the first detailed typology from Shiboguchi to Angyo and included for the first time the elusive Kasori B category. 5 Esaka (Tokai), I939b. 6 Esaka (gen), RH VI, 1950, chart 2 opp. p. 88. 7 Sakazume (Tokai), 1952. 8 Kono (Tokai), 1935.

IO0

CHAPTER II

THE KANTO PLAIN

T he three significant attempts in recent years to keep developments of Kanto chronology within chartable limits are those by Esaka,i Groot,2 and, for the early stages only, Seri-

zawa.3 The sequences of Esaka and Groot are firmly grounded and safely within the flexible latitude of public opinion, the former being a highly detailed listing, the latter a simplified version with a few slight differences in terminology and decidedly more conservative in its implications of coexistence of types. Points of argument exist in all chronologies, and no less with these, but the Serizawa program suggests novel relationships and varied terminology for the earliest types, and since it embodies newer material than its predecessors, it requires greater attention. This will be done as soon as the stratigraphy and depth relationships of the earliest types are listed.

The sites in which pottery levels have been detected in the Kanto for the early stages of Jomon (string-impression, limited use of cord-impression, incision work, shell-scraping, and some rouletting, or from the earliest to about the time of the Kayama type), arranged in a relative way, are the following:4

Natsushima S-Ms Hirasaka S-M6 Nojima S-M7 Shiboguchi S-M8 Sekiyama (mud layer)

Kayama Kayama (shell layer)

Nojima (shell layer) Shiboguchi (mud layer) Shiboguchi

(Esaka-Nojima) (shell layer) Tado Upper (shell layer) Tado Lower (mud layer)

Hanawadai II (upper shell layer)

Hirasaka I (shell layer) Haijima (lower Haijima Haijima shell and mud layer) (mud layer) (mud layer)

I Esaka (gen), RH V, I950, second of two charts opposite p. 88. 2 Groot (gen), I951, 6 and ff. 3 Serizawa, I954. 4 If site reports are unavailable I refer to Esaka's chart in RH VI, 1950, the second of three opposite

p. 88. Some differences in terminology make matching the chart with the site reports rather difficult. The latter have been followed when possible.

s Yawata (gen), 1953, 30-31. 6 Yawata (gen), I953, 39-40. 7 Akaboshi, i929b. This is a slight variant of the Shiboguchi type. 8 Yamanouchi (gen), 1940, section I2, pls. 115-119.

II

Shimogumi S-M9 Shirodai S-M Oguchifaka S-MIO Kikuna (shell layer)

(Hanazumi) Kayama (surface)

Shiboguchi (shell layer) Shiboguchi (shell layer) Tado Upper (upper mixed

shell and mud layer) Tado Lower

(lower mixed layer) Igusa (mud layer)

The association that rouletting (oshigatamon) and string-impressing (yoriitomon) have with each other or dependence upon one another has been the subject of considerable discussion. As yet nothing has been found which seems to have an immediate bearing on the problem other than the fact that one appears before the other in the Plain-probably an indication in itself that their origins are poles apart and the Kanto is the meeting ground. Shirazaki's theory" is that string-impressing is the progenitor of rouletting for the following reasons: the rolling technique for marking the surface is the same; both types of designs are common to many sites in the Kanto; and similarly, string-impression is found in sites that are essentially rouletted sites in the Chubu region. A number of factors lead me to believe that such a transition did not occur. First of all, the rolling technique is by no means standardized in the production of string-impression, much of it being done in other ways, but nevertheless, no sites have yet shown rouletting to be in a layer above string-impressing, indicating a transition from one to the other, a condition that is always used by Japanese archaeologists to show successive stages. Also, if rouletting has string-impressing as its direct ancestor, it must have occurred either in the Kanto or the Chubu where the two are together, but the Kanto's rouletting is quite insignificant in quantity and breadth of distribution. String-impression spreads into or from north Japan and develops into cord-impressing, being diffused in all directions ultimately. Why did rouletting go only south then? Had they both originated somewhere in central Honshu they should have both diffused to some degree in a northerly direction. Shirazaki places much stress on the sites where the two are found together, but no mention is made of the dozens more in the far west, the Kansai, Chugoku and Kyushu where they do not occur together. It seems unlikely that rouletting spread from the Kanto or Chubu to these distant areas in a direction that is quite contrary to the recognized way in which Japan was being populated by movements of people. Probably the Kanto merely acted as the zone of convergence of string-impression as it developed locally or was introduced from the north and rouletting which arrived from the south a short while after pottery manufacture had started in the Plain. The Chubu area was in a generally non-pottery condition and accepted both techniques from the Plain, while exploit- ing rouletting to a considerable degree.

Serizawa believes he has adequate evidence to show that rouletting stems from or at least follows undecorated sherds in the Kanto.12 He lists four sites at which rouletting has been dis-

g Nishimura and Nakazawa, 1954. O10 Yamanouchi (gen), 1940, section 12. 11 Shirazaki, I941. 12 Serizawa, I954, 82-83.

I2

covered with either plain or incised sherds: Hirasaka shell-mound, Natsushima shell-mound Mito and Tado. He then gives the stages (excluding the earliest) as plain, rouletted, and incised. Without sherd counts and a knowledge as to how strong the plain stage is, I would be inclined to consider undecorated fragments of doubtful evidence for argument at a time when string- impression is sparsely used and rouletting did not necessarily cover the entire surface.

A number of facts have been marshalled to show that, in general terms, in the oldest rou. letted sites the zigzag designs make the first appearance, are more or less equalled in antiquity by the checked patterns, and are followed as a later manifestation by the ovals. At Toyuzawa, Okaya city, Nagano,I3 one layer separated zigzags and checks in a lower bed from ovals in an upper, though the latter was in another part of the excavation (Trench D). Tateno in the same prefecture had the zigzags and checks, but very few ovals, though there was an intermediate type that is a cross between a check and an oval. Most of the roulettes in Onedaira, Aichi,14 are ovals. Shirazaki's inference is that the zigzags and checks are short lived, being limited to Inaridai, with its immediate successors, the Kurihara, Shakujii (Igusa) and Akazuka types, subscribing to the oval roulettes. Esaka's definitions of the earliest types do not match entirely with this15 as he lists the zigzags for Inaridai and Haijima, the zigzags, checks and ovals for Igusa. Relative to this, Serizawa feels that Esaka's materials were too few for adequate evidence. I6

According to Serizawa's information on the Daimaru site (Yokohama city), Igusa along with Daimaru pottery was found in the lowest layer, Natsushima (Haijima) occurred in the middle layer, and Inaridai and plain pottery above. Relative stratigraphy for Inaridai, an indi- vidualistic type, is otherwise virtually unavailable. It and Tado I have often been considered as the oldest, as they are usually found in the Kanto loam layer. As a result of the Daimaru excavation, Serizawa gives the early Kanto chronology in the sequence listed in the left column.I7 Esaka's arrangement is more traditional18 and I list it below, right.

Daimaru-Igusa Inaridai e * j j . j Natsushima Haijima String-and cord-impressed

Natsushima Inaridai Tado Lower I Ourayama-Hanawadai I Igusa

Tado Lower II Plain Hirasaka-Hanawadai II Mito

Tado Upper Mito Hanawadai?

Incised Tado I Shiboguchi Tado II Nojima

Kayama-Hanazumi Lower

Scraped (Shiboguchi Kayama

13 Serizawa, I954, 8z. 14 Matsushima (S. Tokai), 1952z. I5 Esaka (gen), RHV, I950, 90 and ff. I6 Serizawa, I954, 8z. 17 Serizawa, I 954, 8z. 1 8 Esaka (gen), RH V, I 95 0, chart.

I3

By way of explanation of a few points, Serizawa does not elaborate upon the Ourayama type. Esaka in a later charti' equates Mito with Tado Upper in parentheses and thus virtually eliminates it. This is a wise move and a step in the right direction of combining types under the same techniques, in that the incision work of Mito is most difficult to distinguish from much of that of Tado. Groot20 is more cautious in suggesting contemporary types, and undoubtedly more accurately so, though he also interweaves them with no concern for the inexact impression they give in regard to overall Kanto chronology.

The question now is whether other sites are going to confirm or leave Serizawa's new chronology in the air for the time being. One would prefer to reserve judgment. The Daimaru type (fig. ii/i) is not defined in his publication. I find it difficult to believe that the earliest pottery has full-blown cord-impression (Igusa), particularly if, as many Japanese archaeologists believe, pottery has its origin in this area with no foreign contacts whatsoever; and that a development, as Serizawa indicates, should go from cord-impression to string-impression (Inaridai) and then to its complete disappearance and its ultimate reappearance in a mature cord-impressing way in Hanazumi and Sekiyama. In this chronology, the earliest shapes of Daimaru and Igusa are not as simple as the later Inaridai. Inaridai and Mito contain the sandiest of all the clays.

In the typology of the early types it is understandably a problem of the precise level at which the dividing line should be drawn and clarification of the limits of the designs assigned to the types. Adequate specific definition with a minimum of hazy edges and overlapping techniques is essential in order to lay the groundwork for safe chronologies. A good example is the inclusion of rouletting in the earliest types. It is now so integrated with a number of types that it can hardly be salvaged. The problem becomes all the more acute when, instead of isolating it, such theories as its derivation from string-impression arise as a result, and consequently enmesh it more deeply in the morass of types. A clear line of demarcation is difficult to draw betweenyoriitomon and jomon (or string- or fiber-impressing, and cord-marking). One cannot go as far as Groot and exclude all cord-marking from the earliest stages,2I as the situation is not that ideal, nor can it be so easily simplified, because the transition could hardly have been coordinated throughout the Plain.

This loose system of typing has in it the germs of the rigidly sequential schemes that the archaeologists utilize-in fact, it permits a shade of legitimacy in this respect for the simple reason that some of the overlaps and partial concurrence of types are defined within the scope of the individual types themselves.

9 Esaka (gen), RH XXXTTT, 95 I, 96. 20 Groot, 1951 , 8.

2I Groot, 195 I, i and f.

14

After combining stratigraphic charts the types often remain only obliquely related and are not necessarily ancestral to each other, so that the significance of stratigraphy as an aid in de-

termining the main trends is lost. Before suggesting the alignments which I believe show the evolutions within the framework of known stratigraphy, I would like to describe very briefly each of the early types, though ignoring the rouletting with which we are not now concerned.

Inaridai: cone-shaped, pointed base of obtuse angle; vertical string-impression. Extremely sandy clay. Distribution center is the Tokyo area; found in Kanto loam layer usually.

Igusa (fig. 11/3): (Shakujii) cone-shaped, rim flares slightly; vertical or oblique cord-impression, oblique cord-impression at rim, undecorated band below rim, some fragments are plain. Distribution center is chiefly eastern Saitama and Tokyo.

Haijima: (Hirasaka I, Natsushima) cone-shaped, slight thickening at the rim, wider proportions than Inaridai; cord-impressed and string-impressed, some oblique cord-impression at rim, some fragments are plain. Distribution center is the Miura Peninsula.

Hanawadai I (fig. 1/3): more or less cone-shaped, rim thickened and turned out slightly; diagonal cord- impression and sometimes in herring bone arrangement. Fine clay. The site is in Ibaragi.

Hanawadai II: (Hirasaka II) cone-shaped or rounded base with gentle flare toward rim; sherds may be plain, incised, or scratched.

Tado I (figs. I I /4, 5; 1 /9-1 3): (Mito) cone shaped, nippled base or acute angled; incised patterns in fine, parallel lines in horizontal and diagonal groups. Inner surfaces are sometimes painted red. Sandy clay; found in Kanto loam layer often, and in many sites without Tado II. Esaka has a Tado I a and b. The latter is cone-shaped with sharply pointed base; waved rim (four peaks); broad grooves running parallel in horizontal or diagonal bands, rows of punctates and zones of shell-imprints. Mito, close enough to Tado to be classed with it, is limited chiefly to the Mito site. Distribution center is the Miura Peninsula.

Tado II (fig. I I /6): shouldered, pointed bottom, peaked (four) rims; some fine incision work, punctates, shell-imprints. The first of the complicated shapes and imaginative designs. Some sand in the clay, appearance of fiber-tempering. Distribution center is the Miura Peninsula.

In east Saitama and slightly west of the city of Tokyo one finds a concentration of early sites. Somewhat northeast, along the river slopes of the Ayasegawa and Motoaragawa as well as the Aragawa, later sites of the Hanazumi, Sekiyama and Kurohama stage form the center for advanced string- and cord-impressed pottery in pre-Moroiso times. Focussed in the Miura Peninsula and east Kanagawa, however, are the main sites for shell-scraped or incised pottery, By organizing the sites geographically a relatively logical evolution begins to unfold. I do not discount some areal overlap, though it seems to be minimal, or an interdependence that these areas must have, but we do avoid the strangely linked list that is considered an evolution, for instance, from the early string- and cord-impressed ware, through phases of plain, incised, and scraped until cord-impression reappears. The following chart shows the relationships and the developments in these two areas of the Plain:

I5

East Saitama, Ibaragi and west Tokyo Miura Peninsula and Vicinity

String- and cord-impression Incised and shell-marked

Inaridai - Igusa Tado I Haijima

Hanawadai I Maito Tado II

Hanazumi

Sekiyama - Kurohama Shiboguchi Kayama

In this way one is able to follow unbroken developments in the string- and cord-impressed, and incised and shell-imprinted that ultimately fuse into Moroiso which had one of its centers in the Miura Peninsula,22 and after which absolute sequences do occur. Moroiso marks a major turning point at a time when local types tend to take on a national character, or, from the other viewpoint, types reach an almost national scale with only local variations. Moroiso is the first plateau in the rise of Jomon pottery.

SHIBOGUCHI SHRLL-SCRAPED. Shiboguchi pottery23 (fig. Iz2/, 2) must have been in limited production as its discovery is confined to only a few sites. The important sites for Shi- boguchi ware are the site-name near the village of Tachibana, the Oguchizaka site in Yoko- hama, Natsushima, and Shirodai, all given in the stratigraphic charts.

Restored vessels show one shape to be that of a cone with a slight narrowing at the mouth and indented base, but sherds indicate that some had a gentle flare at the rim; apparently a few had flattened bases. No form of cord-impression appears, but shell-scraping of both inner and outer surfaces of the sherds is quite common. Slightly peaked rims, sometimes a little thicker than the wall, may be irregularly indented. A little fibrous material finds its way unintentionally into the clay, but in general fibers were used as a supporting lining and became carbonized during the baking. Surface markings indicate fibers were once in the clay though burned out, and all surfaces are rough and the texture coarse. Punched designs are employed liberally on the upper surface of the vessel and often in parallel lines or herring-bone patterns; they may be extended sometimes to form grooves. Scraping follows the oblique direction of upper left to lower right with some lines crossing each other occasionally. Added clay decoration may appear in the form of rosettes or strips applied obliquely or parallel to the rim (fig. iz2/2). The ridges are in low relief and often in the form of pinched clay.

KAYAMA SHRLLT-SCRAPED. Pottery somewhat similar to the Kayama type of the Kanto (fig. 12/3-6) and often considered to belong to the family group of Kayama has been found elsewhere in Honshu, in east Tohoku and in the Tosan district. The type derives its name from the shell-mound of Kayama that is located near the end of the Miura Peninsula in Kanagawa Pre-

22 In fact, Oyama and Ikegami (1934) say the region of the Tsurumi and Tama valleys as well as the Miura Peninsula is the center of the Moroiso culture.

23 See note 8.

fecture.24 The clay of this pottery is rather coarse and the walls are thick; the clay is copiously fiber-tempered. The chief characteristic of this type is its consistent shell-scraping which usually appears on the outer surface as diagonal lines. Incision work in parallel lines may add to the effects of linear decoration.

The majority of the vessels have flat bottoms, though in some cases they are rounded. The walls of many are irregular, having sagged and become distorted, and wall sides may be depressed or flattened giving the rim a more or less oblong shape. Punching effects may be seen at the rim in a few cases (fig. I/i6-i 8). Some rims are flat, but the majority have a wave or at least two or more slight peaks. Occasionally ribbons of clay are used as surface decoration near the rim, the ribbons themselves at times having indistinct punctates. Farther to the south, this feature in the form of diagonal slashes is one of Kayama's cardinal traits.

HANAZUMI CORD-IMPRESSED, INCISED AND PUNCHED. The term Hanazumi Lower is used by the majority of Japanese archaeologists for a type (fig. 12/7-I2) which is partially transitional and partially isolated from the main currents of evolving Jomon in the Plain. Kikuna, the type name used by Groot, refers to the Miyatani shell-mound of Kikuna-cho in Yokohama.z It may be referred to as Miyanoya (a different reading) as reported by Matsushita26 and has been found in shell-mounds in the Tokyo area and Ibaragi chiefly: Nonaka,27 Kami- miyao,28 Shimogumi,29 Ogushi,30 Shimizusaka,3I and the shell-mounds of Kode, Sakando and Sekiyama. The Hanazumi heap, at the lower end of the Jionji Hill in the Motoaragawa valley, is a mound similar to most of its neighbors in that the majority of shells are of sea water varieties. Two shell beds were clearly separated by an earth layer.32

Hanazumi sherds are usually more impoverished in appearance than those of preceding types. Its preference for pointed or narrow based bottoms may be partially explained by the fact that the center of this style is in an area which shows strong progressive tendencies in surface decoration (i. e. cord-impression), but retarded proficiency in vessel manufacture. In that respect it represents the last exponent of pointed and rounded bottoms in the eastern Saitama region. Hanazumi, however, is the first type to cover the entire surface with cord-impression; the impressions are large and coarse, and conform to a zigzag pattern. At times the impression is one of patchwork and is rather hesitant in appearance; depressions are usually evenly spaced, but complete regularity and therefore mastery of the technique has not been reached.

Most Hanazumi vessels flare near the mouth with the lip thickened by the addition of clay bands; other bands may encircle the neck. Many of the bodies bulge more than those of its predecessors and this may be partially accounted for by the fact that the walls of the Hanazumi vessels are slightly thinner and thus less self-supporting than those of Kayama or Shiboguchi.

24 Akaboshi I930; I937; i937a. 2s Esaka, I939a. 26 Matsushita, 93 1.

27 Esaka, 1954. 28 Kuwayama, 1935. 29 Nishimura and Nakazawa, I954. 30 Tazawa, Oba, Ikegami and Miyazaki, I937. 31 Suzuki, I934. 32 Haguenauer (gen), I931 , 52-53.

17 3

Fibrous material is mixed with the clay. Many of the bottoms of Hanazumi, Sekiyama and Kurohama type vessels have the center of the base higher than the lower part of the walls, thus permitting the weight of the vessel to rest mainly on the walls. Punched designs are present and a little incision work may occur near the mouth of vessels. Parallel diagonal lines, hanging arcs, circles and curved lines decorate a thickened rim, and in many cases incisions are deep enough to expose the fibrous core of the clay. Suggestions of spirals in designs that are not clearly formalized and at times lack recognizable organization are to be seen in the incision work.

SEKIYAMA CORD-IMPRESSED AND INCISED. Sekiyama pottery (fig. I2/13-18, 23, 24) represents an important step in the direction of national production in that there is greater consistency throughout regions in which it occurs and it was much more profusely produced than its forerunners. It is diffused beyond the limits of the Kanto Plain, though its area of concentration is that of Tokyo-to, southeast Saitama and Chiba Prefectures. The shell-mound is at Hasuda.33 The shapes are rather similar to those of Kayama, thus suggesting either a parallel development or incipient fusion of ideas that culminate in the Moroiso type. Most existing vessels have the lower section restored and there is some doubt concerning the typical base shape. Low bowls, for instance, have been restored with a short, flared base. Vessels that give every appearance of being of tall proportions have been tapered and rounded off abruptly. In general terms, however, and even though there are shallow vessels, the shapes are simple, tall, with relatively narrow bases, of essentially truncated cone shape. One vessel has a sharply flared rim, and peaked rims are to be seen on a small percentage of vessels. Pointed bottoms no longer exist; some have been restored as rounded. Walls are still not entirely controlled and many sag, and the tempering is very fibrous. Cord-impression, often showing a considerable degree of competence, may be coarse, and is mainly in large zigzag patterns, although oblique lines of it also exist. The impressions may be separated by fine, wavy horizontal lines or slightly raised ridges which encircle the vessels. Many sherds bear parallel incised lines, some cut by means of the end of a split bamboo stick after the cord-impression had been applied; more elaborate are the contiguous series of arcs carved by a bamboo stick seen on the upper part of vessels. A rather complex pattern punctuated by clay bosses appears on some sherds with peaked and notched rims, and contour lines contain the decoration in parallel zones, while areas between bosses are striated vertically (fig. 1/19-22). In some cases bosses are used in the organization of the design in other ways: they emphasize intersections of series of parallel lines or link the lines in a way that previews the most typical motif of Angyo. Rims turned slightly outward are a little thicker than the wall of the vessel in some instances. Strange little protrusions as spouts seem to be only a transient manifestation, following no prototypes and setting no pre- cedents.

Some of the important sites (other than those listed in the stratigraphic charts) in which Sekiyama pottery has been found are the following: Nonaka shell-mound;34 Shell-mound

33 This term, Hasuda, was used consistently by Oyama and at one time by Yawata in reference to Hana- zumi Lower, Sekiyama and Kurohama, while the more detailed classification is used by Yamanouchi and others.

34 Esaka, 1954.

ioz6, Kugahara;35 Ogawa-machi;36 Okkoshi shell-mounds;37 Shimoda-machi shell-mound;38 and Ogushi shell-mounds.39 Groot lists others that he considers to be important.40

KUROHAMA CORD-IMPRESSED AND INCISED. Kurohama type pottery (fig. 12/19-22),

named after a hill in the Kanto Plain, represents the last local product of the early Jomon. Over a dozen shell-mounds on the hills overlooking the Motoaragawa have yielded pottery of this style.41 The clay contains a rich quantity of fibrous material; it is coarse in texture and the walls are rather thick. A wider variety of shapes now becomes evident and some of the bizarre ones of middle Jomon can be traced to their genesis in the Kurohama period. Vessels may narrow rather sharply toward the bottom and flare toward the top; at the same time a widening or globularity of the middle often gives them an unstable appearance. Rims may be peaked. The "cup-collar" becomes an established form and is later to play a major role in the middle Jomon.

The surface of some vessels appears rough and crude if compared with the Sekiyama group; punched and incised lines are rarely uniformly executed, and the cord-impression, which usually covers the entire surface in large herring-bone patterns, may be rather coarse and deep, leaving sharp ridges between depressions. The parallel line incision work so common in Mo- roiso is found here in almost the same form, although Kurohama is only a transmitter, inasmuch as stick-grooving follows shell-scraping after a period of coexistence, and the former may be traced to Kayama in the Kanto Plain for its double-line trait. The ancient practice of impressing with the edge of the shell is still seen infrequently, and some sherds bear combed marks.

As there can be shown to be no great difference in time between Sekiyama and Kuro- hama, the former with a rather wide distribution and the latter considerably circumscribed, and artifacts discovered with both pottery types are similar, credence may be given to the idea that Kurohama, as a virtual contemporary of Sekiyama and showing no standards of quality above its predecessors, is insignificant in the development of technique and decoration, but supremely important in regard to the innovation of shapes, some of which give the middle Jomon its virile aspect.

The line between early Jomon and middle Jomon pottery may be drawn, not on the basis of fiber- or cord-impression, nor on any radical visible progress in manufacture of pottery, but on the new concept of surface treatment that appears rather markedly in the latter part of Mo- roiso. This is accomplished mainly with the use of added clay moulded as the shape of the vessel grows, and which may be cut away and sculptured after its application.

This new attitude-an attempted integration of decoration with vessel form carried to the

35 Saito, 1934. 36 Sakazume, 1942 a. 37 Sakazume and Wajima, 1941. 38 Sakazume, Esaka and Serizawa, I937. 39 Tazawa, 1937. 40 Groot, 195I, 37. 4I These include the following: Arai, Arai-kochi, Baba, Egasaki, Shuku, Shuku-ura, and Sumigama on

the Kurohama Hill; Kamuro, Kokaba, Omotejionji, Sakurayama, Tsukiyomisha, and Ueno on Jionji Hill; Kake, Kakurajokuji, Kisora and Kuroya on the Iwatsuki Hill.

I9

degree of subordination of vessel shape to ornamentation-is to a great extent the attitude responsible for the unique character afforded Jomon pottery. The greatest dramatization of this takes place in the Katsusaka period, after which the program is modified, and in the latter part of the middle Jomon a remarkable sense of harmony and propriety between body forms and plastic embellishment is demonstrated.

Although Moroiso types of pottery have been subdivided (mainly by chronology), there is a greater universality of Moroiso pottery than preceding types, apparently more rapid diffusion of techniques, stronger inter-relationships between local groups, and local developments representing nearly national standards.

There are, of course, innovations during the Katsusaka period as there are in all other periods, but the new concept of pottery-making is a pre-Katsusaka manifestation. Katsusaka is built essentially on the foundations of Moroiso with a few injected elements; it is a forcible, distinctive phase which tends to break up a level reached in Moroiso that is almost country- wide. Moroiso appealed to all with the assiduity of its equallizing spirit. Its moderation offended none, but it contained the germs of additive decoration which grew through its adolescence in late Moroiso to a marked maturity in Katsusaka.

Two fundamental reasons, then, lead me to believe that if one desires to draw a line between early and middle Jomon it should be drawn before Moroiso: i. the existence of an unusually coordinated front during Moroiso. Although the term Moroiso itself indicates a Kanto Plain origin or center, pottery production in most areas is the nearest to a single level that it ever attains until the Horinouchi phase in later times. There are coalescing and aligning forces at work during this period. 2. The rational use of applied clay designs. As this element is carried to its highest point, the creative possibilities are infinitely greater than in other techniques; the shapes of the vessels may be changed, more power is given to symbol-like ornament, and the potter's art becomes a more sculptural and dynamic one.

The temporal relativity of Moroiso and its predecessors is established by their levels at the following sites and in the sequences here shown:

Ikihashi S-M Shinzaku S-M42 Katehayadai S-M43 Yagamiyato S-M44

Moroiso (shell layer) Moroiso (shell layer) Moroiso (surface Moroiso (shell layer) and shell layer)

Kurohama * ly Kurohama (shell layer Kurohama Kurohama (mud layer) Sekiyama J lyr and mud layer) (below shell layer)

Kayama (mud layer) Kayama (mud layer below shell layer)

Shiboguchi (mud layer and loam layer)

Its relative position with its most immediate successors may be ascertained by the following stratigraphic layers:

42 Oka, 1934a. 43 Groot, I951, 6. 44 Esaka, 1 939.

20

Atamadai (shell layer) Atamadai (shell layer) Goryogadai (clay layer) Goryogadai ( layer)

Moroiso (lower shell Moroiso (clay layer) Moroiso layer and mud layer) (mud and peat layer)

At the Awashimadai sites, A, B and C, the layers appeared as follows:47

A B C

Top layer Ubayama Ubayama Ubayama znd Katsusaka-Atamadai Katsusaka-Atamadai Katsusaka-Atamadai 3rd Moroiso Goryogadai Goryogadai lowest Moroiso }

Kurohama J

MOROISO NAIL-IMPRESSED AND APPLIDFT). This type of pottery (fig. 1 3/ I-22; pl. I/ I-4, 6) receives its name by common consent from the Moroiso kitchen-midden in Miura Peninsula of southeast Kanagawa Prefecture;48 it has not come exclusively from shell-mound deposits. It is found in the Kanto Plain and southern part of the Tokai district and across a belt of the Hokuriku and Tosan that includes the prefectures of Niigata, Nagano, Fukui and Gifu. Varieties of it are known along the east coast from Miyagi to Okayama Prefectures, and Kyushu has types inspired by Moroiso.

The following is a list of important Moroiso sites which have not yet been referred to in connection with the discussion of Moroiso pottery: Orimoto shell-mound,49 Shinzaku shell-

45 Kono, I935, 44-46. 46 Matsumoto and others, 1952, I7.

47 Iseki and others, I952, I7. 48 Sakakibara, I951; Tanikawa, 1924-25; Yagi, 1897; Akaboshi and Sakazume, 1938. Esaka [(gen),

RH XXXI, 1951 , 91-95; 32, 85-91] virtually dispenses with the Moroiso stage as a family unit and uses instead four types which succeed each other as follows: Mizuko, Yagami, Yomaibata, and Kusa- bana (or Jusanbodai). Certain features of the Moroiso family that these types have in common play against any attempt to subtype in this manner as the distinctions are insufficiently satisfactory in an overwhelming majority of cases. Cord-impression is common to Mizuko, Yagami and Yomaibata; nail-impressions are the cardinal trait of Yagami, but appear frequently on the Kusabana sherds; applied clay patterns may be seen, though handled in a somewhat different way, on Yomaibata and Kusa- bana and while there is some evolution in shapes, the features by which they may be distinguished are so imperceptible as to be impossible to define adequately. In gneral, Mizuko consists of tall jars, either straight or curved walls, most with flat rim, some with four points, rather narrow base, and bearing oblique cord-impression. Yagami vessels, whether they be low bowls or high jars, have flat rims usually, and have a systematic use of nail-impressions coupled with oblique cord-impression. Yomai- bata or Moroiso B vessels generally have a strong widening at the upper part and turned in lip that forms a cup-shape. These carry ribbons of clay that are either incised or twisted to simulate patterns in rope. Some of this group bear only oblique cord-impression. The chief characteristic of Kusabana or Moroiso C (Yamanouchi uses the term Jusanbodai) is parallel and rather deep incision work in horizontal, vertical or oblique and chevron arrangements and doughnut- or roof-shaped bosses of clay applied at irregular intervals. The shapes are simpler than Yomaibata.

49 Nakane, 1930.

21

Okadaira S-M Nakanodai S-M45 Kamo Lowland Site46

mound, so50 Chidorikubo,5 Shimosugeta shell-mound,52 Yukigaya,53 Higashi-rokusho,54 Tsu- mura,55 Nakagawa,56 Dookanyama,57 Tsurumi,58 East Shell-mound 3, Yokohama,59 Hon- muracho shell-mound,6o Nonaka shell-mound,6I Haketa,62 Yado,63 Umio,64 Shinohara shell- mound,6s Kokubunji,66 Ninomiya,67 Suenagakubo,68 Sakaida shell-mound,69 Miyadaira shell- mounds,70 Ukijima shell-mound,7I Kamo72 and Mizuko.73

Certain advances in Moroiso pottery form the point of departure for the major styles of the future. There is a greater variety of sizes and shapes, and though admittedly these do not run the complete gamut they do in the latter part of the middle Jomon they include bowls, flasks, and vessels with more flare toward the top and greater wave in the rim. The clay is normally not fiber-tempered, the walls are fairly thick and the color is usually brown. Small cups may be about 4" high while deep jars range up to I 5 ".

Yamanouchi recognizes three successive types of Moroiso ware.74 The difference between Type A and Types B and C is that A usually carries with it oblique cord-impression all over the vessel and series of parallel lines which were made, in most cases, with the end of a bamboo stick that had been previously split (fig. 2/9-14). Often arcs are punched along the course made by the stick and when this is the case it generally becomes the main decorative theme of the vessel. At times vacillating geometric designs done in this manner give the appearance of sketchiness and indecision. Rows of circles punched with a bamboo stick may run vertically or horizontally near the rim. Arcs, half-moon shaped punctates, and the so-called nail-impressions

so Oka, 1934a. si Oyama, 1926. 52 Oyama and Ikegami, I934. 53 Saito and Saito, 1934. 54 Yoshida, I938. 55 Akaboshi, 1926a. 56 Akaboshi, 1932. 57 Toki, I934. 58 Toki and Takeshita, I934. 59 Esaka, I938b. 60 Esaka, 1938c. 6I Esaka, 1954. 62 Goto, I937. 63 Ishino, i930. 64 Kono, I924. 6s Matsushita, 193 I a. 66 Miyazaki, 1935. 67 Miyazaki, I93 8. 68 Oka, I934. 69 Sakazume and Esaka, I939. 70 Oyama and Ogyu, I940. 7' Sato and Wakabayashi, I894. 72 Matsumoto and others, 1952. 73 Otomasu and Wajima, 1940. 74 Yamanouchi (gen), 1937, 3 I, refers to Moroiso a and b and Jusanbodai, the last named often equated

with Moroiso c.

22

may be all or part of the decoration.7s The nail-shaped impressions are more often than not done with a bamboo stick or splint. Less frequent, but a factor in the later B and C types, are the applied thin bands of clay which encircle the vessel near the rim or around the waist. These are diagonally incised or punched to resemble a rope; sometimes they have been twisted like strands of fibers. Apparently most of the other decoration was done after the vessels were cord- impressed and in rare instances some areas were rubbed smooth after the decoration was completed, foreshadowing a later major technique.

The most common shape is an upright vessel of medium size with slightly broadened top. Some jars have rather narrow bases, bulging bodies, and strongly flaring, slightly in-turned rims. Very rarely are the walls of the vessels straight. Rims are occasionally thicker than the walls and are usually smooth, but may be peaked.

From the stratigraphic evidence Moroiso B and C are later than A, but apparently Type A continues to be made during most of the existence of B and probably also of C. In a number of shell-mounds A has been found in layers below B; some mounds show the two to have been mixed, but C is not found with either of the other types and is rarely discovered in shell-layers.76 The decoration in Moroiso B was once again done mainly by bamboo stick punching and many of the vessels are cord-impressed, but the application of ribbons of clay in the form of rope distinguishes this style. The rope patterns may be in the shape of spirals, undulating lines, or merely bands running parallel with the rim of the vessel. Most of the rims are rather simple, but some are slightly waved and infrequently others are strongly waved.

In Moroiso C cord-impression is used very sparingly; parallel incised lines are retained and small widely spaced bosses encircle the shoulder of the vessel. There is slight fiber-tempering in Moroiso C. Relief decoration appears, and occasionally some of the peaks of the rims are modelled into zoomorphic heads. In contrast with B there is a lessening of technical excellence to the point of mediocrity and a reversion to the decorative impoverishment apparent in some earlier Moroiso vessels.

Since the southern Kinki district and surrounding areas have been the source of so much pottery related to the Moroiso style (particularly Type A) in decoration, it is quite possible that its origin was in this region and the radiating lines of development were in a northerly and northeasterly direction. Numerous sites not far from Ise Bay have yielded pottery with nail- shaped punches, cord-impression in zigzag patterns, de-emphasized raised bands of clay and short line punches.

The earliest Moroiso pottery in the Kanto Plain comes from the Miura Peninsula and may have received its inspiration from the south (i. e. the Kansai region); it outlived Sekiyama and Kurohama to become the dominant style of the Kanto.

A breakdown of the ornamentation of Moroiso would include the following in linear techniques:

75 The term tstmegatamon is the usual terminology for what we can loosely call nail-impressions. Prob- ably they were originally thought to have been made by the finger-nail-some perhaps may have been- but most were undoubtedly made by a split bamboo stick.

76 See Groot, 1951, i6, 43-44.

23

I. Incision work

a. Horizontal, diagonal and vertical parallel lines, with or without intervening crescent- shaped impressions

b. Parallel arcs, hanging or isolated, with or without intervening crescent-shaped impressions

c. Single or parallel undulating lines, or single or parallel continuous arcs, the parallel ones of which may have intervening crescent-shaped impressions

d. Combinations of any of the above, and at times with circular punctates interrupting the lines.

2. Punched work

a. Chevron or crescent-shaped impressions in groups b. Circles c. Single or parallel horizontal punctates.

Identifiable designs are ellipses, spirals, arcs, and triangles. The following designs are found in the modelling technique:

i. Single or parallel strips of rope-like clay running horizontally, diagonally or in arcs 2. Single or double strips forming spirals.

The scratching technique of Kurohama was improved upon by Moroiso potters who may have utilized the simulated rope patterns of Sekiyama, changing their angular and generally quadrilateral character to one of greater fluidity, and adopting the combined spiral-diagonal design as the basis for their applied clay ornaments. The small bosses of Sekiyama play the same part punctates often do in Moroiso A -they accent intersections and angles of redirected lines. All aspects included, Moroiso B is the most progressive of the Moroiso group -in method of treating ornament, developed qualities of the designs and more composite nature of vessel shapes.

FIGURINES OF MOROISO. In post-war publications some attention has been paid to figurines of Moroiso time.77 Perhaps three or four of this stage are now known; one from Ori- moto has only an abdomen and widened stumps below (fig. 40/3); another from Yomaibata is broad, flat, rounded at the top in a vague head-shape, has slight protrusions like stump arms, is squared off at the base, and there seems to be a slight indication of its female sex (fig. 40/2). Nagamine considered a fragmentary figurine from Sakai, Yamanashi,78 t6 be a male figure. It belongs to a later period, but is an interesting and perhaps unique example. Only the base is intact, and along with incision decoration the lower abdomen bears three lumps, a smaller upper one, two larger lower ones. These are interpreted as testicles, though I would prefer to look on the upper protrusion as just one of the usual pregnancy symbols and the lower ones similarly female, and so get it back into the ranks of the fairer sex.

77 Noguchi (fig), 1952. 78 Nagamine (fig), 19 5 1.

24

The Moroiso figurines are not the earliest, however, although their characteristics are in- deed primitive. The Hanawadai site contained one plaque-figurine of simple, almost fiddle, shape with projecting, rounded "head" (fig. 40/i). As far as I know the Kayama-Hanazumi- Sekiyama phase of wide scope, though possibly not long duration, has yielded no figurines.

GORYOGADAI APPLTED. Esaka includes a Goryogadai type which he places in early Middle Jomon before Katsusaka but contemporary with Atamadai, the latter extended across two time units. The site79 contained pottery that is decorated in a style that combines both Moroiso and Katsusaka elements. The nail-impressing is not entirely gone, and the panelling arrangement has not yet appeared. Some pieces look almost Moroiso (fig. I3/4), others are practically Katsusaka, so it obviously stands as an intermediate type and clearly represents the transition from one to the other in the eastern part of the Kanto. The chief sites in which this pottery has been found are mostly not far from the neck of the Boso Peninsula. These sites yielded this intermediate pottery: Awashimadai, Choshi city;80 Inume, Tokyo-to;81 Ikazuchi shell-mound, Chiba.82

KATSUSAKA APP,TIED AND CARVED. The Katsusaka family comprises one of the largest groups of Jomon pottery and forms the first high point in the development of the ceramic art (figs. I5, i6, I7/1-18; pl. I/5). Katsusaka is a fertile site in Kanagawa Prefecture not far from the town of Ebina near Atsugi-machi and about a thousand yards from the Sagami River.83 In the middle layer of soil, sandwiched between an upper covering of humus and a lower bed of clay, were discovered the remains of pottery and a few implements in a bed of black clay. The type-name is one of the few agreed upon by archaeologists, although there may be at times some disagreement as to what its components are.84 Variations are found in the Kanto Plain, across the Tosan and in Hokuriku. There is such a striking manifestation of it in Nagano Prefecture where the vessels are often very large and lavishly decorated that it may be reasonable to believe that its focal point was in this area. The Kanto Plain ware shows more restraint in decoration arid usually greater simplicity in shape.

The most common of all the Katsusaka shapes is the deep-bodied vessel with cup formation at the top that is often supplied with loops, "handles", or piled up clay carved in the form of an animal or human face. 85 Although the pottery makers of Katsusaka capitalized on these projections and expanded them into one of the distinctive features of the period, they were at least partially an inheritance from Moroiso in the Hokuriku. The bodies of some vessels may be swollen and the bases of many are rounded. Cord-impression infrequently occurs; the majority of vessels have heavy, applied strips of clay in waved or oblong patterns interspersed with

79 Esaka, 194I; I949. 80 Iseki and others, I952. 81 Matsui, 1948. 82 Nishimura, 195 1. 83 Oyama, I927; I928. 84 Oyama, I932, 88, includes the Ubayama group in his general Katsusaka category, but says that Kat-

susaka may be subdivided. 85 Sugiyama (gen), 1928, 223-225 draws the parallel between basket shapes and some Katsusaka vessels

and the likelihood of their portability in baskets.

25

incision work of vertical, horizontal or zigzag lines. Some designs, boldly conceived, encircle the vessel on horizontal registers, others run vertically and emphasize its height. One group from Saitama Prefecture has an entirely plain cup from which small loops usually project. The

simplest Katsusaka shape, apparently more prevalent in the Kanto, is the truncated cone. The sides may be almost straight or they may swell slightly; the upper part of the walls may flare or there may be a gentle constriction at the neck. These variations on the truncated cone, straight and incurved or outcurved sides, though not always immediately recognizable because the ornament often renders the silhouette almost unintelligible, are shapes accepted by Moroiso potters and passed on to their successors. Persisting from Moroiso are the basket- shaped vessels, squat wide-mouthed jars, flasks and cups or bowls. The pottery color is usually light brown to reddish-brown, and vessels may be as much as 22" in height and 15" in diameter at the widest point. Cord-impression when found is regular, unidirectional (at about a 600 angle) and relatively fine.

From its rather meager beginnings in Moroiso there is now a dramatic use of plastic decor, which, when combined with the thick walls of the vessels, creates a sense of stateliness and dignity indicating for the first time a scrupulous awareness of style on the part of the potters. Attached strips of clay are frequently incised to resemble a rope and, though lacking the illusionistic quality found in Moroiso pottery, there is little doubt that this is a direct continuation of the former style. One type whose center of production is Nagano, but is almost as common in Ibaragi Prefecture, is a series of upright jars with decorated or plain cup or very slightly flaring top. Vertical or horizontal creases, often deep, encircle the vessel and in some instances thin ribbons of clay have been applied in undulating lines running more or less horizontally, perpendicularly, or even in a curvilinear manner. Otherwise undecorated areas may be cord- impressed. Some of the pendant strips of clay resemble snakes, but it is difficult to be certain that they embody zoomorphic intent.

Suspension vessels, probably first used in the Moroiso culture, come into their own in Katsusaka times. In a style that naturally gravitates to loops, small handles, strips and openings, and extravagant ornamentation, the holders needed to make the vessels functional as hanging containers become a harmonious part of the decoration. Subtleties are heightened when many annulets and perforations are garnishments in their own right, though inspired by practical considerations. Rope loops and webs of the fibrous supports of vessels lend themselves as logical patterns to be simulated in clay. Not only do obvious rope patterns appear, but there are all degrees of similarity to netted ropes. For instance, in Fig. 15/3, 4, i i, the knots are apparent in the small attached rings often placed at junctures, and the panelling and divisioning of the curved surface into triangles and rectangles is similar to the way cords would envelop a basket, wooden or clay container.

Certain incongruities in Katsusaka shapes and placement of rings or location of openings bring out problems connected with the actual use and practicality of the suspension vessel. The great majority of suspension vessels in all periods have narrow or rounded bottoms except the late post-Jomon pans of the northern islands with inner lugs. Strangely enough, though the principle is based on greater depth than width when only two lugs are used, these bowls are very shallow and presuppose their use to have been mainly that of holding liquids or perhaps semi-solids. Katsusaka vessels are large and heavy, and although later and smaller jars have

z6

both lower and upper loops in many cases, it is rarely true of those of Katsusaka. The most typical suspension vessel of post-Katsusaka is a variation of the bottle with narrow neck and loops or holes near the rim and often equipped with loops down on the body at approximately the greatest diameter of the vessel. Upright vessels with enveloping cords or cords which reach from a low point are safe and secure, but many large capacity jars of Katsusaka have openings in the cup or in projecting loops along the rim totalling four in number and were the vessels to be filled to capacity with liquids, sea foods, berries, or relatively dense solids their weight as suspension vessels would be unsupportable. Some of the lessons were learned by Horinouchi times and later evidently, judging by the more secure appearance of post-Katsusaka vessels, but that would be of no consolation to the unfortunates of Katsusaka times who were victimized by the frailities of clay supports. More than likely they were already a relic or token of an earlier function, yet, inasmuch as many other vessels seem to have been influenced by the shapes of suspension vessels even to the impairment of their practicality (with rounded and narrow bases), the role they played is significant as one that established a standard which other vessels often followed.

Complexities and a general lack of repetition in ornamentation make analysis and description difficult. The approach to surface treatment shows a similar attitude as that maintained through the high period of the Oriental Bronze Age, as, for instance, the "baroque" of Early Chou: raised surfaces constitute the rational ornament, background fields of molecular detail serve the diverse purposes of supplementing and complementing the projected patterns. The decoration, inventive and creative, contains mystifying twists and turns on unpredictable courses, an un-neolithic spirit of producing the new and the amazing, tantalizingly close to recognizable forms of snakes, wings, claws, eyes, horns, leaves, petals, yet of almost intangible and indefinable asymmetrical organic conformations. In passing it might be mentioned, but not pressed at this stage, that vulvar, cowrie-shell and embryo-like manifestations in the designs may be construed as an added mark of a society whose accoutrements include the figurine and the "stone club".

In spite of the difficulties involved in reducing the decoration to specific formulae and with the realization of the numerous ways in which it could be done, one method of divisioning that is offered here is based on a separation of foreground, projected or outline designs from background, surface or filler designs. The program of the former is carried out in modelled and constructed clay (with incised details, notches, etc. at times), of the latter in carving, cutting and engraving. There are many instances in which it is difficult to determine the technique, and in some cases the actual foreground and background designs are similar. References to illustrations of Katsusaka designs are given; such designs will also be found in the illustrations of vessels.

I. Foreground Designs

A. Rectangles (fig. 3 / , 2) B. Oblongs (fig. 3/3-6) C. Ellipses (fig. 3/7, 8) D. Triangles (fig. 3/9, io) E. Circles (fig. 3/11 I -15)

27

I. Connected (fig. 3 / I4) 2. Perforated loops or projections (fig. 3/15)

F. Arcs (fig. 3 / 6-9) i. Isolated (fig. 3/17) 2. Connected (fig. 3/19)

G. Straight strips (on most vessels) i. Horizontally placed (fig. 3/22-25) 2. Vertically placed (fig. 3/26-28) 3. Diagonally placed (fig. 3/9) 4. Zigzag lines (fig. 3/3 I, 32)

5. Overlapping opposed diagonals (lattice) (fig. 3/30) H. Spiral forms (on numerous vessels)

i. S-shaped or question-mark shaped (fig. 3/38) 2. Interlocked spirals (fig. 3/39) 3. Double involuted (ear-shaped) (fig. 3/40) 4. Single spirals back to back resembling horns (fig. 3/37, 4I, 42)

I. Undulating lines (snake-like) (fig. 3/43, 46, 48, 5 1) i. Horizontally placed (fig. 3/45, 46) 2. Vertically placed (fig. 3/43-48)

J. Miscellaneous curved lines i. Lyre-shaped with spirals at end (fig. 3/48) 2. Alar formations, resembling dragon-fly wings or wing (fig. 3/49) 3. Spur-like or thumb shaped (fig. 3/5 0, 5 I) 4. Shield-shaped (fig. 3 / 52) 5. Hook-shaped (fig. 3/53) 6. Hanging pods (fig. 3/5 5)

K. Teeth, cogs, or sutures of accordion shape (fig. 3/20-22, 25)

II. Background Designs

A. Straight horizontal, vertical or diagonal lines or combinations of such lines (on most vessels) i. Crossing each other, usually diagonally (fig. I6/7) 2. Zigzag (fig. I5/3, I 8) 3. Chevrons (fig. 3/29)

4. Crimping (fig. 3/10, 32, 38) B. Undulating lines (fig. 3/3) C. Arcs, both shallow and deep (fig. I 5 / 33)

i. Isolated (fig. 5 / 3 3) 2. Concentrically arranged (fig. 3 / 8)

D. Spiral forms (on numerous vessels) I. Spirals (fig. 5 / , 7, I7) 2. Double involuted (fig. i6/34)

28

E. Y-shaped design or three-pointed star (fig. 3/9, 35) F. Cross or x G. Thorns (fig. 5s/i) H. Teeth or cogs (fig. 3/39, illustrated on a raised surface)

Although it is not the intention of this study to define the entire culture pattern of each period nor attempt to theorize concerning the racial changes that take place during the early neolithic, nevertheless the character of the Katsusaka culture-impressively large vessels with ambitious decor, the figurine as an entity in itself, the seki-bo, new shape of pit-dwelling, and use of the cylindrically-shaped axe-all point to fresh and new ideas in Honshu traceable to local inhabitants now asserting their traits in a sudden and dramatic manner, or, more likely, to incomming people who had formerly been accustomed to dwelling in mountainous and forested regions. However, it does not seem possible to trace this culture to one source as yet.

Katsusaka stands in an almost unique class among Jomon styles. The unusually wider range of shapes, increase in vessel size, diversity of ornamentation, new concept of the importance of decoration and its glorification, sculptural attitude, belief that the manufacture of pottery and its use should reach beyond the satisfaction of mere physical necessities into the mystic realm of spiritual needs, and thus the greater integration of the art of the ceramicist with the beliefs and precepts of the people-these are the major bequests of the Katsusaka potters.

It is difficult to evaluate sites as to their degree of importance when such instruments of measurement as sherd counts are generally lacking, but it seems to me that the following, excluding the type site and others given in stratigraphic lists, is a representative group of significant eastern and southern Kanto sites where Katsusaka pottery has been found: Shirasu,86 Nakagawa,87 Hiratoyama,88 Kuhiri shell-mound,89 Edozaka,90 Tsukiyomishirodai,9i Narahara shell-mound,92 Ekoda,93 Nogawa,94 Shosen,95 Chidorikubo,96 Chofu,97 Mayezawa,98 Haketa,99 Azanishimura, ioo Uenohara, IO Shirai, 102 Kugahara,103 and Tonoyama. I04

86 Akaboshi, 1930 a. 87 Akaboshi, 1932. 88 Akaboshi, 1934. 89 Sakakibara, 1921. 90 Akaboshi, 1933 a. 9I Akaboshi, 1938a. 92 Goto, 1933. 93 Horino, 1938. 94 Tanikawa, 1923; Ikegami, 1931 a. 95 Nakane, I932. 96 Oyama, 1926. 97 Taniki and Morimoto, 1926. 98 Yajima, 1940-

99 Goto, 1937. 100 Miyazaki, 1936. 101 Nishina, I929. 102 Yagi and Hayashi, I896; Oyama, i93I. 103 Saito and Saito, 1933. 104 Yajima, I942.

29

FIGURINES OF KATSUSAKA. Some of the earliest figurative representations in Japan are the small heads of humans and animals incorporated into rim protuberances on large vessels

(fig. 40/9, I3-I 5). These first occur in the Moroiso culture in western JapanIos and later in the Katsusaka period in the east,I06 but they always maintain a strong Tosan character.

The figurines undoubtedly represent a cultural continuity from the paleolithic; the human ones are female and wear a form of headdress, but the neolithic traits may be seen in the fact that they are of clay, the arms are little more than stumps, and they are covered with ornaments which may be interpreted as either clothing or tattooing. In the Katsusaka ones the almond-

shaped eyes are strongly slanted, arched eyebrows often meet over the nose and are carved or

slightly ridged. The mouth may be a simple hole. A large, triangularly shaped headdress en- closes the top and back of the head in central and western Japan and bears a number of perforations; in eastern Japan it is more often rounded. One figurine from Kamikurokoma, Ya- manashi Prefecture, never part of a vessel, has an evil, mask-like face; a large round hole in the back of its head; bulging neck and shoulders adorned with small punctates and a three-fin- gered left hand attached to the chest (fig. 40/5). A strong zoomorphic tendency in the figurines persists until the latter half of the middle Jomon period. There is probably an interdependence between the figurines and the rim heads on the vessels. The latter give the impression that the vessels would have had a ritual use.

The Katsusaka rim heads, most prevalent in Nagano and Yamanashi Prefectures, tend to

resemble either a rodent, a canine, a feline, or combination of these elements, all of which, with slanted eyes, joined brows or indentation above the nose, perforations with nostrils without nose, and circles or horizontal ellipses for the mouth, lead one to suspect that such profound myths as those concerning the fox may be traced to neolithic origins.

ATAMADAI APPLTFD AND INCISED. Atamadai, a shell-mound near the village of Omi- gawa, south of the Tonegawa in Chiba Prefecture, is now about twelve and a half miles from the coast. I07 The finds were in a layer of sea shells. A considerable number of sites indicate that Katsusaka and Atamadai are contemporary, although Katsusaka is by far a grander manifestation, and less limited in scope. Atamadai (fig. 17/19-35), stylistically dominated by Katsusaka, has much the same character of plastically incrusted facing and a body upgrowth into asymmetrical rim protrusions and apertures. Atamadai, however, comes from sites east of Tokyo and generally close to the sea, whereas Katsusaka sites are mainly farther inland and often not associated with shell-mounds. Very little of the Atamadai ware is cord-impressed; some vessels are entirely plain. The color of the clay is usually light to dark brown and there is some mica- tempering. The most common shapes are cupped vessels with or without wavy rims, swelling jars, bowls, and the persistent truncated-cone shapes.

The repertory of motifs lacks the range of Katsusaka yet obviously shows considerable reliance on Katsusaka for its inspiration. The panelling system, oblong shapes, incomplete spirals, undulating lines, parallel grooves, large peaks and a general similarity in the plastic treatment of the ornamentation are all probably borrowed from its neighbor to the west. Most strik-

i05 Takahashi, i929. i06 Eto (fig), I936. 107 Yagi and Shimomura, I894.

30

ing are the peaked formations, often four in number, that here represent more than just a vestig- ial reminder of suspension loops, having become a symbolic integration of man's thinking with his alpestrine environment, and though more meaningful to hill and mountain dwellers, has been emulated by the potters of coastal plain-lands.

One major difference in decoration may stem from earlier or existing containers in other materials. Much of the decor of Atamadai, instead of resembling rope patterns rather resembles hides or skins with crimped junctures as ridges running in many directions. Perhaps these are the marks of a travelling society that had relocated itself more permanently. Rope ridges, however, are not entirely absent in Atamadai. The rims are as variable as they are in Katsusaka, ranging between completely flat, gently peaked, and crenellated, to strongly pinnacled.

Atamadai pottery has been discovered, often with Katsusaka, at the following sites, other than those elsewhere given, in eastern zones of the Kanto: Edozaka,10o8 Hitosaki,Mo9 Miyadaira shell-mounds,lio Takaku-neda shell-mound,," Sengen shell-mound,112 Tsukayama,I13 Ogusu,114 Kamo,Is and Mukaiaburada.116

UBAYAMA CORD-IMPRESSED, APPLIED AND CARVED. A shell-mound on the outskirts of Ichikawa City, Chiba Prefecture, has given its name to the Ubayama type of pottery (figs. 18, 19, 2zo/i-6).117 In the many excavations of this site, summed up by Groot and Shi- noto,18 numerous pit-dwellings have been found, but their relationship to each other is often so confusing as to be almost impossible to determine. This is unfortunate in that this site is the only one so far which has been given a C I4 dating.I9I

In the Kanto Plain and vicinity Ubayama clays are usually reddish-brown in color and may have blackened areas apparently caused by smoke either in the firing or in the use of the vessel. Sand tempering is frequently visible in the clay, and sherds average %/8" in thickness.

108 Akaboshi, 1933 a. 109 Ikegami, I943. 110 Oyama and Ogyu, 1940. III Oyama, Ikegami and Ogyu, 1937a. I12 Takeshita, I940. II3 Esaka, I953. II4 Hara, I942. IIs Matsumoto and others, I950. ii6 Sakazume, I942b. 17 The name Kasori E is generally used by Japanese archaeologists for this stage. A later group, but not

immediately successive, then becomes Kasori B, named from another spot in the Kasori shell-mound excavations. Part of this later Kasori B type is my Kasori type, but I feel that the confusion of lettered types which are not successive and do not follow each other alphabetically need not occur if more logical terminology is put into use.

Il8 Groot and Shinoto, I952; Miyasaka and Yawata, I927; Yawata, I932b. I19 See Groot and Shinoto, 1952, 4-5, though the date 4526 is apparently a misprint for 4546. Many

Japanese archaeologists believe that the carbonized material actually came from an earlier layer than the one given, so should be considered as pre-Horinouchi. More information in the way of carbon dating is looked for, however, for an eventual clarification of the thousand years discrepancy of one of the checks of this material. An average of the first two checks with the third comes to 4529 for the age of the carbonized material.

3I

There is little doubt concerning the relationship of Ubayama to Katsusaka; individual pieces of pottery are often most difficult to differentiate. Unusual shapes are not as common in Uba- yama as they were in its predecessor or in its successor, for that matter. The flamboyance of Katsusaka is considerably modified and the unpretentious types lend themselves admirably as the prototypes or ancestors of the reserved Horinouchi family. The bold units of Katsusaka ornamentation that cover much of the vessel's surface are toned down, suffused and relegated more to the upper third of the vessel. In the greater integration of ornamentation with the form of the vessel, the motifs are no longer as clearly defined, nor is it easy to ascertain whether the technique is that of moulding, modelling, adding, carving, or engraving. In fact, a combination of these techniques is often the case. Ubayama might be termed, broadly speaking, a refined and cord-impressed version of Katsusaka.

Although the ornamentation is not as clearly separable into motifs as that of Katsusaka, a number are recognizable and the source for many could only be Katsusaka. However, the Ubayama potters no longer depended on the overpowering effect of a surcharged surface, and with the reduction in area to be covered by decoration the vocabulary of the ornaments is considerably curtailed. All degrees of rim embellishment are seen-from completely smooth to crenellated and looped and crested. Some rims are reinforced with round strips of clay which may be attached to the top of the rim and linked with other strips below the collar by the use of S-shaped strips. There is equal emphasis on the upright jar with cup as there was in Katsusaka. Bottoms also follow Katsusaka models, running the gamut from almost pointed, slightly flared and suddenly rounded, gently rounded, to wide and flat.

I find it possible to recognize six contemporary subtypes of Ubayama pottery in the Kanto Plain and surrounding area of the Tokai. 20 These types are classified on the basis of surface treatment of the vessels. In general the vessels are deep with the cup-like formation at the top bearing most of the decoration. Some have loops, handles and wave crests, but in other instances the rims are plain. Infrequently with the plain rim there is a ridge smaller and above the cup as if intended to hold a lid.

i. The first subdivision has an entirely plain body except for cord-impression. It is distinguished by a complete lack of applied or incised designs -a rather rare occurrence in Ubayama (fig. 18/1-3).

2. This type carries cord-impressed bodies with no other body ornamentation (fig. 18/4-I 8). Emphasized rims sometimes have broad curvilinear grooves or ribbons of clay running either in undulating or straight lines. Series of oblong depressions seem to be a reduced form of the connected relief spirals; they are undoubtedly related to the oblong and spiral clay patterns of Katsusaka. Occasionally crenellation-like projections break up the silhouette.

3. Types 3 and 4 are characterized by either incised or applied decoration on the lower body of the vessel. Type 3 has vertical grooves usually running parallel to each other and at times

I20 Groot, 195 I, 57, lists three types of Ubayama for the Kanto: i. vessels with collars which bear spirals of clay ribbons; mouths are constricted or expanded; bodies are obliquely cord-impressed and have vertical incised lines or straight or spiral ribbons of clay; 2. large jars vertically cord-impressed. Broad curved incised band around rim. Zones on body may be smoothed over to contrast with cord-impression; 3. mainly bowls and plates without added or impressed decoration. Most are painted red on polished surfaces.

32

segregating cord-impressed and non-cord-impressed areas (fig. i8/19-36). The smoothed over areas were probably rubbed with the fingers after cord-impression had been applied. Serpenti- form lines are found. Rims vary from flat to massed up into horns of clay.

4. The technique of decorating the lower part of the vessel in this group is the reverse of that seen in type 3. Grooves on the body are replaced by applied ribbons of clay, many of which also suggest the wiggling form of a snake (fig. 19/i-6). In general the vessels are more harmonious in appearance with a better balance between the decoration of the upper and lower parts of the vessel. Most of those illustrated show no rim protrusions.

5. Fifthly, the vessels bear no cord-impression, but fine or bold incisions are organized in chevron patterns or vertical lines on the body (fig. 19/7-17). This might be considered a plau- sible substitute for the popular demand for cord-impression. Other linear decoration is suggestive of the long obsolete shell-scraping of the Kanto Plain. Vertical lines or clay strips counterbalance the spirals of S-shaped patterns near the mouth. Some of these vessels with rather constricted necks are close to the Ibaragi and Nagano Katsusaka type and are certainly a follow-up of Katsusaka in those prefectures.

6. The final group is comprised of pottery pieces that have neither cord-impression nor body incisions (fig. 19/19-22). The walls of the vessels below the neck are normally without embellishment, but in some cases relief designs decorate the walls (fig. 19/21). The shapes of the vessels correspond to shapes found in almost all other categories, and the majority of the vessels have their provenience to the southwest of the Kanto Plain.

Some vessels which are scattered through the above categories but come chiefly from the southern part of the Plain and Yamanashi, represent the most ambitious undertaking of the potters in Ubayama times (fig. 19/7-8). They may be funnel-shaped or slightly curved at the top and without decoration - an idea probably inherited from Katsusaka - or otherwise equipped with decoration of a fluid nature. Loops are worked into the flowing S-shaped and spiral designs and most of the ornamentation is confined to the middle third of the vessel.121

Certain of these vessels carry vertical grooves while many have plain surfaces. Cord-impression is rather unusual in Yamanashi prefecture.

The Yamanashi products are quite similar at times to those of the neighboring prefecture of Nagano. The sweeping spirals at the neck, large, bold body spirals, lunch basket shapes, make it obvious that styles transcend the artificial boundaries of regional divisioning.

Because of the difficulties in determining the technique or the combination of techniques in the decoration, it is hardly feasible to categorize as was done in the case of Katsusaka (i. e. foreground or projected designs, and background or incised designs). Individual designs are classified when isolable in the following way as:

i. Oblongs a. Raised (figs. I8/io, I9/9) b. Grooved (fig. I9/20)

2. Circles a. Raised (fig. i8/I5, i6) b. Grooved (fig. 19/27)

I21 Goto, I948, thinks these designs are inspired by floral or foliage forms.

33 4

3. Arcs a. Raised (fig. I9/17) b. Grooved (fig. I9/25)

4. Straight lines a. Raised; plain or notched; square or rounded section (on numerous vessels) b. Grooved; usually parallel (on many vessels)

5. Spirals a. Raised (figs. I8/I3, I9; I9/7, 8, io, 2zi) b. Grooved (figs. 18/35; 19/15, 22)

6. Undulating, snake-like or zigzag lines a. Raised; generally vertical or horizontal (figs. i8/8, I4; I9/I, 3, 4, I4) b. Grooved; generally vertical or horizontal (fig. I8/24, 26, 27, 34)

7. Miscellaneous curved lines a. Raised; wing-shaped, elbow-shaped, slightly S-shaped, etc. (figs. i8/6; 19/9) b. Grooved; (categories of 7a) (fig. I8/26, 27)

8. Dentates, cogs or sutures a. Raised (figs. 8/z12; 19/13)

Following the established practice, cord-impression is less frequently used in areas west and south of the Plain than in the plain itself. Ubayama is immediately recognized as being dependpendent on Katsusaka for its motifs, yet in its style and techniques it has a greater affinity with Atamadai than Katsusaka. Ubayama and Atamadai both used rounded and smoothed off ridges, neither emphasized body decoration to the point where it overshadows rim decoration, and both had a limited repertory of motifs drawn from Katsusaka's rich selection. The contribution to Horinouchi is in the simpler shapes (though there is a greater variety of simple shapes in Horinouchi), and the beginnings of the alternating non-cord-impressed and cord-impressed zones. On the other side of the ledger, however, it might be suggested that the incoming Ho- rinouchi style with its innate reserve and subordination of decor to vessel form is partly responsible for some of the modifications and the scheme of contrasting zones which become major characteristics of later Jomon ceramics.

Since the dividing line between certain Katsusaka groups and Ubayama types is so fine, it would be well to summarize the salient characteristics of Ubayama as they are contrasted with Katsusaka. The outstanding achievement of Ubayama is the acceptance of recognizable Ka- tsusaka designs (ovals, oblongs, S-shaped curves, spirals, serpentiform lines and others), combining these designs literally and blending them into moulded, modelled and flowing patterns. Similar designs would normally have been of applied clay in Katsusaka; they would have greater angularity, less relationship to each other, and cover the surface more uniformly. A Katsusaka applied design is often carried out by incision work in the more refined conditions of Ubayama. The Ubayama potters emphasized the collar and its decoration in the Kanto region; south of the plain the emphasis was perhaps proportionally more on the central section of the vessel; in the west, under stronger Katsusaka influence, the emphasis is more evenly distributed. Cord- impression plays a more prominent role than it did in Katsusaka. The spiral is particularly

34

appropriate for the repetitive design intended to create a sense of fluency in collar decor; it is more common than it had been in Katsusaka.

Among the many sites, both shell-mound and open, not already listed that have provided archaeologists with a considerable amount of Ubayama material, are the following, and I give first those which are also known as either Katsusaka or Atamadai sites, or both: Tsukayama, Haketa, Nogawa, Hitosaki, Azanishimura, Uenohara, Kugahara, Kuhiri, Sengen, Chofu, Yoshii, 122 Osakata, 123 Hammaiba,124 Kamihongo,25s Inume, 26 Magome,127 Aradate,128 Futa-

matagawa,129 Kaigarazaka,I3o Kurume,131 Higashiyama,132 Yonezawa,133 Komatsugawa,134 Hi- gashikuriyama,'35 Nakaarai,136 2-chome, Nishida-cho, Tokyo,137 and Agiyama. 138

A number of sites indicate use and reuse over a considerable length of time:

Yoshii S-M (3rd section)139 Manda S-MI40 Shimonumabe S-M

Angyo (surface and shell layer) Omori (shell layer)

Horinouchi Horinouchi (mud layer) Horinouchi (surface and shell layer) Ubayama (lower part of shell layer)

Ubayama Moroiso (mud layer) (upper shell layer) Kurohama (shell layer)

Sekiyama (middle mixed mud and shell layer)

Kayama Kayama (mud layer) (middle mixed layer and shell layer)

I22 Akaboshi, I937b. 123 Esaka, 1939. 124 Ide and Takeshita, 1941. I2S Ito, I929.

I26 Matsui, I948. 127 Matsuoka, I93 8.

I28 Nakagawa, I938; Sakazume and Serizawa, i938. 129 Nakane, i93oa. 130 Nakaya, Yawata and Yamazaki, 1925. 131 Oba, I936. 132 Shimomura, 193 5. i33 Shiobara and Goto, I936. I34 Takeshita, 1940. i35 Tsunoda, 1939. 136 Yajima, i94I .

137 Yajima, 1943. 138 Yajima and Murasu, i940. 139 Akaboshi, i937b. 140 Nakaya, Yawata and Yamazaki, I925.

35

Hana<umi S-M (B section)141 Shiba Hachiman Shrine S-M

Omori Katsusaka Atamadai } (upper shell layer) Atamadai

Sekiyama (mud layer) Hanazumi (lower shell layer)

Enough evidence is available at the following sites to give a clear picture of the sequence of types that postdate Katsusaka:

Aradatedai S-M Ubayama S-M142 Kasori S-MI43

Omori } (upper shell layer) Kasori

}(shell layer) Horinouchi (upper shell layer) Horinouchi (upper shell layer) Horinouchi (shell layer) Ubayama (lower shell layer) Ubayama (middle shell layer) Ubayama (mud layer)

Katsusaka-Atamadai (lowest shell layer)

These last sites are those that give the relationships between the late Jomon styles in the Kanto. The terminology is mine; Esaka's Eharadai may be matched with Groot's and my Omori, while his Omori is swallowed up by my Horinouchi. Most sites indicate that the Ka- sori and Omori types are not clearly distinguishable from Horinouchi or Angyo and act as the

stage of change between the two.

Gochihashi S-M Ishigami S-M 144 Sonoo S-M

Angyomor (shell layer) Angyo (surface) Angyo (surface) Omori

Omori (mud layer) Omori (shell layer) Horinouchi (mud layer) Horinouhi f Horinouchi (lower part of shell,

and mud layer)

HORINOUCHI INCISED AND ZONE CORD-IMPRESSED. As early as I904 the first study was made of a style, later to be known as Horinouchi, when the shell-mound of that name near the city of Funabashi in Chiba Prefecture was excavated. 145 It has since been found to be the most universal style within Japan of Jomon pottery, existing with the fewest variations in the four main islands.146 Designs, in strong contrast with the massive and heavy plastic ornamentation of Katsusaka and to a lesser degree those of Ubayama, are rather subdued, depend-

I4i Kono, I935, 44; Groot, 1951, 13. 142 Groot and Shinoto, 1952, 7. 143 Oyama, Ikegami and Ogyu, I937. I44 Yoshida, 1940. 145 Nonaka, 1904. 146 Japanese archaeologists draw a fine but confusing line between Horinouchi and a style known as

Kasori B. I find the distinguishing features to be too slight to require separate typing, though I admit that some period of time must elapse between the earliest and latest Horinouchi, and that there is improvement in the technical aspects of the pottery, as well as a change in color and surface appearance. The cultural content of Horinouchi and Kasori B is almost identical. What I sometimes refer

36

ing mostly on the techniques of scratching, grooving, incising, and cord-impressing. Cord- impression is a means of separating and differentiating background and foreground areas. With ornamentation rigidly subordinated to vessel shape and projections usually limited to handles and loops on spouted vessels, the effect is one of refinement, simplicity and practicality.

Horinouchi pottery may be divided into three groups.147 They are partially if not entirely contemporary.

i. In Type A (figs. 21; 22/12; 4/1-3, 5-7, 9-II, 15; 6/iO) the vessels have a plain or incised body surface. This group contains mostly simply shaped, upright vessels with slightly bulging bodies and gently flaring tops. The rims are smooth in most cases, although small peaks exist and may be occasionally perforated. There are numerous other shapes: pot-bellied jars, low bowls with or without an outward flare, diamond-shaped bowls, oval bowls, cylindrical jars and a wide variety of pouring vessels. Many spouted vessels have handles rising as points to form saddle-shaped mouths. In north Tokai the decoration shows all degrees from mediocrity to excellence in its workmanship. One group has a series of short, crudely formed grooves usually encircling the vessel and sometimes connected with curvilinear, vertically arranged grooves or deep incisions. Incisions may also be criss-crossed. Another group bears spirals connected by parallel diagonal lines, arcs, vertically-set ellipses and snake-like lines.

Vessels with illusionistic rope designs, though rare, are found and echo that motif from Moroiso times. The gap between the Moroiso and Horinouchi styles is, in some parts of the country, probably bridged by a prolongation of Moroiso in those areas where Katsusaka was not felt. This might explain a return to the primitive manner of arranging a few disorganized, partially parallel, incoherently related lines, and yet, paradoxically, some of the most technically exact and esthetically appropriate designs of all Jomon pottery are to be seen on Hori- nouchi vessels. It would be equally possible for rope motifs to have been transmitted through either Katsusaka or Atamadai. Punched marks or irregular depressions are also rather unusual in the Horinouchi period, but they may exist as an added element of decoration placed parallel to grouped incised lines. Short spirals or commas are used at the focal point of the design and between or interrupting a series of lines; such designs are a distinguishing mark of the Hori- nouchi family and are to be seen most frequently in Type B. At times inconsequential cord-impression may be found on a few vessels placed in this type, but it has been almost entirely obliterated by the grooving and incising and thus hardly valued by the potter as decoration. In no case does one find cord-impression outside the zones created by incisions.

2. Horinouchi B (figs. 22/13-36; 23; 4/4, 8, II, 13, 14, i6, I7; 6/1-9, I2) contains more or less the same shaped vessels as Type A, but in general the decoration exhibits much greater

to as a late Horinouchi product is often the equivalent of Kasori B. In very general terms, the Ho- rinouchi pottery is incised and sometimes zone cord-impressed, Kasori B is chiefly zone cord-impressed in rather narrow bands. I have reserved the name Omori for a distinctive type, and in a sense a subdivision of Horinouchi, found in the Kanto Plain.

I47 Kono, I935, 25-27, gives five varieties of Kanto Horinouchi, A-E. His A and E are both a zone cord-impressed type, though the former is the reverse of the usual procedure-the large areas are cord-marked, the narrow zones are smoothed over; his B fits with my first group with the characteristic body incisions, while his C and D compare with my third group in that both incisions and cord-impression are used as superimposed forms of decoration.

37

finesse in execution. Type B is differentiated by the fact that cord-impression decorates areas delineated by grooves. In some instances it appears as if adjacent areas were rubbed smooth after the cord-impression had been applied; in other cases it may be that the impression was applied only within those areas outlined by grooves. Normally the part considered to be the design is cord-impressed, but there are cases in which the background only is so impressed, and other instances in which neither can be positively construed as background or foreground, the two being interchangeable. The spaces containing cord-impression, usually on the upper half of the vessels, take a myriad of shapes: they may be merely vertical bands running around the vessel and otherwise uninterrupted or may be a combination of variously shaped bands including gentle spirals, horse-shoe detours taken by the grooved lines, linked squares, triangles, arcs and ellipses placed end to end, and diamond-shaped designs. Cord-impression runs in many directions in smaller bands, but on large surfaces it is even and obliquely set. Frequently used on the upper part of Horinouchi vessels is a ribbon of clay with a row of depressions on it located near the rim. These depressions may be vertical incisions made with a pointed instrument or arched niches done with the side of a thin stick.

Bottle shapes and a wide selection of bowls and cups are known. Spouted vessels range from short and squat with little more than a lip at the top to tall, narrow, vase-like ones. U- shaped and duck-shaped objects are a part of the repertory.

3. The third Horinouchi type (fig. 24/I-2I) is characterized primarily by an extensive use of cord-impression to cover most of the vessel, and the use of incision work, but the two are not dependent on each other to form either the foreground or background of the decoration. The designs are somewhat the same as in the other types but usually simpler. Short punch marks may be seen near the rim of the vessel; in some parts of Japan when this occurs it looks like a degeneration of Moroiso nail-impressing. Spouted vessels do not appear in group C, but otherwise the shapes are close to those of Types A and B.

Some technical progress was made during the Horinouchi period. Later vessels are thinner; most of the earlier ones have reddish-brown clay, but ones which are perhaps a little later in Type B have grayish clay with blackened areas. Such darkened areas may also appear on the reddish-brown clay. Many vessels from the Omori shell-mound near Tokyo, for instance, are often black on both exterior and interior although the clay is gray. The surfaces have frequently been rubbed to a fine finish.

Of the fantastic number of sites that have yielded Horinouchi pottery, some may be considered to be of more importance than others, and have certainly been more adequately reported. By my definition of Horinouchi (i. e. to include Kasori B), the following sites of Saitama, Tokyo, Chiba, Ibaragi and Kanagawa furnish a cross-section of material of this phase: Kai- garazaka,148 Kurume,149 Chidorikubo,iso Aradate,151 Yonezawa,is2 Uenodai,i53 Yahagi, s4 Mi-

148 Nakaya, Yawata and Yamazaki, 1925. 149 Oba, 1936. ISO Oyama, 1926; Miyasaka, 1929.

I5I Sakazume and Serizawa, 1938. 152 Shiobara and Goto, 1936. I53 Takashima, 1934. IS4 Takeda, 1938.

38

nowa,s55 Nakagawa,156 Kitakami,1s7 Haketa,158 Ekota-ontake,'sD Inariyama,160 Mitsuzawa, 16

Shosen Shimosueyoshi, 62 Hachimandai,163 Kusuhashi shell-mound I,164 Magome,'16 Oku-

zawa,I66 Nasunahara,167 Ochanomizu cave,'68 Kasori,169 Ichinomiya,170 Kaizuka,'71 Komagata, 72

Anjikidaira,173 Fukuda,174 Higashikuriyama,I7M Hatsutomi,176 Shiizuka,177 Nakazawa,178 Ura- tedai,179 Aso-omiyadai,i8o Eharadai,'81 Nakazuma,182 Taura-cho,183 Yoshii,184 Nakasato, 8s Aza-

nishimura,186 and Uenohara.187

FIGURINES OF HORINOUCHI. About a dozen stone figurines of the Jomon period are known, although no stone masks or animals have been found. Small plaques may be of either stone or terra cotta. Approximately one thousand complete or incomplete figurines have been discovered, with the great majority coming from late Jomon sites.188 Many figurines were pro-

I55 Tanikawa, 1925-26. 156 Akaboshi, 1932. 157 Esaka, 1940. 158s Goto, I937. s59 Horino, I932.

i60 Ikeda, Saito and Sato, 1935. 16i Ikegami, I932. I62 Ikegami, Ogyu and Toki, I935. I63 Ishino, I934. 164 Kono, 1931. I65 Matsuoka, I938. i66 Matsushita, I930. I67 Yawata, I932. 168 Miyazaki, I934. I69 Omiya, I937. 170 Oyama, Ikegami, Ogyu, i937b. 17I Oyama, Sugiyama, Miyasaka and Kono, i929. I72 Sakazume and Hirose, I944. 173 Sakazume and Hirose, I948. 174 Sato, I894; i898; Kawazumi, I899. 175 Tsunoda, 1939. 176 Ueha, I929.

I77 Yagi and Shimomura, I893. 178 Ikegami and Ogyu, 1936. 179 Esaka, 1939. i80 Ikegami, I93 1 18i Ikegami, I937. i82 Kono, I929.

183 Akaboshi, I929.

184 Akaboshi, i937b. 85 Ishino, I 95 4.

i86 Miyazaki, I936. 187 Nishina, I929. 188 Nakaya by 1929 had dealt with 837 examples from 424 sites. See Nakaya, 1929-30, 151-167. Added

to these are a few that have come to light since, and I suppose that one thousand is a reasonable estimate. In Nakaya's many articles he distinguished six types: i. realistic from various areas; 2. grotesque

39

vided with perforations by which they could be suspended, and, judging by the smooth surface and presumed wear of some, they must have been in a form of frequent if not daily use. They are usually found in domestic sites, and in some cases have been found in pit-dwellings surrounded by circles of stones or as if they formed the image of a shrine.189 The earlier figurines are in general more of a ginger-bread type-flat, solid, and with a clear silhouette. Those from the north and associated with late Jomon are often hollow and more human in appearance.

Horinouchi figurines (figs. 40/16-33; 41/1-5) are for the most part recognizably female. In one rather naturalistic class little decoration occurs on the body except perhaps some shoulder spirals; the eyebrows may be ridged and meet to form the nose. Some with triangularly-shaped heads fit into categories A and B, and their peculiarities include grooves zigzagged over the body which are combined with spirals or zones of cord-impression. These are practically without necks, have stump-arms and legs, and are more integrated in appearance than most of the other types.

The style of Nagano Prefecture may be seen in figurines which bear many parallel lines on the face, long necks, a center line and navel, and a rather strong swelling toward the bottom as if the costume were a heavy robe. Legs were probably never provided. Zones of decoration are cord-impressed once again. This group has an unusual similarity in shape to the Han Dy- nasty tomb figurines whose garments broaden out to form a sturdy support.

Farther to the west, in prefectures borderin the Japan Sea, figurinwest approximate other representatives of the Horinouchi style with connected eyebrows and nose, close-fitting headdress, center line, some grooving and spirals, and a general simplicity of outline.

In the north, simple, child-like faces, meager decoration on the bodies, ridges for eyebrows, eyes, nose, mouth, neck-line, and shoulder pads are figurine characteristics. Broadening and emphasizing the shoulder is a northern trait and at this time it seems to foreshadow the later short, stalactite-like arms which protrude from ample shoulders.

KASORI INCISED. The lare Kasori shell-mound in the northwest of the Boso Peninsula yielded great quantities of pottery of which two main types have been distinguished-Uba- yama and Kasori.19o It seems quite clear that the Kasori style (figs. 28; 29/1-6) is a direct continuation of late Horinouchi, not only in most vessel shapes and sizes, but also in general appearance and treatment of vessel surface. The pottery is brown to gray in color with reddish or sometimes blackened areas. It is usually less coarse than Horinouchi clays. Included in the unusual shapes of the period are U-shaped and torpedo-shaped objects. The pedestalled bowls, some of which are borderline cases between Kasori and Angyo, may show evident Yayoi influence with circular perforations in the base.

ones chiefly from the Tosan and Hokuriku; 3. triangular face type from the Kanto; 4. owl face type from the Kanto; 5. Mutsu A from the Tohoku and 6. Mutsu B from the same area. These classifications have not required much juggling to fit them with the present typological system.

189 At Ohase in Fukushima a vessel and figurine were surrounded by an arrangement of stones; at Ko- shigo, Nagano, two figurines had been placed in a small space enclosed by stone slabs; at Tenjindai, Kanagawa, a figurine was discovered near two stone slabs and probably together formed a sort of primitive altar. See Groot (gen), I95I, 50-51.

190 Yawata, 1924.

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For the first time in Jomon pottery one meets with obvious similarities to continental products. It remains to be determined if there is a time connection. I believe it is possible. Two vessel shapes are close to objects of the Late Chou Dynasty, and although the Chinese types were carried over into the Han Dynasty with some changes, the Kasori phase is both pre-Angyo and before a formal Yayoi phase (i. e., a time earlier than the Han Dynasty), so it could only be the Late Chou prototypes that might have a bearing on the Jomon ware. One, an oblong bowl (fig. 28/8), is similar to the lacquer and jade bowls of Chinese and Korean production. In this case the usual side wings are modified and placed on the ends. A small base is added. The other shape, a steamer (fig. 28/15), is like the bronze globular steamer of Late Chou, such as the example from Li Yu, Shansi (believed to be of the IV-III century B. C.), which has an identical upper and lower section and projecting trumpets on opposite sides by which the lid

may be tied or the vessel suspended. Since Kasori and Omori are contemporary, and all styles overlap to a degree with their

predecessors and successors, it is the borderline products which cause the most difficulty. The origins of the Kasori designs have been seen in the Horinouchi period, but it is the added details that make the designs, and thus the vessels which bear them, peculiar to this period. Arcs and ellipses, often a part of the Horinouchi vocabulary, are now separated by pellets of clay, incised or punched circles. Instead of an emphasis on horizontal parallel lines with enclosed cord-impression, there is now a system of arcs, ellipses, or curved forms which circle the vessels; straight designs have been replaced by curvilinear, and junctures accented; the rhythm is even and more predictable than it had been in Horinouchi, and in a way it is more neolithic in spirit (fig. 5/I2-I9). Clay bosses may be oblong and notched showing a transition to early Angyo. A similar link connecting Kasori and Angyo is the parallel ridges united by clay knobs, but in Kasori clay bosses appear at the meeting points of the ridges or at regular intervals. The tendency to build up vessels in diminishing units, essentially a northern characteristic of late Jomon periods, is here making itself felt in the Tokai.

FIGURINES OF KASORI. The Kasori figurines are best represented in the Tokai (fig. 4I/ 6-I 7, 21-23). One characteristic dominates this group-they are outspokenly female. The ridge- faced type is typically Kasori; ridges are employed for eyebrows, nose, lips, and another one crosses the face below the mouth. The jaws and chin appear to be built up or padded in somewhat the same way actors in the Japanese drama have at times padded the lower part of the face and chin for support and comfort when wearing masks.

There is not much that seemingly relates the decoration of the pottery containers of Kasori to the figurines except in regard to the strips of clay which are found almost exclusively on the faces. Cord-impression is sparingly used, though occasionally present on the shoulders and abdomen; the implied joints or other lines are incised. Some of these lines, inconsistent with the obvious nudity of the figurines, occur at places which would define the limits of a jacket or be the hem-decoration of such a jacket. A little punctation is in accordance with Kasori types of decoration, but body decoration is markedly reduced from most Horinouchi figurines.

These figurines have sharply defined breasts, a line running down the middle of the body, and a large hemispherical projection covering all or part of the abdomen which is more than

4I

likely indicative of a pregnant condition, although the size of some of the knobs could do little more than symbolize this state. Arms are still stumps, but with slightly upturned "sleeves".

Associated with the ridge-faced ones are maskless, sharp-hipped figurines with more recognizable facial features. Punching around the mouth, construed to be tattooing, is significant because the practice has been indulged in by Ainu women until recent times. 19

One figurine from the Fukuda shell-mound in Ibaragi (fig. 41/16), not entirely a unique example, has a head that looks directly upward, groove around the neck, and other bosses and grooves which represent breasts, stomach lines, navel and emphasized abdomen. In this case the identification of the navel is probably accurate, though in many Kamegaoka figurines the small ring located in such a position is often an ornament attached to a long necklace. This figurine has a solid, almost rectangular cross-section; the decoration hardly disguises the phallic intent.

OMORI HATCHED. One type (fig. 27/I-30) which appeared first at the shell-mound of OmoriI92 about six miles southwest of Tokyo, and has been found in greater quantity north of Tokyo (Ibaragi Prefecture) and in Chiba Prefecture, is without doubt partially contemporary with Horinouchi B, since certain of the decorative features of Type B appear on these vessels, and at the same time contemporary with Kasori because one finds the transition from reddish to gray colored clay in this ware. Vessels of reddish or gray clay often have blackened areas on both inner and outer surfaces. Frequently the entire surface, both inside and out, is darker than the clay itself. While the Omori style is close to Horinouchi B it is perhaps as equally related to Horinouchi A in the profuse use of diagonally incised lines, although in Horinouchi these lines are usually a part of an overall scheme of decoration and used in conjunction with other lines instead of comprising the total decorative effect as they do in Omori.

The truncated cone shape is less frequent than it had been in Horinouchi, and quite common are the narrow-based vessels with strongly constricted necks and flaring rims. Bowls with sharply angled walls may have flat, peaked, or three- or five-lobed rims. Cups or bowls on pedestals were rather popular; in some instances it appears more as if the bottoms were extended to form a sort of base. High peaks are on the wane, though they still exist. The basket shape (now an incense burner) is present, and one strange fragmentary vessel resembling a three- legged ting patterned after a Chou Dynasty bronze model was found in the mound of Yoyama in Chiba Prefecture. The feet are carved to resemble bovine hoofs (fig. 27/26). In the handling of its decoration it is very close to Horinouchi A.

The unifying factor in this style is its decoration. Rather irregular oblique incisions, cut into a surface often previously cord-impressed, covering the mid-sections of the vessels are frequently clearly a degeneration of Horinouchi A. Actual crisscrossing is rare; sometimes the lines run horizontally. The rims may be slightly thickened and the outer edge notched. Clay ribbons with indentations are found near the rim of many Horinouchi vessels and these modified forms of Omori, then, belong to the next generation. Ridges on other parts of the vessel-

19I Batchelor (gen), I892, 35-38. 192 Morse, I879; Dumoutier, i892. This is not the same classification term as Groot uses; it is only a

pottery division and not a major category of the Jomon culture complexes. I use this term for the hatched ware only.

42

neck or shoulder -have similarities with both Horinouchi and Kasori, but it is the series of arcs on the upper surface with cord-impressed spandrils which serve to connect Omori with Horinouchi B (fig. 27/3-6).

Possibly strong, though not yet direct, influences from the south penetrating the Kanto Plain and vicinity were responsible for the beginnings of an impoverished style of decoration, virtual obliteration of cord-impression by grooving on the body of the vessel, and the lavish

supply of pedestalled bowls. Such influences would stem from Yayoi sources, but direct connections cannot be established in the Plain until Angyo times. Other than the Omori mound, the most famous in Japan, this pottery has been found in such sites as Eharadai, Nakazawa, Kasori, and Kaizuka in Chiba, and Hirohata and Anjikidaira in Ibaragi.

ANGYO APPTITFD AND INCISED. The impact of the more advanced, wheel-made Yayoi style of ceramic production is strikingly visible in the Angyo193 period, and is responsible for the disintegration of Jomon production in central Japan. Yayoi and Jomon had been mutually influencing each other, but it is not until this stage that Yayoi sherds are commonly found mixed with Jomon ones in shell-mounds.'94

Incongruous as it might seem at first, one of the early Angyo styles (fig. 30) appears to be an attempt to revive the plasticity and varied silhouettes of the Katsusaka era as well as the rope designs of Moroiso, Katsusaka and Atamadai. In this case, however, prominence is given to the "knots" which tie together the horizontal, diagonal and arched "cords" of the mesh- work. This could very easily be a positive program to keep alive a dying era by archaizing, reviv- ing or attempting to return to the most dramatic and potent period in Jomon history, that of Katsusaka, or an unconscious demonstration on the part of the potters that senility has not finally overrun Jomon ceramic production. Needless to say, this sudden outbreak in the form of plastic decor is in marked contrast with the lack of broken contours in Horinouchi, but is in less contrast with its immediate predecessor, Kasori, in which strips of clay play a major role. Certain connections with earlier designs and those of Angyo become quite clear. The established practice in Horinouchi of erased cord-impression, in which cord-impressed zones are outlined by grooves, is evident in Angyo. There is an organic relationship between Angyo and Kasori in the elliptical bands with junctures punctuated by clay knobs of various sizes, as well as an extension of the Omori decorative scheme in diagonal hatching or incising.

Latent or imperceptible contacts with Katsusaka-Atamadai are not the only conditioning factors in Angyo. From middle to late Angyo the strength of the Kamegaoka culture of north Japan is noticeably influencing, either directly or indirectly, this last phase in central-eastern Honshu, but in spite of these cogent forces there is no mistaking its own strong character.

The earliest Angyo phase (Angyo I) includes two varieties of decoration (one type grouped together in fig. 30, and the other in fig. 3I/I-26). Both of these types, which will be discussed in greater detail later, may appear on the same vessel, though when this occurs these are probably vessels that belong to the end of Angyo I. Bands filled with cord-impression are obviously inherited from Horinouchi, but new elements, on the other hand, include bands of inter-

93 The village of Angyo is in Kita-at-atachi county of Saitama Prefecture. Hayashi, 900oo; Tanikawa, 1926a. 194 It occurs in the stage which Oyama calls Omori. Oyama, 1932, 90.

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laced or contiguous arcs enclosing cord-impression which, at times, look more like ridges than bands, and holes in the bands. Such perforations, particularly when found in the incense burners and urn-shaped vessels, are once again the result of contacts with the Yayoi culture. Holes in the body of some Angyo vessels may have been sockets for short bamboo spouts.

Cord-impression is still normally kept within zones in the latter phase of early Angyo, but the distinctive features are the rope-like designs that create shapes of triangles, and bosses of clay resembling knots. The profiles of the vessels are often very angular; grooved projections decorate the rim; bosses are frequently vertically grooved or notched; grooves set off the rope- like ridges which are somewhat angular in section and bear vertical or oblique incisions; diagonal grooving may also decorate the lower part of some vessels. Spouted vessels seem to have phallic significance, a wave of which has been sweeping Japan as revealed in the numerical increase of stone "clubs" and the elaborate decoration of their heads in late Jomon periods.

The surface of the clay is ordinarily gray with reddish areas. The shapes of vessels include globular jars (some of which are strikingly peaked), vessels on highly decorated bases, urns with cylindrical projections on opposite sides, incense burners, bowls, bulbous spouted vessels and anthropomorphic vases. The bottoms are often rather narrow and at times almost pointed; the vessels are of medium size, but there are a number of rather small ones in existence. Minia- tures, now found in the north, may have been responsible for this variation in the Tokai. Early Angyo is the last truly independent style in Japan south of Tohoku; the following two Angyo styles (late I and II) become almost provincial Kamegaoka types under the powerful northern influences.

In the latter part of the first Angyo type one finds a combination of cord-impression and carved designs. Spirals often appear at mid-vessel; the design has been carved, but enclosed areas are filled with cord-impression. The upper edge of the vessel is, as a rule, cord-impressed, and a carved three-rayed motif located near the junctures of arcs or spirals is one of the distinguishing ornaments. The rims may be slightly ruffled or entirely smooth. Low, wide- mouthed vessels, bowls, spouted vessels (some of which are shaped like those in the north); and incense burners with carved open-work make up the roster of vessel shapes. Two vessels included in the illustrations, one considered to be an incense burner (fig. 31/16) and the other a spouted vessel (fig. 31/22), are topped by human heads.

Cord-impression does not appear in Angyo II (fig. 3I/27-40). Curved designs in groove- form may be seen, but parallel lines separated by a series of punctates have been added. The shapes are simpler than their predecessors, although occasionally knobbed rims make them appear to have the complexities of earlier shapes. Linked with this group is the type whose decoration consists of very gently raised ridges arranged in a series of arcs around the upper part of the vessel; there is little other decoration.

The categories of Angyo in the Tokai may be divided and summed up in the following way on the basis of the decoration:

Angyo I:

i. a. Narrow, projecting cord-impressed bands with no interruptions (fig. 30/3, 9, 25, 26, 30o)

44

b. Parallel, slightly arched or considerably arched cord-impressed strips of clay with interruptions by bosses; concatenated designs that girdle the vessel (fig. 30/I, 3, 5, 7, 8, I2, 3, I 5, i8, 24, 26)

c. Net-like arrangement of bands or strips with knobs (fig. 30/2I, 22, 27-29) d. Cord-impressed zones in conjunction with or having no connection with either of the

above types (a, b, c) of bands and knobs. e. Rim surface broken up sharply by a protuberance which often takes the shape of a

regular trapezoid (fig. 30/4, 6-8, i8, 21, 22). f. Pedestal (or base) and body holes (fig. 30/20-24). g. Rather limited use of incisions and punctates (fig. 30/9, 20-22).

2. a. Zones of cord-impression in conjunction with incised or moulded spiral patterns; connected spirals or adjacent spirals as the chief motif (fig. 3 I/I-3, 8, 10, I I, 15, 20-23,

25, 26). b. Open work of circles or spirals, not cord-impressed, mainly on incense burners; cord-

impression prevalent throughout this phase of Angyo, however (fig. 31/18, I9). c. Incised triple-rayed motif usually concomitant with the above designs (a, b) (fig. 3 1/

I-3, 10, I3, 14, 20, 22-24, 26).

d. Insignificant use of knobs, or imprints resembling their appearance (fig. 31/3, 7, I9). e. Less emphasis on rim than in group i; some peaked, but many are regularly or irre-

gularly rippled (fig. 3I/I, 8, 9, I2, 15, 20, 2z). f Human representations, though the vessels because of other details are classed with

this group (fig. 31 / I 6, 22).

Angyo II:

a. Cord-impression lacking; replaced by incisions, scratches, brushed, dragged and combed marks (on most vessels).

b. Incision spirals or partial spirals survive from Angyo I into this phase (fig. 3 I/32, 36). c. Parallel lines, often as hanging arcs, may have dots imprinted between them, perhaps

to give the general complexion of the cord-impressed strips of clay of Angyo I (fig. 31/28, 29, 35-38).

d. Open-work in incense burners; roughly built up clay surfaces (fig. 31/39). e. Slightly waved or ruffled rims at times (fig. 31/32, 35-37).

The final Angyo (fig. 31/27-40) has lost its true Jomon character; it seems to be almost a

retrogression to the meager beginnings of Jomon pottery, and in this state reaches an undigni- fied end in central Japan. Many of the vessels have narrow bottoms, closely spaced oblique incisions on the body, slightly notched outer edges of the rim, and some punctates forming a band around the partially constricted neck. Sometimes narrow, rather insignificant bands of clay girdle the vessel at the neck and are supplied with a series of depressions (fig. 3I/30 ). The rims are generally a little thicker than the walls. There is no doubt that such a deterioration in ornament is due to contacts with combed, scratched or the absence of decoration on Yayoi pottery.

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The following sites have yielded Angyo pottery, though not necessarily exclusively so: Kitakami,195 Magome,I96 Higashikaizuka shell-mounds,197 Ishigami,198 Komuro, 99 Nakaya shell-mound,200 Ryokei shell-mound,?20 Shimpukuji shell-mound,202 Eharadai,203 Akitsu,204 Iwai,205 Kasori shell-mound,206 Yoshinuma,207 Komagata shell-mound,208 Anjikidaira shell- mound,209 Isa,2I1 Tomizuka,2II Nagasaka-kamijo,2I2 and Ikenohara,2I3 Yoyama shell-mound and Suragai shell-mound.

FIGURINES OF ANGYO. There are two main types of Angyo figurines both of which have some connection with those of Kasori, but the continuity from Kasori to Angyo is more

clearly seen in one group. This type (fig. 42/23, 24) has a large, flat head with modelled ridge running along the chin from ear to ear, ridge eyebrows connected with the nose at right angles, and no sex characteristics. Across each shoulder and extending toward the collar bone and act- ing as a belt at the waist are thick strips of clay. The carved designs on the body relate these figurines to the vessels of the second phase of Angyo I. The general shape of such figurines is actually rather close to a number of Kasori examples, though the horseshoe shaped crotch dif- fers a little from the more usual triangular one of most Kasori figures. It should also be added that this is the first appearance of clothing as a heavy, padded garment south of Tohoku, and its existence here may be attributed to influences from heavily draped Kamegaoka types. This clothing effect is created by the bulky form of the figurine, strips that suggest the neck-line and trouser tops or jacket bottom, and the complete concealment of sex marks.

The other Angyo type is more plentiful and is a readily distinguishable group (fig. 42/18-23, 25, 26). The strange silhouette is created by shortened horn-like, hairdo projections; circles for ears attached to broadened heads; deep wrinkles on epaulette-like shoulders, arms and legs; and strikingly widened hips. They are virtually waistless. The subhuman appearance is emphasized by the circular discs that are attached to the face as indicators of eyes and mouth. The eyes may be rings of striae and the same is often the case with the ears. This masked appearance

195 Esaka, I940. I96 Matsuoka, I938. 197 Suzuki, 193 3- i98 Yoshida, I940. I99 Yoshida, 1948 a. 200 Fujioka, I941. 201 Hayashi, I900. 202 Horita, 1934; Kono, i928; Yamanouchi, 1934. 203 Ikegami, I937- 204 Masui, I927. 205 Omachi and Katakura, 1937. 206 Omiya, 1937. 207 Sakazume, 1948. 208 Sakazume and Hirose, I944. 209 Sakazume and Hirose, I948. 210 Tokutomi and Kimio, 1932. 211 Yawata, 1932a. 212 Oyama, Takeshita and Ide, 1941. 213 Yamamoto, 1953.

46

is completed by the addition of an entire or partial ring of clay that envelops eyes and mouth or reaches from ear to ear to meet a forehead line. The breasts may be insignificantly marked, a navel or perhaps even an ornamental disc is rather pronounced, and the pregnancy symbols of Kasori are replaced by a spiral in at least one case (fig. 42/19). Shoulders, legs and occasionally the headdress bear some cord-impression. My belief is that, in general, cord-impression is intended to represent or cover the nude parts of the body. By application of this idea, shoulders and abdomen might be exposed in some figurines of Kasori (fig. 41/7, ii), while a

very low-necked "costume" would be worn by one Angyo figurine (fig. 42/19). On the other hand, it is virtually impossible to carry out such ideas logically (i. e., cord-impression indicates exposed flesh, spirals and other designs are costume decorations, spirals and other designs are tattooing, added elements of clay on the face indicate a mask, circles near the waist are navels, etc.). The semihuman quality, and the fundamental fact that all their aspects are symbolic pre- vent literal interpretations.

The angularity of many Angyo vessels is also to be found in the figurines of this type. The angles are sharper, surfaces more linear, and contours jagged in contrast with earlier figurines in the Tokai.

Other small clay objects of Angyo include earrings, usually pulley-shaped, ear plugs (p1. II/8), rings, and a few animals. The rings from the Kanto Plain carry decoration on them comparable to that of certain Angyo vessels. The spirals or incomplete ones in S-shapes are much more elongated on the rings to conform to the narrow curved surfaces, but the designs are basically the same. The thin rings are probably inspired by the shell bracelets that are characteristic of the Yayoi culture.

The animals are more literally handled than is ever the case with the figurines, and are chiefly boar, dogs, bears, and monkeys. As a result of the descriptive handling of them and their crude but obvious physical characteristics, and what seems to be no particular intention to symbolize, except perhaps in the monkeys, they have a toy-like quality. A monkey from Jumenzawa- Aomori, is seated on its haunches, arms on its chest, appearing almost human, though deeply punctated on all parts of the body but the head. A small dog (?) was found in the Moroiso shell- mound. It is obviously a four-legged animal with certain canine features, but its crudity does not permit identification beyond that point. Over its irregular surface runs a number of grooves like stripes up and down the back of a small animal.

Tanikawa suggested totemism in these figurines214 though it seems to me that the earliest rim-heads are more in the totemic spirit, as I once suggested.215

214 Tanikawa (fig), 1922. 2Is Kidder (Tosan), 1952, I4.

47

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CHAPTER III

THE SOUTHERN TOKAI

T he old provinces of Owari, Mikawa, Totomi, Suruga and the Izu Peninsula may be taken as a unit -the southern Tokai (prefectures of Aichi and Shizuoka)-with its confines the

southern Kanto, the Tosan to te north and a narrow strip of land that links it with the Kansai. The geographical setting might indicate an undue amount of interchange with the Tosan whose long borders cut thr ou ntains along the northern line of the Tokai. The low coastal lands of the southern Tokai have for centuries provided the means of communication between the Kanto and Kansai and all intermediate points. The fame of the Tokaido merely reflects this. But a chain of mountains that forms the Izu Peninsula virtually isolates Shizuoka from the southwestern edge of the Kanto Plain, and circuitous routes have been required of travellers who would reach the coast again at Numazu. From this point to Shizuoka city the coastal strip is quite narrow, being little more than a series of beaches at times, but south and west of Shizuoka and extending into the Kansai, the Abe, Oi, Tenryu, Shin, Kiso and smaller rivers have deposited fertile soil on broad plains which Yayoi and perhaps late Jomon man found very much suited to his needs. The sites are now at some distance from the ocean and usually on gentle slopes. Although there is a general sparseness of early and middle Jomon sites in west Shizuoka and east Aichi, the marked frequency of late sites of great size indicates that this area could provide adequate subsistence for large communities. With the introduction of agriculture in late Jomon times the plains and marsh land took on added significance, and fortunately the natural conditions have permitted preservation of artifacts and human remains. The great shell- mounds of the Atsumi Peninsula, Kameyama, Homi, Ikawatsu and Yoshigo, all yielded numerous Jomon skeletons.

KOZANJI ROULETTED. Broadly speaking, the eastern part, particularly Izu Peninsula and surrounding territory, of this region defined as the southern Tokai is early Jomon with a great concentration of rouletted sites in mountainous settings. Both east and west share with the Kansai the next stages, though still early in the Jomon development, of incision work, rows of slashes and multi-shaped indentations. The heavy end of this is on the Kansai side. Lastly, after a considerable decline in quantity of remains throughout a mid-stage, the emphasis shifts to the late sites along the southern plains of Aichi and Shizuoka.

There is little doubt that the people responsible for rouletted pottery were highland and mountain dwellers by the time this style entered the Tosan and Tokai. In fact, through the mountainous Chubu region, in a broad belt across Honshu, extending up the west coast to Nii- gata and incorporating Toyama, Nagano, Gifu and eastern Shizuoka, in a legion of sites this

49 s

pottery is found, usually mixed with an early to middle Jomon type. The vessels have pointed bottoms, are always simply shaped; the clay contains quartz and there are many instances of both quartz and fiber tempering. Inasmuch as it is often found with other pottery types, normally early ones,' as at Hijiyama with the Shiboguchi type, at Sone with nail-impressed pottery, at Ashihira with Odoriba, in the Izu Peninsula with types comparable to Shiboguchi and Kayama, it is considered to be the earliest in this Chubu area, but equated with Zen-ki or the Early Jomon of the Kanto (not the Earliest). In Esaka's chart2 the Earliest (So-ki) is made up of rouletted pottery3 and a series of shell-scraped, slashed, incised and punctated types that are defined by four type names which cross the dividing line between Earliest and Early and extend to the mid-point of Early. In order of appearance these are Uenoyama, Kasubata, Ishi- zuka Lower and Ishizuka. It will be noticed that this reverses the position of Uenoyama and Kasubata as established by Tsuboi in his work at the Ishiyama shell-mound.4 Sakazume says the Kasubata type is similar to Kayama of the Kanto.s

Although it is the concensus of opinion of Kanto Plain archaeologists that a series of types precede those in the Plain with which rouletted pottery is found in the Tosan and southern Tokai, Esaka aligns the rouletted of these latter regions with the types it is supposed to antedate.6 Esaka reproduces another chart after a presentation by Yamanouchi at an Anthropolog- ical Society meeting in I9507 which coordinates the Kansai with the southern Tokai in the early two phases using terminology common to both regions. The inclusion of question marks is Yamanouchi's means of indicating a possible type yet to be shown to exist in this sequence. It is as follows:

Kitashirakawa Lower 3 Kitashirakawa Lower 2

Zen-ki Kitashirakawa Lower i

Kijima-like type (Ishizuka Lower)

Ishiyama shell layer Irumi shrine - Ishiyama Lower

So-ki Kazukenoue - Uenoyama Kayama - Tenganzawa

Kasubata Kozanji

Rouletted pottery, as in most areas for that matter, is greatly varied in the Chubu belt. In eastern Shizuoka, for instance, sherds have alternating bands of checks and eye-shaped bumps.

I This is pointed out by Tsunoda and Mitsumori (gen), 1939, 88-89. 2 Esaka (gen), RHV, I950, chart. 3 Kozanji type when the southern Tokai and Kansai are taken together; Murakami when applied more

specifically to Shizuoka and Aichi. Murakami is in Ikazaki city, Aichi; see Sakazume, 1948. 4 See Kansai chapter, p. 59. 5 Sakazume (gen), Glossary, I939, 9. 6 Esaka (gen), RHV, 1950, chart. 7 Esaka (gen), RH XXTX, 1951, 92.

5o

Zigzags and oblong shaped designs are most profuse, but many sites especially in the central mountains have yielded fragments of unusually neat and original designs. One feature of note, and probably indicative of a long period of duration of rouletted pottery in the Tosan, erased rouletting, was pointed out by Akagi. 8 In the remote spots to which the rouletting style penetrated, this technique persisted to be accompanied by techniques associated with other pottery styles.

Some of the rouletted sites are in mountain localities that are today almost inaccessible. To the west of Atami, and in a region where conditions were unsatisfactory for the growth of shells and no mounds exist, the Fuji volcanic range has been penetrated by the Tanna Tunnel, the longest in Japan, over which lies a dry basin surrounded by a number of sites of rouletted pottery. These are at an altitude of approximately 2000 feet. The theory that is generally held regarding the people who carried and produced this type of pottery in the Tosan and southern Tokai would stand the test if, in a shell-mound area, unlike Izu, rouletted pottery were still not found in coastal sites, for in shell-mound areas, notably Kyushu, Chugoku and the Kansai, it is no distinguisher of sites.

KIDOGAMI INCISED. Decoration in incised lines comparable to Mito and Tado of the Kanto has been found on fragments in Shizuoka that suggests the first vital link between the southern Tokai and the Plain. These parallel, incised lines are less systematic, but remind one of the stage which succeeds rouletting in Kyushu, the Sobata style, but similar stages are generally lacking between the two regions. In this area this type is occasionally referred to as Kidogami,9 a site whose complete genealogy is Higashisawada, Kanaoka village, Sunto county, Shizuoka. Momoyama,io Hiraimidoyama, and Yasunosawa in the northern constriction of the Izu peninsula, have yielded this type.

SHIBOGUCHI AND KAYAMA SHELL-JSCRAPED. Shell-scraped pottery or pottery that is largely undecorated extends from the Kanto to the Kansai through the Tokai, and pottery comparable to Shiboguchi and Kayama, as this is, infiltrates the Chubu mountains. The clay is fiber tempered, there is occasionally a design resembling string-impression -rows of widely spaced, minute indentations-and shell decoration, pressed or scratched. After the cutting of a great number of parallel lines in a variety of depths and widths, clay bosses and an occasional ribbon are applied in short rows. The effect is one of intense surface roughening. The grooves and the applied decor become prototypes for the Moroiso methods of marking with the points of a split bamboo stick and the addition of clay in designs.

The Kasubata shell-mound", near the Tempaku river in Minami-ku of Nagoya lends its name to the type which is correctly placed within the Kayama family by Groot.I12 The differences are only those of degree. There is more simplicity in treatment than in the Kanto's Kayama and greater stress on incision work. Inner and outer surfaces are shell-scraped, rims are pro-

8 Akagi (Tosan), 1937a. g Tsunoda and Mitsumori (gen), I939, 91.

10 Okamoto, I951. 11 Sugihara and Yoshida, I937. 12 Groot (gen), I951, 34.

5I

vided with lugs as in the Kansai, and again, like the Kansai, vessel shapes include some with

pointed bottoms, others with rounded or flat bottoms.

ISHIZUKA INCISED. One type, the Ishizuka13 (Ishizuka-cho of Toyohashi city) shows traits of both proto-Moroiso and Moroiso-of proto-Moroiso in diagonal slashes, though on

pinched-up ridges, and Moroiso traits in rows of crescent-shaped indentations. Almost all of such work is done with a shell and the designs have little variety. Shell marks are often isolated or as frequently coordinated to form parallel lines in a fret-like pattern. Many sherds, particularly ones with indented ridges, bear simple, rather widely spaced cord-marking running in an

oblique direction. The Moroiso of southern Tokai carries with it a fully developed cord-impression, and the

customary nail-impressions and mechanically-made parallel lines. As is pointed out by Tsunoda and Mitsumori, both the long, slender impressions of the Kitashirakawa style and the thicker, heavier marks of Moroiso are present.14 In the southern Tokai and Tosan it is fiber tempered. These authors cite the fact that fiber-tempering has the same distribution in this part of Honshu as rouletting, but diminishes in quantity as it reaches this area.

MOROISO NAIL-IMPRESSED AND CORD-IMPRESSED. The Hokonoki mound's on the outskirts of Nagoya (Narumi-machi) and one of the many sites along the Tempaku river turned out to be a rich yield of Moroiso pottery that embraced all the usual Moroiso techniques of nail-imprinting, ribbons of clay, and herring-bone shaped cord-impression. The crescents and ribbons are sometimes against a background of cord-impression, and red paint was at times added to cord- and nail-impressed surfaces. This Tokai strip is a much more important element in the proto-Moroiso compound of punctates and slashes than it is in the Moroiso stage itself, but the proto-Moroiso declines in significance the farther south it goes; through the Chugoku, its place is taken by a strong Moroiso manifestation.

A very late Moroiso that borders on Katsusaka and is comparable with the Kanto type often called Jusanbodai, goes by the name of Kashiwakubo, an excavation in the vicinity of Nagai- zumi village, Sunto county, Shizuoka.16 Tsunoda and Mitsumori relate it to the Odoriba type of the Tosan;I7 Esaka aligns Odoriba with Jusanbodai (both Moroiso) and Kashiwakubo with Goryogodai (a Katsusaka parallel).18 Found mostly in Shizuoka, it bears horizontal parallel lines, contiguously arranged, filled with crescents. The areas of decoration appear overworked and cumbrous. Some vessels carry series of stick-made, oblique, parallel lines without crescent fillers. One design, typical of Katsusaka, is indicative of the transitional character of these designs: a notched strip. Cord-impression is generally absent from this type. Most of the vessels, judging by suggested reconstructions, were more or less cylindrically shaped with a slight widening from shoulder to rim, or a slight but consistent widening from base to mouth.

13 Esaka (gen), RHXXXTTT, I95I, 93. 14 Tsunoda and Mitsumori (gen), I939, 93-94. I5 Sugihara and Yoshida, I939. I6 Eto, I937. I7 Tsunoda and Mitsumori (gen), 1939, 95. i8 Esaka (gen), RHV, 1950, chart.

52

UBAYAMA CORD-IMPRESSED. Pottery of the Katsusaka (Esaka refers to it as Kitaya- shiki) I9 and Ubayama styles is diffused through the region that borders on the Kanto Plain and the Izu Peninsula. Although the Ubayama style does penetrate the Kansai, it is quite rare that any signs of Katsusaka appear that far south. Katsusaka is customarily considered to be the pottery of mountain dwellers, and its great concentration throughout the Tosan together with relatively little zoned cord-impression (frequently considered to be a characteristic of seashore cultures) prompted Yawata and Tsunoda and Mitsumori to assume that the slack is taken up in the Chubu by continued existence of traditional types and a probable long period of duration for Katsusaka.20

KAMEYAMA ZONE CORD-IMPRESSED. Pottery of the Horinouchi family has been discovered in a limited number of sites. The one that usually gives its name to the Horinouchi of this region is the Kameyama shell-mound on the Atsumi Peninsula. Somewhat paradoxically, an advanced stage of Horinouchi (Kanto Plain archaeologists call it Kasori B) exhibiting unusually exquisite workmanship in an area where zoned cord-impression had less than average popularity, may be seen on the remains from the Nishio mound, Hazu county, Aichi2l (fig. 6/ 6-9). Vessel shapes include low rounded and flat-bottomed bowls; tall jars with widening mouths; globular jars with constricted necks, flared mouths and inturned lips; and spouted vessels. Rims are strikingly waved, and some projections are twisted and perforated. The under- side of many bases have clrear mat or leaf impressions. Unusually broad surfaces are given over to bands of cord-impressing, the upper band normally following the lines of the rim and connected by diagonals, V's and arcs to lower bands. Taken all in all, the Horinouchi cord-impression comes in a wide variety of zone shapes, but no other site presents within its bounds so great a diversity of designs on separate vessels, and rarely are zoned cord-impressed designs more rhythmically and elegantly arranged. Some of the wide, low bowls have grooves on the inner surface near the rim in patterns that are based on horizontal parallel lines, unevenly spaced, and interrupted four or more times by abbreviated spirals, returning curves, hanging or rising V's and depressed triangles. The rims of the bowls are regularly and frequentlrey tregularlyched and smoothed, and an internal ridge near the rim, along the wall where it is attached, carries indentations on its upper surface. Smoothing and polishing has given the brownish-gray surface a handsome finish.

KAMEGAOKA CARVED. Pure Angyo does not seem to have reached the southern Tokai, but a modified form of Kamegaoka that may have filtered itself through an Angyo sphere does spread into Aichi to form, with the Kansai, a final resting place for the composite Angyo-Ka- megaoka style, and with it the last of the Jomon figured styles. At Nakayama in Aichi, for instance, elongated S-shaped lines between two horizontals compose the ornamentation.

SHONOHATA PLAIN. Torii gave a rather general name, Shonohata, to a pottery type and late Jomon culture that he originally discovered by Lake Suwa22, near old Hirano village just

I9 Esaka (gen), RHV, 1950, chart. 20 Tsunoda and Mitsumori (gen), 1939, 96. 21 Ikegami, i920. 22 Torii (Tosan), I924.

53

northwest of the lake, but now swallowed up by Ogaya city, Nagano, and though it is dubious whether all of this culture is truly Jomon, its area of distribution is generally given as being throughout the Chubu and into the Atsumi Peninsula of Aichi. Groot sees it as including the late and generally undecorated pottery of the Kansai, Shikoku and some lower Chugoku sites.23 The characteristics of the sites are more Jomon in some regions than others implying relative ages and relationships to the Yayoi culture. Tsunoda and Mitsumori say it is incorrect to consider Shonohata as the earliest Yayoi in the Chubu as Shonohata and Yayoi are sometimes found together and the two are easily distinguishable.24 Out of this Shonohata stage they regard one subtype as comparable to Kamegaoka. I think it is preferable to separate the Kamegaoka from Shonohata to maintain its integrity as its diffusion is by no means the same as that implied by the Shonohata terminology. Esaka places an Asoda type (from a site in the area administered by Toyokawa city, Aichi) astraddle the Ko-ki-Ban-ki line, followed by Yoshigo and subse- quently Inariyama and Homi set on a par with each other.2s Already preceding Asoda is Angyo i and 2 of the Kanto and between Asoda and Yoshigo Angyo 3 A and B are inserted. Angyo 3 C succeeds Yoshigo, but antecedes Inariyama and Homi.26

All four of these sites are near or on the Atsumi Peninsula: Asoda and Inariyama at the neck, Yoshigo not far from a northern inlet and Homi about two and a half miles from the tip. Yo- shigo is one of the largest shell-mounds in Japan, occupying an area in two parts of about I,500 square yards on a hillside and 2,900 square yards on the plain. In the various excavations that have been conducted at Yoshigo, first by Kiyono in I922-2327 and recently by the Commission for the Protection of Cultural Properties in i95 i28 artifact discoveries have been overshadowed by the discovery of almost 340 skeletal remains. Yamanouchi, who classified the pottery of the Yoshigo mound, suggested six Jomon groups, more or less sequential, and a seventh cautiously called a type immediately following Jomon.29 His first two types, A and B, belonging to Late Jomon (Ko-ki) came generally from lower layers of trenches 2 and 3, and the Latest Jo- mon (Ban-ki) material is given chronological order mostly on the basis of comparisons with Tosan and Kansai types. Apart from Yamanouchi's analysis, Yoshigo ware includes the following decoration or lack of it, separately used:

I. plain surfaces z. shell-scraped (usually oblique) surfaces 3. indented or notched ribbons of clay near and parallel to the rim 4. one or two wide and shallow grooves running parallel to the rim 5. a strip of incision work of parallel horizontal lines or arcs at the rim 6. zoned cord-impression

23 Groot (gen), 1951, 70. 24 Tsunoda and Mitsumori (gen), I939, 98. 25 Esaka (gen), RH V, 1950, chart. 26 Esaka does not list the Shonohata type presumably because he believes it lacks validity as a single type.

He has treated Moroiso and Angyo similarly, though these names do appear in his subdivisions of these groups.

27 Kiyono (gen), 1925. 28 Commission, Yoshigo, 1952. 29 Commission, Yoshigo, 1952, 110-124.

54

7. designs of horizontal strips, squares, or combined with elongated S-shapes all outlined by grooves (Kamegaoka).

The plain surfaces are often accompanied by thickened and rounded rims, evenly serrated and moulded rims, or just simple and usually flat rims. Vessel shapes are rather simple with narrow bases and sometimes expanded necks. Sherds indicate that certain vessels had areas smoothened by shell-scraping contrasted with roughened areas in wide horizontal strips- smoothened particularly along the upper wall and rim of the vessel. In general, the shell-scraped, roughened and coarse surfaced pieces conform to other traits similar to the plain surfaced fragments. Most of these remains come from sites in the western part of the Tokai.

The ridges of clay, while being close to the thickened and indented rims in concept, are actually a very real part of the late Jomon stage regarded as Yusu in Kyushu, a late Takajima style (Kurozuchi) in the Chugoku, and to be seen at Kashiwara, for instance, in the Kansai, and a stage that is not without its parallels in Angyo. Rim peaks may be much more imposing on pottery of this sort in this area, though. Also, the wide and shallow grooves near the rim are a distant echo of Kyushu's Goryo.

The rim incision work is not unlike that of Miyatake and Kashiwara. It may accompany vessels with massive peaks and of flowering form (like Miyatake) or more or less cylindrical vessels, and degenerate into wide grooving, creating a fusion of decoration listed as types 4 and 5. Some of these pieces are unusually close to Kansai products, and at the same time related to the Yayoi way of decorating stands and pedestals especially with wide grooves. The single notched strip of clay is also, incidentally, a very common Yayoi motif, but it may have been borrowed from Jomon sources.

The zoned cord-impression from this and other southern Tokai sites tends to be later than most Horinouchi and be more comparable to Angyo in its characteristics. Some at Yoshigo is undoubtedly of Yayoi vintage. The Kamegaoka fragments, found in limited quantity atYoshigo, are unmistakable; the rim polyps are typical. Kamegaoka sherds have also been discovered in Toyohashi city at the Okasato shell-mound,3o and I would call the Asoda sherds a Kamegaoka variant, thus placing them later in the chronology than does Esaka.

30 Sakazume, I95I.

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CHAPTER IV

THE KANSAI

T he old Go-Kinai, consisting of the provinces of Yamashiro, Yamato, Kawachi, Settsu and Izumi, a cultural, administrative and population center of south Honshu until the nine-

teenth century, forms the hub of a parallelogram whose points reach Wakasa Bay, Ise Bay, the tip of Kii Peninsula and Osaka Bay on the north, east, south and west respectively. Outside of this area lies the northern coast-line of Kyoto-fu (on the Japan Sea), but it is generally devoid of Jomon sites, so of no particular importance in Jomon times.

The northern tip of Awaji Island cuts off east Hyogo from the Inland Sea and brings it into the Kansai sphere. The hard core of the Kansai is surrounded coastally by the strips of Osaka- fu (old provinces of Izumi, Kawachi and four districts of Settsu); Wakayama (the southern and western part of the province of Kii); and Mie Prefecture (the provinces of Ise, Iga and Shima, and two northeast districts of Kii). Shiga Prefecture, the old province of Omi, rings Lake Biwa, Japan's largest body of fresh water encompassing some 26I square miles and ranging to a depth of 300 feet. A few shell-mounds have been discovered on its eastern and southern shores. From Lake Biwa to Osaka Bay flows a river, the only outlet of the lake, whose name changes progressively from Seta through Uji to Yodo.

Most of the central Kansai is a relatively flat plain, but south of Yoshino, mountains begin to rise reaching as high as 6283 feet (Misen), through which numerous rivers flowing radially have cut narrow valleys across Wakayama and the southern parts of Nara and Mie. Jomon people rarely penetrated this rugged terrain, and, incidentally, Jimmu Tenno's movements were reputedly largely by sea in order to skirt this area. The general scarcity of Jomon sites in the Kinki implies that its potentialities were not realized until a later date-that of the introduction of bronze and the eventual establishment of the rulers' palaces in Yamato at which time it gained a prominence it was not to lose for almost two millenia. It is today the second greatest population concentration in Japan, with Osaka supplying the commercial oppor- tunities, and Kyoto, Nara and their vicinity the cultural and religious objects of study and pilgrimage.

I intend to use the terms Kansai or Kinki in their broadest sense for this area that I have defined as being more or less enclosed within a parallelogram. Between Wakasa and Ise Bays it runs approximately seventy-five miles; there is a comparable distance between Osaka Bay and Cape Shio-no-misaki, the tip of the Kiu Peninsula. Its other lengths are roughly one hundred miles each. Kansai, the term in most prevalent use today, refers to the (western) southern end of the mountain range known as the Fuji Group, the (eastern) northern end of which is the Kanto.

57

A considerable body of literature is now available on the Kansai Jomon, but some of the newer and key sites are as yet insufficiently published, though their reports are being prepared. These include the two shell-mounds of Ishiyama and Azuchi, the former near the famed temple and on the Seta River flowing from the southern end of Biwa, and the latter on the eastern shore of the lake. Archaeologists have published diligently and conscientiously some of the chief Kansai sites, publications which have become landmarks in Jomon studies: Kitashirakawa,1 Ko,2 Miyatake,3 Takenouchi.4 Other really significant sites, such as Kashiwara, deserve equally fine treatment.5

Very few attempts at chronology, except for Esaka's chart,6 have been made, so the molec-

ularly sequential chronology is still awaited. Since the local chronologists are of the Yama- nouchi school, its character can be readily anticipated. The sites of Azuchi and Ishiyama have presented the greatest variety of early Jomon types, and although the former gave no stratigraphy, Tsuboi, as a result of his excavations at the Ishiyama mound, has been working on a detailed sequential system, though somewhat hindered by the fact that the school in which the fragments were housed burned down. A number of complete vessels have been restored from the Ishiyama sherds.7

KOZANJI ROULETTED. The rouletting of the Kansai is generally limited to either coastal or lakeside sites. At Kozanji in Wakayama8 the sherds are both shell-scraped in broad grooves, and zigzag and lozenge marked. The lozenges are not distinctly rounded and the overall pattern resembles that of netting. Vessel bases are mostly pointed, bodies swell slightly at

I Umehara, 1935. 2 Hamada, 19I8; I920. 3 Suenaga, 1944. 4 Higuchi, I93 6. 5 A preliminary report came out in 1939; see Suenaga, I939. 6 Esaka (gen), RHV, I950, chart. 7 Tsuboi discussed this material with me in great detail. He includes parts of the southern Tokai in his

chronology of this area. Esaka in his chart gives the southern Tokai in a separate column. Esaka's listing contains fewer gaps in the Kansai than it does for all regions except the Kanto, Tohoku and perhaps Kyushu, and its blanks are merely indices of the weakness of the Kanto Plain orientation. Except for the Kamigamo type (given in parentheses) there is no Middle Jomon, though, incidentally, he does more for Middle Jomon in the Chugoku than the Inland Sea archaeologist, Kamaki, does, using Funamoto to straddle the first two units, Satogi 2 to fill the third, and leaving the fourth vacant. The earliest rouletted of the outer Kansai, according to Esaka, is that of Kozanji, which he considers to postdate Kijima of Chugoku, Kotsutajima of Shikoku, and the earliest of Kyushu, but to precede slightly Senbagatani of Kyushu. The Ishiyama type bridges Earliest and Early Jomon, is followed by Azuchi, appearing twice and both times in parentheses, succeeded by the coexisting types of Ko and Kitashirakawa. These are followed by Otoshiyama, still Early Jomon. Late Jomon has for its immediate antecedent Kamigamo, in parentheses. Included in the first and second thirds of Late Jomon are Tambaichi, parenthetically, and Kitashirakawa 2. The final third is blank, but Latest Jomon consists of four types, all bracketed together and lying across a line bisecting the period. These are arranged as follows:

Miyatake - Kusaka Kashiwara - Takenouchi

8 Ura, 1939.

rims, rims are thin and walls thick, and the clay quite granular (fig. I i/8). The sherd thickness averages % ", the color is usually reddish-brown with slightly blackened areas (the inner surface is mostly black) and surfaces are rough. Most of the rouletting is very coarsely done, in fact coastal Kansai rouletting and some of the inland products are extremely uneven and irregular with the actual roulettes barely discernible.

On the other side of the Kii Peninsula near the coastline of the Ise Bay, the site of Ishikure (and Nonaka nearby) yielded a variety of rouletted sherds as well as ones of the Moroiso stage, while Sugitani, in the adjacent county, contained fragments with blisters and depressions probably done in this technique. The Lake Biwa sites are those of Azuchi, Ishiyama and one from the bottom of the lake reported by Oe.9 Azuchi, in Gamo county, lies on an inlet whose en- trance is almost blocked by a small island; the Ishiyama midden is on the Seta river and only a few steps from the Ishiyama temple; the lake bottom site is to the east of Asahi village on the northern promontory that juts into the lake, and extends from about Iooo' to 3500' off shore. An oval shaped area was worked and the distribution of the remains covered perhaps a third of a square mile and in an area whose average depth was 150o feet. The bed of the lake falls off rather rapidly along this peninsula, though on the opposite side (to the east) the slope is very gentle.

Azuchi's sherds are moderately well marked and include zigzags, oval bumps, rectangular depressions and straight parallel grooves. Rims are waved and the inner, upper surface may have vertical furrows made as the instrument was pulled upward toward the edge. Most of this type of decoration is on a few heavy, thick (up to /a" in thickness) and very coarse sherds at the Ishiyama shell-mound. The projections are irregular, ungainly and not well defined, but fragments and approximately half of a vessel that came up from the bottom of the lake are neatly decorated (fig. 11/7). This particular piece has been restored to full vessel form; it is conical in shape with nippled base. Six or seven horizontal zones of roulettes can be traced. They give, perhaps, the clearest picture of entire surface rouletting, though the horizontal mo- tion is only one direction of many that may be used.

ISHIYAMA, KASUBATA, IRUMI INCISED. At Ishiyama Tsuboi found in a layer above the rouletted a few fragments of the Kanto's Kayama type, and in successive layers, Kasubata, Uenoyama, two layers of Irumi (these sites are in the southern Tokai) and uppermost the Ishiyama type.10 This is drawing the lines exceedingly fine, and in the original publication of Uenoyama and Kasubata,11 Irumi type fragments were included with no distinction being made. These three (Uenoyama, Kasubata and Irumi) provide the overlaps of Kansai and the southern Tokai as well as those with the central mountains of the Chubu, which are needed to tie in the geographical areas on typological strata. All of these types at the Ishiyama shell- mound are early, with an occasional pointed bottom, some rounded, and the majority being flat and rather narrow. Most of the fragments from this site contain fiber in the paste as well as being granular.

9 Oe, I950. 10 Personally discussed with the excavator. XI Yoshida and Sugihara, 1937.

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The Kayama here is shell-scraped on inner and outer surfaces, is reddish-brown to brownish-gray, the walls are heavy and thick, and rims, which sometimes bend out slightly, are rippled or indented. Sometimes diagonal slashes appear below the rim edge. The Kasubata is dark gray, the clay is clearly granular, exterior surface is fiber-marked, interior surface is shell-scraped, and decoration is composed of rows of diagonal slashes. The clay of the Uenoyama sherds is a little less granular than preceding types. The decoration includes high undulating ribbons applied more or less parallel to the rim and spaced at some distance from each other. The undula- tions are uneven and give the impression of having been pushed alternately from above and below. Clay ridges with angular cross-section and more integrated with the vessel surface are to be found on the Irumi type fragments. Rims are waved or peaked, are indented and both sides carry oblique slashes or are finger pressed from alternating sides. All ridges (and all usually follow the lines of the rim) are incised or indented, sometimes with fine lines, sometimes with

almond-shaped imprints or deep notches. Tsuboi makes the distinction between Irumi I and II as the difference in cross-section of ridge; in the former it is rectangular, in the latter it is triangular with the upper edge projected at a right angle from the wall. Ridges are often crudely handled, however, and the distinction seems rather slight. Body slashes may appear in chevron patterns. The inner surface of Irumi sherds is usually roughly scraped, and the clay quite gritty.

The Ishiyama type, uppermost stratum at the shell-mound, is reddish-brown on the interior with large blackened areas on the outer surface. Walls curve out gently toward the rim which may be slightly thinned and rounded and roughened by minute edge-notching. Short diagonal slashes are sometimes to be seen on the inner surface of the rim. Some of the Ishiyama ornamentation is shell-made and takes the form of grooves of deeper digs at intervals when greater pressure was exerted in pulling the edge of the shell acrossof the shell across the surface. Other designs are all a part of the Kasubata-Irumi complex of oblique slashes, though they become more crescent- shaped and are used in large triangular patterns at times. If they do not foreshadow the stick- made nail-impressions they could well exist concurrently with the earliest of the stick-marking.

For our purposes fractioning to this degree has no advantage. What is important, however, is that a similar proto-nail-impressed stage exists in the southern Tokai, the Kansai and down in the Chugoku. There is a lot of this kind of work at the Azuchi site (fig. 7/1-6), and some of it was found at Sugitani. The type name of Azuchi is usedn2 for a shell-scraped type that is thin, sandy, and with wavy rims. It comes not far from the end of Yamanouchi's Earliest Jomon. The Hotarudani shell-mound, near the terminus of the rail line and a short distance from the Ishiyamadera, contained mostly Ishiyama type, and another shell-mound, this one in the lake northeast of Otsu city, also contained these punctated types. Both, incidentally, also yielded Satogi type pottery fragments.

KITASHIRAKAWA NAIL-IMPRESSED. The great Kitashirakawa site, one of the key Kinki sites, in the northeastern part of the city of Kyoto, is the climax of the nail-impressed stage in this region. Found in great quantities, the sherds can be classified four ways:

i. stick marked in crescent patterns (fig. I3/23-26);

2. applied ridges of clay and cord-impressed;

12 See Esaka (gen), RHV, 1950, chart, for instance.

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3. all over cord-impression in zigzag bands (fig. 3/27, 28); 4. cord-impression in banded areas or the erased cord-impression technique (fig. 25/2 i).

Most of the first mentioned style came from the lower level of the site, and three and four from the upper level, but dividing lines were not clearly demarcated. In its purity and finesse of technique and all the more impressive by its profusion, the Moroiso stage is here represented in one of if not its most precise forms. Cord-impression is well-developed, arranged in broad zigzag bands, and its first appearance as such in the Kansai suggests its dependence on a type believed to be earlier -that of Sekiyama in the Kanto-which would be an argument against the origins of the stick-marking technique in the Kansai inasmuch as it seems likely that zigzag cord-impressing and stick-marking went hand in hand. In the Kansai and Chugoku, though, nail-impressions follow closely on the heels of a punctating technique with only a minor change in instrument; this change could have taken place in the Kansai since zigzag cord-impression was introduced from the Kanto, and the Sekiyama-early Moroiso style of this area probably was crystallized in and diffused from the Kansai. Sekiyama's relationship to Moroiso in the Kanto is determined by one site, the Ikihashi shell-mound.13 Although in only some instances are the rim areas of Sekiyama vessels decorated with parallel lines undoubtedly stick-made, the zigzag corded effects in broad bands are almost the trade-mark of this pottery. On the other hand, Kurohama, probably contemporary (found together at Ikihashi), apparently contributes only shapes and not decorative details to the Moroiso style.

There is far less (and in fact very little) of the rocker technique used to produce nail-impressions at the Kyoto site than in other Kansai sites and particularly those of the Chugoku. The rocker method is common at Isonomori, for instance; it may also be seen at Azuchi and Ko.

Rims at Kitashirakawa are quite strikingly peaked, some are climaxed by lugs or knobs, both of which are found in earlier types in the Kansai; in some cases there are small teeth-like projections, four in number, arranged symmetrically. Many of the vessels are of a roughly standardized size with bases averaging 6" and mouths I2" in diameter, but body profiles vary between the concave and convex.

SATOGI APPTTIED AND CORD-IMPRESSED. The Moroiso applied designs in a type known as Satogi from the name of the Okayama prefecture site are in the form of cord-impressed ridges and designs in rows of oblong depressions comparable in shape to those made by the applied clay ridges. Cord-impression is often used to give entire surface roughened effects. Ridges may run vertically at the rounded rim and rise up and over the edge to resemble a rim of bundled fibers. Ridges are not necessarily cord-impressed in the same direction as body impressing, and Satogi pottery achieves effective allover patterns, much of it by cord-impression, without having reduced it to monotony. The distribution of this style, although not as widespread in the Kansai as nail-impressing, includes the following sites: in Shiga Prefecture: Azuchi shell-mound, Awazu (lake bottom site near Ishiyama); in Kyoto-fu; Kitashirakawa; in Osaka-fu: Onchi; 14 in Hyogo Prefecture: a site in Nagure-cho, Kobe city;'5 in Wakayama

13 Esaka (gen), RH VI, 1950, Chart of stratigraphy in Kanto sites. 14 Imazato, 1948. 1S Naora, 1943, 270-274.

Prefecture: Narukami16 and Kire shell-mounds; in Nara Prefecture: Shimobuchi;I7 in Mie Pre- fecture: Ishikure, Nomura, and Minaminomura.

UBAYAMA CORD-IMPRESSED. There is almost nothing in the Kansai in the nature of Katsusaka pottery except in isolated instances, and usually found in a limited number of sherds. It would suggest something more along the lines of trade rather than local production. On the west side of the Kii Peninsula at Awao in Arita county of Wakayama Prefecture, and at Okozaki in the southeastern county, Minamimuro, of Mie, on the other side of the peninsula, sherds with clay ribbons in circles or more or less rectangular shapes enclose notched strips in a typical Katsusaka way. Its successor, Ubayama, however, is scattered across the northern Kan- sai, though in varying states of dilution. Fragments that I would define as within the latitude of the Ubayama type have been found in a spot near that of Shigasato on the edge of Otsu city and at Daigo, both in Shiga Prefecture;18 at the Okayama site in Osaka-fu;I9 at Sugitani20 and Ishikure, Mie Prefecture. The location of these sites indicates no real penetration of the Kansai south of a line drawn from Osaka through Nara to the city of Tsu. A type of the Inland Sea that may be construed to be related to the Ubayama style is at least one step removed from these Kansai examples. Most of the Kansai fragments are very light, a tan or whitish-brown, the biscuit relatively hard, surfaces are smoothed though stony, and sherds indicate that vessels were large and decoration boldly handled. The emphasis is on rim decoration as it is in all Ubayama areas, but there are body grooves at Shigasato and large areas of clear, widely spaced, diagonal cord-impressing in vertical, oblong panels of wall decoration. Transitions in the decor are modelled as they usually are in the Kanto, and a similar feeling of fluidity of design is thus retained. The Shigasato and Okayama site products have one thing in common: a series of parallel grooves shaped as arcs. They are stressed more at Okayama, but at this site there is more cord-impressing, less mojelling and more linear work, implying some advance over Shigasato that indicates a time difference. Shigasato seems to be the farthest west extension of pure Ubayama.

KAMIGAMO ZONE CORD-IMPRESSED. At this Okayama site, again, there is a little zoned cord-impression in the typical Horinouchi style of the Kanto; the transition to Hori- nouchi is then visible in its remains. A number of these transitional sites represent a cross between Ubayama and the zoned cord-impression of Horinouchi. One is Kamigamo, on the grounds of the shrine of that name in Kyoto.21 Also, from the remains at Tambaichi (Nara) jars have been restored which straddle the Ubayama-Horinouchi phase. On one of these surface scraping has been carried to the extent of interfering with the incised patterns -patterns that are themselves composed of closely spaced lines mainly in vertical, horizontal or some variety of curved groupings. The vessels may have narrowed and necked orifices or wide and peaked ones. Body

I6 Naora, 1943, 303-306. 17 Naora, I943, 296-297; Higuchi, I927; Shimamoto, I934, I3-I5. i8 Oe, 1952; I954. 19 Osaka City Museum, i954, n. p. 20 Oba, 1938. 21 Kyoto National Museum, I954, 3.

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profiles tend to narrow and flare at the base. True Horinouchi lacks surface modelling, but there is a limited amount of it on the Kamigamo sherds, and freer use of the incising tool. Incised lines are closely parallel, cord-impressed areas not always clearly defined, and the workmanship and appearance of the designs give one the impression that the designer approached his problem with no pre-planning.

Zoned cord-impression is common to many Kansai sites (perhaps even in greater frequency than nail-impressing), and the zoned effects which fall within the scope of the Horinouchi style have been found in the following excavations: in Shiga Prefecture: Shigasato22 and the north Biwa Lake-botto m site;23 Kyoto-fu: Kamigamo; Osaka-fu: Okayama,24 Onchi, and some fragments from Kusaka look as if they belong here;25 Wakayama Prefecture: Wasa, Mizono- kuchi, Kushimoto, and Okozaki; Nara Prefecture: Takenouchi,26 Shimoda and Miwa;27 Mie Prefecture: Ishikure, Azuri shell-mound, Sugitani and Takinokuchi.

Some of the Okozaki designs are complicated and angular, but zones are generally neatly defined. A snaky line running vertically and connecting horizontal bands in the manner of the Kanto is found at Kushimoto. There is a pseudo-cord-impression in wide bands at Okayama, undoubtedly an extension of this scheme from the Inland Sea. These impressions look as if they have been made by the rim of a shell in an experienced hand as they are neatly done, appear in small groups, are fanned out to a slight degree, have serrated edges and are of varying depth.

TAKENOUCHI RIM CORD-IMPRESSED. One other feature of related interest is the cord- impressed rim as an isolated component found at Takenouchi and Mizonokuchi, though otherwise rare. A few of the zone cord-impressed sherds bear a band at the rim, but this is a style (to the best of my knowledge unnamed in this region by Japanese archaeologists) of the rim set off from the smoothed body by thickening and cord-marking. It may be that there is generalized cord-impression lower on the vessel-wall, the evidence for which is strong if not conclusive in the Chugoku, though can only be surmised in this area. The rim-cord-impressed type is more markedly a Chugoku type, found in both the Sanin and Sanyo, and it impinges only to a small degree on the Kansai.

KAMEGAOKA CARVED. By drawing the necessary parallels, the next stage of zoned cord- impression would be that commensurate with Angyo of the Kanto Plain. As in the stage that we defined in Horinouchi terms in the Kansai, we deal with curvilinear incised designs, sometimes cord-impressed. Angyo tends to revert to greater surface penetration and actual carving, a technique from which the Kansai had never completely freed itself.

Flush-surface zoned areas are not as entirely circumscribed in Angyo as they are in Hori- nouchi, and there is more freedom of expression given to the curvilinear repeated design. These designs are punctuated with abbreviated spirals or curves tied into each other at spiralized foci. The technique is carried a step farther: background areas are lowered to provide shadowed con-

22 Tsuboi, I951. 23 Shibata, 1925. 24 Osaka City Museum, 1954, n. p. 25 Shimada, i926; Osaka City Museum, I954, n. p. 26 Shimamoto, I938; Morimoto, I933. 27 For Shimoda and Miwa: Shimamoto, I934.

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trasts with the rounded elements of decoration. By this time we have reached a Kansai Kame- gaoka, filtered through both the Tosan and the Tokai, but preserved in a surprisingly whole state, one in which the totality of the elements is almost equal to that of one of its subdivisions in the Tohoku.

The declining years of Jomon pottery of the Kinki are, once again, intimately associated with those of the Chugoku, particularly in one of the subgroups to be elaborated upon shortly. The Shigasato site seemed to indicate that the type known as Miyatake, the one which is an integral part of a Chugoku-Kyushu complex, preceded the Shigasato, or the local Kamegaoka, ware.28 Other than that I would suggest that the following surface treatments are largely contemporary:

i. smoothed surfaces, plain vessels, exemplified at Kashiwara and Okayama (fig. 35/I 8-20, 22,23, 33);

2. on vessels otherwise smoothed and undecorated: (all at Kashiwara) a. fine moulded ridges along shoulder and at rim; b. a few examples of clay ridges, rectangular in cross-section and indented, not neces-

sarily horizontally placed; c. various modest arrangements of punctates and parallel incised lines;

3. bands of incised and carved designs in elongated horizontal S-shapes, horizontal ellipses, extended rim arcs or wide zigzags (Kashiwara, Miyatake) (fig. 7/9-I2);

4. designs like those of number three above, but usually more generalized, and cord-impressed (Kashiwara);

5. surface roughened by scraping.

MIYATAKE PLAIN AND GROOVED. The Remains of Miyatake29 takes in eleven sites along the Yoshino river on either side of Miyatake, sites which yielded a wide range of Jomon ware from nail-impressed to the late, so-called Miyatake type (fig. 35/7-16). Reinvestigation of these and other sites in the Yoshino valley has brought more quantities of material to light.30 The Tanji excavation produced the Miyatake type of pottery: smoothed exterior surface; some parallel horizontal grooves; for the bowls, usually shouldered and angled profiles, thickened and greatly varied rims; for the plain sherds, often regularly indented rims of simple profile, and frequently narrowing toward the edge. The shapes in this pottery are chiefly wide-mouthed jars, bowls and spouted vessels. Vessels were discovered at Okayama with stands or pedestals perforated with circular openings (fig. 3513 2), indicating, without doubt, a correspondence with Yayoi pottery in this area. The grooving effects also suggest an attempt to simulate wheel- made pottery. Mat impressions have been found on bases in the Miyatake region, but they are probably of an earlier time.

The grooves are normally above the shoulder and grouped in twos or threes. In some instances they are interrupted near rim projections by impressions of the surface of a shell; at Okayama on a jar, pedestalled vessel and some of the fragments, circular punctates together or with shell imprints are these centers of decoration (fig. 7/7, 8). 28 Tsuboi, I951. 29 Suenaga, I944. 30 Suenaga and Kojima, I954.

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KASHIWARA INCISED AND PLAIN. The great Kashiwara site,31 one of the most productive though least known, is actually two: one southeast of Okubo shrine, and the other on two sides of a slope on the bank of the Sakura River. The latter had been found when the mau- soleum was being repaired and was reported in i902 by the excavator, Takahashi. It is likely that occasional floods disturbed the remains as their confusion seemed greater than that at most Jomon sites. The material is now displayed in the Yamato Historical Museum at Unebi, not far from Kashiwara, and the quantity of restored vessels and great number of figurines, animals and parts is quite impressive (figs. 35/I7-30; 42/6-I4).

Cord-impression is scarce at Kashiwara, and most of the decoration listed above for late Jomon can be found here. The clay colors are usually dark brown, and many indicate that baking was effective to the core from the exterior, but less effective internally. Clay thicknesses vary considerably. It is quite gritty and often white particles stand out clearly against the brown surface. One notices a rather rugged primitivism in much of the Kashiwara material, an almost monotonous sameness in color and surface texture; shapes are frequently irregular, surfaces uneven and a minimum of surface preparation was undertaken before actual decoration took place.

Kashiwara is not as clearly in the Kamegaoka fold as Shigasato (fig. 5/I, 2), some of the Miyatake remains, and Wasa (Wakayama) are, yet a few fragments are Angyo (broad, cord-impressed bands of abridged spirals), and a number of vessels and sherds have the carved rim ornamentation, previously described as horizontal and elongated S-shapes, that constitute the southernmost extension of Kamegaoka. Borders of these designs and sometimes the designs themselves are striated vertically, a detail of most of the ornamentation at this site, and one which serves as a common factor between Kashiwara's local decoration of mostly angular incised work and the Kansai's pure Kamegaoka. At Shigasato the Kamegaoka style sherds are well smoothed; at Kashiwara a few rim hooks and projections like magatama lying on their backs merely serve to cement the relationship with Kamegaoka.

More than likely the roughened surfaces, made so by scraping, and periodically relied upon by potters for a quick method of creating surface effects, come at the termination of Jomon in this area. At least, such seems to be the case in the Chugoku and Kyushu, but this type is far less easily distinguished in the Kansai. Its immediate antecedent would have been at Tambaichi. Takenouchi, its chief exponent, may represent a very late stage. Bases of such vessels are raised. The pottery of Kusaka,32 the only shell mound in Osaka-fu and almost entirely of fresh-water shells, a short distance east of the city of Osaka, is fairly thin, a nondescript brown with pitted surfaces, with outer face simply scraped. Bottoms are rather narrow and raised.

FIGURINES. Only two sites in the Kansai in which figurines have been found are known to me: Shigasato and Kashiwara. Both are late stages of Jomon. The Shigasato pieces would be meaningless if they occurred in an area where figurines were plentiful, but some grasping for straws is necessary under these circumstances. The fragments are not even absolutely identified, but are possibly an arm and leg that are hollow, grooved and punctated, in light brown

3I Suenaga, I939. 32 Shimada, i926.

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clay with darkened areas. The shape, technique of modelling and decoration lead one to believe they fall within the limits of Kamegaoka.

The Kashiwara finds include parts of approximately twenty figurines (fig. 42/6-14). On the average they are a little lighter in color than the vessels, but comparably coarse with stony surfaces, and, like the vessels, decoration is added quite sparingly. The only complete one is a little gingerbread figure, six inches high, scraped down to its present size, with large rounded face, slanted eyes, a grooved forehead and moulded grooves running up and down both front and back; short arms integrated with rounded shoulders; small, broken breasts; and somewhat angularly widened hips. The feet are thicker than the body, but inadequate to balance the figure (fig. 42/6). Bodies survived the ravages of time rather well and most show an unmistakable unity of style. They have unusually long waists, unlike the one just described, as the whole body from shoulders down is blocked off in a rectangle even when the legs are included. The thickness is generally consistent throughout. Breasts, often broken off, are sometimes protruding and hanging, at other times merely nipples, and no other female characteristics are indicated, but at least one was noted to still retain some sort of a projection, shapeless and identification unsure, but as if an attempt had been made to represent a combined female and male figure.

Two examples have holes bored through the chest; one other has a deep circular depression, but not a completed perforation. Holes are often bored at shoulders to take arms and one neck is socketed, an unusual technique in Jomon times. Two pieces, one a leg, the other a head and torso with face missing, are the only hollow pieces at Kashiwara. The Kamegaoka characteristics of both are quite recognizable.

A number of loose heads, averaging two inches in width, are of the same shape: a simple unbroken outline from ear to ear forming a high crown, then short curves emphasizing sharply cut back jaws. Most faces are mask-like, have joined eyebrows which are usually connected with the nose, and ridged from ear to ear. Eyes may be lumps of clay or non-existent. Ears are usually perforated. The backs of the heads sometimes have a series of incised parallel lines that define an incomplete rectangle the lower horizontal of which is absent. The majority of these heads are unmistakably Kasori in type, although the bodies are considerably simpler in outline than Kanto figurines, and such a degree of reduced decoration is never reached by more northerly figurines in this period. A few clay plaques found at Kashiwara are mere oblongs and usually without decoration.

Kashiwara plays a key role as a link between Tohoku and Kyushu. The figurines are related to Kasori of the Kanto and to Goryo of Kyushu; two fragments are of the Kamegaoka type of Tohoku; vessel decoration is in many cases a pure late Kamegaoka. This vessel decoration is a modified l'eau courante of the dotaku that probably moved northward somewhat later in the form of variations of this l'eau courante to fuse ultimately with the zoomorphic patterns of Kamegaoka into an extreme stylization of the typical Kamegaoka designs. Goryo of Kyushu and Kasori of the Kanto could perhaps even fall into almost the same time period, though the former is much nearer the demise of Jomon pottery in its area than the latter. Goryo is, as suggested elsewhere, probably contemporary with the introduction of bronze to south Japan, and it seems quite possible that the elements of nudity and pregnancy in the figurines were introduced to the Kansai and Kanto from the south. Perhaps the complexities are due to the cross-influences and currents as they meet each other on the plains of the Kansai.

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CHAPTER V

THE CHUGOKU AND SHIKOKU

The region lying between Kansai and Kyushu, bounded by the island of Shikoku to the south, the southwestern arm of Honshu on the north, and forming the sea lanes for traffic

from south Japan to the fertile Honshu plains, is the Seto Naikai, the Inland Sea. Separated from the Pacific by the island of Awaji on the east, and the Shimonoseki Strait between Honshu and Kyushu and the Hoyo Strait between Cape Sata of Shikoku and Kyushu on the west, this sea is a chain of five gulfs or smaller seas, known as, from east to west, Harima, Bingo, Aki, Iyo and Suo. Most of these names will be recognized as those of the old province divisions. Over a length of about 310 miles, and at no point over 40 nor less than four miles wide, are scattered approximately 950 islands, the majority lying nearer the Chugoku coast. On the Honshu side the beaches and harbors are better, a factor well understood in Jomon times as the sites are almost all along these stepping stones. The Inland Sea is relatively shallow except at the two extreme ends, Shimonoseki and Akashi Straits. Strong currents make the Shimonoseki and Hoyo Straits treacherous, and whirlpools in the Naruto Strait force most of the water traffic to skirt Awaji Island, going by way of Akashi Strait, Osaka Bay and Kitan-yura Strait to reach the Kii Channel, and eventually the Pacific Ocean. Always mild, though damp in winter time, the In- land Sea abounds in sea life. This takes in many types of shell-fish, particularly oysters, lobsters and prawns, numerous varieties of fish including the migrating sea-bream, and sea-weed.

As this region gives every indication of being marginal or dependent on other areas for its pottery styles, its real importance rests in its role as a connecting link between central and southern Japan, transmitting toward central Japan in early periods, and a two-way thoroughfare in Middle and Later Jomon between Kyushu and the Kansai.

A rather detailed chronology, relying considerably on unpublished findings, has been worked out by Yoshimasa Kamaki, archaeologist of the Kurashiki Museum, for the southern Hyogo, Okayama and northern Hiroshima prefectures.i This is the coastline that has been the most intensively investigated, and numerous Jomon shell-mounds have been dug. Of about forty- five sites with Jomon remains, approximately thirty-five are shell-mounds. All sites are either on islands or relatively near the coast. At only two sites, Isonomori and Hajima, has adequate stratigraphy been found to give concrete facts on sequences.

Kamaki is an adherent of the inflexible Yamanouchi system of five major divisions with openings in the scheme in peripheral areas, anticipatory to unnamed or undiscovered types that

' Kamaki, working closely with Yamanouchi, has devised a detailed chronology for the Inland Sea region which he was kind enough to draw up for me and to discuss his theories in reference to pottery evolution. He uses a terminology somewhat at variance with that of Mitsumori and Esaka.

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will correspond with the standing types of the Kanto. It seems to me that the five-partite scheme is proportionally as difficult to apply as is its distance from the Kanto. The most that can be said in favor of its application in the Chugoku is that the Chugoku is a dependent area, and due to its general lack of superimposed strata, its chronology must be constructed on an areally related basis primarily, and secondly on subjective internal evidence when such seems to be sufficiently valid. Kyushu and Kansai chronologies do have a direct bearing on the Inland Sea, but in the five-partite scheme the southern Tokai, Kansai and Chugoku are all poor relations, with the implication that none is more distant from the trunk of the family tree than the other. A strictly sequential scheme in an area with almost no stratigraphy, a great mixture of types in sites, few truly original contributions in typology, and most types with the earmarks of tran- siency seems not to conform to the facts. The greatest discrepancy with the five divisions is that Middle Jomon is virtually missing in this area as it is in the Kansai. By more or less eliminating one stage the terminological sequence is badly disrupted.

Kamaki's system is complicated only because certain type-names recur in the list, though these are distinguished by the letters Z, K and B, taken from the Japanese terms of the divisions, Zen-ki, Ko-ki and Ban-ki. Thus Kamaki suggests as his earliest group (So-ki): Rouletted, of zigzag patterns; Kijima, rouletted of zigzag and diamond patterns; a X type, shell scraped. For Zen-ki (Early): Hajima, punctated chiefly; Isonomori Lower, Isonomori Upper, nail-impressed and cord-impressed; Hikozaki Zz, scalloped rims and deep parallel grooves with additional indentations in grooves. On the borderline between Zen-ki and Chu-ki (Middle) is the Tai type, the Moroiso ridged style. Three categories of Middle Jomon are all unnamed and not yet clari- fied. For Ko-ki (Late) there is the Nakatsu type of zoned cord-impression; Fukuda K z, largely distinguished from Nakatsu by a more rounded rim section; and Hikozaki K I, in which designs are much the same but cord-impression disappears; Hikozaki K2 is angular zoning, with pseudo-cord-impression, shell-made; Fukuda K has the cord-impressions replaced by hachures. In Ban-ki (Latest), Kurozuchi B i includes smoothed surfaces and horizontal grooves near the rim; Kurozuchi B 2 consists of coarse texturing, indented ridges near the rim and probably at the shoulders.

This tight succession of eighteen types can, without detracting whatsoever from its accuracy, be more clearly read as areal relationships rather than temporal, and be more lucidly set forth in the following consecutive stages:

i. rouletting; 2. punctating and shell-scraping; 3. nail-impressions and stick-marking in parallel lines. Often combined with coarse cord-

impression; may be combined with applied ribbons of clay; 4. zoned cord-impression; pseudo-cord-impression in zones; comparable grooved designs

lacking cord-impression; rim cord-impression; 5. smoothed outer surfaces carrying shallow horizontal grooves; 6. rough, coarse surfaces with one or two notched ridges.

KIJIMA ROULETTED. The Kijima, Kurojima and Kotsutajima sites, the important In- land Sea representatives of rouletted pottery, are moe or less centrally located, the former two on small islands off Okayama, the other near the west coast of Kagawa (Shikoku) in the Gulf of

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Bingo. Rouletted sites have been reported in Hiroshima Prefecture.2 Such sites remain coastal as far as Kii Peninsula (such as Kozanji in Wakayama), but are no longer in close proximity to the ocean and its marine shells beyond the southern Kansai. The Kijima mound3 yielded a rich variety of rouletting: zigzags, wavy lines, diamond shapes, rectangles, wide herring-bone patterns, netted and dotted patterns, straight unbroken lines, and short straight lines. At both the Kurojima4 and Kotsutajima5 shell-mounds were found, in layers with rouletted pottery, undecorated sherds. It is highly probable that undecorated ware either was made contemporaneously with the rouletted pottery or on some rouletted vessels large areas were left plain. Rims are usually flat, though some at Kotsutajima are slightly waved. Vessels are almost all more or less cone shaped, and though there are all degrees of color and quality of clay, most sherds are thick, sand-tempered and shades of brown. Stratigraphy at Kotsutajima is significant for a particular- ized study of rouletting, but not for Inland Sea chronology. At both A and B spots rouletted and undecorated sherds were mixed, though at spot A, over a mixed shell and soil layer and a shell layer, in the top soil level were found only undecorated fragments. Higuchi believed them to be Yayoi.6

One isolated site, far into the mountains of Hyogo Prefecture, is an unusual example of inland penetration of rouletting. In the vicinity of Uzuka village7 sherds were discovered with the early zigzag style of roulettes. This makes one wonder if more will not be found when the scope of investigation is enlarged.

ISONOMORI NAIL-IMPRESSED. Flat bottoms, some shell-marking and punctating developing into nail-impressions, perhaps emanating from the Kansai as a counter-current, formed the ensuing tier of the Chugoku. Nail-impressions may be traced all the way to the islands south of Kyushu, and are here given a sharp impetus. From the Isonomori shell-mound8 came the purest of the Kitashirakawa nail-impressed types of the Inland Sea-sherds that are indistinguishable from the carefully impressed ones of the Kyoto site. Farther down the coast and a little more developed are the fragments from the Hikozaki mound,9 whose impressions are deeper, fewer, and resemble a line of cones inserted into each other. The impressions are often so deep that the inner surface is lumpy. The imprints at Hajima are grouped in contiguous paren- thesis-shapes, shell-made, and appear to be in a primitive stage, perhaps a sort of prototype for the nail-impressions in this area, if such could be the case. Identical impressions are found on sherds from the Mori shell-mound, Oita, Kyushu.Io At the Ota mound in Hiroshima Prefecture" the impressions are finer, at Umatori they are once again deep. Just north of Uno, at the Tai

2 Ikeda, 1948, I3; Esaka (gen), RH VII, I950, 96. 3 Ikeda, 1949; Kamaki, I954b. 4 Ito, I 938. 5 Higuchi, I936; Sugiyama, I935. 6 Higuchi, 1936, I2-14. 7 Kinto, 1954. 8 Shimada, I924; Kamaki 1954. 9 Sakazume, 9 51 a.

o1 Higuchi (Kyushu), I93I. " Shimada, 1930.

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site12 the nail-impressions and their enclosing parallel lines are worked into curved and arched decorative patterns set against regular, diagonal (between a 500 and 70o angle usually) or vertical cord-impression. Rims of these vessels are strongly indented. This is a local variant of the Satogi or Funamoto type, though the Satogi type more or less dispenses with the nail-impressions and merely uses the parallel lines for decorative effect, and is probably contemporary with Otoshiyama up the coast in Hyogo Prefecture where the Moroiso style ridged designs are in great profusion.x3

SATOGI CORD-IMPRESSED AND SHFPT-IMPRINTED. Satogi and Otoshiyama go hand in hand, as do the Moroiso A and B types, with at least some coexistence. Techniques used are much the same, and the bamboo stick decorates ridges as often as not. Satogi is the bamboo stick decpration used in association with or superimposed on cord-impression, but it has one distinctive feature by which it may be frequently identified: use of shell-imprints on many rim sherds. These are fan-shaped, and go with coarse cord-impression or widely spaced fiber-impressions and sometimes broken parallel lines for body decoration (fig. 13/30). The clay is

usually fairly pure and gray in color. Such shell imprints of the Satogi style are to be found at the shell-mounds of Otoshiyama, Funamoto, Tsugumo, at the site of Ushimado, and the Hiraki shell-mound of Ehime in Shikoku. Vessels have somewhat rounded bodies, narrow bases and waved rims which are thickened and indented diagonally. Parallel groove designs may be in arc patterns or sometimes angular or in large zigzags around the vessel.

OTOSHIYAMA RIDGED AND CORD-IMPRESSED. The Otoshiyama ridged style'4 equated with Moroiso B is found at Tai and the shell-mounds of Tsugumo, Funamoto and Shimaji. Some ridges are punched, others left plain. The real simulated twisted cord of Moroiso B is very rarely found farther south than the Otoshiyama site. Occasionally a sherd carries ridges wound into oval shaped patterns suggestive of Katsusaka designs of the Kanto, and it is reasonable to suggest that these are the result of Katsusaka influence and therefore of about the same time in this region. It would then be indicative of Moroiso having existed earlier in the Kanto area than did its satellites of Satogi and Otoshiyama in the Chugoku. Otoshiyama type sherds have coarse and sandy paste and are usually brownish or reddish.

TSUGUMO RIM CORD-IMPRESSED. There is one stage which could, within reason, partially fill the theoretical Middle Jomon gap. At Tsugumo,is a site that yielded a wide variety of types from a few fragments of Satogi to a post-Fukuda grooved, smoothed and shell- imprinted type, 16 was found a stage of rim emphasis with the characteristics of a distant relative of the Kanto's Ubayama. The wide rim is thickened, slanted out, deeply incised and cord- impressed. The designs are clear-cut horizontal, parallel lines, extended oblongs, circles and parallel arcs -an outgrowth of the moulded and modelled effects of rim spirals, circles and

12 Kamaki, 1954 a. 13 Mitsumori, 1938, 41-46, uses a Funamoto A and B classification. 14 Naora (Kansai), I926; (Kansai), I927, 282-287, 291-293. i5 Kiyono, Shimada, Umehara, I920. ,6 Mitsumori, I938, 46-50, gives Tsugumo A, B, C, and D types.

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horizontal strips of the Ubayama style in the Kanto Plain. 17 Satogi, with its Moroiso characteristics, also has its Ubayama traits. There are examples of bodies and rims in swelling and incurving profile common to Moroiso-Katsusaka-Ubayama, and rim designs or spirals radiating points almost resembling birds' heads comparable to those of Daigi, for instance, the Uba- yama of the Miyagi area. Satogi, a member of the Moroiso clan, ties Moroiso to Ubayama in this area much more subtly than is done at the Tsugumo site where sherds with both body stria- tions and cord-impressed rims have a combined Moroiso and Ubayama character.

NAKATSU AND FUKUDA ZONE CORD IMPRESSED. Horinouchi's exponents in the Seto Naikai consist of Nakatsu and Fukuda, the former a shell-mound near Kurozaki village in Asakuchi county, the latter a town in Kojima county, both in Okayama Prefecture. Nakatsu (fig. 24/25) is equated by Kamaki with what is sometimes known as Horinouchi Older in the Kanto, Fukuda (fig. 24/22-24, 26) with Horinouchi Later. Mitsumori uses Nakatsu and Gon- genyama for these stages, the latter term the name of a cave of Moriyama village, Yatsuka county, Shimane Prefecture, on the north side of the Chugoku.18

There are three aspects of this zone cord-impressed stage:

I. broad belts, boldly treated, with mostly unidirectional imprints, but becoming less so as time goes on;

2. zoned pseudo-cord-impression composed of refined shell-made imprints running more or less horizontally;

3. grooved designs similar to those indicated above, but entirely lacking cord-impression or other marking.

This limited use of techniques preserves the systematic unity that circumscribes the Hori- nouchi style in areas other than the Kanto. Vessels vary from reddish-brown to grayish-black, with rough or smooth surfaces, though those believed to be later are more often smoothed and are frequently quite dark in color. Rims are generally even, of the same thickness as the wall (except in late examples when they are rounded out), walls may at times bear obvious inner and outer surface scraping, or only inner surface scraping, and vessels frequently have slightly rounded bases and sharply narrowed orifices. The clay is relatively fine.

Most of these three modes of treatment are found in the greatest of the Sanyo sites: Takajima, Nakatsu, Fukuda and Tsugumo, all in Okayama. Zoned cord-impression and sometimes with its step-brother, simulated cord-impression, are known to have come from at least three other Okayama sites, one in Hiroshima and two in Yamaguchi. At Funetsu shell-mound, Okayama, the rims are strongly indented, and some are peaked. On Shikoku, at the shell-mound of Mi- nami-kusaki, not far from that of Kotsutajima, zone cord-impressed sherds were discovered along with other types that included rouletted, nail-impressed, and ridged and cord-impressed of the Otoshiyama variety.I9

The second Hashi stage of the Sanin of rim-cord-impression has its equivalent in the Tsu- gumo and Takajima sites. Though in a sense a secondary aspect of zoned cord-impression, it

'7 Mitsumori, 1938, 47, equates his Tsugumo A with Kasori E (Ubayama). s8 Mitsumori, 1938, 50-52.

19 Higuchi, 1938.

7x

can normally be distinguished from small sherds of the zone cord-impressed type by a thickened rim, and often clear evidence of wall scraping up to that rim. Zoned cord-impression itself is only rarely carried to the rim, though it is so treated more frequently in the Chugoku than elsewhere, thus identifying the two more closely with one another in this section. In some instances the cord-impression is set apart from the wall by a deep groove much as is done with zoning. They have so much in common it seems reasonable to assume that one sprang from the other and are here largely coexistent, as is quite likely to be the case on the other side of the Chugoku. At Takajima the rim cord-impression on either or both inner and outer surfaces is sometimes replaced by a wavy line. This is conceivably a subsequent stage and a step from the rim grooves of Kurozuchi (one of te Takajima sites), Chugoku's Miyatake or Goryo. Other than rim cord-impression and sometimes a groove along the inside of the rim, such vessels probably had rather generalized oblique body cord-impression at approximately a 5 5 ? angle below a wide plain neck band.

TAKAJIMA GROOVED. Finally, the upper two rungs of the Seto Naikai ladder consist of a reduction of ornamentation to horizontal shallow furrows near the rim, and the application of clay ridges. The earlier, in other words, is an extension of the Kansai Miyatake type with its external surface polishing, grouping of punctates in threes or fours as triangular or square patterns, sharply turned rims and shouldered profiles.20 The only distinction one can make between the sherds of Takajima and those of Goryo of Kyushu is largely in color, but even this is scarcely consistent. In Okayama they are usually a medium brown color, while the clay is granular, but relatively pure for Jomon pottery. Some sherds, incidentally, bear rows of wide punctates reminiscent of those of the nail-impressed era. Takajima's ties with Goryo of Kyushu are all the tighter, for at a distinguished Goryo site, Mimanda, the same punctate system has been found, and hachures replace the cord-impression in a way identical to that of the Kurozuchi fragments, a Takajima site.z21 Takajima Upper plays the same role in the Chugoku development that Kashiwara does in the Kansai.

KUROZUCHI ROUGHENED AND RIDGED. Lastly, the ridged stage reverts in most cases to the roughened surface as a conscious appreciation of pottery textures, in contrast to the metallic finishes of the Miyatake-Takajima-Goryo types. The roughening is achieved by scraping with no retouching, thus permitting the unevenness of the clay to function as surface effect. At no other time in the Chugoku is there such a complete lack of surface reworking, and rarely is the clay more noticeably sandy and coarse. The preceding style, however, is only diluted in some fragments from Kurozuchi, since identically notched ridges are to be seen on well smoothed, dull-finish sherds, indicating that attempts at surface smoothing have not been entirely discontinued. Rim edges are ruffled, indented or hatched diagonally. Vessels are fairly large and clay colors range from light to dark brown. At Odomari, a second site on Takajima, the inner walls of sherds show clearly the junctures of the coiling technique. With critical study, this type has now amplified itself into one of considerable magnitude in the Inland Sea region. Its distribution includes sites in Shikoku and Yamaguchi Prefecture on Honshu. 20 This is Kamaki's Fukuda K3 type. 21 The substitution of diagonal slashes for cord-impression constitutes Kamaki's Kurozuchi Bi type,

the first of his Latest Jomon order of succession, and is correlated with Shigasato of the Kansai.

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Some mention should be made of spouted vessels in both the Chugoku and Kyushu. Prob- ably in neither area do they make their appearance before the local equivalent of Horinouchi, though it is difficult to verify this as usually only the spout is found. They probably come from small, globular vessels resembling the modern-day tea pot. About a half dozen spouts were found at Tsugumo, and in Kyushu spouts or fragments believed to be of spouts came to light at Mimanda, Uki and Ono. The proportions of these vary greatly, but they usually taper, are curved, and sometimes bear scraped furrows running the length of the spout.

By way of reviewing the Jomon of Chugoku, its early stages may be determined as having a primarily southern character, that is, of being areally related to Kyushu in the technique of rouletting, both in what appears to be the initial and the mature aspects of rouletting. Shell- scraping and punctating cannot be so readily isolated in regional terms, but the nail-impressions and bamboo stick marking, together with raised ribbons of clay (infrequent in western Chu- goku) are traits of central areas originally, with expanding influence from the Kanto and Kansai. The roads are even more heavily travelled in the period of zoned cord-impressions (accompanied by its associates of similar designs, but devoid of such impressions or decorated with simulated cord-impression), as Chugoku looks toward both the Kansai and Kyushu. The concept of Ubayama rim-decoration penetrated this area, leaving its distant outpost at Tsugumo, though as far as can be judged, it has only an incidental effect, insufficient to intrude itself as a link in the chain of local chronology. In zoned cord-impression the Sea plays one of its most important roles, and it identifies itself fully with coordinated inter-island Jomon developments. Once again, however, during the last two stages this area reverts to its early southern leanings: simple surface effects of horizontal parallel grooves and smoothed surfaces that are common to the Kansai, Chugoku and Kyushu, but rare farther north, and roughened surfaces. The latter do have their Kanto counterpart in late Angyo, buthey lack they lack the southern" ridges and are not so immediately allied in shape and surface treatment, and since the difference in degree is so great it is perhaps a difference in kind.

FIGURINES. Figurines are rarities in the Inland Sea zone where they have a composite plaque-figurine character. Two fragments were found in the Shimaji shell-mound, a site in the vicinity of Tomita village of Asakuchi county, Okayama (fig. 42/15, i6). It is near the sta- tion of Tamashima city. Both are torsos, broken at the waist, about two inches in length, neither ever had heads, but one, of reddish-brown rough clay, has only long, hanging blackened breasts, with no other decoration whatever. The other, like the first, widens out strikingly at the shoulders and is rounded across the top, but has smoothed surfaces with deep grooves in what were probably once truncated V's. Grooves rise up and over the shoulders and descend across the back. The color is light brown, and the clay of both pieces is sandy and coarse. The broken leg of a figurine from Otoshiyama in Hyogo Prefecture is in such bad condition -the surface scratched and the decoration obliterated -that it sheds no other light on figurines of the Chugoku except to demonstrate their presence.

SANIN. In the Sanin area, particularly the centrally located prefecture of Shimane and the Oki Islands, the sites are rather small and unproductive relatively speaking, and though the sites rarely contain more than one type under any circumstances that might be construed as

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stratigraphy, yet a general chronology has been worked out in reference to the other side of

Chugoku on the Inland Sea. In general terms, the outer coastal sites and those of the Oki Is- lands (where four have been found, Koriyama, Iso, Misaki and Togo) though only rarely shell- mounds, are early Jomon in time while the deep inland and mountainous ones along the southern line of the prefecture are fairly late in the chronology. One is obviously dealing with shore and hill dwellers of different periods, but whether one stems from the other or constitutes a new influx of migrants who penetrated the mountainous regions from another area is difficult to say.

SADA-KOBU SHFP TLL-SCRAPED. Sada-kobu or Unada shell-mound, near the Sata shrine and situated along the Sada River, today part of a canal that leads from Lake Shinji to the Japan Sea, yielded a considerable quantity of shell-scraped sherds of a dark gray color, a small quantity of which bear slight brushed marks (by some fibrous object presumably) and some later nail-impressed and also some cord-marked fragments, though the last two mentioned types certainly do not make up more than io % of the total. About go90 % of all sherds found at Sada-kobu are shell-scraped. No rouletted pottery is known in this Japan Sea area, once again implying that its diffusion was along the Inland Sea, and it is to be presumed that the shell- scraped types are the earliest Jomon products of the region. The bottoms are rounded and rims usually smooth, though one or two sherds give evidence of a slight and uniform ripple of the rim with perhaps a faint bevelling out of the trough of the ripple. Rims may also be impercep- tibly thickened. The texture of the clay is inconsistent, sometimes very coarse with chunks of stone, at other times much more pure. Firing of the pots also was not uniform in that the clay is a dark gray color throughout in most cases, but in some the core is a light brown. Shell- scraping may be on exterior, interior or both; it varies from deep grooving to mere surface streaking. Although no complete vessels exist, nor have vessels been reconstructed from the mass of small fragments, it is clear that the typical shape is simple with no angular wall breaks.

MAJI NAIL-IMPRESSED. Shell-scraping lingers as a link between earlier and later types in the Sanin. At the Maji site, farther down the coast, shell-scraping covers the inner surfaces while nail-impressions and cord-marking appear on the outer surfaces. Here also are the first applied strips of clay in this area. It is then clear that together with the nail-impressions, cord- marking and simple applied strips we have the basic characteristics of the Moroiso family extended into the Sanin as it is in the Sanyo, though certainly not diffused across the Chugoku, but reaching both areas from the influential Kansai center of Kitashirakawa. Similar nail-impressions and inner surface shell-scraping was found on sherds from the Togo site, Oki Islands; such forms of decoration have already been noted at Sada-kobu. The clay strips and cord-impression appear on the few fragments found at Misaki, Oki Islands, and may be most closely equated with Otoshiyama on the Inland Sea in style. One of the types from Megumi (Yonago city) with generally light brown and blackened areas on the clay surfaces and reddish-brown clay core also has the shell-scraped interior with clay strips on the outer face. The strips in this case begin to form parallel curved patterns on the body of the vessel (judging by the sherds) and some horizontal strips have uniform notches-an advance over its counterparts to the west, and more closely associated with Otoshiyama.

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HASHI SH,LL-SCRAPED AND CORD-IMPRESSED. The next step may be seen at Hashi, still farther down the coast and near Kawanami. This site, on a sandy waste, has two separate "spots", one Middle Jomon (by Yamanouchi's scheme), the other Late (by the same scheme). The' earlier of the two is an important phase in sheer quantity, with coarse clay in thin sherds of varying colors from light brown through brownish-red to a blackened exterior surface. The reverse of the sherds are shell-scraped; the outer side has both shell-scraping and cord-impression usually. Apparently the surface was still first smoothed with a shell and then the cord- marking was applied, so that not all the shell marks were obliterated. The clay contains extremely coarse sand though surfaces are rather well smoothed; cord-marks are as regular as the uneven surface will permit. The rims, bearing four small projections, are thickened and turned down and cord-impression crosses the rim band and extends obliquely over the entire surface of the vessel. Bases are relatively narrow and are raised. The Ino site, southwest of Hashi, contained similar material, and at Koriyama in the Oki Islands the shell-scraping, cord-impression and turned down rims are allied to Hashi. Punctates appear on some of the Koriyama sherds. A few examples were found at Sada-kobu of rim and allover cord-marking, and one example of an interior rim clay strip being cord-marked was noted; the outer surface was undecorated. This rim has numerous small concave depressions at regular intervals. This Hashi cord-impressed phase is probably Middle Jomon in the Yamanouchi scheme.

ONSEN ZONE CORD-IMPRESSED. The Onsen pottery, more inland and perhaps a stepping stone in the movement away from the shores, gives some evidence of the next major change in pottery decoration in the Sanin: cord-impressing is now organized into designs by the aid of grooves, but the earliest stage of it in this region appears as a series of hanging arcs around the rim, much the same as the so-called Satogi 2 stage and similar to the incised Uba- yama of the Kanto. Briefly, the Onsen pottery is dark brown, the cord-impression is coarse, the typical shape is more or less cylindrical and some vessels are of huge size. Zoned cord- impressing at this site is done within designs based on right angles.

The Sakigahana cave site22 on the northern shore of the Naka Umi and southern side of the Shimane Peninsula is one of the few zone cord-marked sites along the sea side of Shimane; most of this style is found in inland deposits along the Shimane-Hiroshima boundary line. At Sakigahana the pottery is a very dark grayish color, rather thin, with neat and generally angular zones of cord-impressing. It is part and parcel of the late Horinouchi manifestation (Kasori B in the Yamanouchi scheme), although here the rim bands have almost semicircular projections into which have been skillfully cut parallel lines of incomplete spirals that are linked to each other with parallel horizontals along the band. Cord-impression may appear on the uppermost zone of the rim. One of the chief shapes is a small bottomed and more or less globular jar of rather wide proportions with narrowed neck and rim decorated as described above. The body of the jar bears oblique cord-marking, the neck is smoothed and undecorated.

Other sites, and they are mostly in Jinta county, that contained erased cord-impression are the following: Onuki, where the cord-impression is very fine and similar zoned designs appear without cord-marking; Torikami; Mizawa; and Minari, at which the zoned cord-impressing is

22 Naora and Yoshida, 1939.

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very rough. The site of Ai is also of this period and that of Kijima possibly an early phase of it.

What is perhaps the last pre-Yayoi phase is not clearly defined, but there was found at the Onsen site some very heavy, dirt-brown undecorated pottery, whose large fragments suggest large vessels which at present seem to have no better place than a transitional stage between Jomon and Yayoi. It is unlike any of the other pottery of the region, though a nondescript brown is not unusual for this area, but in the absence of controlled data and one's inability to establish a relationship with other Jomon types, the last resort, if not logical, is to place it at the end of Jomon with a possible reference to Yayoi pottery.

The major steps in the Sanin, then, are summarily, the Sada-kobu shell-scraped phase; the Maji nail-impressed with shell-scraped inner surfaces, the Maji applied of approximate con- temporaneity; and then the Hashi cord-impressed phase, an overall cord-marking, the full force of cord-impressing having been reached at this point; the beginning of its reduction to ultimate zoning through the Onsen cord-impressed and incised phase, and the elegant and refined erased cord-impressing phase of Sakigahana, followed perhaps by the strongly Yayoi-influenced stage of the plain Onsen. The unquestionable bonds with main national trends begin with the Maji nail-impressed and Maji applied (Moroiso); the overall cord-marking phase of Hashi is more regionally inspired, but with the Onsen cord-marked and incised and Sakigahana zone cord- impressed the Sanin has reidentified itself with national movements.

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CHAPTER VI

KYUSHU

K yushu, an island of 15,756 square miles, is rather naturally divided into a northern and southern part by the great fault line which separates the Inner and Outer Zones as it runs

through Shikoku and cuts the Kii peninsula off from the old Go-Kinai provinces. The northeast part and a strip that tapers toward the tip of Honshu is the Tsukushi Hill and Plainland, geolog- ically an extension of the Chugoku that reaches to Nagasaki (south Hizen) where the three- pronged peninsulas fork out. These are known as Sonoki, forming Omura Bay; the shortest and narrowest one of Nomo to the south; and Shimabara on the east with Chijiwa Bay lying between the southern and eastern promontories. Nagasaki's land formations coupled with the location of the Amakusa islands create the Yatsushiro Sea and the deep Ariake or Shimabara Bay. The lowland here, the Ariake Plain, bounded on the north by the Chikuho River, in the south by the Midori and crossed by the Kikuchi and Shirakawa, is the chief link between northern and southern Kyushu. Access to Chugoku, since I942 connected to Kyushu by a tunnel from Moji to Shimonoseki, is through the northeastern edge of the plain and into the Onga River plain by way of the only low altitude valley that crosses Kyushu. The west littoral has broken itself into numerous islands, the largest being the following: the twin rocks of Tsu- shima lying about halfway between Japan and Korea; Iki off the Saga coast; Hirado to the west; the Goto group, a part of Nagasaki Prefecture; the Amakusa group; Naga; and the Koshiki islands under the administrative control of Kagoshima.

Many of the mountains in the central part of the island, from Mt. Aso south, rise to well over 5,oo000 feet, and those south of the fault line are sufficiently high to make human habitation impractical. The two plains of southern Kyushu are situated on the eastern leg of Kagoshima and farther north and east in Miyazaki. The latter is sometimes known as the Sadowara Plain, and is the flattest and most unbroken lowland of Kyushu. It has no easy access, however, and though archaeological investigation in that region has been negligible, it is doubtful if Jomon man ever reached it in appreciable numbers.

Stratigraphy in the Jomon sites of Kyushu is rather rare, particularly in the north where there has been more emphasis on Yayoi rather than Jomon, so that when sequences are found in one site the data provided are invaluable in attempts to construct chronologies. From the work of southern Kyushu archaeologists, especially that of Kawaguchi, the following relative se-

quences have been compiled:'

I owe much to the willingness of Sadanori Kawaguchi of Kagoshima to discuss the chronology of south Kyushu. Where bibliographical references are missing in the comparative stratigraphies I am utilizing the information given by him, being aware of the fact that most of it is in publications unavailable to me.

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Kusano2 Kitatabuse S-M Take S-M3 Kasuga-cho Ichiki Ichiki Ichiki Ichiki

Kanegasaki-Nishibira J Kanegasaki-NishibiraJ Ichiki

Ibusuki Ibusuki Ibusuki Ibusuki Ataka I Namiki f

Kasuga-cho

Ichiki S-M Nampukuji S-M4 Ishibaka (or Chiran) Yoshidas

Ichiki Nampukuji } Ichiki Izumi }

Ataka Ataka Sainokami Yoshida Ishizaka Ishizaka

Rouletted (shell-scraped)

I have arranged the spacing in a relative manner to suggest certain temporal correspondences. The popularity of Ichiki is immediately apparent, and its relationship to Ibusuki is unques- tionably established. Less certain is that of Ataka to Ibusuki, but the latter gives every indication of being directly evolved from the former.

In some areas a combination of two or more techniques on sherds is evidence of at least some coexistence, and all the more significant when stratigraphic information is lacking. Two types may be positioned relatively this way: Todoroki and Sobata. They are associated with rouletted pottery by the appearance of rouletted bands on the outer wall and on the inner surface of the mouth on vessels that are otherwise Todoroki in type in Isa county of north Ka- goshima, while the Tamukeyama type (found chiefly in the same county) shows the two techniques of first rouletting and then incising in a Sobata manner. This county has been thoroughly investigated by Dr. Terashi and an amazing density of sites has been located. Fortunately this is so, for the study of certain areal and temporal aspects of Kyushu Jomon could well hinge on this county through which the lines of cultural transitions or perhaps delineation may be drawn.

Lacking controlled data, a few other types are now recognized as being closely related to the generally positioned types, largely on stylistic grounds. Terashi sees the Izumi type as a degenerate form of Ataka with its distribution more or less that of Ataka.6 It has been found with Ataka pottery, but not in successive layers. The Izumi type is, however, either an offshoot or the father of the main Ichiki type, as is the Nampukuji, though the latter is a refinement of Ichiki with narrowed bands of design in the spirit of the zoned cord-impression of Kanegasaki and Nishibira. This tends to tie together, even though somewhat subjectively, the middle period types, permitting tentative chronologies and relationships as set out below.

2 Kawano and Kawaguchi, 1952. 3 Kobayashi, Y., 1954. 4 Terashi, 1939. S Shigemori and Higashi, 1953. 6 Terashi, 195 4, English section, 2.

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In east Kyushu far less work has been carried out. One site southwest of Oita city has provided valuable information for linking Kyushu with Honshu. At Yoko, Meiji village, Oita county, the lowest layer was Todoroki (pinched ridges and shell-scraped), the middle layer contained Tsugumo B (cord-impression outlined by grooves) and the upper layer was Yayoi.7

Kawaguchi suggests the following sequence for the southern Kagoshima area:

Sobata (incised) Ishizaka (shell-scraped) Yoshida (punched, incised and shell-scraped) Sainokami (net-impressed) Kasuga-cho (punched and applied in ribbons) Namiki (punched, or pseudo-nail-impressed) Ataka (grooved) Iwasaki Lower (grooved) Iwasaki Upper (grooved) Ibusuki (incised) Ichiki (rim-marked) Kurokawa (roughened)

In the area of Kagoshima city the Sobata type is found at the Nishino-omote site, Ishizaka at Yoshida in the lower level and similarly at Chiran. The Yoshida type comes from the upper Yoshida level and from Nakagori. Sainokami was discovered in Chiran Upper, Kasuga-cho at the site of the same name, Namiki and Ataka at Kasuga-cho II, Iwasaki Lower and Upper in the Iwasaki site, Ibusuki at the Kogakure site, Kusano Lower and Kasuga-cho III, with Ichiki sherds in Kusano Upper and Kasugo-cho IV. The last type in south Kagoshima, that of Kuro- kawa, takes its name from a cave site on the peninsula almost directly west of Kagoshima. This list, however, should include the zone cord-impressed types of Kanegasaki and Nishibira, both found at Kasuga-cho.

The customary five divisions as applied to most of Honshu seem to be less and less acceptable the more distant one is from the Kanto. I agree with Terashi who has found it inappli- cable in Kyushu, though he doubtless will not concur with me in the lines that I have drawn. The dividing line for him between Middle and Late Jomon bisects the cord-impressed stage; in other words, Kanegasaki is Middle Jomon, Nishibira Late Jomon.8

SENBAGATANI ROULETTED. Rouletted pottery is the most widely encountered type in Kyushu (fig. 11/1 4-1 5). It often goes by the name Senbagatani where most of the rouletting is in oval patterns.9 Only in Fukuoka is it less concentrated and this may be more apparent than real due to a lack of thorough investigation in that prefecture. Although the shapes of many vessels on which this technique is found are considerably more advanced than those known on Honshu and Shikoku (flat bottoms, complicated profiles) the extremes of refinement in crafts- manship in this technique are not in Kyushu but in the Tosan district of Honshu, though this is not to say that workmanship in Kyushu and the Chugoku and some of the Kansai products

7 Information received from Satoshi Sato, Beppu Women's College. 8 Terashi, 1954, English section, i. 9 Shichida, I934.

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are only mediocre. All areas indicate considerable experimentation, aptitude and ultimately mastery of the potential finesse of the technique.

The main varieties of rouletting in Kyushu are the following: i. parallel zigzag impressions, 2. ovals in defile, 3. squarish blocks with narrower interstices than in the oval type, but also oriented obliquely, and occasionally arranged back to back to resemble a series of diamond- shaped patterns where they meet, 4. ridges meeting at right angles, laying the field out in square cells, 5. the field laid out in rectangular cells, 6. a complicated diamond within a diamond pattern quite distinct from the back to back zigzags, but probably inspired by the combined zigzags.

In some instances more than one of these designs appear together. Quite frequently in both Kyushu and Honshu (particularly the Inland Sea region) the inner rim to a distance of about an inch will bear rouletted impressions. These may differ, as for instance, at the Ikenokashira site, Kumamoto, the outer surface carried oval bumps, the upper surface of the rim zigzags, and the inner wall near the rim also zigzags. Its popularity probably spread from Kamimashiki county where the great sites of Ataka and Goryo are located and in both of which this combined scheme is found. Parallel vertical grooves more often finish off the zigzag patterns at the rim; in some cases it is done by drawing the carved stick directly upward, at least it is clear that this is the case when some correspondences occur between the spacing of the vertical grooves and the zigzag apexes. On the other hand, when the vertical grooves, bullet-shaped, partially obliterate the top line of ovals, as at Uenobaru in the same county, it is certain that if the same stick has been used to finish off the decoration, it was not done in the same movement as that which produced the ovals. Similarly, examples of overlapped zigzags and vertical grooves (at Ataka) imply an after-thought, and seem to be a half-way attempt to erase the upper lines of zigzags. This single site indicates that there was by no means consistency in this practice. Even when rim surface, upper-inner wall and outer wall bear the same kind of rouletting, there are cases which show that different instruments were used. By way of example, one sherd at Ikenokashira has wide zigzags on the rim and upper-inner wall surfaces, but on the exterior face the zigzags are tall and closely spaced. At Yamanoue, one of the twenty-odd rouletting sites in the Goryo area, the zigzags range from steeply peaked forms to gentle wavy patterns, and from tightly packed parallel lines to zigzags so widely spaced they seem to have little relationship to each other.

Across northern Kumamoto Prefecture there is a considerable number of rouletted sites, particularly in Kikuchi and Tamana counties. Io It is found in most of the counties of Miyazaki including all of those that border on the adjoining prefectures of Kumamoto, Kagoshima and Oita. In Kagoshima it is chiefly in Isa county, the most northerly one of that prefecture. No consistency appears discernible in the confusion of varieties of rouletting at these sites, and while there is a general preference for zigzags and ovals throughout Kyushu, as has already been suggested, no one variety has a more clearly defined distribution than any other. Rouletting is found in most of the great Kyushu sites: at Sobata it is chiefly of the zigzag type, at Mimanda both zigzag and oblong bumps. The Ataka and Goryo sites have already been mentioned. One reason for suggesting that Ataka was a center is because the wood-cutting skill reached a degree

10 Kobayashi, H., 1939, 39, says there are about fifteen.

8o

here that permitted the most uniform and elegantly formed impressions and projections in all of Kyushu. At this site, incidentally, the inner-upper surface sometimes bears only vertical grooves and has no complementary rouletted patterns. The most unusual, the diamond within diamond, occurs at Kuroda. At Maruo the zigzags on the outer surface are oriented vertically, and on the inner surface are oriented horizontally. At Kamikakita most of the work is that of zigzags, but there are fields of rectangular cells, ovals strung together like sausages, and incisions crossing the ovals but of a type wholly different from the superimposed grooves of the Tamukeyama type. Here, also, is some doubling up and overlapping of the zigzag system with occasional raised triangles in the valleys of the uppermost row of zigzags. A lack of sureness characterizes most of the workmanship on the remains from this site.

Rouletted pottery varies in color, quality and consistency of clay, and sherd thickness by area and often by vessels themselves within the same site. The clay itself usually runs from a gray-brown color to a dark brown and is often extremely coarse. Firing has rarely given consistency in coloring throughout the wall. The thickness fluctuates on either side of a quarter of an inch. The vessel shapes to which rouletting was applied in south Kyushu were simple, without thickened rims normally, and with pointed bases. Some of the rims have waves (at Kuro- kizuka), slight waves (at Goryo), ripples (also at Goryo) or numerous fine concave indentations (at Maruo). The unevenness that is to be seen in many rim sherds is probably accidental. One rim sherd from Ataka with oval roulettes on the outer surface is castellated with double peaks. Rouletting seems to have reached its peak of achievement in Kyushu at Ataka.

In south Kyushu (i. e. southern Kumamoto, Miyazaki and Kagoshima) there are no con- flicts in considering rouletted pottery to be an early type if not the earliest since the bottoms are always pointed and rims are usually the same thickness as the walls and simple in contour. In the north of the island archaeologists have been led to look on the rouletted manifestations as either early only or both early and prolonged."I

The Tamukeyama type is probably one step beyond the Sobata type with which it must be associated in that flat bottoms are utilized, but the grooved designs of Sobata are combined with rouletting. Sobata has pointed bottoms. The most logical proposal, and I do not think I am reducing it to oversimplified proportions, is to suggest the spread of rouletting from eastern Kyushu to the Inland Sea and beyond in its early stages, and then to recognize its full flour- ishing in north Kyushu in a later stage where it is combined with other and later methods of decoration. It is clear that in Kyushu it is not a specifically coastal or inland manifestation, nor specifically a shell-mound type of pottery.

TAMUKEYAMA ROULETTED AND INCISED. Terashi has pin-pointed this type in Isa county of Kagoshima. 12 Its chief characteristic, as previously indicated, is zigzag rouletting with superimposed incised furrows (fig. I 1/18, 19; pl. III/4). Some vessel shapes similar to those on which this combination technique appears lack the superimposed layer of grooves, thus looking

" Terashi, I943, 37, charts the rouletted type through all of his early and middle stages and half way through the late period, or, in other words, lasting as long as the Izumi type and outlived only by the Ataka type. Eleven years later the problem is less cautiously treated with more specific duration allotted the type. See Terashi, 1954, 37-38.

12 Terashi, 1953; 1954, 37-40.

7

like the traditional form of rouletting on vessels with flat or slightly concave bases. These segmented vessels all have a wide mouth, a concave wall for the upper part, and are provided with an indented ridge usually that separates the upper from the lower part of the vessel, and then a rapidly narrowing wall to a base whose width is approximately half that of the orifice. This is a relatively unusual shape in Jomon pottery, though the combination concave upper, convex lower wall profile has its variations in Kyushu and perhaps its nearest equivalent on Honshu in the low Kamegaoka bowls of north Japan. The body rib on the Tamukeyama vessels clearly separates the sections and in some instances parallel vertical ribs run between the thickened rim and the horizontal rib. These ribs all bear lemon-shaped indentations or zigzag rouletting on them. The superimposed grooves consist normally of parallel, diagonal or sometimes generally circular lines within registers created by horizontal lines. The striated triangles are blocked out in the same way as on Sobata jars. There is, of course, some coexistence of the two types, but Tamukeyama outlives Sobata to carry on its decorative technique as well as the rouletted system. Tamukeyama sherds vary from a sandy-brown to a dark brown color and lack color consistency throughout; they average ' " in thickness. The nature of the clay varies by the vessel: in some cases it is very coarse with particles of stone conspicuously exposed, in other instances finer clay has been used. The external surface only has been smoothed over to obliterate the coarseness of the clay. Because of the addition of rim ribs the rim profile is often rather complicated-although on vessels bearing rouletting only, the rims are almost all simple and rounded off.

The method of decoration consisted of rolling onto the entire outer surface the rouletted impressions first, and then zoning off and grooving the upper section of the vessel. The grooves never appear below the horizontal body rib. Zigzag roulettes are quite common on the inner surface of the rim, and the outer edge of the rim may be folded over and finger pressed.

At the Tamukeyama site there is quite a variety of these rouletted forms. The zigzag is omni- present as well as omnigenous -from ripples to sharply steeped; they are combined in ingenious ways to form either incomplete or complete lozenges. Ovals and square cells are found. In another idiom, some sherds bear a considerable number of indented rings apparently made by the end of a bamboo stick.

SOBATA INCISED. The shell-mound whose name has been applied to this type (fig. i I/6, I7; pl. III/i) was reported by Nakayama in i9i8.13 It lies in a small coastal county of west- central Kumamoto, and in contrast with the rouletted pottery which is infrequently found in seashore sites, this type is common along the north and west coast of Kyushu and in the islands that lie off this coast. Its distribution is chiefly in a large arc cutting north Kyushu east of Saga, encompassing Kumamoto and extending through central Kagoshima. When Mitsumori includes Sobata in his general Ata type, Tosando and the Ryukyus are within its geographical sphere.I4

The Sobata type was discovered in the Todoroki and Ataka sites, and a few fragments were found at the Nishibira site. At Nishikaratsu, Sobata sherds were discovered when improvements on the harbor were taking place. This is in the region of a sinking coast line, and sherds dredged up varied in color from light brown to black. Some are shell-scraped, others grooved and often

I3 Nakayama, 1918. 14 Mitsumori, I938, 2-6.

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regularly punctated, the most typical being an inverted U in two parallel rows between horizontal and diagonal grooving. Parallel chevron-like designs are also common. Shell-scraping is visible on the inner surface of some incised sherds, and a few fragments carry low applied bands which in turn may bear circular indentations. The clay, invariably coarse at this site, contains a considerable quantity of talc. As far as can be discerned the rims are even on the upper surface and probably not thickened. Enough sherds have a rather strikingly shouldered profile to imply that one of the shapes is comparable to the shouldered jar of the Ryukyus (though perhaps with rounded bottoms) but less articulately shouldered probably than the Tamukeyama shapes. The shapes, angular organization of grooving, and punctated effects register a kinship with the Ryukyu pottery.

Typical Sobata manifestations occur at Tenjinbashi, Hokkebaru, Mitsuse (where the vessels were rather large, judging by the size of the sherds), Kuroda, and Ikenokashira, a variant of the usual Sobata type. At Moto-jo, in the northern part of Tanega Island, Sobata was the only type found.'s

The bases are rounded and necks flare a little as they do at the Hikachiyama site. The inner surface near the rim is provided with horizontal grooves and single superimposed waved lines arranged as if holding the grooves together. The Nishino-omote site in Kagoshima contained rim, body and base sherds of light gray with darker streaks at the core. The paste is generally fine, but an occasional large stone particle may be seen. On the inner surfaces are indications of fibers having been against the clay, but burnt out in the firing; at times there is a little evidence of interior surface smoothing. The typical wall sherds measure 5/I6" in thickness. Punctates of incomplete circles or inverted U-shapes often supplement the groups of parallel lines near the rim which may bear circular punch-marks along its top, and parallel horizontal lines with some interspersed verticals. The decoration on the bases resembles a spider's web with radiating and intersecting lines like graduated octogons. The base is only slightly thicker than the wall.

The average Sobata straight line is approximately one inch in length; it is more properly a broad groove with the interstices of comparable width. When curved lines break up the blocks of straight parallel lines it is usually in a wavy, superimposed way. At times, the Sobata patterns appear like immense rouletted zigzags -like an attempt at simulating rouletting, but on a grander scale in a conscious effort to retain some of the angular effects of rouletting.

The title HikachiyamaI6 is given the local Sobata type in north Kagoshima, although it need not be separately identifiedI7 (pl. III/i). Vessel walls and rims have usually the same thickness and there may be two projecting arcs of clay on the rim opposite each other. Some vessels have out-turned mouths, but most, equipped with unbroken profiles, are of simple shape with pointed bottom.

A type identified in about five sites of southern Kagoshima as Ishizaka is closely related to the Sobata type with many familial characteristics. The clay may be reddish-brown or a light brown with the core lighter than the surfaces. There is a little evidence of interior scraping or dragging, and the clay appears to be very impure on the inner face, though is more refined in appearance on the exterior. Surface grooves, base radiating lines, and pointed bases are all

is Mitomo, Kawaguchi and Kokubu, 195 3, 27. 16 Kimura, I936. 17 Terashi, 1954, 4, uses Hikachiyama only for clarification purposes.

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Sobata traits, but the Ishizaka rims are often thickened with flattened upper surface, there may be imprints of the edge of a shell in chevron shapes, and the parallel horizontal and diagonal grooves are not confined to horizontal zones. This type is actually so similar to the basic Sobata

type that its significance is best expressed in the more measurable terms of a subtype or regional variant of Sobata.

YOSHIDA SHEILL-MARKED. Kawaguchi furthers his development beyond the Ishizaka

stage with the local type, Yoshida.18 This site yielded the two types of Ishizaka on the lower

layer (with shell-scraping) and Yoshida lying above (pl. Ill/2). The latter is very limited geographically and is probably quite short-lived, but it is undoubtedly the most fantastic of all

Kyushu styles, almost defying analysis, and with no clear parallels in Kyushu or the other islands.

The sherds are loaded with rows of cones in half-relief, heavily indented around their contours; closely punched triangles and miniature crescents above and below the rows of cones; or files of U-shaped punctates on their sides that have been joined by rectangular grooves. These

grooves decrease in depth as they descend the wall of the vessel. At times small teeth, projected from the surface, are arranged side by side, and below these are a fine series of scrapes running horizontally and with neatly serrated terminal points. A profile of such sherds shows the outer surface to be jagged but regular. More than likely much of the decoration, such as the scrapes, is made with a shell as an instrument. The designs are so complicated, however, it is difficult to determine just how and what tools would have been employed. The clay is brown, with the core appearing a little darker at times; it is very impure with stone particles protruding. The bases are flat and squared off at the juncture with the walls. Wall thickness is around 7/32" and base 9/3". At the Nakagori site (Tashiro-machi, Kagoshima city) the patterns are similar to those at Yoshida, but are considerably modified and subdued in comparison.

SAINOKAMI NET-MARKED. The Sainokami site is near the village of Hishikari, Isa county, Kagoshima Prefecture.I9 The type was first isolated by Kimurazo who at that time listed eight sites in which it was found. Of these, six are in the same county and two (both shell-mounds) are in the separate counties of Miyazaki and Higashimorokata in Miyazaki Prefecture. It has since been found in southern Kumamoto and Tanegashima of the Ryukyus. Terashi presumes it to be Middle Jomon in time.21

Its most distinctive feature is an impressed net-pattern usually on the body of the vessel, but also to be seen at times on the flared upper section (fig. 11/20, 21; pi. IV/3). The shape of the vessel is almost cylindrical, and flaring mouths may have inturned lips reminding one of many Katsusaka vessels, or more commonly, the mouth is out-turned at an angle of I400. The wall of the vessel thickens toward the flat base, and at the angle between body and mouth it has been worked into a sharp internal ridge. Rims are always flat, but are often finely notched

I8 Shigemori and Higashi, 1953. 19 Kobayashi, 1939, I9, says it may be called the Kashida type. The local pronounciation of the name is

Senokam. 20 Kimura, 1933. 21 Terashi, 1954, 21.

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along the outer edge. Incised straight parallel lines of almost groove-like proportions create zones that are effectively bordered by horizontal bands of punctates in the shape of dots, crescents or legless tadpoles. Some vessels bear no net-impressions, but they are identified with this type by their shape and incision work, and, according to Kobayashi, a <-shaped punctate on the neck distinguishes the type when all other means fail.22

This type and that of Sobata have many features in common. Kawaguchi found Sainokami pottery above the type he called Ishizaka at the Chiran site. The latter has already been defined in terms of the Sobata family. Also, the system of confining the net-impressions to broad bands delineated by grooves indicates a tie-in with the zone cord-impressed types of Kanegasaki and Nishibira, particularly the broader zones of the latter. The Sainokami type, however, treats its zoned decoration with greater breadth and boldness, and if it is not a prototype of zoned cord- impression in Kyushu, it is at least the first significant pseudo-cord-impressed type in an area where cord-impression is never more than a stepchild. In fact, the degree to which the imita- tion of cord-impression has been carried-to the extent that it is virtually indistinguishable from cord-impression --could hardly be accidental, but rather it may be considered as adequate evidence that models of the technique were available to the decorators and thus suggested that one or both of the e zone cord-impressed types of Kanegasaki and Nishibira were at least partially concurrent. This type, however, in its experimentation and simulation, is more true to the spirit of Kyushu traditions than are the zone cord-impressed types.

Sainokami sherds are reddish-brown, have marks which suggest inner-surface fiber-scratching, are of impure clay with an average thickness of9 . One fragmentary earring of pulley shape in the Gyokuryu High School, Kagoshima City, has red painted areas. The outer surface of this ring has simple narrow grooves of decoration.

TODOROKI RIDGED. The Todoroki shell-mound was excavated in 1919 by Kyoto Uni- versity,23 and a pottery study by Mitsumori appeared sixteen years later.24 Along with Todoroki was found Sobata and Ataka pottery, but they occurred only in small quantities.

This Todoroki pottery bears pinched ridges which normally run horizontally, though some are arranged in a position so as to connect the horizontal ridges vertically, and more rarely one may see diagonals, curves or even spirals. Short indentations slash the ridges in many cases and they are often so profuse that the ridge is almost obliterated. Fine, closely spaced indentations, made by a rather sharp instrument, decorate zones between groups of parallel ridges. Rims are indented, waved, and often sharply peaked when ridges extend above the rim edge. Inner wall grooving near the rim is very common, and some external surfaces are also grooved in parallel lines reminiscent of the Sobata manner. A considerable number of sherds have been shell- scraped.

The Todoroki type has been found in both north and south Kyushu; in fact, its distribution is rather general throughout Kyushu and it is often to be seen in surface sites. It was discovered in the Anno district of north Tanegashima of the Ryukyu Islands. Relatively few sherds have been found that give a clue to the shapes of Todoroki vessels, but the bases must have 22

Kobayashi, 1939, 19. 23 Hamada, Sakakibara and Kiyono, 1920, 65-88. 24 Mitsumori, 1935.

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been flat, bodies more or less of truncated cone shape,2z and occasionally shouldered, possibly not too unlike the Tamukeyama shape. The clay is quite impure and the sherds vary from brown to brownish-black and are relatively thin (average %"). This implies that the vessels were not very large. In the well investigated county of Isa in Kagoshima Prefecture, rouletting was found on the inner surface of some Todoroki rim sherds and on clay ribbons on the exterior. Justifiably, then, Todoroki is considered to be an early type, at least partly coexistent with zigzag rouletting, particularly as it is manifested in the Tamukeyama type.

At the Miyajima shell-mound (near Toyofuku village, Shimomashiki county, Kumamoto) there were four strata: 20 % Sobata and 80 % Todoroki sherds in the lower shell layer; Sobata pottery with fine incisions in the upper shell layer; and Yayoi pottery in two upper layers, the lower one of which was mud and shells mixed, the upper mud only.26 This key site gives one of the rare indices to the Todoroki position. In occupying this early berth it acts as a logical predecessor to the Ataka type.

KUMABA SCRAPED AND RIDGED. Possibly allied with Todoroki because of its surface scraping and indented bands of clay, is that type now referred to as Kumaba.27 It was first discovered on the island of Tanegashima at the Kumaba shell-mound, but on checking known material against it, some fragments from the Todoroki shell-mound and from Kagoshima sites in the vicinity of the towns of Kurino, Aira county, and Oguchi, Hishikari and Yamano in Isa county are of this type. The outer surface of the jars of generally cylindrical shape is covered with diagonal shell-scrapes, more or less in parallel groups, but crisscrossing each other in net- like patterns. The walls narrow at the rims, some of which are flat while others have a pair of slight rises, and the outer edge is often evenly notched. The Kumaba shell-mound sherds also bear short indented clay ridges near the rim. These ridges are mostly horizontal, though in no apparent order or arrangement. The clay is coarse, grayish-brown, and the walls average %3" in thickness.

ATAKA GROOVED. Although the Ataka type (fig. 7/I3-I8; pl. IV/I, 2) is one of the few type-names agreed upon by all Kyushu archaeologists, publication of the shell-mound itself has been badly slighted. Kobayashi discussed the pottery from the Ataka mound and from Goryo, a mound in an adjoining valley,28 and Kiyono takes it up in his Study of the Primitive Man of Japan.29 The Ataka mound, composed chiefly of sea-shells, is situated a little northwest of Toyoda village in Shimomashiki county, Kumamoto, about five miles from the coast line to the southwest, but approximately seven miles from the mouth of the Midori River on one of whose tributaries it lies. In the shell layer was found stone implements, horn and bone objects, horse bones and a considerable number of human skeletons.

The significance of this style is being more and more realized, and is now rightly considered the highlight of the Middle Jomon of Kyushu. It is, by the bold showiness of the ornamenta-

25 Terashi, 1954, 4I, suggested a globular shape instead. 26

Kobayashi, I939, I4-I5. 27 Terashi, I954, 45. 28 Kobayashi, I934. 29 Kiyono (gen), 1925, 75-8 I. In I936 Terashi listed it as one of the five chief Kyushu types; see Terashi,

I936, 3I and if.

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tion, the Kyushu counterpart of Honshu's Katsusaka. Distributed throughout most of Kyushu, its greatest concentration is in the west-central part of the island-in Kumamoto Prefecture. Sites are few in east Kyushu, but many areas are virtually unexplored in that part of the island. It is particularly recurrent in coastal and inland shell-mounds: Koten, Yasutagi, Uki (pl. IV/2), Ono, Otsuka, Ropomatsu, Ichiki, Nampukuji, Shimo-kusuda, to mention only the chief ones.

The Ataka type is customarily mixed in sites with many other types; at the Ataka mound sherds of Todoroki, Sobata, and Mitarai A (Namiki) styles were brought to light; at the Ichiki and Nampukuji mounds the Ataka sherds were deposited below an Ichiki layer; at the former the Ataka type was above a rouletted layer.

The clay of Ataka is sandy; at Nanao, north Kumamoto, the particles are extraordinarily coarse. Sherds are often a reddish-brown; sometimes a blackened-brown. Terashi restores the vessels as jars with slight body curves, sometimes bulging a little near the middle, narrowing slightly toward the base, occasionally narrowing toward the rim.30 Bases are flat with a thick-

ening near the center of approximately twice the thickness of the walls. The latter average a little better than '/"b in thickness. Rims are normally regularly rippled and supplemented with

perpendicular indentations. The rim may then be set off from the body by a horizontal groove below which an unclearly organized array of grooves -often wide enough to have been finger- impressed-of dots, spirals, diagonals, curved triangular-like forms, meanders, or parallel curves decorate bands or the entire body surface. Variations on this theme occur at Nakabaru, Kagoshima, where shell-edge imprints are included, and at Yawatano, Kanoya city, Kagoshima, where the shell-edge imprints serve as pseudo-cord-impression.

In south Kyushu Ataka blends with the two local types, Iwasaki3" and Ibusuki. The former, already associated with Sobata, is essentially a refined Sobata-Ataka style with external surface shell-scraping. The inner surfaces are usually strongly gouged as a consequence of the means of scraping and thinning the walls. Some of the dragged or shell-scraped effects were apparently intended to resemble cord-impression, a possible indication that this is near in time to the cord- marked types of Kanegasaki and Nishibira.

Ibusuki sherds were found in the Kogakure site.32 Kawaguchi marks four sites in which Iwasaki Lower has been found in central and southern Kagoshima (three in the Osumi Penin- sula) and fourteen Ibusuki sites in Kagoshima and neighboring western Miyazaki Prefectures. Only one of these, Hachigobaru, yielded both of these types. At Kogakure simple fret-work -the work of a shell rim-that exists between the grooves also resembles cord-impression. Rims are often ruffled with each valley scooped out on the outer surface.

IBUSUKI INCISED. The Ibusuki site is one of the earliest to have been recorded in Kyushu.33 It lies by a stream bed and the fragments were situated in volcanic ash layers. Habitation was probably interrupted by an active volcano, Mt. Kaimon-dake. This unusual site, excavated by Kyoto University,34 turned out to be one of the deepest in Japan. About seven spots were in-

30 Terashi, 1954, 2-3. 31 Kawaguchi, 1953. 32 Published with Iwasaki. 33 Yamazaki, 1918. 34 Hamada, I92I, 29-48.

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vestigated, spots A through E being the most productive. Ibusuki pottery was brought out of

Spots A and C at a depth of about eleven feet; a layer of approximately five feet separated these remains from the Yayoi and a little Iwaibe pottery. At Spot G on the equivalent level, a poorly defined shell-bed was discovered, but it yielded no artifacts. Superimposed was a mud-lava stratum of about one foot in thickness, while volcanic ash to a depth of two feet constituted the

upper layer. Neither of these contained any man-made products. Much of the Ibusuki ware35 is reddish-brown, and though the walls vary considerably in

thickness near the rim and base, they average 9/,". The clay contains a medium amount of coarse sand, is usually darker in the core than on the surfaces. Both interiors and exteriors often exhibit signs of scraping in the form of shallow grooves, and occasionally there is external polishing. On the other hand, in some sites relatively little attention has been paid to surface smooth-

ing. In the scraping technique for reducing the walls to the desired thickness, the walls are left very uneven and the thickness is highly variable. At many sites incisions decorate the inner surface of the sherds -a cardinal characteristic of this type. Probably a stylus was used to cut the designs that are almost always worked out in parallel lines of elongated S-shapes, diagonals terminating in hooks, X-shapes, and associated designs (fig. 7/19-24). Often these tend to

degenerate into disorganized, sweeping incisions on the upper part of the vessel. Bases are narrow, bodies bulbous and provided with a slight flare near the rim. Some bases have pseudo- or mat-impressions (pl. II/3) that one recognizes as a counterpart to such impressions on late Horinouchi bases of the Kanto Plain. Rims often have two or four rises, the summits of which are serrated, and an outward projection of the rim may be connected with the body by stems of clay forming small handles.

NAMIKI NAIL-IMPRESSED AND KASUGA-CHO APPTIED. The two Kyushu types that

may be equated with both the major traits of the Kanto, Kansai and Chugoku during Moroiso times are the Namiki36 and Kasuga-cho types. The former constitutes Kyushu's nail-impressions, the latter the applied ribbon type. Both appear less widely developed in Kyushu than

they do in Honshu, for in some areas there seems to be only a feeble and sometimes crude

attempt to imitate nail-impressing. Similarly with the applied ribbons of clay: at no time do

they equal the Moroiso twisted rope designs in detail of treatment. As in Honshu, so also in

Kyushu, the two techniques at first show no relationship, but do actually merge to the extent that

impressions (loosely called nail-impressions) decorate applied strips of clay. It is quite possible that in the application of pressure on a split bamboo stick the half-relief ridge that was formed

merely became the prototype for the applied ribbon of clay. Crescent-shaped marks are simply added by exerting greater pressure at various intervals.

One of the focal points of the Namiki type is in the southwest of Kikuchi county, Kuma- moto Prefecture. The Mitarai site37 is near the village of Goshi; there is another site in the vi-

cinity (Fukuhara-Todoroki) and a site at Kitagoshi. Namiki itself is near Hatsuki village in Isa

35 Kobayashi, I939, II, says his Ayamura A is the same as Ibusuki Lower. 36 Mitsumori's Mitarai type (gen, 1938, I9-20) apparently includes this type and perhaps some of the

Todoroki regular, elongated, punctated examples. The truly nail-impressed pottery is termed the Tokunoshima type, after the island of the same name (I7-I8).

37 Kobayashi, I939, i6-i8, calls this type Mitarai A.

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county, Kagoshima. Terashi lists four other sites in this county,38 and it has also been found in the shell-mounds of Todoroki, Ono, Ataka and Sobata.

At present this type has been identified only in areas of the most intensive archaeological activity (Kumamoto and Kagoshima). It is found with the Ataka type and in the same stratum, according to both Terashi and Kobayashi, so is generally contemporary in time, though not as

widely distributed. Sherds indicate that walls of vessels are rounded with flared mouth at times, while bases are

flat. The clay contains much mica and is reddish-brown. Shallow incisions may define the zones in which nail-impressions are placed; or diagonals, M-shapes on their sides, abbreviated crescents or vertical lemon-shaped marks are arranged in rows near the rim. Some sherds have impressions quite comparable to the Todoroki punctates. Rims are often slightly peaked, and horizontal and rim-rows of punches are more widely separated and are joined by vertical rows in this peaked region. Rims, except at the peaks where they may be considerably expanded, are normally the same thickness as the vessel wall.

On the lowest level of the Kasuga-cho site were found relatively thin fragments of brown pottery of rather pure clay bearing applied clay ribbons (pl. III/ 3). The designs formed by these ribbons are near the rim in parallel lines or spirals; some ribbons are systematically indented, others with variable diameter lack the indentations, but undulate in a snake-like manner. Punc- tates often running alongside the ribbons give them an unusual prominence. Both inner and outer surfaces have been scraped and the external scrape marks are at times contributing factors in the designs. The vessels evidently bear a cup-form with inturned rim on the inner edge of which may be regular depressions. One base from the Kasuga-cho site is strongly concave, of coarse clay, with fiber-dragged marks on the under side, and at its thinnest is a half inch.

The Kasuga-cho type preceded that of Namiki in the Kasuga-cho site. This is in the reverse order to the way the nail-impressions and applied strips appeared in Honshu, but it is still more than likely that the true nail-impressions preceded the ribboned pottery and that the Namiki pseudo-nail-impressions are both contemporary with and later than the ribboned style. Because of its different character it seems logical to suppose that the ribboned style has no connection with Honshu, but the nail-impressions are a clear-cut member of the Moroiso family.

IZUMI, ICHIKI AND NAMPUKUJI RIM-INCISED. These three types are related to each other by the heavy, thickened rim and, conversely, distinguished from each other by the treatment of this rim (fig. 7/25-30). The terminology is unusually confusing in the case of these three types; the recent proposal by Terashi is the most preferable and would be an aid in putting these types in their proper perspective. He suggests three Ichiki groups: Ichiki A, B and C as equivalent to Ichiki, Nampukuji and Izumi.39

All three are shell-mound sites. Izumi is a town in Izumi county of Kagoshima; its shell-

38 Terashi, 1954, 45. 39 Terashi, 1954, 8. Terashi listed them under the three typological headings in I943 (Terashi, 1943, 6 and

ff.). In his most recent scheme, however, he actually uses Izumi under a separate heading and corre- lates Ichiki and Nampukuji as Ichiki A and B. Kobayashi's Nampukuji is Terashi's Izumi type; his Ichiki is Terashi's Ichiki A and B (Nampukuji) combined. Terashi, incidentally, had originally proposed three categories of Ichiki, but later yielded to the typological pressure.

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mound goes by the name of Osaki.40 Ichiki, a village in Hioki county, Kagoshima, has in it the mound of Kawakami,4I and the Nampukuji mound is in Minamata City, Kumamoto.42

Apparently Terashi considers the Izumi type to be a degeneration of Ataka and thus sup- poses that its distribution throughout Kyushu is as general as the latter type, though more concentrated in the south.43 At present its area of diffusion is inadequately determined, but I hesi- tate to call it a degeneration of the Ataka type. The distribution for Ichiki is largely coastal in western Kyushu, but is more concentrated in the south, in Kagoshima. The fact that most of its designs are shell-made is one reason for separating it as a type, and it is then understandably chiefly shell-mound, whether riverine or coastal, in its distribution.

The evidence that binds the relationships between these three types is the similarity of the finds at the sites of Izumi, Ichiki and Nampukuji. They are as follows:

At Ichiki: pottery of the Ibusuki, Ichiki, Nampukuji (in small amounts) and Izumi types. At Nampukuji: pottery of the Ataka, Ichiki (in small quantities), Nampukuji and Izumi

types. At Izumi: pottery of the Ataka, Ibusuki, Ichiki, Nampukuji, Izumi and Kanegasaki types. Or, by way of clarification, at Ichiki: Ibusuki and Ichiki A, B and C; at Nampukuji: Ataka

and Ichiki A, B, and C; at Izumi: Ataka, Ibusuki and Ichiki A, B and C, and Kanegasaki. Ataka and Ibusuki are each common to two mounds. Judging by this, the Izumi mound was formed over a longer period of time-starting earlier and ending later-and, whereas the Ichiki and

Nampukuji mounds were started at different times, they were apparently abandoned about the same time.

The distinguishing features of these types may best be described in a comparative way. They have these factors in common: clay that varies from a reddish-brown to a dark grayish- brown; clay that is usually impure, sometimes with grains of mica clearly visible or shell-

tempered. There may be indications (though usually slight) of both internal and external surface scraping that appear to be smoothing attempts rather than the intention of reducing the wall calibration. The typical shape is a pot-shape with thickened rim, some examples flare toward the rim, and with relatively narrow bases that may be flat, concave or raised. Rims are treated in the following manner:

Ichiki A Ichiki B Ichiki C (Ichiki) (Nampukuji) (Izumi)

Squared orifice Circular opening Circular opening Four peaks No projections Two or four slight projections Thick, heavy belt, set off from Narrow rim; less emphasis on Generally thickened; set off

body; flared rim; usually flared from body more clearly by designs than thickness of clay

Decoration usually shell-made Decoration often shell-made Decoration probably spatula- made

40 Yamazaki, I929, I07-I2I; Shimada and Hamada, 1921, 1-27. 41 Yamazaki, 1921; Kiyono, I928, 129-137. 42 Terashi, 1939. 43 Terashi, 1954, 8, 17.

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Designs usually confined to Designs rarely appear below Designs rarely appear below rim; may appear on upper rim rim half of body

Designs consist ofbroad grooves, Designs consist of horizontal Designs consist mostly of paral- diagonal slashes, punctates, grooves, diagonal slashes, lel incisions in groups various shell-impressed shell-imprints, some punc- patterns tates; more space surrounding

each impression or design

The Ichiki vessels are probably large on the average, with mouth diameter of I 5" or more. The walls of these vessels are close to an average of a /A" in thickness. Using the sherds as a criterion chiefly, Nampukuji and Izumi vessels are on a less impressive scale, giving the appearance of reduced weight and decoration.

KANEGASAKI AND NISHIBIRA ZONE CORD-IMPRESSED. Both of these type-names44 are taken from those of shell-mounds, the former in the region of Misaki village, Muna- kata county, Fukuoka, the latter in the vicinity of Yoshino village, Yatsushiro county, Kuma- moto Prefecture. They constitute the only consistent manifestation of cord-marking in Kyushu, yet even in these it is almost always confined to zones and even then used more sparingly than in Honshu. The zones are usually narrower and fewer in number than the early Horinouchi

cord-impressed pottery, but compare favorably with the refined, multiple zones of late Hori- nouchi. The zones are also broken up by circular patterns, vertical lines and other marks in a

way quite like the zone interruptions of tear-shapes, figures of 8, and stepped patterns in the

well-developed Horinouchi stage in the Kanto. Comparably, base impressions are sometimes those of leaves or matted imprints.

The chief distinguishing characteristics, design-wise, between Kanegasaki (fig. 24/27, 28)

and Nishibira (fig. 24/29-32) are these: the latter's cord-impressed zones are i. around the rim and 2. at the shoulder, but between straight horizontal lines, and essentially horizontally oriented. Usually a line of circular or elliptical punctates begins the area of decoration at the neck. The former, Kanegasaki, has no rim cord-impression and the body impressions are in narrow zones that may run horizontally, or in curves or spirals.

The shapes of the Nishibira type are more jar-like. Rims are usually quadri-peaked (though may be entirely flat on undecorated vessels), bases are narrow and raised; walls widen at the

angles; and rims are often thickened with rim bumps, two or four in number, though often with none at all.

Terashi subdivided Nishibira into four groups:45 i. plain vessels with simple rims; 2. plain vessels with simple rims, but the mouths have an outward flare; 3. plain vessels, non-flaring mouths, but with four projections; 4. four projections, turned out mouth, and bands of cord-

impression. There is, to be more exact, a further splintering: in group four there is a number of pots with flared mouths and four peaks, but completely devoid of body decoration.

Nishibira clay contains only a slight amount of sand. The sherds, which are brownish-gray and usually highly polished, are thin (average ")p, and occasionally carry poorly defined scraped

44 Kobayashi, I939, 26-30, considers the Kanegasaki type under the terminology of Mitarai B. 45 Terashi, 1954, 31.

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marks. All of these traits are analogous to those of Kanegasaki. The distribution is throughout north Kyushu for both types, and Kanegasaki is less concentrated in south Kyushu where its sites are widely scattered. At Ogumi (Ikawaseko) Nishibira was found with rouletted pottery; at Nakazato (Futamata cave) and Agano it was found mixed with Goryo pottery. Kane-

gasaki is diffused throughout Kumamoto, Fukuoka, Oita, Nagasaki, and in a few sites in Kago- shima, particularly the Kawakami shell-mound of Ichiki.

At the Kanegasaki shell-mound46 not only is zoned cord-impression found, but similar

grooved designs without cord-impression, a form of parallel impressions resembling cord-

marking, and parallel short vertical or diagonal grooves. Small loop-handles are placed at the outward turning point on many rim sherds. In the erased-cord-marking technique, considerable care has been taken in removing the cord-marking from adjacent areas. The Mori shell- mound, near Kawauchi village, Nishikunisaki county of Oita,47 is the finest exponent of the zoned cord-impression stage in eastern Kyushu. Rims are often notched, particularly at crests, are usually thickened if decorated, and most bases are raised a little and sometimes broadened at the foot. In a few scattered sites of north Kyushu, such as the Koda and Tenjinbashishita shell- mounds,48 some sherds are entirely covered with cord-impression and lack evidence of zoning. It is more than likely that they are contemporary with Kanegasaki. In the light of Kyushu's unique location, this is the first real relinquishment of its isolated position since the barriers were raised after the diffusion of rouletting from Kyushu.

Contacts with Honshu are recorded through the late Jomon period in the following three factors: I. the zoned cord-marking in Kanegasaki-Nishibira times, 2. the first appearance of

figurines in Kyushu during the Goryo stage, and 3. the drastic simplification of decoration in the Yusu-Kashiwara period. The heavy, simple banded zoning with more or less multidirec- tional cord-impressions-locally termed Fukuda in the Okayama area-is the southernmost penetration of the wide, uninterrupted wavy bands. Kyushu either receives or develops a style that gives the appearance of being later in its refinements and stylization. It has much resemblance to the Kanto's late Horinouchi (or Kasori B), but in the Chugoku area itself one sees only a pale reflection of this narrow band, refined treatment. Kanegasaki with curved and spiralled zones is still not far from the Fukuda broad zones, but Nishibira reduces the zones to ribbons and breaks them up with punctates and incisions. There is some extension of this Kyushu method into western Honshu and Ehime Prefecture of Shikoku. At the Yasuoka shell- mound in Shimonoseki city this was found on thin, reddish pottery. Certainly this particular local mode was accepted outside the borders of Kyushu itself, but in regard to rouletting and the zoned cord-impression, the two types which definitely link the major islands, the role that Yamaguchi and Ehime play in respect to Kyushu is far from clear.

As a disturbing note to cord-impressed pottery in Kyushu, there are infrequent and scattered sites in which it is sometimes found. Terashi reported a few fragments from north Kago- shima, chiefly from the Nagayama site near Yamano village, but also in other sites near Oguchi, that bear no decoration but cord-impression.49 He types it as Nagayama. The rim sherds are

46 Tanaka, I936, 430-436. 47Higuchi, I93 I. 48 Tanaka, 1936, 438-44I. 49 Terashi, 1954, 42.

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flat, the walls thick, and the inner surface of the rim has contiguous vertical flutes. The cord- impression is coarser than that found on zone cord-impressed pottery. He apparently considers it to be an early intrusion of cord-marking, though he does not attempt to place it in time de-

finitely. It seems to have no relative position at the moment.

GORYO BURNISHED. Local archaeologists and others, particularly from the Kyoto area, have excavated at the large Goryo mound, and though the results are not all yet reported in

print, the relative position and character of the pottery type (fig. 3 5 1/ 34-36) that takes its name from this mound is now well established. The site is he not far from the Ataka and other mounds in the western Higo plain, near Toyoda village in Shimomashiki county of Kumamoto. The shell-mound, on the hillside near the Midori River, consists of three layers, the shallow, uppermost one of earth, a deep bed of shells averaging three feet in thickness below that, and a mixed shell and earth layer making up the lowest stratum. From recent excavations50 it has been discovered that some rouletted pottery was found to be chiefly confined to the lowest level; Nishibira and Ataka were mixed and mainly in the lowest stratum, while Goryo pottery was chiefly in the shell layer. The lines of separation were by no means clearly drawn.

Goryo stands out as an unusually well-finished type with polished and burnished surfaces and neatly grooved rim collars. Some of the vessels are high bowls with gently curved inner surface of the body-wall and outer surface often straight. The thinnest part of the wall is at its approximate midpoint; its greatest thickness is at the rim and the base. The base is raised. Jars have concave necks, often unbroken horizontal grooves at the shoulder, and sometimes four minor rim projections. These projections are on rims in Kumamoto Prefecture, but unknown on Goryo vessels to the south. The orifice may be the same diameter as the shoulder of the vessel. Some indication of its relative position is implied in the fact that the shapes and surface treatment are often strikingly close to these features in Nishibira pottery.

Kobayashi includes in the Goryo group the characteristic hatching in zones of the Mimanda site.s5 This is reasonable in that grouped circular punctates, four or five in number, decorate typical Goryo sherds on the grooves, and such punctates, though usually fewer, are arranged adjacently to the hatched zones of Mimanda. The hatched zones appear in considerable profusion, to the extent that it is often referred to orally as the Mimanda style. This site, near Kiyo- zumi village, in Kikuchi county, Kumamoto Prefecture, appears in general publicationssz but not in a site report, unfortunately. It has created some controversy due to the unusual number of figurines discovered at the site, and the lack of effort to publish a site report heightened the mystery surrounding the circumstances of the finds. The more recent appearance of fragmentary figurines in other sites, however, seems to confirm the validity of the Mimanda material. Seen in the light of the grooves and highly polished surfaces of Goryo pottery, the Mimanda figurines are recognizable as an integral part of this tendency toward abstraction. One head, however, with oval, tilted face and connected eyebrow line, is of the Kasori type, and may serve to imply a relationship between Goryo in Kyushu and Kasori of central-eastern Honshu. Such modified Kasori features are found in the Kansai but not farther south on Honshu, and the iso-

50 Reported at archaeological meetings, but otherwise unpublished. 51 Kobayashi, 1939, 33-34. 52 Mitsumori (gen), 1938, 24-25.

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lated appearance of this head would more likely suggest its use as a trade piece with its place of manufacture outside the borders of Kyushu.

Goryo pottery is widely distributed throughout Kyushu and was also found on the island of Tanegashima. It is much more frequently seen in open sites than in shell-mounds. Kobayashi names twenty-one sites in Kumamoto alone; he says there are others in the general area of Mimanda (N. Kumamoto), and that in the vicinity of the Goryo shell-mound there are approximately twenty more sites.53 Its apparent concentration in Kumamoto is at least partly commensurate with research activities in Kyushu; nevertheless, though sparse on the eastern side, its existence is known throughout the island.

YUSU SCRAPED. Honshu has limited parallels to the simplified, polished stage of Goryo -a

stage that gives all of the appearance of an attempt to reproduce bronze surfaces, though it is perhaps somewhat prior to the actual introduction of bronze into Kyushu. Goryo is

largely identified with Kyushu, but its successor, Yusu in north Kyushu and an identical

type, Kurokawa54 in the south, has its Inland Sea cognate in the second Kurozuchi type and the Kashiwara surface roughened type of the Kansai. The latter is a rather striking contrast to the finely polished Goryo surface, for in what can be looked on as a sudden outburst of primitive energy, the surfaces are strongly scraped and scratched. The clay is coarse, surfaces

rough and uneven, wall thickness irregular, and shell scraped marks done in long, bold strokes. The vessel shapes are usually tall jars with neck and collar. In silhouette the body lines have

a strong convexity, the neck an equally strong concavity. Orifices are wide, bases narrow. One of the earliest vessels of this type discovered that has been restored (fig. 34/31) was found at Sokoino, Nakama-machi, Onga county in Fukuoka Prefecture. The tall jar has collar and body clearly demarcated by ridges of clay that are deeply indented with triangular notches, and a smooth rim set off from the collar by a corresponding horizontal ridge. The tall jar with narrow base is typical in north Kyushu. The base, an added section, flares, and is raised. There is also a low bowl that is close in shape to the characteristic Goryo bowl.

There are two methods of treating the surface: one, by scraping the entire surface with the edge of a shell, and the other by scraping only the area below the shoulder ridge. Some vessels have no visible scraping marks whatsoever, but surfaces often have a pimply complexion as clay covers projecting particles of stone as a result of an attempt at smoothing the outer face.

It seems more than likely that the shell-scraped and shell-tempered pottery of the Shitaru shell-mound, Tsushima, is of this phase, though it is cited as of the fourth and not the latest Jomon period.55

RYUKYU ISLAND POTTERY. The most important islands of the Ryukyus from the Osumi group to Okinawa, moving in a southerly direction, are the following: Tanegashima, Yaku- shima, Amami Oshima, Tokunoshima, Okino Erabu and Okinawa. All as far as, but not including, Okinawa are in counties of Kagoshima Prefecture. The Osumi ones, Tanegashima and

53 Kobayashi, I939, 33-34. 54 Kawaguchi, I9 52 a. 55 Mizuno, Higuchi and Okazaki, 1953, 17.

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Yakushima, comprise the county of Kumage; and the others, Oshima county. Okinawa itself ranked as a prefecture before the war.

Jomon sites that are scattered across these islands, though more in number in the islands near Kagoshima, are chiefly shell-mounds that lie on or near the east coast of the various islands. Of the islands listed above, only Okino Erabu is without Jomon sites. Both Tanegashima and Yakushima have one trait in common with Kyushu: a considerable number of pottery types are found in each deposit usually. Mitomo, Kawaguchi and Kokubu reported that they and their predecessors found in northern Tanegashima the Sobata, Sainokami, Ichiki, Ibusuki and a shell-scraped type like Todoroki.56 The type considered close to Todoroki is the Kumaba type. North Tanegashima, therefore, shares with Kyushu the Jomon culture of the early and middle stages at least.

But between Tanegashima and the Amami Oshima group lies a demarcation line, for to the south of this only two significant types are found, and both are no later than a relatively early stage of middle Jomon. These types occur mainly on Okinawa whose chief Jomon deposits are the shell-mounds of Iha, Tengan Ogido (Unjo) and Gusukudake. All but Gusukudake lie on or near the southeast coast; it is on the southwest side. Matsumura gave the type name Ryukyu to the pottery found in the Ogidos7 mound,58 and other sites indicate a striking homogeneity in the pottery decoration. No cord-marking is found south of Kagoshima, though here Matsu- mura considered the dotted lines of incision work as intended to represent cord-impression. This is quite unlikely, however, as Kyushu was not utilizing cord-impression at this cultural level. He goes on to suggest that the straight line incision work derives itself from the dotted lines.59 Many of the sherds bear heavy incision work in groups of short parallel lines, horizontally, vertically or diagonally placed (fig. 11/22-24). Nail-impressions and pseudo-nail-impressions are frequently seen; often they appear between parallel, horizontal incisions. There are also punctates done with the open end of a bamboo stick. This is clearly the ultimate extension of the Moroiso stage of the Moroisonail-impressions and parallel incisions from its area of inception, Kitashirakawa. Most of the rims are wavy, rims may be thickened, and have small moulded projections. The shapes include some jar forms somewhat like an inverted bell, jars with constricted necks and various low bowls. Bases are generally flat. Sherd thickness varies, but is between /4" and , ". The surfaces are brown.

The Moroiso extension takes in the Ushuku mound on Amami Oshima and Omonawa No. 2

mound on Tokunoshima. The mound known as Omonawa No. i yielded a ware close to that of Kumaba. At Gusukudake the pottery is thick, coarse, heavy and punched near the thickened and rounded rims. It is within the scope of all the variants which constitute the Ataka family of Kyushu.

By way of summary, the lower Ryukyus have four basic pottery types: the Kumaba, a Sobata off-shoot, a cross between the Sobata and Namiki that is essentially of the Moroiso family, and an Ataka type. All of these, in their relative position to Kyushu and Honshu, are early Jomon types, but could well be later in time in these outlying islands. The discovery of a

56 Mitomo, Kawaguchi and Kokubu, I953. 57 Ogido is his reading of the characters; Unjo is used by the majority of archaeologists. 58 Matsumura, I920. 59 Matsumura, 1920, 69-70.

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Chinese knife-shaped coin of the Ch'in dynasty in the Gusukudake shell-mound on the outskirts of the capital of Okinawa, Naha, may have some bearing on its temporal position. Yawata

says it was associated with what seems to be later Ryukyu pottery, so the assumption is that the formation of the shell-mound antedates the third century B. C.60 Groot suggests that this may provide a date for the Ataka type of pottery,6I but it seems to me that its remoteness from the Ataka centers is too great to consider it to be anything more than a very inexact guide. Nev- ertheless, such morsels of information are highly important, largely because of the scarcity of finds that might pertain to an absolute chronology in the Jomon period.

There is Yayoi pottery in the northern Ryukyus, but the southern islands were cut off in

prolonged isolation after the earliest penetration of Ainu-like people. Middle Jomon saw the transmission of ideas or migration of people into the Osumi islands from Kyushu, but no late Jomon pottery (i. e. cord-impression) has yet been discovered in any of the Ryukyu Islands. It may be assumed that the early Jomon pottery types lingered on in the south Ryukyus for a much longer time than elsewhere. It is well known that the southern Ryukyus remained on a stone age cultural level during many centuries of historical times in surrounding regions. Most of these centuries appear as blank pages in the history books of the Ryukyus.

KYUSHU FIGURINES. Over and above the Mimanda figurines five other sites in north Kyushu, all in Oita prefecture, are known to have yielded fragments of figurines. To the best of my knowledge they have not been reported in print individually, though the Nakatsu ones are quite well known. These Kyushu figurines are now in private, school or university collections and access to them is often most difficult. The two Nakatsu figures (fig. 41/34, 35), found on the grounds of the Minami Kotogaku (South High School), Nakatsu city, when a field was being prepared, came up with a few fragments of Goryo pottery.

Certain factors point to the likelihood that all Kyushu figures are Goryo in time. They are generally devoid of the non-naturalistic decoration that characterizes them in the Kanto and Tohoku, and thus in keeping with the spirit of Goryo pottery. The dark brown surface of most of the Mimanda figurines (fig. 4I/30-32) has been scraped and highly polished to a lustrous finish comparable to the Goryo bowls. The fact that the Nakatsu ones were found with Goryo pottery and that almost all Kyushu figurines have certain basic features in common would appear to be a strong argument in favor of at least a general Goryo date.

Most of these figurines are nude, have large and sometimes hanging breasts, abdominal emphases, and are at present headless. The body characteristics are much the same, but only at Mimanda have heads been found. Oita University has a leg from Minamishigaki in Beppu City. A body, not from the same figurine, was found in the same site. The leg, oval in section, has a nub-foot, groove at the ankle, and no decoration except for two incised lines radiating from one point on the bottom of the foot. A body from Yamamoto, Toyokawa village, Usa county, has cone-shaped breasts and a generalized swelling of the abdomen (fig. 4I/33); this one bears a close resemblance to the Nakatsu figures. Parts of figurines were also found at Hase- gawa in Ono county. The Ishii fragment (Gowa village, Hida county) is a strongly protruded abdomen and hollowed out buttocks. The latter trait is seen in the Mimanda figurines, and is

60 Yawata, 95 0. 61 Groot, I95I, 75.

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very common among the Kashiwara examples in south Kansai. Likewise, the Kashiwara

examples are simple in shape, unclothed and sex indications are usually limited to the breasts.

Undoubtedly the Kashiwara group is close in time to the Kyushu ones, and though the Inland Sea plaque-figurines do not have as many common characteristics, they do provide the logical link with Oita and Kansai, terminal points of the Inland Sea.

The typical Mimanda designs of fine diagonal hatching in zones like a pseudo-cord-impression have already been identified with the Goryo style. Three heads from this site are com-

pletely abstracted: vertical grooves or horizontal lines cross the rounded face; the back of the head is almost flat in two of the examples. The "face" is formed with parallel lines that set it off from the rest of the head (fig. 4I/30). These faces have no parallel in their abstract treatment with any other figurines of Japan, but a third head is a clue to the position of the Mimanda

pottery in relation to the Kansai and the Kanto. This head (fig. 41/31), with body and perhaps even a leg that belongs to it, is of the Kasori type, provided with a ridge from eyebrow to eyebrow, a nose tied in with this eyebrow ridge and a flat, horizontally oval face, the typical Kasori

shape. The edges are pierced where the ears would be. The breasts are neat, more or less truncated cones, though somewhat oval in shape. The abdomen carries a button-like protrusion with indentation for navel. This figurine is so radically different it would be logical to suggest that Kyushu is not its place of origin. It may well have been made in a peripheral Kansai region and carried as a personal possession to Kumamoto. This, at least, is in keeping with the direction of the current in the transmission of zoned-cord-impression. The Kanto Kasori figures have more facial ornamentation, sometimes even cord-impression; at Kashiwara, if the face is defined, it is done so with greater realism; thus, in this respect, the Mimanda one is closer to the

ridge-faced examples of Kashiwara. All of this Kasori type, whether from the Kanto, Kansai or Kyushu, have flattened, oval-shaped and tilted back faces.

In summarizing the Jomon of Kyushu, three stages are sufficiently salient to comprise an

Early, Middle and Late Jomon.62 These stages correspond with degrees of inter-island rela-

tionships, and in a more specific way when Kyushu is at first the transmitter, then in a somewhat isolated state, and finally the recipient of these influences. To consider Kyushu only in such a

position relative to Honshu is perhaps not entirely impartial, but this merely re-emphasizes the fact that its dependency on Honshu is mainly limited to late Jomon; in Early Jomon it is a

contributing factor to the Honshu developments. It is not that I think the Early, Middle and Late Jomon in Kyushu are phenomena identical with those on Honshu or necessarily contem-

porary. The nearer one reaches the Kanto area with its crossing influences, the more complex seems to be the situation, and if the earliest pottery is to be found in the Kanto, as Kanto

archaeologists generally believe, influences emanating from this area at irregular intervals would eventually be translated into the Kyushu idioms. In the concept of shifting centers for the major phases on all of the islands -phases that are of an inter-island nature -Kyushu plays its first imposing role in the diffusion of rouletting. By its sheer profusion in variety on pointed and flat bottomed vessels and combined with the incision technique, its significance is greater

62 Groot, I95 I, 74-75, gives six Kyushu types: Kanegasaki, Nishibira, Goryo, Ata, Todoroki and Ataka. He has reversed the cord-impressed and non-cord-impressed types, giving the latter as later than the former. At the same time Goryo is given as a cord-impressed type, though it is not. The distributions of the Nishibira and Goryo types are stated in much too limited terms.

97 8

and duration possibly longer than in Honshu. In its earliest form it moved up the Inland Sea where it is a shell-mound type. After reaching the Kansai, however, it retreated to inland and remote spots, remaining more as a lake-side and high altitude manifestation. It was never ac-

cepted north of the Kanto Plain and never really made any headway beyond the Tonegawa. This may perhaps have been because other people with established modes of pottery decoration from the north had already occupied favorable coastal lands and those people acquainted with the rouletting technique retired to heavily wooded highlands in search of natural foods.

With the eventual demise of rouletting in Kyushu the island seems to have been almost cut off from south Honshu. Only one similar type is to be found and that type is somewhat

dispersed and rarely found in its pure form, but usually impregnated with Kyushu's own peculiar (and southern) characteristics. This is the nail-impressed Tokunoshima or Namiki type. Throughout Middle Jomon's grooved and incised types of Ataka, Iwasaki, Ibusuki, Izumi, Ichiki and Nampukuji, and its local oddities of Yoshida and Sainokami, most Honshu types with the exception of Katsusaka and Atamadai are cord-impressed in one way or another, and show little recognizable consanguinity.

With the first consistent appearance of cord-impressing in Kyushu, the contacts with Honshu are clearly re-established. There is no background of experimentation and attainment; it is as mature as it ever becomes on Honshu, and introduction from Honshu is the only explanation. Suddenly, after centuries of lack of interest in or outright resistance to the Honshu styles no farther away than the Central Inland Sea, these styles, then a refined and unusually attractive

species of cord-impression within outlined bands, become the accepted mode. They are the

Kanegasaki and Nishibira types. Cord-marking is not entirely unquestioned, however, for both

types have vessels decorated in the same outlined way without the impressions, but all of Japan has its Horinouchi A and B.

Finally, and lacking cord-impression, but still with some, though less obvious, connections, are the Goryo and Yusu types. Goryo, a new interest in simulated metallic surfaces, Yusu, a revived interest in textured pottery surfaces, are, in the sense that they reject the cord-impression still present on some Honshu pottery, a return to Kyushu traditions, but Yusu has its parallels in the Inland Sea, in the Kansai and in one of the Angyo types of the Kanto. It does not constitute a major phase, and its chief contribution to the history of ancient pottery is to bridge the

gap between Yayoi and Jomon in most areas. It is more than likely that its whole character is moulded by its coexistence with Yayoi pottery, one wheel-made, the other, Yusu, still hand- made.

In order to demonstrate the relationships which I believe to exist between types in Kyushu, and to indicate the evolution in decoration, a chart has been drawn up in two columns. Kyushu is considered as a whole in the left column, while southern types of a more isolated nature are shown in their relative position in the right column. The uncertain Kumaba type is omitted.

98

NORTH AND SOUTH KYUSHU

Senbagatani Rouletted

Sobata Incised

Todoroki Ridged

Ataka Grooved

Izumi Incised

I Kanegasaki Zone cord-marked

Ichiki Rim incised Nampukuji Rim incised

Nishibira Zone cord-marked

Goryo Burnished

Yusu Scraped

Kasuga-cho Applied

NTamilki

Sainokami Net-impressed

Nail-impressed Iwasaki Grooved

Ibusuki Incised

Ichiki Rim incised Nampukuji Rim incised

99

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CHAPTER VII

THE TOSAN

B y way of geographical definition, the region of Japan known as the Tosan and across which the Chubu mountains rise to over Io,ooo feet, will be considered as that area incorporat-

ing the prefectures of Tochigi, Gumma, Nagano and Gifu, or in other words, though inexactly, the old provinces of Shimozuke, Kozuke, Shinano, Hida and Mino. The Kanto Plain is no re- specter of administrative divisions and reaches deeply into Gumma and Tochigi, but forms a natural dividing line along a short stretch of Nagano's border. Gumma and Tochigi are often included in references to the Kanto, but it has seemed advisable to me to keep them with the Tosan. As the mountains cut through these prefectures they become the natural meeting ground for plain and mountain dwellers, and such zones of isolation are often dividing lines between types in Jomon times. The boundaries of the provinces and prefectures throughout the Chubu are generally oriented along natural north-south lines.

The great rivers of the Kanto have their sources in the Tosan, as do the rivers that flow toward the Japan Sea. From the Japanese Alps and into Toyama Bay run the Jintsu and the Kurobe, and from the mountains of Nagano across the Plain of Echigo flow the Sai, Chikuma and Shinano Rivers. Lake Suwa at 2,505 feet above sea level stands as the highest body of fresh water in Japan. While the Tosan extends from northeast to southwest, these valleys cut across the mountains in a generally north-south direction.

HIJIYAMA ROULETTED. All signs point to rouletted pottery as the earliest in the Tosan. As a profuse Chubu type, it becomes almost an exclusive feature of mountainous areas with numerous sites scattered through the mountains of Nagano and out to the western coast. The site which has been used as the type name is that of Hijiyama in north GifuI where the workmanship is refined and neat, and includes zigzags, ovals, checks and lozenges. Rim surfaces may also carry these designs. Generally the pottery is rather thick and is sand-tempered. The shapes are simple, the bases pointed. Some examples show an unusual degree of proficiency in handling this technique, and in a few cases rouletting has been reduced to miniature tangented impressions that resemble cord-marking, as at Kyugo Cave in southern Gifu. There are also interesting lattice-work effects on sherds of this site. Nagano's rouletting is often less refined, or, perhaps one could say, bolder with deeper impressions and greater contrasts of light and shade as a result. It is pointless to name the many sites in which this type has been discovered. Some of the more important ones are listed here, however, for aid in further reference. In Gifu they are

I Akagi, i936b.

IOI

Takayama,2 Aso;3 in Nagano, Idenokashira;4 in Tochigi, Kannonyama (Fumonji),s the last mentioned being north of the Tonegawa, the line considered to be normally not crossed by rouletted pottery. Sites around Lake Suwa, and Sone, from the lake itself, yielded rouletted sherds with nail-impressed pottery of the Moroiso family. Kyugo Cave had rouletted, stick- marked pottery of Moroiso, and the last Jomon pottery in this region.

EARLY TYPES. Many of the typical earliest types of the eastern Kanto are, of course, known in the northwestern part of the Plain. Two sites are representative of this: Ono6 and

Fumonji,7 both in Tochigi. The former, called a Tado site, contained pottery decorated by wide

grooves, fine incisions all more or less parallel, some imprints probably shell-made, and an immature form of nail-impressions that might adequately be termed a proto-nail-impression -if one uses the term nail-impression in its symbolic sense. At Fumonji, on the border between Gumma and Tochigi in the suburbs of Kiryu city, four layers yielded pottery distributed through an undecorated early type to Moroiso. In the unusually fine report sherd counts and percentages are given which show the undecorated (74.5 % of its total), string-impressed (86.8 %) and rouletted (67.5 %) to be generally in the lower two levels; Mito sherds totalling only 1 were scattered through the three lowest layers, Tado Lower (21 sherds) was relatively evenly spread through all layers, Tado Upper was mostly in the lower two layers, Shiboguchi to the sum of 25 fragments in the top and two lowest layers, Kayama 76, 23, 72, 39 in descending levels, Hanazumi Lower (6 sherds) in the upper three levels, and Sekiyama, Kurohama and Moroiso were in all layers, with 50.9 %, 5 5.8 % and 50 % of each in the uppermost respectively. Only the first three and last three types show a significant depth distribution pattern, so that one distin-

guishes then only early from later types. Sekiyama pottery of the purest type has been discovered in Nagano. A site near Yamase

village, for instance, contained zigzag cord-impressed sherds with each band of oblique im-

pressions separated by comma-shaped indentations; strongly undulated grooves, triple-fur- rowed; and sequences of indentations, probably shell-made. All of these are traits by which Sekiyama is typed. Yawata found it in sites near Kasuga in Kitasaku county.8

Fujimori used pointed bottomed, scraped and extremely fiber-tempered pottery from the foot of Tadeshima mountain in southern Nagano to demonstrate that deep bowls with these characteristics exist concurrently with other varieties of pottery until the change to Odoriba, the local Moroiso, takes place.9

ODORIBA NAIL-IMPRESSED AND APPT,TFD. The Moroiso of the Tosan always leans toward its successor, Katsusaka, in that the surface is rough and profiles are broken, there is consistently more decoration crammed into limited areas, and all forms of decoration, whether

2 Hayashi, 1933. 3 Hayashi, I943. 4 Fujimori, 1934a. 5 Sonoda, I948. 6 Watanabe, I948. 7 Sakazume and Watanabe, 1949. 8 Yawata, 1934, 8-i I. 9 Fujimori, I936.

102

it be cord-impression, parallel stick-made lines, nail-impressions, fine or deep incision work, is usually crowded. Often it compares favorably with Satogi of the Chugoku in lacking the simplicity and refinements more characteristic of the Kansai and Kanto.

The type site of Odoriba is in Kuwabara-cho, Suwa city, Nagano,Io where an unusually ornate Moroiso type was found. At Nukazuka"I there is some feather-shaped cord-impressing, nail-impressions are isolated or rocker-produced, and rims are finely rippled or scalloped and

peaked, but all is done in a much lower tone than at Odoriba. At UsumotoI2 some nail-impressed pottery came up with shell-scraped and impressed ware. Split-stick incised fragments in a

protohistoric tomb in Nakayama, Nagano,13 causes interesting speculation: a number of sherds of delicately and neatly worked cord-impressed and simulated rope ware were found on the floor of the inner chamber of a simple, circular-mounded Iron Age tomb. At Okayamaruyama many sherds bear straight or wavy rows of short, closely spaced indentations (resembling a

picket fence) much like the proto-nail-impressions of Azuchi, though here on an uneven and sometimes scraped surface that looks worn and results in an indistinct, strangely softened appearance of the decoration. Other fragments at this site have all the true Moroiso earmarks.

In the southern Tosan (Gifu and Nagano particularly) the clay is rarely fiber-tempered. Narrow parallel strips near the rim are more common in Gifu, while spirals are sometimes formed by such ribbons around the body of vessels from Nagano. Some red paint applied to the decoration occurs in a geographical belt extending north from Aichi through Nagano to Niigata.

TOGARUISHI APPLTTRD AND CARVED. The broad phase that overlaps both Katsusaka and Ubayama in the Chubu has been given the name Togaruishi after a site at the foot of Yatsugatake mountain in Suwa county of Nagano. Numerous excavations have been conducted there, but most of the information comes as a result of Miyasaka's work.I4 Togaruishi (The u is entirely elided) is an extensive dwelling site with well over 50 pits in which stone-surrounded fireplaces have sometimes been found. With these striking remains at hand the pottery has not been played up in the reports, but its subdivisions of i, 2, and 3 are generally equated with Katsusaka, early Ubayama and late Ubayama respectively of the Kanto. 5 They are so listed in the figures.

Tosan's Katsusaka is its greatest achievement (fig. I6/25-36; pl. V). The Katsusaka-Uba- yama stage is so strongly fused that the distinctive features which separate the two in the Kanto scarcely exist in the Tosan, though at each end of the development one is clearly of a Katsusaka nature, the other Ubayama. The extremes are recognizable, but the bulk of Togaruishi is coalesced into a monolithic stage unsurpassed in spectacularity in Jomon times. In the north and east (and there are examples from southern Gifu) the recognizable Ubayama merges with Daigi to become almost a Daigi variant. By using the term Togaruishi one follows the line of least resistance and thus needs to make no distinction between Ubayama and Katsusaka, for

I0 Fujimori, I934. " Akagi, I935. I2 Akagi, 1936. 13 Miyasaka, I930. 14 Miyasaka, 1933; I942a, and see this for other references to the site. 's Esaka (gen), RH V, 9 5 0, chart.

I03

obviously a majority of the vessels are a combination of the two and do not satisfactorily sub- scribe to either. This reminds one of Oyama's laudable practice of considering Ubayama as only a subtype of Katsusaka.16 This is never done today, but a quick glance at the illustrations will indicate the problems presented by the transitional pieces.

If one compares Tokyo area designs to those of the Tosan, it will be seen that the horizontal

panelling of the former tends to shrink and reduce itself to snaky strips of clay and incision work much as is often done in the southern Kanto. Rarely are surfaces left untouched, and the trend toward more detailed work lessens the effect of boldness and minimizes the appearance of monumentality, although the average vessel is no smaller. The noodle-like ridge, sometimes notched, plays a major role, and is one of the intermediate features that ties together the Kat- susaka- and Ubayama-like pottery (pl. V/z). The vertical panelling of Ubayama is at times carried over into the central mountains. One from the Kiso valley, Nagano (fig. I9/29) is supplied with zoned-decor in high, slashed ridges, filled ovals and panelled surfaces, with much of the lower wall covered by cord-impression. The treatment is modest and subdued in contrast with some of the vessels from this area.

Tosan potters experimented with new shapes and treated the traditional shapes in a more

dynamic way. Togaruishi seems to represent a fantastic concentration of effort in a relatively limited area and not necessarily of long duration. Katsusaka must have had its beginnings in the remote Tosan mountains, but dissolved into Ubayama stages in all regions before its influence spread. Ubayama fuses with Daigi in the north and reaches into the Kansai, but Ka- tsusaka itself is only vaguely reflected in these peripheral areas.

Now making its appearance in the Tosan in the same form it takes in Horinouchi and later Jomon times is the low pouring vessel (fig. 19/34). It may be elliptical in profile with circular

body shape, and rim and handle are almost obscured in a mass of spirals. Farther west, in the direction of the Hokuriku, and a feature of the Hokuriku's Togaruishi, the rims burst out into fantastic shapes and forms, are hollowed out and grottoed, piled up without rhyme or reason, and are entirely free of the traditional symmetry. The climax of this is reached on the western side of Japan (fig. I7/I4). Cord-impression has no part to play in this particular group, although it is always found on a small percentage of Togaruishi vessels of the Tosan and Hokuriku.

One animal face is still in place on the wide rim of a bowl with low but broken base (fig. I6/35). The opposite rim is quite fragmentary, so it is not possible to ascertain whether a like head existed there. The back of the head is hollowed out, and it projects forward with a loop behind it that is thickened, strengthened and attached to the rim in order to make a small but handy handle into which two or three fingers can be comfortably inserted. Quite a number of these rim-heads exist; some are almost lost in the massing of the clay that serves as a headdress. One figure, mostly head but with boxing-glove hands, is perched high above graduated rings, the lowest one perhaps a handle, and must have assumed an unusually prominent position on a large vessel. These are indicative of the dramatic development of this idea from its unobtrusive origins in Odoriba when faces, not clearly human or animal, were small in size and set into and within the contours of a rim peak, as in the case of the fragments of a vessel found in Miyasaka village, Gumma.I7 x6 Oyama (Kanto), I932, 88. 17 Takahashi, I929.

I04

The conversion from Togaruishi to Horinouchi is well demonstrated at Tsukinokizawa,8 and Iguchis in Tochigi, on the outer edge of the Plain. The same transition, however, is visible in the central Tosan at Idenokashira, Nagano,20 where vessel shapes and decoration are neither clearly late Togaruishi nor early Horinouchi.

HORINOUCHI ZONE CORD-IMPRESSED. Horinouchi's zoned cord-impression is a rela-

tively feeble stage in both the Tosan and Hokuriku (fig. 25/i-i6), and it is partially merged with the Angyo-Kamegaoka stage. Most of its features are borrowed from the Kanto, though the vertical zoning of the Tosan's Togaruishi-Ubayama left such a profound impression that

many of the Horinouchi period zones are vertically arranged or strongly curvilinear with at least a partial vertical orientation. Comparable Kanto and Tosan characteristics are these: multidirec- tional cord-impression, zones set off by broad grooves, some horizontal zones joined by paren- thesis shapes, zones becoming narrower through the period, and mat-impressions on the bases of late examples. Vessels are usually more angularly profiled than in the Tokai, presumably because of the preference in Togaruishi for variety of shape. The sites are somewhat thinly distributed, so the following list as a cross-section of Horinouchi sites will be sufficient: Kuwana- gawa,21 Kaminodan,22 and sites near Mitsui, Motomaki, Kataori, Goka and other villages23 in

Nagano; Morishita24 and Aso2s in Gifu; Tsukinokizawa26 and Iguchi27 in Tochigi.

UENODAN INCISED AND APPTTED. The rather obscure Uenodan site, Nagano, is used by Esaka to place a type contemporary with his Omori and Eharadai of the Kanto.28 Its peculiar feature is a few small circular bosses of clay near the rim at the peaks usually and along incisions, obviously taken from Kasori ideas of the Kanto. Ridges of clay cross the sherds and some have a reduced version of zoned cord-impression. The style is limited in scope, and never reaches the degree of maturity which it does in the formalized designs of parallel arcs of incisions that meet at punctates or bosses on vessels in the Plain.

ANGYO-KAMEGAOKA CORD-IMPRESSED AND CARVED. As far back as 1936 the To- san was considered to be a transmitter of the Kamegaoka style.29 The valleys of the rivers that rise in the central mountains and flow to the Japan Sea through the Echigo Plain and across the lowlands of the Shizuoka coast provide the roads of movement for the style. The total ag-

18 Ikegami, I936. I9 Ikegami, I941. 20 Fujimori, 1934a. 21 Fujimori, I943. 22 Miyasaka, I942. 23 Yawata, I934, 28 and if. 24 Akagi, 1938a. 25 Hayashi, 1943. 26 Ikegami, I936. 27 Ikegami, I94I. 28 Esaka (gen), RH V, 1950, chart. 29 Yawata, 1936.

105

gregate of sites along the Agagawa, Shinanogawa, Arakawa, Himekawa, and on the other side, the Tenryugawa, that have yielded Kamegaoka pottery is quite considerable.

Two types are clearly distinguishable: one is unmistakably to be associated with Angyo in the use of certain motifs and zoned cord-impression; the other has no connection with Angyo and is an inseparable part of the later and unimpressed l'eau courante Kamegaoka style. The movement of this design never took place through Angyo areas other than this fringe region, so its diffusion from south to north or vice-versa must have zigzagged across Japan, skirting the Kanto Plain. I believe there is only one adequate explanation for this, and it is in terms of a south to north movement of Kamegaoka designs. It is well recognized that Yayoi was a plain- lands style in its early period, being the pottery type preferred by people whose existence de-

pended on the raising of rice; it later moved into mountainous regions. The l'eau courante of Jomon pottery received its stimulus from Yayoi pottery, dotaku and wooden containers carrying this design, meeting it in the most northerly areas to which these designs penetrated, trans-

mitting them through mountain zones where Jomon pottery was still being made, but not

through the Kanto which was turning to Yayoi. From the Tosan and Hokuriku the movement was into the Tohoku, and the l'eau courante became a successor to the zoomorphic designs of Kamegaoka. Movements in a reverse direction seem almost impossible in such late Jomon times, as the people, along with the designs of the stone age, are either moving north or relin-

quishing their stone age status in all southern areas, and the pressure of the new Yayoi style from the south would hardly have permitted backtracking from Aomori to southern Nara -

through the Tosan and Hokuriku, the Chubu and into the Kansai. Japanese archaeologists customarily disclaim any relationship between the Yayoi and Jomon l'eau courante (often by side-

stepping the issue completely) looking on the two as beng poles apart geographically and stylistically. Remoteness does not exist; the meeting ground is clearly in the Kansai, and a northerly diffusion of the designs as the stone age moves north is the logical result.

It is but a slight change from the pure zone cord-impressed ware (of Horinouchi) to the zone cord-impressed pottery of the Angyo-Kamegaoka fusion. One of the most prolific sites for this type was that of Sano in Nagano.30 Sherds carry the three-rayed motif; zones of impressions are subdivided into designs of spirals, arcs, dots, hanging hooks, and interlocked and diagonally arranged S-shapes. Rows of punctates are often used in lieu of grooves, and the cord- impression is more or less unidirectional at angles ranging between 400 and 6oo usually, though occasionally reaching horizontal or vertical angles.

The specifically Kamegaoka type that has both the refinements of late Kamegaoka and some of the typical plasticity in surface decoration, is found at Shonohata near Lake Suwa, and provided Torii with his type site.3s Groot extends this Shonohata culture from sites in Ishikawa to Atsumi peninsula in Aichi, as well as suggesting other regions farther south in which it is found.32 It contains Kamegaoka Type 4 (I'eau courante), undecorated, and finely scraped and sometimes grooved sherds, of which the Kamegaoka always remains distinctive. I believe it should be maintained as a separate unit, permitting the local Shonohata term to remain as an indicator of the plain and scratched surfaces. Akagi and Hayashi have found Kamegaoka and 30 Yawata, 1932. 3I Torii, 1924. 32 Groot, 195 , 70.

io6

Angyo-Kamegaoka pottery in the following sites in Gifu: Nuke Cave,33 Shimomichi Kami- hirose,34 Kitanishikawa,3s Morishita,36 Ota-cho,37 Kurabashira,38, and Aso.39

33 Akagi, 1936a. 34 Akagi, 936 d. 35 Akagi, 1937. 36 Akagi, 1938a. 37 Hayashi, 1936. 38 Hayashi, i937b. 39 Hayashi, I943.

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CHAPTER VIII

THE HOKURIKU

The long coastline strip of western Japan from Wakasa Bay in the south to a point north of

Echigo Plain, broken by the Noto Peninsula, is commonly referred to as the Hokuriku

(northern land). The Echigo Plain, on which lie the cities of Niigata and Kashiwazaki, and crossed by numerous rivers, is the most fertile region of the Hokuriku. Opposite Niigata, and a part of its prefecture, is situated Sado Island, an area of 330 square miles, mountainous in both the north and south, but divided by a broad productive plain.

The Noto Peninsula, mostly rugged and uncultivated country, forms Toyama Bay, whose inner shores have both beaches and unusually steep and picturesque indentations. Nanao Bay is separated from Noto Island, for instance, by sheer walls of rock. In contrast, the outer coast line is quite regular. Kanazawa is the largest city of the Hokuriku, but its expansion is a relatively recent phenomenon. The prefectures that comprise the Hokuriku are those of Niigata, Toyama, Ishikawa and Fukui, or the old provinces of Echigo, Echiu, Noto, Kaga and Echizen.

The Tosan and Hokuriku have interregional pottery types as well as their own localized traits. These areas are not unlike the rest of Japan in this respect, but in another way they do seem to differ: there appears to be a progressive combining and fusing of details that are separable in the Kanto, but merge with each other in the west, ultimately removing their identity with Kanto types by a number of degrees. There is some reason to believe that the reverse is true- that the details tend to crystallize and isolate themselves as they develop into eastern Honshu types. I am convinced that Katsusaka had its origins along the western borders of the Kanto and in the Tosan mountains, but this is still not to discount a continuous interregional and mutual exchange. One partial explanation is simply the fallacy of thinking of these areas in Kanto terms, and when styles do not conform to or overlap unevenly with Kanto types they take on fuzzy limits and mongrel characteristics. But there is more to it than just this prejudice: the patchwork of styles in the Tosan and Hokuriku that is neither late Moroiso, Katsusaka, Ubayama, Atamadai or Horinouchi is such because in these traditional yet receptive areas the local Katsusaka and its ramifications so dominate the production that succeeding periods retain some of its features, though changing with constant infusions of Kanto styles.

ROULETTED POTTERY. Rouletted pottery has been found in Toyama (Hosokubo) and Ishikawa (Hashitate-cho, Enuma county),I and in a few other sites. Checks, rectangles, zigzags, ovals, circles and combinations of these are frequently seen. There is also some use made

I Ueno, 1953.

I09

of plain bands (erased rouletting) between zones of impressions in the same way it appears in the Tosan.

MOROISO NAIL-IMPRESSED. The Asahi shell-mound, Himi city, on the Bay of Toyama2 yielded the only comprehensive stratigraphy on the west coast. In the lowest level nail-impressed and herring-bone patterned cord-impressed sherds corresponding to Kitashirakawa Lower were discovered. On a level above was found a type comparable to the Kanto's Jusanbodai or a late Moroiso that looks almost like Katsusaka, while above that was this area's late Ho- rinouchi.

A similar situation to the Tosan exists here: pottery varies between a Kayama-like type and late Moroiso with indistinct dividing lines. Akagi solved the problem of terminology in the Tosan by using the term Nukazuka, and distinguishing it from the local Katsusaka.3 Nukazuka is common to the Tosan and Hokuriku and has the following features in common with Ka-

yama: scraped marks; incision work in straight lines, sometimes parallel and hatched; rows of

punctates usually more or less oblong, the ones that are more like slashes and closely spaced being the type I refer to as proto-nail-impressions. A feature in common with Sekiyama and Ento Upper is areas of oblique cord-impression separated by wavy, horizontally arranged lines. The following characteristics are common to Moroiso: nail-impressions, large, small, and

rocker-produced; herring-bone shaped cord-impression; designs formed by nail-impressions between parallel grooves, and the panels filled with cord-impression. As some areas are undecorated, it becomes a form of zone cord-impression.

Less frequent in Moroiso in the east is the sharp and closely spaced rim notching. At the Asahi mound the nail-impressions are profusely arrayed in row upon row, and admirably handled. Representative sites in Ishikawa are Azaoginoshima4 and Shibayamagata;s in Fukui, Omi6 and Kotabori.7

YAMADA APPJTED AND CARVED. The Yamada sites, Minamiyamada (pl. V/3, 6), Ka- miyamada (pl. V/2, 4), and others in-the vicinity in Ishikawa Prefecture in the county that surrounds Kahoku lagoon, north of Kanazawa city, are the focal point for Odoriba-Togaruishi of the Hokuriku. The ribbed elements of Odoriba are still present, and so are the emphases in notched, high ridges and corrugated panels of Togaruishi. Large, bold spirals, as a wider, higher and indented ridge, often form the central feature of the design, and two or three lesser and plain ribs parallel the lines of the spiral as supplementary details. The design-ridge is built up in clay, the background ridges are carved and cut back presumably with a split bamboo stick.

As this is the Hokuriku's strongest stage a greater number of sites may be expected. In Ishikawa the sites include the Kamiyamada shell-mound8 where many pieces were painted red

2 A personal publication by Ashita Minato of Himi city. 3 Akagi (Tosan), 1936, io. 4 Akita, I95I. s Kurokawa, 1939. 6 Saito, 1937a. 7 Ueda, 1917. 8 Kubo, I933; Akita, I935.

IIO

on both inner and outer surfaces, Kariyasu and Uano,9 Niho,Io Kasamai," Fukura,I2 Uenohata shell-mound,13 and at Himi in Toyama,14 Omi in Fukui,Is as well as sites in Niigata.

Cord-impression is used only sparingly in the Yamada type; occasionally frames are filled with it, but when this occurs the fragments usually bear details that suggest an indefinite association with Ubayama, so it is presumed that they are late products of this approximate stage. The clay is coarse, the color varies from light to dark brown with blackened areas. Some bizarre shapes have their home in the Hokuriku, and rims may be massed up with strangely perforated balls of clay, cone-like peaks, or other odd forms. As relativity to the Kanto does need to be established, it seems to me the most exact position for the Yamada type is on a level comparable with Moroiso's simulated rope-patterned and cord-impressed ware, continuing through the Katsusaka-Atamadai stage, and slightly overlapping with Ubayama. There is a modest change to a type locally known at Kitazuka that carries with it enough diluted but still recognizable Ubayama traits to indicate its chronological niche.

KITAZUKA RIDGED AND CORD-IMPRESSED. At the Kitazuka dwelling site in Kana- zawa cityl6 a number of sherds bear rim-emphasized designs; spiralled patterns; vertical, cord- impressed oblongs; much incision work in parallel lines as panel fillers; some refined punctation (almost stippling); shell-imprinting; and sutures along ribs (like Atamadai). Certain of these features are clearly little more than Ubayama with a sectional complexion.

In contrast to the Yamada material, the ribs are reduced to parallel incisions, large areas are devoted to cord-impressing, and ridges are usually notched by shell-imprints. The silhouette is simpler, the surcharged surface is decidedly modified, and though in the majority of cases the full surface area is scratched, impressed, indented, incised or marked in some way, partially intact vessels indicate that large, undecorated areas did exist. Sherds from Kitazuka itself are evidence of this. At Niho17 the vessel body was entirely covered with incisions; some punctation within parallel, horizontal lines; and the following varieties of cord-impression: i. simple diagonal, 2. pinnate with mid-rib, 3. net-like with the appearance of superimposed layers of impressions in opposing diagonals, 4. a type that resembles shocks of grain, built up and flared out, meeting to form a series of pointed arcs between "shocks", though I will admit that it could possibly be a misidentification of a brushed or dragged technique, 5. what appears to be type 4 over or under diagonal cord-impression, or perhaps diagonal incisions. The confusion prevents determination of the exact techniques and the sequence of the operations. There is also linear work over cord-impression on some fragments. This site is highly significant in the evidence that it provides concerning contacts with the Tohoku in pottery that is roughly Ka- tsusaka in time. There is a wide range of cord-impressing in the Tohoku of novel and unusual

9 Numata, 195 I. 10 Ishikawa Archaeological Study Society and the Jushu Local History Study Society, I952. " Numata, 1952. 12 Takabori, I95oa. 13 Ueno, 1943. 14 Fujimori, 1935. He calls it the Himi type. 's Saito, I937a. I6 Ishikawa Archaeological Study Society and the Kanazawa Middle High School Sociology Club, 95 2. x7 Ishikawa Archaeological Study Society and the Jushu Local History Study Society, I952.

III

effects, and its almost sudden florescence could only have been caused by interregional stimulation. Of the varieties listed, all are Tohoku types, with type 4 undoubtedly originating in that

region. Type 3 is similar to net-impressions of the Tohoku, but the technique of its production may not have been the same. These contacts anticipate the much closer relationship between the two regions during Kamegaoka times. Some Niho vessels have a perfectly cylindrical lower

part (all that is remaining), but indications are that a few were fully tubular in shape. If this is so it would be another tie with Ento or its close successors in Tohoku.

KIYA ZONE CORD-IMPRESSED AND INCISED. Both Horinouchi A and B of the Kanto are known in the Hokuriku, though not without their local idiosyncrasies. As Horinouchi has been adequately described in all other areas, only its distinguishing features for the Hokuriku need be mentioned. Its local nomenclature is that of Kiya, an excavation in Unoki-cho of Kahoku county, Ishikawa,I8 a site that yielded both cardinal traits of Horinouchi: zones of

cord-impression, and somewhat similarly incised designs without impressions. There is here, however, an undue amount of punctate work-a feature that is almost unknown in the Kanto's

pure Horinouchi. Cuneiform punctates often play the role of cord-marks, and are commonly arranged in two or more tiers. In narrow zones punctates may hang from the upper groove like teeth, or zones may be entirely dotted in a way that is somewhat typical of areas perimetric to the Kanto. One rather unusual characteristic is the use of complicated incisions and punctates to decorate the upper third of the body, with cord-impression only for the entire lower surface. This does not occur in the Kanto, and on the other hand, in this region there is nothing quite comparable to Horinouchi C. A few of these examples just described have some roughening in the incised areas, perhaps a cord-impression, but it has been more or less smoothed over.

The majority of shapes are probably low bowls, some with slightly widened base. Bases are often raised, ranging from an inappreciable to a very pronounced arch; an undecorated bowl from Kiya has a high pedestalled and perforated base. Rims are often modestly peaked, and the

edge is hatched. Upright containers have more broken silhouettes than the typical vertical jar in the east, but this is understandable in the light of the local tradition of extraordinary shapes and picturesque outlines. Some bases are mat-impressed.

A selected list of sites in which Kiya pottery (zone cord-impressed, incised, punctated) has been found in Ishikawa is the following: Hotatsuyama,I9 Ushitsu-cho,20 Funaokayama,z2

Mangyo (Nanao city),22 Takazuka,23 Azashibayama shell-mound,24 Azaozo2s and Soboku.26

Nobayashi in conducting excavations at Kusudashin, Toyama,27 found much of the zoned-

punctated pottery which I have described in a Horinouchi context. He points out the frequence

18 Kubo and Takabori, 1951. I

I9 Akita, 193 8. 20 Miyakawa, 1951. 21 Takabori, I950. 22 Takabori, I952. 23 Tsukuda, I 9 5 3 24 Ueno, I952. 25 Ueno and Miyakawa, I95 I

26 Akita, i952. 27 Nobayashi, I952.

II2

of wedge-shaped punctates in two or three rows on thickened rims, and dubs this the Kusu- dashin type. This is the excavator's prerogative, but it is part and parcel of this region's pseudo- cord-impression in zones, although the emphasis is on the rim. At this same site shell-edge imprints are also substituted for cord-impression in zones.

KAMEGAOKA CORD-IMPRESSED AND CARVED. Lastly, the Hokuriku shares with the Tosan the Angyo-Kamegaoka manifestation which has already been linked with the Tohoku in the chapter on the Tosan. I can see no substantial differences between this stage in the Hokuriku and Tosan, so detailed descriptions can be dispensed with. Designs are both carved and cord- impressed, the latter being in far greater quantity. T-shaped, wedge-shaped, spiralled, chevron- like and circular designs are frequently seen, and punctates in zones are carried over from the Kiya stage. Sites around Himi city have yielded this type; Takaoka28 and Higashiwase in To- yama are others.

28 Kurata, 1930.

II3 9

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CHAPTER IX

THE TOHOKU

N orthern Honshu goes by a host of names depending on the era referred to and the degree of specificity that is desired. Ou comprised the two large and ancient provinces of Mutsu

and Dewa; both of these were accordingly dismembered as the central government consolidated its position and more wieldy political divisions were needed: Dewa was bisected into Ugo and Uzen, corresponding more or less with the prefectures of Akita and Yamagata; and Mutsu, which until I869 was the greater part of north Honshu, was carved up to make the provinces of Iwaki, Iwashiro, Rikuzen, Rikuchu and Rikugo. These correspond more or less to Fuku- shima, Miyagi, Iwate and Aomori prefectures respectively, though the lines between provinces and the re-made prefectures are rarely clean-cut. The term Tohoku is also often applied in a loose way to this region. The extent of land that I am including in the use of this term is indicated on Map I.

The ancient highway linking the north and south runs through a valley that leads off the Kanto Plain near Utsunomiya, passes through Koriyama and Fukushima as it cuts through Tochigi and Fukushima prefectures, and opens out on the Kitakami Plain in the south corner of which is located Tohoku's greatest city, Sendai. The coast line from Sendai creates a large arc, the Sendai Bay, partially protected in the north by the Oshika Peninsula. The northern section of the arc forms the Ishinomaki Bay, and coastally indented as a natural harbor for Matsushima, dotted with islands in one of Japan's greatest scenic wonders, is Matsushima Bay.

The valley of the Kitakami, a river with its sources not far from Mt. Iwate, has always been the avenue of wayfarers between Miyagi and Aomori, although during early historic periods when the Ainu were aligned against the Japanese armies in a centuries-old war of attrition, it is safe to assume that movements of people along these lines were considerably circumscribed. A good percentage of the Shimokita Peninsula consists of plain lands which reach south to Hachinohe and are fed by the Otsubo River, Oirase River springing from Lake Towada, and a number of others which enter Ogara Lake and finally empty themselves into the Pacific through the Takase. Low land lies to the east of Mutsu Bay, but Aomori city is situated in a pocket at the northern end of the Hakkoda Mountains on Aomori Bay whose two promontories provide only thin strips of level land along the coast. On the west side of the Tsugaru Peninsula the Iwaki River has cut a wide valley that leads back through its present sources toward the coast of Akita at Noshirominato. Slightly to the south, on the Oga Peninsula and around the Hachiro Lagoon, are to be found a large number of Jomon sites, only a small proportion of which are shell-mounds. The volcanic range, the Chokai, lies across the prefectures of Aomori, Akita, Yamagata and Niigata and at various points reaches the Japan Sea so as to effectively block

I"5

off passages along the west coast. Two east and west crossroads, however, have made travel to the Japan Sea side less difficult, one from Koriyama across to Niigata, the other from Fu- kushima north and west to Sakata and Tsuruoka. Niigata is located on a large and fertile plain; Sakata and Tsuruoka on a smaller one formed by the action of the Mogami and numerous rivers of lesser size.

In making the circuit of Tohoku from south to north and starting on the east side, the shell- mounds are concentrated along the following spots: the coast of southeast Fukushima, southeast Miyagi, on the shores of Matsushima Bay and its islands, inland near the Kitakami River and others which flow into Sendai Bay north of Matsushima, southeast Miyagi, near the mouth of the Hei River in central-east Miyagi, near Ogara Lake, at the outlet lake of Iwaki River, along Hachiro Lagoon and at the southern end of Akita on the coast. The most important points of concentration are two: Sendai Bay and its hinterland, and Hirota Bay, a little to the north and mostly in Iwate. Matsushima Bay is the scene of many well known shell-mounds and Jo- mon sites: Uraguchi, Murohama, Satohama, Funeirishima, Katsurajima and Daigi are in the bay or its vicinity. FUKIRIZAWA SHETLL-MARKED. In studies of recent years, particularly those in the Shi- mokita Peninsula, it has come to be believed that the earliest pottery in the Tohoku is a sharply pointed bottomed variety with a great quantity of surface decoration of shell-incising and imprinting, sometimes coupled with shell-scraping. This, as against the older theory, that the type known as Ento Lower, or a type somewhat similar, was the first to appear on the Jomon scene in north Honshu. As the Cylindrical Pottery Lower type bore string-impression (yoriitomon), it seemed to provide adequate evidence that cord-impression of a sort at least always existed in the north, that it was to be considered a "northern" trait, and that all signs pointed to the likelihood that it was borrowed from continental sources. Work carried out by Esaka and, to a lesser extent, Yamanouchi, but whose influence is no less minimized, is now used as testimony to the effect that cord-impression is not an early northern characteristic at all, but was probably the result of contacts between the north and the Kanto Plain. This is clearly evident when relative chronologies are drawn up: Kanto's string-and-cord-impression precede that of Tohoku. The Inaridai type, usually considered to be the earliest in the Plain, bears string-impression, but this technique is not listed until Early Jomon (Zen-ki) in the north in Esaka's chart, for instance.I By this route we are back to the origin of all things: the Kanto Plain.

Sumiyoshi-cho of Hokkaido and Fukirizawa of the axe-shaped peninsula of Aomori, the main shell-incised and impressed types, are considered to be parallel with Tadoz or like Mito,3 but the usual consistency is lacking in suggesting correspondences, and the string-impression of Tohoku is aligned with mature cord-impression stages of the Kanto. Actually, cord-impressing is handled in remarkably skillful ways to appear in imaginative and varied patterns by Tsu- kinoki Upper potters. Tsunoda and Mitsumori4 interpret Tsukinoki Lower (non-fiber-tempered, shell-scratched designs, pointed bottoms and found in small fragments) as the earliest Tohoku type, though with some reservations as the sherds were few in number and badly bro-

Esaka (gen), RH V, I95 o, chart. 2 Esaka (gen), RHV, 1950, 93-94. 3 Sakazume (gen), Glossary, 1939, Ix. 4 Tsunoda and Mitsumori (gen), I939, 63.

ii6

ken, and at that time it was not felt that the evidence was sufficient to establish a type. Tsukinoki

Upper (fiber-tempered, scratched on inner and outer surfaces, rounded bottoms, bowls chiefly) is definitely a string-impressed type, and some of the sherds establish the fact that the devices for standardizing cord-marking were now known to the potters. This type, incidentally, has been found at Soyama in Miyagi Prefecture and sometimes goes by this site-name.5

Esaka, in discussing the excavations of Fukirizawa at the base of Shiriya Cape and Shirahama in the northeast part of Hachinohe city, places this shell-marking as the earliest Jomon period manifestation in the north.6 Fukirizawa, believed to precede Shirahama, has nippled bases, sometimes an added rim strip of clay, great quantities of impressions and marks consisting of

simple circular punctates, eye-shaped punctates, horizontal parallel lines, finger-made pits, diagonal slashes, rows of regular arcs, shell-made stepped patterns, checkered effects caused by horizontal and vertical overlapped shell-imprints, and narrow zigzagged shell-edge marks rocker-effected. The Shirahama fragments have a pointed base also, but with straighter body lines, and without the nipple. The surface patterns are more regular and in less variety than those of Fukirizawa. Both are surprisingly sophisticated, and much of the Shirahama work is

extremely even, to the point of being suspiciously like an attempt to reproduce string-impression. As the stone implements from this site include polished axes and fractured pieces of axes of middle Jomon times along with laurel leaf shaped points usually believed to be laterJomon

(though an earlier date for them may have to be generally recognized), a consistent early date for this site is not entirely acceptable. At Fukirizawa the rows of arcs, especially those between

parallel, horizontal lines, have a strange similarity to Moroiso, and sherds with applied strips of clay of stippled ridge-surfaces or crossed by diagonal incisions, at times in patterns formed

by parabolic and spiralized curves, convey an unmistakable though remote association with Moroiso, but I am as yet unable to determine which way the influences flow. If Esaka's chro-

nology is thoroughly grounded, this style acts as a distant ancestor -an almost proto-Moroiso - in an area which never goes through the throes of Moroiso. But if a later date is reasonable-a

post-fiber-tempering one-then the influences stem from the general Kanto area. Having ex- amined relatively late Jomon nipple-based vessels in Kyushu, I see no reason why this in itself should be a deterrent for a date posterior to So-ki.

Distribution of the shell-scraped, impressed and incised type includes sites scattered from southern Hokkaido to Yokosuka city:7 Sumiyoshi-cho, Hakodate city; Fukirizawa, Higashi- teisei-harada, Fukushima; Jiinya, Ibaragi; Shironodai shell-mound, Chiba; Mito, Kanagawa; and Tado, Yokosuka city. Decoration is done by shell only in the northern sites; by a bamboo stick to mark the rim in more southern sites. The shell normally used was the akagai, the

"bloody clam", so called because of its red interior. The roster of sites has been augmented since Esaka's interest in this region was aroused: Hokkaido sites, Tsukinoki, Butsudaii,8 Choshakyoho,9 Tokoyo in the Aizu region of Fukushima.Io The Fukushima area should pro-

5 Ito, 1940. 6 Esaka, I952. 7 See Esaka (gen), RHV, I950, 93-94. 8 Esaka, 1954a. 9 Esaka, 1954f.

lo Kuwayama, I951.

I"7

vide the avenues for north and south contacts; in fact it often seems to be a blend of northern and southern traits that creates unique characteristics. In the vicinity of Komagata quadri- peaked vessels of nippled bases could be reconstructed"I bearing pairs of straight or wavy parallel lines, crescents and circular punctates; shell-edge marks and rows of oblique slightly curved lines. These are all well organized in friezes of decoration most of which are arranged on a

strikingly widened and expanded rim that has no analogy in the Kanto until Kayama. The last of this type in Aomori, according to Esaka, was found at Notsukoro, the site name for the

type. 2

ENTO LOWER STRING-MARKED. The Ento (cylindrical) Lower pottery (fig. 14/1-12), common to Hokkaido and Tohoku, consists of tubular-shaped vessels of uncommonly fibrous

clay, often neatly smoothed on the interior, with constricted neck and rim projections at times. Presumably because of its profusion of paste fibers it is considered to be the logical successor of Tsukinoki Upper. Farther to the south, in Miyagi prefecture, the upper layer of Funeiri- shima13 is equated with Ento Lower by Tsunoda and MitsumoriI4 who were then unsure what corresponded with Tsukinoki LQwer and Upper in the Aomori area, but to fill the breach, rather than in the strict sequential manner in which the chronology is normally laid out, I would

suggest a solution along the same lines as set forth for the Kanto as a bifarious development of traditions in the early steps of the evolution, although its validity can there be more conclusively demonstrated. It is explained in terms of provinces of techniques or geographic differences, and, admitting some areal overlap, the incised technique of the north carries with it many earmarks of an adolescent style in many sites as if its duration is by no means limited to the years of childhood only, and, as in the Kanto with the earliest pottery, Inaridai, so in Tohoku, string- impression could well have been applied to ware equally as early. Throughout its history the north depends more consistently on cord-marking for its decoration. One example would be the Katsusaka period. When cord-impression had not reached some areas and was on the wane in others, vessels probably commensurate with Katsusaka in time were entirely covered with it in the north, not as a delayed influence from Sekiyama and Moroiso of the Plain, but rather as an indication of a continuing preference for a technique that if not native was soon made an indispensable part of the tradition.

FUNEIRISHIMA AND URAGUCHI CORD-IMPRESSED. Between Funeirishima Upper and Lower, Tsunoda inserts another type, Uraguchi (near Miyato in Mono county, Miyagi,) which is distinguished from Funeirishima Upper (bottoms flat and raised, fibrous clay, cord-impression of many types and string-impressions in net patterns) by its flat rims, oblique cord-impression, and the possibility of raised, flat bases or pointed, nippled bases.Is This places such bases as late as Zen-ki and lends more weight to the arguments for later dating of the so-called Ear- liest Jomon shell-incised types. " Kuwayama, 195 , 37-40. Called Tokoyo style and placed as the earliest type in the southern Ou by

Esaka (gen), RHV, I950, chart. 12 Esaka, I954b. 13 Tsunoda, I936. 14 Tsunoda and Mitsumori (gen), 1939, 65. s5 Tsunoda and Mitsumori (gen), I939, 64-65.

ii8

Funeirishima Upper, Uraguchi, Ento Upper and Akagawa have a singleness of character in overall cord-impression. They make up the bulk of the styles represented by this trait in To- hoku. Such impressions may be combined with string-impression, generally on the body, at Funeirishima and Uraguchi, or retained for purposes of rim decoration in Ento Upper and Aka-

gawa. Tsunoda considers Ento Lower to be comparable in time to Funeirishima Upper, early Ento Upper to be equal to Akagawa.16 Uraguchi precedes them. The systematized use of cord-

impression either on an oblique angle of approximately 400 or, more usually, diagonally in bands marked off by single horizontal lines of either string- or knot-impressions, is its key trait. This is at times identical with, at other times close to, the manner in which Ento Upper pottery is marked off in bands, the distinction (when one is discernible) being an undulating line separating opposing diagonal impressions or as lines used to bring out the upper edge of bands regularly emphasized by considerable depth of impression. As less pressure was exerted, the impressions fade out and are then repeated in a like manner on lower levels. I would suggest a correlation between Uraguchi and Ento Upper rather than Tsunoda's proposed relationship, and both are more advanced and settled in cord-impressing techniques than Funeirishima Upper and Akagawa. The kinship is here established on the basis of cord-impression, and Ento Upper is recognized by rim decoration as a modified northern expression of Katsusaka, but this band-

ing of cord-impression is at times inseparable from that of Sekiyama of the Kanto. A reasonable conjecture is that Ento Upper precedes Katsusaka, and that the superimposition of it on Moroiso in the generally non-cord-impressing area of the Tosan was, to a considerable

extent, instrumental in the formation of the Katsusaka style.

ENTO UPPER CORD-IMPRESSED. Ento pottery has been found in the lower layers of the Oseido and Nakai shell-mounds, and in numerous other sites in Akita, Aomori and Hokkaido. It is what one might call a northwestern type. The difference between Upper and Lower is a clear-cut transition: Lower is thin and fiber-tempered; Upper is thick and lacks fiber as a tem-

pering material. Vessels were larger on an average in the latter stage and walls proportionally thicker, and as methods of manufacture improved, use of fibers was discontinued. In general, the vessels are tall, truncated-cone in shape, have a segmented upper section with four massive and lug-like projections (fig. 14/I3-26). Cord-impression obliquely arranged may uniformly cover the body of the vessel or be in narrow registers of herring-bone pattern. A later phase employed cord-impression in zigzags, diamond-shaped. Undulating grooves are often used to

separate cord-impressed zones. Thick ridges of clay running parallel with the rims of the vessels,

loops or handles, and ridges forming geometric designs between the rim and neck-ridge constitute the main decoration (fig. 2/15-17; pl. VI/I, 3, 4). An occasional oblong relief figure shows an exchange of motifs with Katsusaka to the south. Somewhat later in the evolution are the vessels with rounded bottoms and greater depth of decoration at the neck. The designs become more curvilinear and the initial decor below the shoulder, characteristic of periods later than this in the north, makes a spasmodic showing. From this point on, vessels may be either

straight- or curved-sided, but ridges for body and rim decoration are consistently used. Vessels are in shades of light to dark brown with blackened areas.

i6 Tsunoda and Mitsumori (gen), I939, 63 and ff. I7 Tsunoda, I939.

ii9

AKAGAWA CORD-IMPRESSED. The Akagawa (Enokibayashi, Aomori) type (fig. I4/28) compared time-wise by Tsunoda and Mitsumori to Ento Upper A18, perhaps on the basis of the accompanying Ento pottery fragments at this site, is a type whose decoration is limited to

string- and cord-impressing in almost every imaginable way from very coarse to relatively fine, and presumably covering the entire vessel. Often a rim band is set off from the body by im-

pressions running horizontally or a network of impressions. Wall and rim surfaces are uneven, and the effect of the impressions, though deep and bold, may be almost nullified by the rough walls. This coupled with irregularity in shape creates an appearance of considerable crudity in the extreme examples, and to dramatic, if somewhat unesthetic, attempts in the best examples.

DAIGI TYPES. The type that Matsumoto termed AoshimaTs (Minamikata, Tome county, Miyagi) is the early stage of the applied and carved designs that frame cord-impressed panels. This, along with the chief Daigi types, are the northern cognates of the Ubayama style.

The great Daigi site (pl. VII/4,5), worked over by many archaeologists, has never been

adequately published,2o though there is a general acquaintance with and acceptance of the fan-

tastically complicated stratigraphy that Yamanouchi discovered there. Esaka gives it the full treatment.21 In successive periods commencing near the beginning of his Early Jomon, Ya- manouchi listed Daigi i, 2A and B, 3 and 4, 5 and 6, 7A, 7B, 8A and B, 9 and I0. Daigi I-6 is compared to Ento Lower, and in the Kanto from Sekiyama through Moroiso (3, 4, 5, 6

equalling Moroiso); and 7A and 7B with Ento Upper and Katsusaka and Atamadai. 8 A and B

correspond to earlier Ubayama (Kasori E Old) and 9 and 0o to Kasori E New. This is the most complete stratigraphical listing in Jomon Japan, but as they all received a Daigi appella- tion the comparative position is obscured. Without going into the full ramification of the

changes, three main stages of the development at this site can be demonstrated (see fig. 20). Simple vessels with primitively incised lines are followed by vessels with more complex incised

designs and slender strips of clay, and lastly, deeply carved ornamentation and partially applied designs coupled with cord-impressed backgrounds climax the Daigi styles. The simple shapes, irregular and rather meaningless incised lines, and large areas of cord-impression of the early group are more nearly relatable to Moroiso than any other earlier types to the south of the

Daigi sphere. Flattened clay strips forming the designs of the middle group are akin to the manner in which a high percentage of Katsusaka vessels are decorated in an additive way, whereas the application, moulding and carving of the ornament in the final stage is in the spirit of the inter-motif flow of Ubayama, or it could be described as both an additive and subtractive

approach. The cup formation at this time level is not as prevalent in the north as in central and central-

eastern Japan, and vessels tend to be a little more cylindrical in the north. The majority flare

slightly near the top, and the attached upper portion may be perforated and ornate, but in general northern rims are simpler than those in the south. Before the style has matured, earlier vessels of this group have wide, parallel grooves of short spirals on the body or running the

x8 Tsunoda and Mitsumori (gen), I939, 67. 19 Matsumoto, I93oa. 20 Muranushi, I928, 760-764. 21 Esaka (gen), RHV, 195o, chart.

I20

length of it with the space between the grooves rubbed smooth (a technique occasionally em-

ployed in Moroiso). The workmanship is uncertain and mediocre. The later products have

cord-impression on the body and fine ribbons of clay in parallel lines forming curved designs tipped by arrowhead or bird head shapes. Some of the most elegant patterns of all Jomon pottery are products of the Daigi potters (fig. 8/I-3). Clay threads surrounding the neck seem to

prefigure a similar use of threads in the northern islands at a much later date. Swelling jars and

globular vessels are now found, and at this point one can see the beginnings of the bottles that are manufactured in the north in great profusion.

Clay colors in the pottery from Daigi vary through light brown on the exterior and interior, dark brown on the exterior and interior, dark brown exterior and light brown interior, red with blackened areas, and dark gray to black exterior and gray interior. The thickness ranges between I/8 and 5/I6", but there is considerable variation in individual sherds since the rims are often thickened, and in high Daigi particularly it is almost impossible to ascertain where the

body of the vessel stops and the added designs start. Most of the sherds show rather large sand

particles in the clay; quartz crystals are unusually evident. At the peak of the style the grains are comparatively fine. The projection of the decoration is as much as %3/", and sloping edges of the decoration have been delicately modelled, entirely dissolving the two or more planes of decoration and background that were to be found in the middle group. Small depressed areas thus formed are filled with cord-impression.

Jars somewhat similar to the second category also come from Aomori and Akita prefectures. Strips encircle the surface and hanging spirals alternate with vertical snake tails (fig. 201

29, 30). Sherds from Aomori Prefecture sites bear both detailed and coarse incision work, spirals on waved rims, grooves augmented with punctates, and striated rims.

The distribution of the Daigi types sheds considerable light on their family relationships. Daigi 8, for instance, whose familial features are those of Ubayama, appears, by its tangented position, to be a geographical extension of the latter, or stated with more caution, the Ubayama stage at the Daigi site. It comes from Fukushima and Miyagi, but is rarely found north of

Ichioji in Aomori. On the other hand, its local roots do seem deeply implanted in the ancestral sites of the same region, and mature Daigi 8 is the product of the local vitalized with new blood from Ubayama sources.

Although a quantity of this evolutionary material is now considered by some to be of a

post-Daigi 8 stage (see description of Funeirishima pottery), it is almost impossible to determine which is contributory and which derivative, this being partly the case because of the coexistence of designs in linear, low and high relief. There is, of course, no such thing as a clean

sweep preceding the appearance of a new style. Transitional pieces, both chronological and

geographical, are constantly present to cloud the lines of classification and goad the archaeolo-

gist into adding to the already long and increasingly complex list of type-names. Transitional

pieces can, by deductive reasoning (some might say inductive), be placed in either a succeeding or preceding category, and look at home in neither. This is an especially knotty problem in the

Katsusaka-Ubayama conversion, and, although the typical Katsusaka and Ubayama pieces are

poles apart for a good number of reasons, partly because of the variety and assortment of

designs as well as the continuity of motifs from one phase to the next, the typing often rests on a fine point or even a rather vague generality, such as one might call a tendency. To illustrate,

I2I

it might be said that there is a tendency toward closed and continuous body designs for Ka- tsusaka as against open-ended ones for Ubayama. More definitive classifications of designs can often create a far larger number of types and subtypes than is practicable. In the geographical overlap of Ubayama and Daigi some Ubayama-trait vessels are to be seen in the Daigi area

(Tashirojima, Miyagi), or on certain vessels the upper part is more Ubayama, the lower more

Daigi.22 Concurrence of the two types is thus, at least, partially assured, and if both designs are

typical, general coexistence is probable. In the task of organizing the areas into families, this is all the better as it establishes sound and unmistakable connections.

Within this stage that we call Daigi 8 are all degrees of sculptural work from the virtually linear to the deeply carved. These require no chronological interpretation, but only a recogni- tion of the various ways of decorating the vessels within a given time. More tangible evidence of varied techniques at one spot and at one time is a number of examples on which the sculp- turesque decor is used primarily as rim-zone ornamentation, while incision work or narrow, smoothed strips cut to look like applied ribbons, are used on the body.

There is a northern group that is clearly a zone cord-impressed Horinouchi (Horinouchi B) with which these Daigi progenitors or offspring, whichever they may be, show only a slight shade of correspondence, but there is considerably more correlation with the linear surface treatment and allover cord-impression of Horinouchi A and C of the Kanto (specifically with

examples from the Horinouchi shell-mound itself and such sites as Kitakata in Shimosa) even

though some of the Daigi pieces seem to make an attempt at erasing the cord-impression within certain zones (fig. 20/8). The Horinouchi pieces referred to are the simply shaped vessels, more or less cylindrical, whose incised decoration has been crudely and sketchily accomplished, and whose existence is usually overlooked (or we might like to) in favor of the well-made and ele-

gantly designed vessels. There is more verticalism in patterns and more use of perpendicular lines as decoration dividers in Daigi. It begins to appear as if the spirals of the Miyagi area stemmed from its contacts with the Kanto. By way of concession, and it may eventually be

necessary, if any of the vessels that are illustrated as preceding Daigi 8 are actually of a derivative nature, the first to be considered would be numbers 7, 8, and 3 of fig. 20. The argument is much weaker in respect to others (Io, II, 12, 14, i6, 17, and I9).

The incised and generally cord-impressed examples which I consider to antedate Daigi 8 have been found at the following sites: in Aomori: Ichioji and Hanamaki; in Miyagi: Daigi, Tashirohama, Shichigahama, Tashirojima; in Fukushima: Shiozawa and Saigo. The high relief

type is reported from the following sites: in Aomori: Ichioji; in Iwate: Kakinokidaira; in

Miyagi: Katsurajima, Satohama, Ishimaki-cho, Togu, Numazu, Daigi, and neighboring sites; in Fukushima: Shiozawa and sites along the Fujiwara River. Among the sites in which strips of clay, or carved effects to suggest strips of clay, were utilized to form designs are Kamanoue in Akita and Matsusaka in Fukushima.

ENOKIBAYASHI INCISED AND CORD-IMPRESSED. At Enokibayashi (Aomori) Daigi 8 and Ento Upper were found in a lower mud layer while the equivalent of Daigi 9, called the

Enokibayashi type, came from a shell layer above.23 The Enokibayashi is a local variety of the

22 As at Kakinokidaira, Iwate county, Iwate. See Ueda, 1934. 23 Tsunoda, 1939.

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Kanto's Horinouchi that lacks the bold zoned cord-impression of the latter, but still has either this in narrow and unobtrusive bands or allover cord-impression with shell incisions of long, low arcs, wide zigzags, horizontal lines and an occasional Daigi spiral or oblong figure. The rims are thickened, have a deep furrow ending in a spiral, and the sharp peaks are normally marked with circle and dot. The approximation to Daigi is clear enough; what it represents is a finer shade of transition than is customarily seen between Ubayama and Horinouchi in the Kanto. On the other side of the ledger, this is a stage of overall cord-impression not unlike pre-Daigi 8

stages (in the Daigi site evolution), as if the panelled concept of Daigi 8 had been omitted in the development.

HORINOUCHI A, B, C (TAKARAGAMINE LOWER, OYU, TENGUSAWA). All the Ho- rinouchi types (A, B, C) of the Kanto are found in Tohoku. A number of local terms are sometimes utilized, but all indicate a membership in the Horinouchi family, though usually on different levels of accretion. In Mutsu it is Tengusawa;24 in Akita it is Oyu Lower;2s in Miyagi it becomes Takaragamine Lower.26 From this site come two main types: one of broad, carved and rounded bands of designs, sometimes in bold spirals, but without cord-impression. The other is zoned cord-impression, but the process is reversed-the zones are undecorated, the

surrounding area is impressed. The Tengusawa sherds bear raised and rounded zones, well articulated by grooves, and at

times cord-impressed. The carved and modelled effects are probably a heritage from Daigi 8, but are also symptomatic of northern tendencies from Daigi 8 or Ento Upper on, inasmuch as the surface is treated in a more sculptural way than in the Kanto during Horinouchi times and

perhaps more consistently so during Kamegaoka than in Angyo. The B group corresponds to my Horinouchi A (no intention to add to the confusion). To be seen are low and high bowls, bottles, jars with narrow and rather wide mouths, and designs in parallel lines on the upper two-thirds of the vessel in flowing but informal rhythm that lacks systematic repetition. The spiral is a particularly popular motif and other designs almost reach the complexities of a jigsaw puzzle. The vessels are usually small and the walls proportionally thick with outer surfaces partially smoothed.27

My Horinouchi B (zoned cord-impression) (Tsunoda's C category) is well represented at a number of sites where designs are more ambitious on an average than they are in the Kanto; spiral-like or S-shaped patterns are more intricate and show the northern love for great detail. Broad bands may reach to the base of the vessel, and some designs have an attempted symmetry in tree-like figures.

At Kitanakano, Aomori, in a grave site of stones mounded over a slab surmounting a jar,28

24 Tsunoda and Mitsumori (gen), 1939, 73, call it an A group. 2s Commission, Oyu, I953. 26 This is the term used by Matsumoto, 919 a, who as early as this date had a typological system going

for north Japan. For Middle Jomon: Aoshima followed by Daigi; Late Jomon included Takaragamine Lower preceded by Miyato. The latter included his Osozawa type.

27 Tsunoda and Mitsumori (gen), 1939, 76, say this group corresponds roughly to Kasori B of the Kanto Plain.

28 Kasai, g918a.

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sherds belonged to the northern Horinouchi A. A variant was found, along with other types, at Fundanoki, Akita.29 The Oyu finds were phenomenally successful in discovering either a considerable number of complete vessels or ones which could be easily reconstructed (figs. 26/ 25-27, 29-30, 33, 35, 36; 25/25). In spots considered to be dwelling sites were found clay fragments of figurines, lids, miniature vessels, weights (?), undecorated jars and bowls, obliquely cord-impressed vessels, and a group of bottles, jars and vase-shaped vessels with zoned patterns either having or lacking cord-impression or a pseudo-cord-impression of indentations. One unusual feature is a slender jar type with slightly constricted neck, flaring to the rim and with

lip-spout. A smaller one with rounded walls has a lip-spout of considerable proportions. These vessels usually have two small symmetrically placed peaks at pinched points where the spout narrows off the rim. Most of these spouted vessels show little change from the traditional ento

shape of this part of north Honshu. One somewhat rotund pitcher with tubular spout attached above the shoulder has a widely flaring and levelled off rim with four low cones pointing upward. The body is horizontally banded with connecting vertical bands of cord-impression that form irregularly shaped smooth panels around the upper half of the vessel. Some Oyu vases are plain, pedestalled, have a truncated cone shaped body and abruptly flaring and greatly emphasized rim that is both peaked and waved and bears impressive spiralled zones of cord-

impression. Spirals; figures of 8; diagonals; two or four petal-like patterns, two large, two small, above a horizontal line; two all but interlocked arcs projected from opposite points on

parallel zones; and, of course, the usual horizontal bands whether body, neck or rim border of

cord-impression, comprise the vocabulary of motifs. Some sherds from this site are net- and

string-impressed and, if they are of this period as they seem to be, it is greater evidence of con-

temporary and continuing techniques that speaks strongly for my theories of looser organization and less precise-level sequentialism.

The Oyu sherds (about 900 of which were picked up in scattered areas at the two sites of Manza and Nonakado) are for the most part light-faced and gritty textured. Yawata suggests a later than Middle Jomon date for them as a result. In the erased cord-impression he sees similarities with Kasori B of the Kanto.30

My Kasori of the Kanto is less easily identified in Tohoku (figs. 28/25-42; 29/1-6), being almost blended into Horinouchi because of a general tendency not to reduce surface decoration to complete linearity or to the point where it is flush with surrounding areas. The Ogawa Lower type (a shell-mound name near Shinchi, Soma county in west Fukushima)31 has both Kasori and Angyo characteristics, and thus straddles both stages, though at best, even in the Kanto the dividing line is at times hazy. These characteristics include bowls with a high arched foot; horizontal, regularly indented strips of clay at rim, base and foot; ruffled or multi-waved rim; junctures of linear designs emphasized by indented clay bosses; and raised cord-impressed bands. Although Mitsumori and Tsunoda32 say its distribution is throughout the Ou area, quoting Yamanouchi that it is the origin of the Kamegaoka style, this particular style is limited largely to the southern Tohoku-in the transitional zone of Fukushima-and in this region

29 Muto, I938. 30 Commission, Oyu, 1953, io8-ii2. 31 Tsunoda and Mitsumori (gen), I939, 76. 32 Tsunoda and Mitsumori (gen), I939, 76.

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it should be recognized as a northern extension of the Kasori-early Angyo of the Kanto. The vessel shapes are more central than northern.

KAMEGAOKA CARVED AND CORD-IMPRESSED. One of the most impressive styles of

pottery and hardly surpassed in effective elaboration of designs in primitive pottery circles, is the Kamegaoka style -the last major phase of the Honshu Jomon pottery. The Mutsu potteries, named after the ancient province in north Honshu, were widely known in available publications as the distinguished products of a mature style, well preserved and attractively polished, bear-

ing spectacular designs and displaying workmanship of the highest quality. Collectors have made great efforts to acquire the more ornate examples. The attention that has been paid them is partially manifested in the fact that of the three types of the early classification system (Atsude, Usude and Mutsu) one refers specifically to this type and has still been retained as a unit, while the other two categories have been dissolved completely by the revised typological nomenclature.

Earlier terminology for this type was not limited to Mutsu, however. There is an array of names ranging from Miyato, Tsugaru, Ou and Dewa, and more recently to Obora. It has now reduced itself to Kamegaoka and Obora, though the two are not entirely interchangeable being suggestive of different distributions, the former in northwest Tohoku, the latter in the southeast. The Obora terminology is awkward and requires a specialized knowledge of the problems of the site, but its use is now well established regardless of its difficulty of application.

The Jomon character of this pottery is religiously preserved, external influences are subtly transformed to meet the specifications of the Jomon style, and production flourishes as the cultural tides of the Bronze and Iron Ages envelop south and central Japan. Mutsu was the last retreat on Honshu of the makers of Jomon pottery who had retired slowly into the cita- dels of the north and had zealously resisted infringement and penetration of their territory.33 The Ainu settle and resettle Hokkaido, the Kuriles and Sakhalin, and finally, remnants of Stone

Age cultures manufacture pottery that can no longer accurately be classified within Jomon cate-

gories. These may be considered, because of their stone age character, to be in groups loosely designated as Post-Jomon.

The decorated potteries have been the eye-catchers, but there is much of a "domestic" kind which has gone almost unnoticed. Some vessels are entirely plain, some have an allover oblique cord-impression, and for the most part as well as on the highly figured vessels there is a multi- directional cord-impression that can be traced back to pre-Kamegaoka types.

The Kamegaoka site, excavated by Sato, is near the northwest coast in Aomori.34 One part of the excavations was conducted in a series of peat layers that extended to a depth of around six and a half feet. No pottery remains were found in the upper two levels which consisted of black earth over a layer of peat, but fragments were found in the three lowest levels (in descend-

ing order) of light colored sand, brown peat and black peat. At that time, unfortunately, little attention was paid to the distinguishing features of the fragments from the different beds.

33 Records of the eighth century even, indicate that the Japanese were not able to penetrate beyond the fortieth parallel, and maintained their main outposts considerably to the south of that, near Sendai. For centuries the organized government troops were incapable of suppressing the guerrilla tactics of the Ainu. The entire frontier was in a constant state of chaos. See Sansom (gen), I943, I96-203.

34 Sato, 1896; i896a.

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Obora, a series of kitchen-middens near the border of Iwate and Miyagi Prefectures on the east coast of the Bay of Ofunato, was methodically excavated by Yamanouchi, who defined six steps in the development of the decoration of the pottery.35 Hasebe, working there earlier, had designated the three mounds as A, B, and C.36 Surprisingly enough, the finds are of a rather variant nature even though the three heaps, arranged in a triangle, are not far from each other. All were covered by a thin layer of dark soil. In Mound A the shell layer was mixed with black earth below a top soil layer; in Mound B the shells were sparse becoming thicker as one reached the bottom of the shell bed, while the upper part of the bed was mixed with the layer of tan- colored earth; Mound C had alternate strata of black soil and shell layers, with two levels of shells. A number of skeletons were found in B, and in C there was a greater quantity of objects in bone, as well as the teeth of a horse. The animals whose bones were found include the dog, boar and stag.

Yamanouchi retained the letter designations of the mounds and excavated certain spots. His evolutionary scheme migrates from one mound to the other, giving the impression that B is the earliest, C follows and A the youngest. It appears that it would be most difficult to relate conclusively material from all three mounds since they were formed at different times as the result of resettlement, and only one of his six categories was found in more than one mound (B and C). The A types have nothing in common with Mounds B and C. The steps apply

35 Yamanouchi, 1932, I40-141. His types constitute Obora B, B-C, Ci, C2, A, and Ai. They are the result of comparative material in different "spots" which were dug, but in evaluating the three mounds it appears as if they were inhabited at different times, and by the spot-digging method the relationships are not necessarily absolute. They may be invariable, but this method does not prove them to be so. Yamanouchi based the evolution of the decoration on designs appearing on bowls and jars. The first type is not clearly defined at the Obora site. It should consist of somewhat incomplete S-shaped designs arranged contiguously around the upper edge of the vessel; the remaining outer area of the vessel is cord-impressed. Two types appear in B-C and the following groups. One is clearly a continuation of B in that elongated and more clearly fashioned S-patterns decorate the vessels near the rim with the lower part also cord-impressed, while the other group, found chiefly on bowls, has a similar design on the upper part accompanied by cord-impressed "bird" patterns below in most cases. (Yamanouchi believes that no figurations or symbolism occur, so I am using the terns "bird", "dragon-bird" and "dragon" for facility in description.) In Ci vessels may carry horizontal parallel lines near the rim with alternating sections of vertical lines. Other C vessels have horizontal lines and on the lower part of the vessel cord-impressed "dragon" patterns. The fourth group (Cz) consists of two types as well; parallel lines only; or parallel lines, small clay knobs, and broad, cord- impressed zones with cord-impression on the lower half of the vessel. Type A has an incipient form of l'eau courante in one group, and parallel lines and a clearly recognizable form of l'eau courante immediately below. A i may have a narrow band of this incipient l'eau courante, or angular, linear forms of the l'eau courante with the angles punctuated by dots or circles.

This scheme (also illustrated in Groot, gen, I95 , fig. 9) is essentially too idealistic to be applicable to the numerous vessels which combine, but not in the way shown, the bird, dragon, l'eau courante and other designs. I found it could be used in such a limited number of cases that some read- justment was necessary. My grouping therefore is as follows: Type i corresponds in the main to Obora B, 2 includes B-C and Ci, 3 is largely comparable to C2, 4 is somewhat similar to A, and 5 is similar to Ai.

36 Hasebe, I925.

i26

mainly to the development of decoration on bowls and jars, but it is difficult to utilize them in connection with Kamegaoka vessels in general. His method, however, does seem to serve as a workable point of departure, and based largely on it I am suggesting five more or less successive stages in this evolution entitled Kamegaoka I-5.

Almost all the types have similarly shaped vessels. They comprise deep jars with mouth

approximately twice the width of the base, necked and globularly shaped jars, bowls, plates, pedestalled cups, incense burners, and an extensive variety of spouted vessels. In Type i (fig. 29/24-35) the pouring vessels have a close connection with prior types and show no strong deviation from traditional shapes except a tendency to reduce the height of the vessels. They have narrow bases, often separately made and attached, and broad shoulders with narrow mouths. This shape is slightly taller than later ones and related to those of the Tokai region by its phallic implications. A kind of collar at the juncture of spout and vessel, so frequently observed on the Kamegaoka pouring vessels, is ostensibly the successor of this cult theme. The shapes of Type i bear out its position as a transitional type between Horinouchi-Kasori stages and high Kamegaoka. Particularly prevalent in Type 2 and characteristically Kamegaoka is the somewhat cylindrically-shaped small vessel or bottle with slight expansion at the base. The most typical spouted vessel is a low, round bottomed, strongly shouldered, steep necked and cupped vessel. The spout is short and projects from the juncture of the shoulder and rounded bottom. The ruffled rim is a common feature during most of the Kamegaoka period.

The decoration of Kamegaoka I may or may not have overall cord-impression or may have such impressions within grooved zones. Contiguous S-shaped designs filled with cord-impression are sometimes incompletely or entirely outlined by grooves. Large spirals in carved patterns also appear. In this primary group carved elongated H-shaped and S-shaped figures show an evident relationship with Angyo I in central-eastern Japan and it may be inferred that the two are contemporary (fig. 32/22-26).

Kamegaoka 2 (figs. 3 2; 33/ I-29) is the largest group and subdivisions of it are undoubtedly possible. Eight major designs or combinations of methods of decoration are discernible. These are in no way to be taken as sequential since they frequently occur on the same vessel. The carved decoration often slopes off in a manner that is reminiscent of carving in wood. Cord-impression is found inconsistently throughout the group; if the upper part of the vessel bears carved designs the lower part is usually cord-impressed. This decoration consists of diagonally arranged designs with spurs that bear an accidental similarity in the simplest ones to long bones of the human skeleton, or more specifically, the femur (Tsuboi, 1901, made the direct comparison), and throughout its numerous variations in the more complex ones there are undulating and twisting figures furnished with projections that display strong resemblances to the birds and dragons on lacquer and other materials of the Late Chou to Han Dynasties. The surfaces of many vessels bear either symmetrical or long S-shaped spiral patterns; spirals in groups of four encircle some globular vessels and are found in association with diamond-shaped designs. Symmetrical designs, particularly popular on the necks of spouted vessels, may be made up of connected spirals, attached lobes, or leaf-like shapes. I am designating the simplest ones as birds, often in a highly abbreviated form of course; the more complex configurations as dragons, which may have their full complement of limbs; and the composite ones, dragon-birds. This is partly for terminological purposes, as it seems doubtful that there was always the inten-

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tion of suggesting such creatures, but rather the constant copying of abstract designs with little interest in their origin.

The individual or collective appearances of these designs or techniques of decoration may appear singly or be combined in the following ways:

I. plastic decor only (fig. 32/33-35) 2. carved decor on the upper part, cord-impressed birds and dragon-birds below (fig. 33/

4,5) 3. carved designs above, cord-impressed dragons below (fig. 33/Io) 4. cord-impressed birds and dragon-birds only (fig. 32/2, 3, 6) 5. cord-impressed birds, dragon-birds and dragons (fig. 32/Io-I2) 6. cord-impressed dragons only, below only, or above and below (fig. 33/8, 9) 7. cord-impressed symmetrical designs which are close to or derivative from dragons (fig.

32/8, 5, 8, 22) 8. carved symmetrical designs (fig. 32/29, 31).

Kamegaoka 3 (fig. 33/30-45) is in certain ways a logical descendant of Kamegaoka 2, but the inspiring force in the field of surface decoration is the wave of l'eau courante motifs which has

already flooded southern Japan on the walls of the dotaku and Yayoi wooden vessels and pottery. It is probably carried more by the dotaku than other objects, and constitutes the chief type of decoration on the dotaku that are found mainly in the western Chugoku and Kansai regions and believed to be of the middle phase in dotaku evolution. The l'eau courante patterns of Kame-

gaoka 3 are cord-impressed. Some strongly reduced dragon-like designs, under the influence of the l'eau courante and undoubtedly later than Kamegaoka 2, have been placed in this group (fig. 33/37, 38, 40, 4I). Allied with the l'eau courante motif are the designs of arcs, squares and

ellipses on some of the vessels (fig. 33/30, 35, 36). Kamegaoka 4 (fig. 34/1-18) and 5 (fig. 34/19-24) are variations of the l'eau courante. In 4 it is

carved, refined, compressed, and may cover larger areas with many variations in its appearance (fig. 10/10-14). Carved decoration resembling strips of clay is included in this group.

An extremely angular and simplified version of the l'eau courante pattern is the distinguishing characteristic of the last style. Vessels are usually stem cups, and the decoration is incised or

grooved with punched circles or dots at the intersection of the lines. Kamegaoka types 2, 3, and 4 (fig. 29/I3-23) are represented in the Tokai region and fuse

with or follow the Angyo development. The major difference between Kamegaoka and Angyo in this region is that the relief designs of the former are rounded, almost semi-circular in section, in contrast with the angular articulation of Angyo. Globular jars, bowls and pouring vessels are the most prevalent shapes in localities distant from Tohoku.

Hokkaido shares with Tohoku a Kamegaoka manifestation, but concerted investigation is lacking that might prove the evolution to be one and the same with Tohoku. Fewer vessels, also, have come from southern Hokkaido sites, and in some cases it would appear that a local character exists there.

The color of Kamegaoka clay varies through shades of gray, light brown and orange-red. Many vessels are entirely black or the surface may have blackened areas. At times the exterior has been burnished or polished and in some instances the background has been painted red, the

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pigment of which is iron oxide. The clay is texturally good, highly fired for Jomon pottery, and thin. Most Kamegaoka vessels are small, some being the size of toys. Throughout the

period are found simpler, domestic vessels devoid of decoration except for cord-impression applied to the thinner vessels in herringbone form or diagonally on the thicker, coarser vessels.

The parallels with dragon figures -they are usually called cloud or fern patterns in Jap- anese references-of the Han Dynasty in China have been previously cited.37 Most of the resemblances come from the sides or bottoms of low bowls of approximately the same shape as the lacquered Chinese ones and are often similar to mirror compositions in arrangement; some of the figures are cord-impressed, others are merely carved. Wooden objects from the shell-mounds of north Japan often have lacquered surfaces, either red or black, and small baskets with red lacquer have been discovered. Lacquer was found in the peat layer of Nakai and

Shinpukuji,38 one in the north, the other in the Kanto Plain. An interest in and use for lacquer existed; probably it was used for barter and trade as well as produced locally for native needs inasmuch as the remains of the Rhus vernicifera, the tree which yields the resinous varnish for

lacquer, has been found in the Korekawa site. The rather sudden complexities in the Kamegaoka designs suggest external stimulation

projected to its maximum effectivness in certain of the elegant, sinuous, dragon-like forms (fig. 9/17, 19, 21) and are comparable with dragons and reduced animal representations on Korean

lacquer and Chinese mirrors, while the more truly Jomon character comes out in the figures abridged to bone-, snake- and bird-like repetitions (fig. 9/1-15), or the more conventionalized, ponderous and unsophisticated bodies (fig. 9/I6, i8, 20).

Few Chinese mirrors found in Japan may be dated earlier than the time of Wang Mang. Those of the early part of the first century A. D. are of the TLV type with elongated animals in outer rings of the decoration. The demand for mirrors during the Kofun period was obviously very great, and most were carried by the people and buried with their dead as personal posses- sions, perhaps after being kept for a number of centuries, until as late as the sixth century. Plac- ing of mirrors with the dead in Japan may have started as early as the latter part of the first century A. D.

The recognizable animal form is still present on some Late Chou mirrors; the derivative, stylized figures appear on later ones and in some cases it would seem that the Jomon figures were intended to emulate the latter. Some of the conformations on flat-bottomed bowls are body forms distorted to fit the oval or circular area (fig. 10/4-9). These may be contrasted with the relatively simple centrifugal or lobed designs that decorate the under-side of low bowls of later Jomon periods in the Kanto region which are exclusively locally inspired and produced (fig. 10/I-3).

The transformation of the animals on lacquer and mirrors is a correlative development and, as pertaining to those which influence Jomon pottery, does not go beyond the first century A. D. Exchange of lacquer products probably started in Late Chou and certainly existed in the Han Dynasty. If the reaction was somewhat retarded in north Japan, it may still be dated from perhaps as early as the first century B. C. to the second century A. D. This is then followed by the 37 Leroi-Gourhan (gen), I946, 89-90, 425; Kidder, I953. 38 The appearance of lacquer had already been noted by the earliest archaeologists: Sato, 1897; also Kida

and Sugiyama, I932. I understand the projected text was never published by Kida and Sugiyama.

I29 IO0

more native stimulus of the l'eau courante designs of the dotaku coupled with a less literal and more simplified translation of the dragons to form the Kamegaoka styles 3, 4 and 5. A possible date might show some coexistence with 2, probably lasting until the third or fourth centuries A.D.

Once the distinguishing traits of the type have been defined it then remains to chart its distribution. Pure Kamegaoka 2 has come from a great number of sites, the greatest of which is that of Korekawa.39 In very slightly modified form and under some Angyo influence it is found in the Chubu region as well as parts of the Kanto Plain. In the Kanto it has a halfway nature which is indicative of the fusion of Angyo and Kamegaoka ideas. At their most diversified, however, the zone cord-impressed examples of Angyo are within a broad sphere of Jomon activity that includes Kamegaoka and establishes an undeniable relationship between the two.

Kamegaoka 4 (Obora A), the simplified l'eau courante of infrequently interrupted stripes and with variations of ellipses, has now been found in the northern part of the Kanto, has appeared in the great shell-mounds of the southern Tokai (Homi chiefly) and some examples have been discovered in the Kansai. The generally held theory is that influences emanate from Tohoku, overlap or fuse only slightly with Angyo as they skirt the Kanto travelling through the Tosan to reach the Kansai. As far as I know the reverse procedure has not been suggested, but I see no conclusive arguments why it could not be the case, though chronological relationships may require legitimate juggling, mentally, to permit it. This, at least, would place the origins of the

styles nearer their source, if it has been correctly interpreted. It would provide closer ties with the imported zoomorphic patterns which as a first wave of influence find their full flowering in the north and followed by the l'eau courante in almost direct contact with its Yayoi source, though its simplified striping is one step removed from the customary l'eau courante of the Kansai Yayoi.

There is offered a list below that forms the basis of an attempt to determine the distribution of the Kamegaoka types with the subtype number given after the site-name. This, however, is not a full roster of the sites that have yielded Kamegaoka pottery, but it is, I believe, a cross- section that will shed some light on the problems. It should be understood that certain difficulties make all results tentative. The bibliography is inadequate, though the reader will find in the Tohoku section references to a limited number of these sites which may be checked. Sugiyama's AncientJapanese Handicraft, Tokyo, I928, and to a lesser extent, Collection of Primi- tive Designs, Tokyo, 1924, are valuable in ascertaining the presence of subtypes in sites, but do not preclude the possibility that other subtypes not mentioned or illustrated do exist. Another difficulty presents itself: a high percentage of these sites were excavated many years ago with the lack of finesse that accompanies such an excavation today. A minimum of information on relativity between subtypes is available and only rarely are the older publications provided with illustrations of sherds, though the complete vessels are often well known. The present problem includes the fact that some large collections of this northern material were destroyed during the war, thus losing forever for future study many of the better known pieces. This was the case with the Nishimura, Sugiyama, and Oyama's Prehistoric Institute Collections.

If one can vouch for accurate delineation between Kamegaoka categories I to 5 and their

39 Oyama, Kono, Ikegami, Sugiyama and others, 1930; Kida and Sugiyama, I932.

130

full sequentiality, then there is validity to conclusions that might be drawn from this list. Dec- oration that comes under any one of these categories rarely appears with that of another sub-

type on the same vessel, so the inference that they are successive far outweighs the possible implications of contemporary but non-overlapping distributions when one considers the great number of sites that are involved. There is some doubt, however, with categories 3 and 4, one

being cord-impressed, the other not, and admittedly there are times when the dividing lines fade badly. I will be willing to admit, if more stratigraphic evidence suggests it, that these two can be contemporary. Some sites seem to have one and not the other.

N&W E

Aomori (Mutsu) Hachinohe Itayanagi Kamegaoka Kashiwagi Kenyoshi Korekawa Kuraishi Kuzuzawa Morita Mushiri Okamachi Tateishi Tokomai Tokoshinai Totsurazawa Yachigamori

2

2

2

2

2

I 2

3 4 5

3 4 4 4

2

3 2 3

2

2

2

I 2

2

2

2

2

2

2

2

2

2

2

2

2

Akita (Ugo) Asahi Aso Babame Fujikabu Haneyama Hannyaji Ishinadate Kanfuzan Nakayama Ogawa Tazawa Terauchi

5

Iwate (Rikuchu) Ichinohe Kintaichigawa Kozuya Matsusaki Nagasaka Negishi Obora Ofunato Osozawa Sakuraishi Suginoto Yawata

4 4

3

Miyagi (Rikugen)

Maeyachi Minamikata Miyatojima Nakazawahama Numazu Takaragamine

3 4

3

2

2

2

2

2

2

2

2

I 2

2

3

Fukushima (Iwashiro and Iwaki) Biwazawa 3 Nanatsuike 3

4

Kamegaoka 2, the most inclusive group, shows up in number of sites and vessels. Only a small percentage of Kamegaoka sites lack this type, but few sites, though scattered, go through the transitional Kamegaoka i. The transition may take place in southern Aomori (Korekawa region, probably), so that Akita and the north draw from that area. There is considerable den-

131

3 3 4 5

3 3

2

2

2

4

sity of sites in the north, thinning along the east coast. Subtypes 3 and 4 are of a popularity comparable to each other, but 5 is much less frequent.

One interesting fact has been brought out in connection with a stratum above that of the last Kamegaoka types in the southern Tohoku.40 A type that Yamanouchi discovered at Masu-

gata, Tagajo-mura, Miyagi county, has some of the ear-marks of the Yayoi including the associated evidence of rice grain impressions in the jars and Yayoi type stone implements. This

pottery was decorated with cord- and erased cord-impression. Pottery from the Satohama shell-

mound, discovered with the last Obora type, has a rough surface and lacks decoration, but is otherwise equated with Masugata. It has pointed bottoms. Tsunoda believes its distribution to be very limited, but no explanation can be given for the pointed bottoms. It is not an en-

tirely unrelated point that is worth mentioning due to the emphasis placed on the conical base as a criterion for the antiquity of the supposed earliest Jomon in Tohoku-the shell-incised and

punctated type. It in itself stands as an inconclusive factor as an indicator of age, but there are

implications for a traditional high regard for pointed bottoms in this area. Needless to say, such outcroppings are detrimental to the coordinated-front-and-single-current theory -a theory which is, after all, the essence of the five divisioning method.

FIGURINES. The figurine has undergone considerable transformations in the short span of

space and perhaps time between Angyo and Kamegaoka. There is undoubtedly a change in the basic concepts behind their formation, a consolidation of the ideas that make up the motivat-

ing force in such a cult, and an expression of these beliefs in a surprisingly different manner. The figurines seem to be adapted to a colder climate by the addition of what can be construed to be a heavy garment. This is particularly the case in Kamegaoka 2. Hand in hand with this is the more consistent use of decoration in the north. Emphasis is given to the face, particularly the eyes, and hairdos are once again in vogue, having fallen into relatively low repute after the figurines were definitely established as human, and not becoming fashionable again until

Angyo times. There are also "crowns" and turbans, the former perhaps an attribute of a goddess, the latter giving a more genuinely human look to figurines so attired.

It is recognized that the Ainu, the most aggressive and adamant tribal people of all the

aboriginals of Japan, had been the only significant group to integrate, resist the immigrants, and withstand the Japanese in northern Honshu and finally Hokkaido. The late Jomon in the north must have been largely an Ainu product, though there is considerable argument as to the extent of their role in the bulk of Jomon prehistory. In this case, however, historical records, foreign references and accounts, internal conditions and the almost perpetual stone age state that the north remains in, all point toward one dominant ethnic group such as the Ainu. It seems quite unlikely that any other groups could have been so completely destroyed or that other selective factors could have been so discriminating as to leave only the Ainu if there were

any fundamental differences between them and other prehistoric tribes on Japan. As these northerners consolidated for resistance, so one seems to see evidence of synthesis

in religious beliefs - or at least a religious ideal of a supreme maternal deity represented

40 Tsunoda and Mitsumori (gen), 1939, 83 and ff. 41 Tsunoda, 1936a.

I32

in clay idol form. Here she is clothed, ornamented, crowned, to some bespectacled,42 and tattooed.

Kamegaoka i is represented by a few figurines in both Tohoku and Hokkaido. This style indicates the uncertainty of a provisional or initial stage. The figurines at times are long-waisted, neckless, and rather shapeless, have grooved designs in spirals or curved lines usually parallel, and some bear cord-impression (fig. 43/I, 5). Another type is more naturalistic with punched designs on the eyebrows, mouth, and hips that represent either tattooing or hair (fig. 43/2, 4). The face is large and flattened as if it were a mask; in many cases this mask-like quality is heightened as the lower part of the face projects farther than the forehead.

Figurines of the second Kamegaoka phase are numerous. They are also the most distin-

guished looking of all Jomon figurines. The majority have a crown or some type of head-gear, large and strongly pronounced eyes, a necklace or a V-shaped neck-line, a short coat reaching the knees and thickly rolled at that e bottom, puffed up shoulders, stump-arms and bloated legs. The stress placed on the legs reached its climax in the following group. The breasts, though usually indicated, are considerably minimized by the presence of so much other decoration; they are sometimes separated by a diamond-shaped pattern which, when combined with the V-

shaped neck-line, becomes the dangling necklace more common in Kamegaoka 3. At least one figurine (fig. 43/8) bears a spiral on the thorax-abdomen such as had been used to decorate Angyo figurines. In most cases the up-sweep of two spirals forms a triangle on the lower front of the costume with apex directed toward the diamond. It has been suggested by Munro that the vertical line on the front may have been intended to symbolize the spinal column, as the Ainu look on it as the seat of man's vitality.43 The backs of these figurines, usually more consistently decorated than the front, have often been more informative in determining the type of statuette, inasmuch as the front usually bears certain physical features that, in breaking up the area to be covered by decoration, may be in themselves relatively little aid in establishing the type. An earlier suggestion which seemed applicable throughout most of the Middle Jomon- that cord-impression might imply exposed flesh surfaces on the body-is obviously not applicable in the Tohoku region at this time. If anything, it might be used as texture of the garment. The costuming, like everything else about the figurines, is ambiguous. It does not hide the details of the breasts, but the approach is not literal, and one can see no objection to the simul- taneous symbolizing of all parts of the body, ornaments and clothing considered by the devotee to be significant. Not only are spirals, clay strips and areas of cord-impression present, but some bone and dragon patterns may be seen.

One figure from the site of Yamamoto in Aomori, of rather unusual shape, has wedge- shaped punctates on the head-gear, eyebrows, eyes, torso and hips (fig. 43/15). The Hokkaido figurines seem to lack the sturdiness that characterizes the Honshu ones.

Naturalistic figurines of Kamegaoka 3 are equipped with enlarged ears, hanging breasts (not limited to the naturalistic ones), drooping shoulders, and may have wing-like projections on the hips (fig. 43/22, 23). In some cases it appears that these projections were suspension loops.

The other and more stylized type frequently has a straight band from shoulder to shoulder, 42 Munro discounted this belief many years ago in discussing the theory held by Tsuboi (Munro, gen,

I91I, 227). It was recently suggested again by Groot (gen), I 95, 67. 43 Munro (gen), I 9 I I, 230.

I33

bands meeting near the navel, short, almost coiled arms, and strongly widened and bulging hips (fig. 43/17, 19-21). Some have a low turban or headdress. Clay ridges, the most prevalent form of decoration, are located on the thighs; the eyes and mouth are also elliptical ridges of

clay. Although these figurines precede the haniwa, perhaps there is an indirect connection here with the baggy drawers worn by certain of the haniwa which picture people of a Turkish stock. This does not preclude the possibility that such people wore their typical costumes in Japan before they were portrayed as haniwa warriors. A tendency to follow human proportions more

accurately in late Jomon does seem to dovetail into the haniwa conception of greater realism. One wonders if the hollowed out figures do not suggest another tie with Han China.

One figurine in the collection of Kyoto University (4 "4 high) with head tilted back, bears a modified l'eau courante design on her back over which cord-impression has been applied (fig. 43/24). The eyes and nostrils are carved slits while the open mouth and lips are cord-marked. Puffed legs (or trousers) support this fanciful lady.

Detailed l'eau courante is found on the figurines of Type 4 in the same way that it exists on the vessels. One in the National Museum, Tokyo, of blackish-brown clay, has a mask-like face, beaded ears, broad arch between the legs, and carved meander patterns on chest, arms, abdomen and legs (fig. 43/26). The waist may be lengthened, legs bloated, and epaulettes of the north

typically decorated on some of these. It goes without saying that Kamegaoka figurines discovered in regions other than Tohoku

and Hokkaido may have been locally produced under the strong influence of the Kamegaoka style or have been carried from Kamegaoka centers as personal belongings for individual use or as objects of barter. Amorphous terra cotta pieces, obviously hybrid forms, are probably middle to late Kamegaoka, or possibly belong to a time after major production of figurines had ceased in this period. Those whose provenance is the north are simpler than the type from Nagano prefecture, for instance (fig. 44/1I), in which greater detail and a clearer relationship to the female figurines is apparent, yet one feels that their connection with the north is stronger than with other regions, and one may eventually expect clear substantiation that they are northern

products. There is, of course, no longer the argument that the overall development goes through stages of figurine, contracted figurine to plaque as had been believed about the time of Munro.44 Such a development would seem logical, but as slowly and surely the vessels, figurines and plaques have been fitted into their chronological position, they are found to exist concurrently. In a limited way, the contracted figurines and plaques are derivatives of the figurines, but only within the bounds of each period, while in the plaques themselves there is a development from period to period, though, because of their scarcity, the evolution is less evident than in the figurines.

MASKS, LIDS AND PLAQUES. Masks are rarely found beyond the confines of north Japan and since most are too small for physical use it may be presumed that the majority of them had a symbolic significance or perhaps the smallest ones were face coverings for figurines or dolls. There is also a possibility that some were intended as lids of vessels. The smallest, many of which have perforations at the temples, are slightly convex with no thickening at the edge,

44 Munro (gen), 1911, 233-234.

I34

whereas the larger ones, also being convex, may have depressions behind the nose and emphasized rims. The smaller ones are classifiable with Kamegaoka I; the larger ones are almost circular and have external decoration comparable with Kamegaoka 2. Cord-impression covers

figures that encompass the face and spread across the cheeks toward the nose, and resemble the tail-, claw-, and spur-like projections of the lithe animals of the bowls (fig. 44/1o). Rather an-

gular grooves decorate the smaller masks on both inside and out and cord-impression may be seen on the eyebrows. The continuous ridge of eyebrows and nose is, of course, inherited from earlier figurines in more southerly regions. The average size of the small masks is about 3 / " in diameter and the usual color is light brown. The larger and later ones are either plastically treated with spirals and parallel incision work or have cord-impressed zones. Considerable im-

portance is attached to the eyes as is the case with the figurines of Kamegaoka 2. The eyes are oval with horizontal slits; forehead lines, angular nose modelling, sharp delineation of features and greater separation of facial details from abstract decoration are all characteristics which differentiate them from the smaller masks.

Plaques show characteristics in clay, coloring and decoration by which they may be placed in the pottery families. They are a little more numerous in stone than clay it seems, but in the various periods the decoration on both is very similar with the material affording no distinction.

Many are badly weathered or worn and the details are faint. The direct connection with the

figurines is to be seen in the presence of heads within the simple contours of the plaques; at the same time an apparent disintegration of the rest of the body, or, at times, even the facial features below the nose takes place. There is a greater incidence of rectangular or oblong plaques in the early phases and in the Tokai district, while the later ones tend to be oval or slightly irregular in shape. Grouped with the plaques are small pillow-like objects (warmers?), usually hollow, sometimes with human heads (fig. 44/2I, 23).

Almost all types of plaques except those of Kamegaoka i have areas of the surface cord- marked. In Horinouchi it is chiefly in bands of relatively even width; in Kasori it appears more on triangularly-shaped or arc-shaped zones; in the second Kamegaoka type it may cover the entire surface. Horinouchi parallel incision work or cord-impressed banding, the symmetry of Kasori, the protuberances and three-pointed motif of Angyo, the back-to-back linear double

spirals of Kamegaoka and the zoic convolutions of high Kamegaoka may all, as on the vessels, be observed.

There is probably some connection between a clay object from Iwate Prefecture with punched rib down the middle and sloping surfaces (fig. 45 /3) and the triangular prismatic stones found chiefly in Aomori and northern Hokuriku which often carry double spirals on them. This design of double spirals (also involuted) made up of grouped, involuted spirals appearing in clay and stone and sometimes known as a double scroll design may, perhaps, be traced back to the fifth century B. C. in China on jade objects, and is to be seen at a later date on objects of other materials (dotaku, tomb tiles, lacquer) in China, Korea and Japan. It was perpetuated on Jomon pottery.

x35

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SAKHALIN I.

CHAPTER X

HOKKAIDO, THE KURILE ISLANDS AND SOUTH SAKHALIN

U ntil the middle thirties the prehistory of Hokkaido was generally ignored in favor of its living primitives, but since that time, and due to the work of men like Kono, Natori,

Goto and Yonemura, both detailed studies and practical surveys have given its ancient cultures a relative place in Japan's prehistory.I Similarly, after the work of Torii and Baba in the Kuriles and the efforts of others in south Sakhalin, the position that these islands take in reference to Hokkaido has now been elucidated.

As this is the only region in Japan in which archaeologists have not come under the spell of the Kanto school, and the typological program was drawn up at the same time it was becoming intelligible in the Kanto, the ingenious definitions are somewhat simpler than other chronologies, being at the same time much more general, but with its numerous lettered subdivisions no less accurate or valid than elsewhere. In some ways it seems quite unfortunate that such a terminological system was not applied to all Japan, but if enough archaeologists from other parts of the country work in Hokkaido the present system will ultimately be torn down. Inroads have already been made. To these archaeologists its disadvantage lies in the fact that the present classifications do not fit well with the five-part divisions, and those who are used to thinking in terms of site names find the transposition a little difficult. The chief types are these: Hokuto (northern cylindrical), Zenhoku (early northern) and Kohoku (late northern). These three and the Okhotsk Sea type are the four main Hokkaido culture complexes. Goto has defined three cultural zones of north Japan2 with considerable time overlap, but nevertheless indicative of changes in production of pottery and in use of materials as progress is made from the stone to metal ages. The entire southern peninsula is almost always identified with Tohoku, the two being separated only by the twelve mile wide Tsugaru Strait. The lines for the "Ou family culture", as Goto terms it, cut across Hokkaido from Otaru Bay on the west to split the Erimo Peninsula in the southeast. Within this cultural sphere lie elements of Ento pottery, both Lower and Upper; Horinouchi pottery of a rough character; and pure Kamegaoka pottery with fewer refinements than in the Tohoku. While this takes place, developments in other parts of the island reach a degree of vitality that affects all neighboring regions. This is the "Hokkaido type of thin Jomon pottery culture", composed of the Zenhoku and Kohoku groups, that en- compasses Kunashiri and Eterofu of the Kuriles, southern Sakhalin, and extends south to Iwate and Akita of Honshu. Concurrent with both Zenhoku and Kohoku, and coexisting in some sites, is the Okhotsk Sea culture in all northern islands that surround this body of water.

I For general studies see Kono, I935; Kono and Natori, I938; and Natori, 1939. 2 J. Goto, I934.

I37

In Hokkaido its penetration is roughly as far south as Rumoi on the west and Kushiro on the east. Both Kohoku and Okhotsk Sea pottery outlive the stone age, Kohoku making the transformation by its C period, Okhotsk Sea in its C stage. Okhotsk D is a fully metallic age. Evi- dence of this is both with the objects recovered from Kohoku and Okhotsk Sea sites as well as in the details of the pottery itself which attempt to simulate the ridges of metal junctures. This transition will be discussed later.

Hokkaido, an island of 30,I32 square miles, is approximately one-third the size of Honshu. Its coastlines are relatively unbroken, its mountains usually rising well back from the water's

edge. In the center of the island, in the section known today as the Daisetsusan National Park, are its highest peaks. Mt. Asahi (7,56o) and two or three others exceed seven thousand feet, and in this zone spring large rivers such as the Ishikari, Tokachi and Tokoro to flow into the

Japan Sea, the Okhotsk Sea or the Pacific Ocean. The other two mountainous regions of the island, other than those that make up the chain

of which Daisetsusan is a part, are the volcanic group surrounding Mt. Shiribeshi at the hip where the crooked leg and foot meet the body of Hokkaido, and the Akan National Park region to the east whose mountains are considerably lower though no less picturesque. Hokkaido's three large plains are in the east, southeast and west. The hinterland of Nemuro Bay, bounded on the south by Akkeshi Bay and by Nemuro-shibetsu in the north, forms the springboard for the Kuriles. The climate is always warmer on this eastern side of the island. In the southeast the Tokachi River cuts directly through a wide plain that has never been more than sparsely inhabited. The most important plain in terms of ancient and modern times is that of Ishikari on the west. Sapporo is situated on the edge of it. The Ishikari River and its tributaries feed this re-

gion; some flow from Lake Shikotsu, others out of mountains to the east. Prehistoric sites are abundant near Sapporo, Chitose and Ebetsu.

Hokkaido is still two-thirds forested, and was presumably much more so in its prehistory. The sites themselves may be some index of this, for, as far as one can tell, some large mountainous areas are completely devoid of sites, the majority being along the coast with only a small

scattering of inland sites that are usually restricted to plains. Travel around the island must have been chiefly by boat. On the west side, island hopping using Rebun and Riishiri may have been practised.3

One of the problems that surrounds the earliest types in Hokkaido is whether one is willing to accept fully the current belief that the Sumiyoshi shell-marked and incised ware with pointed bottoms is the first to appear. It occurs in the vicinity of Hakodate. In a site near Shitakorobe, Urahoro village, Tokachi province, Saito found in a layer below flat bottomed pottery, pointed bottomed and "comb-marked" sherds.4 It is suggested that this is the earliest in this region (southeast Hokkaido). It was, however, discovered on the same level as flat bottomed pottery which carried applied strips of clay. If these pass as the earliest types in these two quite localized

3 For administrative purposes Hokkaido is classified as a cho with the status of a prefecture (ken); within this there are shicho (branch administrations) that at one time were ten in number, but now include the following fourteen: Oshima, Hiyama, Shiribeshi, Iburi, Ishikari, Sorachi, Kamikawa, Hidaka, Tokachi, Kushirokoku, Nemuro, Abashiri, Soya and Rumoi. For the sake of brevity these will be referred to as provinces when the need arises.

4 Saito, 1943.

i38

spots, what about the rest of this land mass ? This suggests that the remainder of the island learned its pottery making after its producers had graduated to flat bottoms; in fact, one is led farther: pottery was introduced from a southern point. It needs no elaboration, for all roads lead to the Kanto. The nippled base is not considered to be the earliest in the Kanto, but ranks as the earliest here. Remains from Erimo of the Horinouchi period are often in the form of round bottomed vessels; vessels of many periods in Hokkaido have such narrow bases they can hardly stand safely. In their introduction to the study of Hokkaido's prehistory, Kono and Natori refer to Yamanouchi's belief that Sumiyoshi is the oldest, Goto's conviction that the thick Hokuto type (flat bottoms) is the earliest, and then throw in their non-committal view that

they cannot be sure.5 Natori, a year later,6 says the earliest types are the pointed bottom types of Sumiyoshi and Ishikawano.7 I am not convinced of the primitivity of Sumiyoshi pottery, as it displays advanced techniques that contradict its supposed position, and much of the pottery that succeeds it but precedes Kamegaoka is of a more mediocre nature, nor do I accept the inference that the quality of Sumiyoshi is due to central Honshu influences while the mediocrity of later wares is an insular characteristic.

Sumiyoshi-cho of Hakodate city8 lends its name to the type under discussion. Theoretically, at present it corresponds to such sites as Shiriyasaki, Fukirizawa and Shirahama in northeast Tohoku. Nippled bases, incised or shell-imprinted designs on the outer face and just within the mouth, equal thickness of wall throughout except at the immediate base, and relatively coarse clay are traits of pottery from Sumiyoshi sites. The bases may be rounded, rim edges may be finger-pinched and in other cases gently peaked. Four significant features of its decoration add doubts to the possibility that it is the sole type in production in the earliest stages of pottery making: i. shell-imprinting along the outer edge of the mouth often resembles string-impressing; 2. herring-bone arrangements of shell-imprinting have a general similarity to cord-impressing; 3. there are small areas of what appears to be shell-edge marking that is done in such a way as to be almost indistinguishable from cord-impressing, i. e., pseudo-cord-impression; 4. one finds parallel, zigzag grooves which look as if they are an attempt to simulate rouletting. The last one mentioned is the only one which lacks the close shade of similarity to make it undeniable. It may be only accidental, but the others indicate the existence of string- and cord- impression in the neighborhood, or, perhaps, on the basis of pseudo-rouletting, influences stemming from central Tohoku or the Kanto where string- and cord-impression lived side by side with rouletting. The alternative is here implied: pottery gets its start somewhat later in Hokkaido, beginning with primitive shapes but simulating advanced techniques. Fake rouletting much like this does appear at Daigi in Miyagi, and it seems to be related to clay designs that are applied in sharp zigzags just below a thickened and rounded rim over which is run a series of clay strips that look like cords binding a bundle of stalks. It is not treated so literally at

s Kono and Natori, 1938, 20. 6 Natori, 1939, I2. 7 Groot says that several sites in Hokkaido, including Asahikawa and Wakkanai yielded rouletted pot-

tery (gen, I95 I, 24), but this is incorrect; I assume it to be a misunderstanding of the terms used for stamping of designs-probably in reference to Okhotsk Sea pottery. We are thus left without an early type on that score.

8 Kodama and Oba, I953.

'39

Daigi as it is in the Chubu, but it still has every suggestion of being Moroiso or a little later in time. This does not argue a Moroiso time for Sumiyoshi, but I would suggest its existence con-

temporaneously with string- and cord-impressed ware, as it contains "late" elements in much the same way the shell-marked sherds of Fukirizawa and Shirahama of the Shimokita Peninsula of Tohoku do.

The Ishikawano shell-mound (near Hakodate city) contained cone shaped vessels in fragmentary condition that carried coarse, diagonally oriented cord-impression. Sakazume lists it as similar to Hanazumi Lower,9 while Natori relates it to Mito ware.'0 It looks a little like a cross between the two. The clay is reddish, rough, and sherds break easily.

Sugiyama found a unique instance of stratigraphy in a cave at Okajima."I In the light of later knowledge some doubt has been cast over the accuracy of this in regard to its implications of time sequences, and the fact that habitation layers are as shallow as two centimeters, and

separating layers as fine as three centimeters, makes its value debatable. Sherds were discovered in seven layers to a depth of I26 centimeters. In ascending order: I (4 cm.), narrow zones of vertical cord-impression, finely crenellated rims; H (2 cm.), regular, coarse cord-impression, superimposed grooving; G (8 cm.), irregular zigzag cord-impression, some grooving near rim; E (7 cm.) coarse, diagonal cord-impression; thickened rim, fine hatching along rim; D (ca. 6 cm.), Hokuto A pottery: zigzag cord-impression and horizontal clay belts at regular intervals; C (ca. 6 cm.), probably Hokuto B pottery: scraped surface with a row of circular punctates along rim; F and B, no pottery; A (29 cm.), Kohoku pottery or so-called Hokkaido In- cised: cross-hatched incision work and "wheat" pattern on upper half of vessel.

ENTO LOWER AND UPPER. Ento Lower and Upper show themselves to be of pure To- hoku stock. The former bears both string- and cord-impression; the clay is very fibrous, the inner surfaces have been smoothed, and some rims have projections. Its influence reaches the Erimo Peninsula in the southeast corner and to Riishiri and Rebun islands in the northwest. Ento Upper has the usual four castellations, zigzag cord-impression, and a great variety of

string-impressed designs at the neck. Body shapes are not so rigidly cylindrical as they are in Tohoku, even though shapes have loosened up considerably by this time in north Honshu itself.

The time periods of Ento pottery and Hokuto A and B are roughly the same, and the de-

velopments from Ento Lower to Upper and Hokuto A to B follow much the same pattern. One

may be interpreted as a Tohoku type with Hokkaido manifestations; Hokuto is a native Hok- kaido product with limited influence in Tohoku.

HOKUTO POTTERY.I2 The walls of the vessels are thick, fiber tempered, and often tem-

pered with coarse sand as well. The color is dark brown, clay dense but brittle, and bases flat

(fig. 36/1-12).

g Sakazume (gen), Glossary, XI, I939, 4. 10 Natori, I939, i2. I Sugiyama, 1938. 12 In this terminology the finer shades, both contemporary and successive, are taken care of in subtypes.

I find there is some difficulty in matching fully the subdivisions for Hokuto, Zenhoku and Kohoku in use by Goto, Natori, and Kono. I am following Natori (I939) primarily, and arranging the illustrations as suitably as possible, though not necessarily identical to his system.

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A i. Shapes are regular, taper a little toward the base; belt of clay around rim and below; may form

triangles, etc.; oblique or zigzag cord-impression on both body and belts; rim may have string-impression and slight projections; some bases are flared.

A2. Shapes fairly regular; narrow belts of clay running horizontally and connected by perpendicular belts; these strips have indentations made by bamboo stick usually; fake cord-impression and net- like patterns of string-impression on body; may have superimposed incision work on body by split bamboo stick; some smoothing of areas between belts; rims may be slightly waved, bases slightly flared.

The distribution of these types is much the same; time periods are probably more or less the

same, with A2 outliving AI.13 Sites that have yielded both AI and A2 are chiefly in the leg and foot of Hokkaido and include the following: Hakodate, Muroran,14 Etomo shell-mound, Chitose,is Ebetsu,16 Iwaitsu shell-mound, Hiragishi (near Sapporo city),I7 and Yoichi.

Bi. Vessels with a little more body curvature; strongly thickened mouth; row of bumps punched from inside below rim; circular punctation; diagonal cord-impression on body; rim may have four

projections.

The distribution is widely scattered. It comes from the edge of the Ishikari Plain (Sapporo and Yuni), from Kushiro, Akkeshi and Abashiri on the east and north coasts, and Riishiri in the

northwest.

B2. Decoration almost exclusively limited to zigzag cord-impression; some constriction at neck and flared rim with four peaks. Widely distributed around the island.

Rounding the horn for Hokuto B2 sites the following may be included: Shioya, Temiya,18 Hiragishi, Ebetsu,19 Hamamasu, Koetoi, Wakkanai, Rebun Island,20 Esashi, Abashiri,2 Kitami, Hombetsu, and Kushiro.

B 3. Except for surface decoration this subtype is comparable to B 2. Moulded strips of clay, sparingly used, replace the cord-impression of B . The distribution is much the same as B2.

The Hokuto group constitutes the ancestry of Zenhoku on certain parts of the island, but the Tohoku bridge is kept open through Kamegaoka times for a succession of types comparable to those of northern Honshu. The practice of decorating vessels with zoned cord-impression under the family name of Horinouchi pushes its way into southern Hokkaido; it is followed by a modified Kamegaoka. The arrival of Kamegaoka occurs at the same time as Zenhoku goes through its metamorphosis to become Kohoku in other parts of Hokkaido. Along the northern coast and in all areas surrounding the Okhotsk Sea, a dark gray pottery that is at first string-

'3 Kono and Natori (I938, 20) say Hokuto developed in northeast Hokkaido. This seems to be outside its early range of distribution, however.

I4 Oyama, 1929.

'5 Kono, 1932. i6 J. Goto, I935. I7 J. Goto, 1937, 6io-6i6. I8 J. Goto, I938. 19 Natori, I933b. 20 Natori, I933. 2I Yonemura, 1932; Arasawa, I922.

I4I

impressed comes after Hokuto. It evolves through four stages -out of the stone age and well into metal periods, Okhotsk Sea C being of the transitional period and D clearly in a metal age. Zenhoku coexists with early Okhotsk Sea, and Kohoku picks up at a time roughly contem-

porary with both Kamegaoka and Okhotsk C, and goes through the same cultural changes. Kohoku A and B correspond to Okhotsk C, C and D with Okhotsk D, in other words.

NOPPORO ZONE CORD-IMPRESSED. At Aoyanagi-cho a zone cord-impressed pottery of rough texture was found. It is more refined at Nopporo where narrower and mainly horizontal zones decorate vessels that fall into my late Horinouchi class. Erimo is one of the chief sites for this period, although Hokuto, Zenhoku, Kohoku and other types have been found there.z2 In a chart of the Erimo remains in terms of the five main divisions of Jomon pottery, cord-impressed ware is listed as the earliest (So-ki). It is succeeded by a cord-impressed type, and roughly half way through the early period (Zen-ki) Hokuto pottery has its inception.23 Erimo is never without cord-impression until a very late date. The zones of Erimo often contain zigzag cord-impression quite neatly done; the zones are wide and usually in bold, strongly outlined curves (fig. 27/32, 33). Some vessels have rounded bases, and almost all have regular indentations along the rim. They may be entirely covered with cord-impression.

Although the area of concentration of zoned cord-impression is southwest Hokkaido, such

pottery is found as far north as Rebun Island; some sites south of Ishikari Plain have yielded it.

KAMEGAOKA CARVED AND CORD-IMPRESSED. The Kamegaoka (fig. 34/25-30) also has its region of density in south Hokkaido, but its influence exceeds the bounds of the Nop- poro style. It is found in sites east of Tomakomai along the southern coast, in many sites around Otaru and then north to Rebun again. It is generally considered to be the most technically excellent pottery of Hokkaido; surfaces are often polished black, though the clay color is

usually grayish-white. There is less variety in shapes in Hokkaido than in Tohoku, and none of the full development of Tohoku. Hokkaido appears as a dependent province in that the evolution seems to lack consistency and designs are mostly simplified -in all ways the expression is not as complete in Hokkaido.

ZENHOKU POTTERY. Zenhoku acts as a link between the simple, generally cylindrical shapes and the narrow based, flared mouths of the Kohoku group. The clay is coarse, gritty and fiberless, and is mostly a light brown color. Some surfaces are painted red in oxide of iron which Natori presumes was done for a ritual purpose.24 The typical shape is a wide mouthed jar with base approximately three-eighths the diameter of its orifice and height one-third greater than the width of the rim, and regularly curved from mouth to base. Other vessels have a tendency to flare toward the base. A small percentage of vessels are of more unusual shape: globular jars with or without neck, double mouthed jars, cups joined together, and low bowls with lip- spouts. Rounded bottoms and constricted rims exist. String-impression is the primary method of decorating the vessels.

22 Seki, I940; Oba and Ogitani, 1952. 23 Oba and Ogitani, 1952, 13. 24 Natori, 1939, 22.

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Zenhoku pottery occurs in the upper leg of Hokkaido, in the northern and eastern parts of the island, as well as in the southern islands of the Kuriles and south Sakhalin. At Ebetsu, Goto excavated a stratified Zenhoku grave.25 As far south as Atsuma in Iburi province, a profuse use of cord-impression is more than likely due to its proximity to cord-impressed pottery that is

fundamentally Honshu in nature.

A. Vessels are usually simply shaped with regular outlines; there may be one or two applied spirals of clay near the rim, or incisions or punctate work on the body; the body bears either diagonally placed cord-impression or some sort of string-impression (fig. 36/I3-30).

B. Vessels almost always have four rim peaks; often have two small handles with perforations; these

project above rim line; ridges of clay in various designs hang from rim; some punctation; a variety of

string-impression on body, or may be cord-impressed (figs. 36/3I-36; 37/I-8).

KOHOKU POTTERY. Kohoku (figs. 37/9-29; 38/I-II) is the last full-fledged exponent of

thejomon ideal which, even though tapering off after being rather profuse in A and B, may still be

occasionally seen in late stages of Kohoku. This pottery is found throughout Hokkaido from its northern borders to the Watarijima Peninsula in the south. Some of it comes from the southern islands of the Kuriles and a little from south Sakhalin. It has even been found in a few Kame-

gaoka sites in north Honshu.

A. Flared mouth, curved wall profile, and narrow base; many bases are raised. Indented and notched rim is common; a little cord-impression inside mouth; designs are mostly carved and incised as horizontal ropes, hanging triangles, and other angular forms; string-impression used in neck designs.

B. Turned out mouth usually; shapes much as in A; handles; indented ribbons of clay; designs of arcs that are set off by incisions and punctates; often fine notching along rim; a fake cord-impression also used.

C. More complicated shapes, but shape of A and B is most typical; new technique of applying clay to form ridges that are triangular in cross-section; designs range from simple to complex net-like patterns of circles and straight lines that were sometimes added to cord-impressed surfaces. Because of their regularity it is clear that some sort of a compass-like instrument must have been used in laying them out. Some designs are painted red. The definition of many, however, is not now clear.

D i. Chiefly low vessels with lip-spouts; rim projections, and sometimes a row of bosses near mouth; often much punctation work; relatively little cord-impression and applied designs.

D2. Deep jars with flaring mouths; black clay usually; erased cord-impression without clearly defined zones. Presumed to be a retarded influence from Nopporo and Kamegaoka.

Many examples of Kohoku C are unmistakable attempts to simulate the seams of metal containers. This is added evidence that Kohoku C bridges the transition from a fully stone age to a metal period in this region.

HOKKAIDO INCISED. One group that is related to both Kohoku and Okhotsk pottery in

shape, and falls chiefly into Okhotsk distribution areas, but in Hokkaido only, is the type that is often categorized separately as Hokkaido Incised (fig. 38/12-17). Much of it has come from Abashiri and other northern Hokkaido sites. The thickened and splayed rim is comparable to Okhotsk Sea pottery, the curved walls and narrow base are in the Kohoku tradition.

25 J. Goto, I935.

I43

Vessels bear incised designs on the upper half of the surface usually in groups of straight parallel lines in triangles, filled triangles, or opposing diagonals. The lower part of the surface is smoothed and sometimes polished; inner surfaces are often highly smoothed. The clay is

normally dark gray in color.

OKHOTSK SEA POTTERY. This pottery witnesses the ultimate demise of cord-impression in the form of string-impressing-the alpha and omega of Jomon pottery. It still lingers with Kohoku farther to the south, and its existence on Okhotsk Sea pottery may be more due to an areal overlap than a direct line of succession between the two. With the disappearance ofjomon we also reach the end of our labors. There is still Haji, Iwaibe and Naiji pottery in this area, but the exploration of their problems falls to the lot of others.

Okhotsk Sea pottery is usually reduced to four categories. We can treat these relatively briefly as A, B, C and D corresponding primarily to the techniques of string-impression, punctate work, stamped designs, and applied ribbons of clay. There is, of course, some intermixing of these techniques, but it is recognized that the overall evolution is in this sequence. The first

category, string-impression (fig. 38/20, 22, 25, 28), is so prevalent in Sakhalin that it often goes as Karafuto String-impressed Pottery,26 thus leaving the three groups that are frequently referred to in connection with Okhotsk ware.27 The imprinted design, the result of a stamping method of decoration, is also found chiefly in Sakhalin.

This pottery is dark in color, normally a gray, black or with areas of brown. The sherds are brittle, the clay relatively pure. Early Okhotsk found at the Moyoro shell-mound28 is quite crude, thick, and vessels are irregularly shaped. Yonemura divided the Moyoro Okhotsk into three groups, A being essentially plain with some rim notching and a little body incising, B

having very thick and disconnected strips of clay, and C being the ribboned type, though incisions and punctates also appear with it.29

Southern Sakhalin has only relatively few sites in which cord-impressed (pre-Okhotsk Sea) pottery has been found.30 Two are on the east side of Aniwa Bay; five are on the west side of Nishi Notoro Cape. There are, however, roughly forty-five Okhotsk Sea sites scattered up and down the west side of the island (ex-Japanese part), the southern bay and up the east side. On the east they are quite sparse. At the Honto Minamihama-machi shell-mound early and middle

period cord-impressed, Karafuto string-impressed, and Okhotsk Sea pottery was discovered in five layers.31 Depth relationships showed Zenhoku to be the earliest, Karafuto string-impressed (Okhotsk A) to follow, and Okhotsk stamped to be the most recent.

The distribution of Okhotsk pottery in Hokkaido extends as far south as Kushiro in the east and to approximately Tomamae on the west coast. One has the feeling that Hokkaido is only the recipient of this type or at least a second-rate partner in its development.32 Of the many

26 Ito, 1937. 27 See Groot (gen), I95 I, 71, for instance. 28 Yonemura, I935; 1950; Natori, 1947; Kodama, I948. 29 Yonemura, I950, 70-74; given as A, B, and C on the plates. 30 Ito, 1935. 3' Sakazume, 1954, 14-I5. 32 Yonemura considers north Manchuria to be the place of origin of the "Moyoro culture" (I 950, 71-72).

I44

Hokkaido sites that have yielded this pottery, Moyoro is perhaps the most fertile, and the Abashiri shell-mound and tombs have contributed much material. 33The dating of later Okhotsk

pottery is aided by the discovery of long and short swords, knives and "halberds" of iron, and ornaments of silver, copper and tin with the pottery fragments. At Moyoro typical warabite

(fern-handled) swords of the eighth century were found, and Chinese coins of the Sung Dynasty (early eleventh century in this case).

The most typical shape of Okhotsk pottery is an upright jar with rounded body lines, flat base, constricted neck, and thickened rim. There may be pointed bottoms in the Kuriles and Sakhalin. Raised bases in some instances are apparently a lingering of or influence from Kohoku.

Natori distinguishes eight methods of decorating the vessels:34 i. punctation in a repousse technique of pushing through from the inside; a. string-impressing in many designs, chiefly found in Sakhalin, Rebun and Riishiri; 3. punctate work, usually semicircular in shape, and

arranged horizontally or obliquely; 4. stamped designs ranging through animals, birds, fish, feet, flowers, and a variety of Y, X, S and other figurations;35 these are most frequent in Sakhalin; 5. smoothing as the result of drawing a corrugated object across the surface; modified ridges are formed; seems to be non-existent in the Kuriles; 6. applied ribbons of clay in noodle-like effects; often undulating, coiled, and worked into simple patterns; animal forms or circles are suspended from horizontal strips; the surface may first have been grooved to receive the ribbon; 7. finger- pinched ridges; 8. large bosses of clay applied near the mouth usually; limited mainly to Hokkaido.

33 See S. Goto, 1934, for a study of this aspect. 34 Natori, I939, 29-33. 35 See Sugiyama, I932; and Yonemura, I934.

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CHAPTER XI

SUMMARY

t this point certain valid generalities can be suggested, and a chronology proposed that im-

plies geographical relationships, possible origins and diffusions of styles, and provides the needed emphases. This is essentially a summary of the regional studies in terms of horizontal levels, and to suggest an organic classification with lines that separate the major stages of the

development. The country cannot be sliced through, however, at precise levels to indicate that similar types from one end of Japan to the other are contemporary, as is usually done, nor will it be possible to utilize the rigidly sequential systems generally proposed by regional Jomonol- ogists. In one area (such as the Kanto Plain) it is quite unrealistic, though handy, to look on all the types as succeeding each other neatly. I am convinced that early parallel developments take place in this region and not until other parts of the country show similar trends does there

appear a unified style in the Plain. So in these respects, but in these respects only, my chronol-

ogy will appear to be more complicated than the usual Japanese Jomon chronology. I have tried to correspond other Jomon period developments with those of pottery, but there is no more coordination in their changes, spatially and temporally, than there is in pottery, though interesting degrees of correspondence between changes in technological remains are often quite satisfactory to show that approximately seven major cultural transformations did take place in Jomon Japan.

Recent studies have stressed early Jomon and the so-called "pre-Jomon". The early pottery types in all parts of Japan except Tohoku are rather well defined. In Kyushu and the Inland Sea region, rouletting appears as the earliest stratigraphically in a number of sites. In southern

Kyushu it is limited to pointed bottomed vessels, while in the northern part of the island it

usually occurs on flat bottomed vessels. I believe its origins in Japan to have been in southern

Kyushu, though many Japanese archaeologists now think that the technique was derived from

string-impression-simple, widely spaced cord-marking -of the Kanto area. The difficulty in the suggestion that rouletting was introduced into Japan lies in the fact that it is not found in

any of the islands off the coast of Kyushu, nor in Korea. Rouletting started with zigzag shapes, progressed to checkered patterns, honeycombs, fields of diamonds and to a wide assortment of other patterns, and probably spread into the Inland Sea, pushing on up through the Kansai into the central mountains and to the southern part of the Kanto Plain. It never seems to have extended itself much beyond the Tonegawa. While this was taking place, vessel making had developed to the flat bottomed stage in north Kyushu and the traditional technique of decoration

by rouletting was retained. Certain rouletted sites in the southern Tokai and the Chubu present unique problems: they, and no other early types, are at extreme altitudes and often in spots that are almost inaccessible today.

147

The next stage in Kyushu is widely diffused. It is an incised stage of broadly spaced, parallel grooves usually trianguloid, and rows of punctates, that are all surprisingly similar to the kammkeramik of southwest Korea. This Sobata style is found off the west coast of Kyushu and in shell-mounds on the islands to the south as far as Okinawa. There is no penetration of Jomon pottery to such an extreme southerly point after middle Jomon, and only northern Tanegashima shares most types with Kyushu. Cord-impression, when it finally reaches Kyushu, never enters the islands to the south. The majority of the Ryukyus look as if they were sealed off after middle Jomon times. One gets the feeling in the period of rouletting that the streams of culture were directed toward the Kanto Plain-perhaps the earliest stage in populating the country. It is by no means saturated after that time, but the Kanto takes on a degree of importance in the third

major stage-stick-marking in parallel lines and crescent patterns -the so-called nail-impressions. These are heralded by simple punctate work in the Kansai and Chugoku. At Kitashira- kawa in Kyoto, this kind of work is found in such profusion that this region may well be its center and point of diffusion. It spread into the Chubu, through the Chugoku, even out to the Oki islands where it is the earliest Jomon type in the Sanin, and enters Kyushu. It is sparse, however, in Kyushu, and never fully caught on there. In some areas, though not Kyushu, it is

accompanied by cord-impressing, and is the first major type in Honshu of the Kanto and south to show any real consistency in the use of cord-impressing. It had borrowed cord-impressing in narrow bands arranged in alternating rows of diagonals from its predecessor, Sekiyama, in the Kanto, and this, coupled with the stick-marking which may have come out of the Kansai, became the Moroiso style. Figurines definitely appear at this point, playing a major role in later times.

It was until recently believed that the earliest types in north Honshu were cord-marked. Since renewed activities in this area and in southern Hokkaido, the majority of archaeologists consider the earliest type to be incised, punctated and shell-marked, thus corresponding to their second stage of the Kanto. This type goes by the name of Fukirizawa from a site in the Shimo- kita Peninsula, and is equated with the Tado-Mito stage of the Kanto. Actually, in the Kanto this is not so much of a second stage as it is always considered to be, but by geographical distribution, it is a more or less parallel development with string-impression, the earliest type. The reason for considering the Fukirizawa material to be early is on the basis of its pointed bottoms, some of which are nipple-shaped, but if this is the earliest in Tohoku, it puts this section one step behind the Kanto in the appearance of pottery, and dependent on the Kanto for its characteristics. The sites that have yielded this shell-marked and incised type are found in southern Hokkaido, through eastern Aomori and down the east coast into the Kanto. Since stratigraphy is at present absent to show a satisfactory relationship between it and the cord-impressed types, I am suggesting basic geographical differences in distribution: the earliest cord-impressing-it is really string-marking -in the north being found chiefly in Aomori and Akita with relatively little overlap into the shell-marked areas. The latter's sites are widely scattered, and more than likely coexistence of the two types is the case.

There is a profusion of Ento types in the Tohoku in early Jomon times. These are cylindrically shaped vessels of impressive size with four massive peaks and ridges of clay for collar decoration, while the body is covered with horizontal bands of cord-impression in zigzagged effects. From the last stage of this, Ento Upper with its influence moving south as it is super-

148

imposed on Moroiso in the western Kanto, could come the great but perhaps over-rated Ka- tsusaka pottery.

Middle Jomon witnesses the beginnings of plastic decor. It is incipient in Moroiso, but reaches its climax in Katsusaka only to taper off through the Ubayama period. It is revived in

Angyo. Oyama's Prehistoric Institute made an intensive study of Katsusaka sites, and it was looked on as the foremost group of the Atsude category whose family included coastal Atamadai and the slightly later Ubayama or Kasori E type. The Katsusaka work is spectacular: the vessels are large, often bizarre in shape, richly ornamented with a great variety of sculpturally handled

designs. The extremes of this come from the Chubu mountains and the western coast. In general, cord-impression is sparingly used, but this can be explained by the fact that its great concentration is in an area which had not as yet accepted cord-impression wholeheartedly. The decoration of Katsusaka goes through a phase of segmentation with each unit of the decor virtually detached or separable from the others; the motifs are generalized in Ubayama, merge with each other and tend to lose their individual character. Ubayama is the propagator of the flowing design particularly well adapted to the curved outer surface of a vessel. Before Ubayama the decoration of Jomon pottery was thought of in terms of individual motifs applicable to flat surfaces, but from this point on continuous and repetitive designs take alternate stages that lead toward the most intricate and uniformly repeated and isolable motifs of Kamegaoka. These stages are Horinouchi, Kasori and Angyo. Katsusaka, then, flourishes dramatically and melts into Ubayama with only limited influence on neighboring areas. Although in Yamanouchi's system there is one whole period (Chu-ki, Middle) devoted to Katsusaka and its descendant, Ubayama, except for the Kanto, Tosan and Hokuriku, Jomon pottery is not affected by Katsu- saka and moves directly from its preceding to its succeeding style with only the expected regional variations. A large portion of Japan is then left without a Chu-ki in my estimation.

In Kyushu there are periods of incision work that go from the overall incising of Sobata, the shallow and bold grooving of Ataka, through a stage of rather sparing use of incising for decorating the upper area of the vessels (Ibusuki). Rims are thickened and resemble collars in Ichiki and its relatives.

The great Horinouchi stage is the re Horinouchi e most wide-spread. Cord-impression in zones (or erased cord-impressing) is found throughout the islands, and is perhaps the first appearance of cord- impressing and the only kind that appears with any consistency in Kyushu where it is the refined Kanegasaki and Nishibira. Its most meager distribution is in the central mountains and in western Honshu. It is the nearest to a universal style and to any indication whatsoever of coordinated developments in Jomon pottery, and represents either a period of long duration, improved inter-island communication, ideal climatic conditions, or all of these. It does represent, by the end of the period, improved firing methods. Some of the shell-mounds of this period in the Kanto are huge.

Although the zoned cord-impression scheme- areas of cord-impression set off by wide grooves and well adapted to vessel shape- is the most recognizable Horinouchi trait, other vessels of this period may have similar designs without the cord-marking, or may have an allover cord-marking along with incised designs. The refinements of Horinouchi could be looked on as a return to the traditional perhaps, or in non-Katsusaka regions, a logical development from the Moroiso. Horinouchi in my grouping is more encompassing than it is to most Kanto

149

archaeologists. They follow it with Kasori B, a type which is little more than an advanced Horinouchi with slight variations, but retaining the zoned cord-impressing. Some indication that Kasori B need not be (and often cannot be) distinguished from Horinouchi is seen in the fact that none of the artifacts of Kasori B show any change from those of Horinouchi. I have a small Kasori category of garland-like designs, and an Omori, a Horinouchi step-brother, of

diagonal slashes. The Kasori figurines stand out with some distinction by being ridge-faced and with abdominal protrusions.

Kyushu sees the appearance of an entirely new style after the zone cord-impressed stage. Known as Goryo, it is an extremely simplified form of decoration consisting of horizontal

grooves along the rim, and with highly smoothed and sometimes burnished black walls. Most of the vessels are low bowls. Japanese archaeologists place this type earlier than the introduction of metal into southern Japan, but the effect that it gives is that of an attempt to simulate metal surfaces, and being the second to last Jomon type, a date around the second or first cen-

tury B. C. (contemporary with early Yayoi) is more than likely for it. A type that compares favorably is found in Inland Sea sites, but from the Chugoku to Kamegaoka in the Tohoku there is an absence of surface burnishing. In the Kanto the last stages are a series of Angyo styles. The first two are perhaps related to each other, but the last is a dying phase of surface

roughening by scratching, scraping and other means except cord-impression, in much the same

way the latest Jomon is handled in the Chugoku and Kyushu. Only in the Kansai, at such sites as Miyatake and Kashiwara, is the surface not so consistently roughened, but the clay is un-

usually coarse, so in a sense compensates for the lack of surface treatment.

Early Angyo is almost revivalistic in its applied designs, like a minor-scale renaissance of Katsusaka, though their arrangement in ridges and knobs is quite different. These simulate the

suspension of a vessel in a net and are the knots where the diagonal cords meet the horizontals. A contemporary type is more a direct continuation of Horinouchi, but cord-impressed zones are less fully enclosed and are usually formed of incomplete or partial spirals. A fusion of motifs takes place in areas where the Kamegaoka of the north and Angyo of the Kanto meet.

In Late Jomon there is realized the most truly neolithic aspect of Jomon pottery. Perhaps competition in metal industry forced greater pride in the products of the Stone Age people. Certainly their own achievements were stimulated by commerce in metals, lacquer, textiles, beads and other exchangeable items. It is in this Kamegaoka age that Jomon pottery reached its zenith of refinement, and in its use of repetitious patterns and significant symbols in a rhythm that is metronomic, it attained its full fruition as neolithic pottery. The figurative designs, either

cord-impressed or only carved, on low bowls and spouted vessels, have an unusual beauty of variety and form, and are often bird- and dragon-like, quite comparable to mirror and lacquer designs. Some vessels are painted red, others burnished black, as if to imitate these media. Such configurations dissolve and crystallize into 'eau courante patterns which are, without question, allied to such designs on Yayoi pottery, wooden containers and the dotaku of middle Yayoi. The Kamegaoka style generally fringed the Kanto, extending from Tohoku and southern Hokkaido down the west coast of Honshu and across into the Kansai. The disappearance of Jomon pottery on Honshu may have been around the fourth century A. D., but its lineal de- scendants live on for a number of centuries in Hokkaido.

I50

In Hokkaido, where the terminology is well chosen, three zones are readily distinguishable: a southern one which is consistently allied with Tohoku from Ento to Kamegaoka times, a central zone that is primarily insular, and a northern zone that is oriented toward the northern islands of Sakhalin and the Kuriles. The Hokuto types are related to the Ento in general shape and design developments, while the Zenhoku and Kohoku show slow and slight changes that lead toward an awareness of the existence of metal containers and attempts at simulating such

ridged surfaces. The designs become unusually complicated in late Kohoku and cord-impressing is reaching a point of extinction. Developing along the outer rim of Jomon areas is the Okhotsk Sea pottery that still sees the use of string-impression, particularly in Sakhalin. It is

fully discarded by about the tenth century. To sum up the Jomon developments in pottery I have drawn up a chart. Seven or eight

stages, organically defined according to recognizable features, is perhaps the maximum reduction of a vast array of details of a loosely cohesive nature. The stages are defined in terms of

techniques and designs. Within these broad divisions the differences are only those of degree and not of kind. I am at times suggesting a binomial system for naming pottery styles, which, if used with moderation, consistency and discretion, would provide a spring-board for making a style immediately understandable. No further explanation is needed for the proposed rela-

tionships, the text providing the arguments. The following are the major stages in the development of Jomon pottery:

South and west Japan Central and north Japan

Rouletted String-impressed; incised (shell-marked) and punched Scraped, incised and punched

Experimentally cord-impressed Stick-marked (nail-impressed) Stick-marked; allover cord-impressed Grooved Applied (cord-impressed) Zone cord-impressed Zone cord-impressed Smoothed Smoothed, carved and incised (cord-impressed) Roughened

ISI

BIBLIOGRAPHICAL ABBREVIATIONS

AA American Anthropologist AJ Archaeologia Japonica CK Chireki Kenkyu (Geographical and Historical Studies) IKKS Ishikawa-ken Kokogaku Kenkyukaishi (Archaeological Study Society of Ishikawa Pre-

fecture) JB Jyodaibunka (Culture of Antiquity) JBGZ Jimbungaku Zasshi (Journal of Humanities) JGZ Jinruigaku Zasshi (Journal of Anthropology) JRGK Jinruigaku Senshigaku Koza (Symposium on Anthropology and Prehistory) KB Kodai Bunka (Ancient Culture) (successor to KG) KG Kokogaku (Archaeology) KGK Kodaigaku Kenkyu (Studies in Antiquity) KGZ Kokogaku Zasshi (Journal of Archaeology) KH Kokogaku Hyoron (Archaeological Review) KKS Kagoshima-ken Kokogakai Shoshi (Bulletin of the Archaeological Society of Kagoshima) KGR Kokogaku Ronsho (Archaeological Journal) KS Kokogaku Syukan (Archaeological Weekly) KTDKH Kyoto Teikoku Daigaku Kokogaku Kenkyuhokoku (Reports of Archaeological Research,

Kyoto Imperial University) MB Minzoku Bunka (Ethnological Culture) MGK Minzokugaku Kenkyu (Ethnological Studies) NK Nippon Kokogaku (Japanese Archaeology) NM Nippon Minzoku (Japanese Ethnology) RH Rekishi Hyoron (Historical Review) SB Seiko Bunka (The Ancient Culture in the Western Suburbs of Tokyo) SGS Shizengakkai Shoho (Short Reports of Prehistorical Society) SGZ Shizengaku Zasshi (Journal of Prehistory) SJA Southwestern Journal of Anthropology SKG Senshikokogaku (Prehistoric archaeology) SS Surugadai Shigaku (S urugadai Historical Studies) TTJKH Tokyo Teikoku Daigaku Rigakubu Jinruigakukyoshitsu Kenkyuhokoku (Reports of the

Anthropological Institute, Faculty of Science, Tokyo Imperial University)

I53

GENERAL BIBLIOGRAPHY

ARIMA, T. 926 On primitive patterns, KGZ XVI/i , 700-7 I5.

Aso, M. I953 A study of Jomon pottery designs made by bamboo, JB XXIV, 3-20. 1954 The position of the type termed "Former Jomon" in the progress of the Jomon culture,

SB VII, 27-30. BANERJI, R. D.

1927 The Indian affinities of Ainu pottery, Journal and Proceedings of the Asiatic Society of Bengal, new series XXTTT, 269-272.

BATCHELOR, J. I892 The Ainu of Japan, London.

BISHOP, C. W. 1926 The historical geography of early Japan, Annual Report of Smithsonian Institute (1925), 547-568.

DOLMEN EDITORIAL BOARD

I935 Study of relics and remains of the Stone Age, Dolmen IV/6, 41-66.

ESAKA, T. 1944 Clay sherds with rolled impressions, JGZ LIX/682, 297-301. 1947 How old is the Jomon culture? Anthropos II/2, I5-I7. 1948 Study of cord-wrapped dowel-marked pottery, Anthropos III/I, 27-32. 1948 a The age of the neolithic period in Japan, NK I/z, 8-I7. I950 The culture of the Jomon age, RHV, 84-95; VI, 87-96; VII, 87-96; VIII, 90-96; I951:

XXTX, 84-96; XXX, 83-95; XXXT, 91-95; XXXTT, 85-95; XXXTTT, 88-96. 1953 The characteristics of the Jomon culture, Shigaku XXVI/3-4, II0-I25.

GOTO, S.

1947 On whether it (Jomon culture) is indigenous or introduced, Anthropos II/2, 24-29. 1948 The foliage designs on Jomon pottery, NK I/I, 1-12.

GROOT, G. J. 1948 A criticism of "The age of the neolithic period in Japan" by Mr. Esaka, NK 1/3, 1-2.

I95 The prehistory of Japan, New York.

HAGUENAUER, M. C.

I931 Notions d'archeologie japonaise: le n6olithique, Bulletin de la maisonfranco-japonaise, III/i-2. HASEBE, K.

I948 Cord-mark and knot-worship, NK I/z, 1-3. HIRAKO, G.

I930 Similar patterns on Ainu carvings and the Stone Age pottery of Japan,JGZXLV/o 8, 79-85. IKEDA, J.

I948 Study of the earliest Jomon pottery, I, Anthropological Reports 2, Hiroshima Medical College, 14-18.

154

IKEGAMI, M.

1921 Ornamental designs on shell-mound pottery, KGZ XI/z2, 705-716. KAMIO, A.

1954 Pottery under'the microscope, Kodai I-II, 26. KIDDER, J. E. Jr.

I954 A proposed Jomon classification, Kodaigaku III/3, 280-285. KIYONO, K.

1925 Researches on the aborigines of Japan, Tokyo. 1928 Study of the Stone Age man of Japan, Tokyo. 1944 Currents of peoples and cultures in the Pacific, Tokyo.

KOBAYASHI, H. 1934 Prehistoric pottery with elliptical projected patterns, KG V/6, I67-I73.

KOMAI, K., EGAMI, N., and GOTO, S.

I939 Oriental archaeology (in Outlines of world history, II), Tokyo. KONO, I.

1953 The story of Jomon pottery (Musashino Museum Series of Archaeology 2), Tokyo. KRAUS, B. S.

1947 Current problems in Japanese prehistory, SJA III/i, 57-68. I953 An outline of Japan's prehistoric cultures, American Antiquity XVIII/3, part 2, I2-i6.

KUWAYAMA, R.

1935 On pottery with mussel shell-marked patterns, SGZ VII/z, 45-46. LEROI-GOURHAN, A.

I946 Archeologie du Pacifique-nord, Paris.

MATSUMOTO, H. 1921 Notes on the Stone Age people of Japan, AA, new series, XXTTT/I, 50-76.

MILNE, J. I88I The Stone Age in Japan with notes on recent geological changes which have taken place,

Journal of the Anthropological Institute of Great Britain X/4, 389-428.

MITSUMORI, S.

1938 An opinion on ancient pottery, KGR IX, 76-IIO. 1939 A personal view of prehistoric Japanese pottery, JRGK XI, 1-12.

1940 The structure of Japan's early culture, KGR XV, I-I5.

1941 The primitive culture of Japan, Tokyo.

MUNRO, N. G.

1911 Prehistoric Japan, Yokohama.

MURAMOTO, N.

I924 Some facts concerning Stone Age pottery, KGZ XIV/I4, 881-887.

NAKANE, K.

I93 -32 The mat-impressions of pottery sherds, SGZ III/4, 47-48; IV/3-4, 90-91. NAKAYA, J.

1926 Distribution of the teapot shaped pottery of the Stone Age in Japan, JGZ XLI/463, 240-249. I927 A study of the Stone Age remains of Japan, I: Classification and distribution of vases with

spouts, TTJKH IV, 1-4. 1929 Manual of archaeology of the neolithic epoch of Japan, Tokyo. I929-30 Contribution a l'tude de la civilisation neolithique du Japon touchant particuliUrement

les domaines de distribution et de civilisation, Revue des Arts Asiatique VI/3, 15xI-67. I930 L'ige de la pierre au Japon, Formes IV, 9-II. I936 An opinion of Japan's new Stone Age culture, KG VII/I-z, 52-71.

I55

NAKAYAMA, H.

1918 On the antiquity of shell-heap pottery and Yayoishiki pottery, KGZ VIII/6, 335-356. i9i8a Mat-impressions on shell-heap pottery and similar markings, KGZ VIII/2z, 693-708. I921 Jomon due to mats, KGZXI/6, 367-368.

NAORA, N. 1928 List of Stone Age sites in Japan, Anthropological Institute of the Imperial University of Tokyo,

5th ed. NATORI, T., KONO, I., and YAWATA, I.

1941 Three excavations that throw light on the ancient cultural history of the Far East, MGKXII/4, 3-12-317.

NOGUCHI, Y.

1954 Two recent discoveries, KGZXL/2, 56-59. OBA, I.

1934 Cave finds of Japanese prehistory, SGZ VI/3, I-58. ONO, U.

1915 Some examples of the same decorative elements appearing among the Ainu and the prehistoric people, JGZ XXX/344, 45 3-455.

OYAMA, K. 1921 Study on the fundamental forms of ancient pottery, JGZ XXXVI/4I2-416, 143-200.

SAKAKIBARA, M. I921 On the designs of Stone Age pottery, JGZ XXXVI/4o0-407, 30-38.

SAKAZUME, N.

1938-39 Archaeological Glossary, JRGK III, 1-39; V, 41-57; VIII, -I8; X, 1I-30; XI, I-26. 1948 Anadara granosa Linne in Tokyo Bay in prehistoric times, JGZ LX/688, 77-80.

SANSOM, G. B. 1943 Japan, a short cultural history, New York.

SATO, D.

1898 Notes on the covers of pottery from the Stone Age sites in Japan, JGZ XIII/I43, 167-70. SCHNELL, I.

1932 Prehistoric finds from the island world of the Far East, Bulletin of the Museum of Far Eastern Antiquities IV, 15-104.

SERIZAWA, C., GOTO, S., and SUGIHARA, S.

1950 Catalog of examples of ancientpottery, no. 2; Late and Latest Jomon culture, Dolmen Material Lab- oratory, Tokyo.

SHIBATA, J. 1900 Japanese Stone Age relics ornamented with red color, JGZ XV/I72, 410-413.

SUENAGA, M.

1935 Catalog of the Motoyama archaeological exhibit, 2 v., Tokyo. SUGIYAMA, S.

1924 Explanation of collection of primitive designs, Tokyo. 1926 Notes on decorative designs on the prehistoric Stone Age pottery of Japan, JGZ XLI/465,

297-302. 1926a On primitive designs, KGZ XVI/II, 700-716. 1928 Ancient Japanese handicraft, Tokyo. I93 Corpus of ancient designs; Jomon pottery, XIV, Tokyo. 1938 Collection of primitive designs, Tokyo. 1942 History of ancient Japanese textile crafts, 2 v., Tokyo.

TAKAHASHI, N.

1934 A consideration of basket-impressed pots, Dolmen III/io, 6i-62.

I56

TAKASHIMA, T. 1913 Stone Age pottery, KGZIII/II, 6I3-616.

TANAKA, K.

1938 Outline of the history of Japanese culture, I, Tokyo. TOKYO IMPERIAL UNIVERSITY

1927-36 Albums of specimens in the Institute of Archaeology, V. TSUNODA, B. and MITSUMORI, S.

1939 The prehistoric age of east Japan, JRGK XII, I-Ioo. UMEHARA, S.

1951 Select specimens of the archaeological collection in the Department of Literature, Kyoto University; New

acquisitions, Kyoto. YAMANOUCHI, S.

I930 Two or three observations on oblique cord-impression, SGZ II/3, I3-25. 1935 The status of studies of ancient Jomon pottery, Dolmen IV/I, 36-44. 1935 a The Jomon type culture, Dolmen IV/6, 82-85. 1937 The main divisions and subdivisions of Jomon pottery, SKG I/i, 29-32. 1940 Atlas of Japanese prehistoric pottery, 12 parts in 4 v., Tokyo.

YAWATA, I.

I937 On a phase of the Japanese mesolithic culture, KGZ XXVII/6, 355-368. 1938 Again on the application of decoration to pottery, KGR IX, 3I-37. 1940 The Stone Age culture of Japan, Anthropological Society of Tokyo, 4th ed., Tokyo. I949 The miniature pottery of the Later Jomon culture, MGK XIV/2, 82.

1950 A survey of ancient Japanese arts, National Museum, Tokyo. i95oa On the shapes of Jomon type pottery, MGK XIV/3, 86. 1953 The dawn of the history of Japan, Tokyo.

TOKAI AKABOSHI, N.

1926 Three newly discovered sites in Sagami, KGZ XVI/3, 199-200. i926a A site in Sagami, KGZ XVI/io, 668.

1927 Notes on Miura, KGZ XVII/8, 579-580. I928 A newly discovered site in Sagami, KGZ XVIII/io, 657-658. 1929 The remains of Enokidai, Taura-cho, Kanagawa, KGZ XIX/9, 577-5 80. i929a The site of Mito in Sagami, KGZ XIX/ I, 701-704. 1930 The shell-mound of Kayama and its pottery, SGZ 11/6, 22-32. I93oa Shirasu site in Sagami, KGZ XX/II, 775-78. 1932 The Nakagawa village remains in Sagami, KGZ XXTT/3, I74-177. I933 Sites and their remains in the area of Kanagawa, SGZ V/2, 38-42. 1933 a Pottery from the shell-mound of Edozaka, Kanagawa, SGZ V/3, 5 I-52. 1934 The site of Hiratoyama, Ofuna-machi, Sagami, SGZ VI/I, 15-28. I935 Report on the investigations of the Tado site in the city of Yokosuka, SGZ VII/6, I-30. I936 On the Mito type of pottery as a type of ancient pottery, KG VII/9, 385-397. 1937 Kayama and Yoshii shell-mounds, Report of Research on Famous Places in Kanagawa Prefecture, V. I937a Again on the Kayama shell-mound, SGZ IX/z, 40-44. i937b Excavation of the Yoshii shell-mound in Miura Peninsula, Kanagawa, SGZ IX/6, I-39. 1938 Dwelling remains in Hachimandai, Isehara-cho, Kanagawa, KG IX/3, I56-I6o. 1938a A rediscussion of the painted pottery from the Miura Peninsula, Kanagawa, KG IX/5,

238-247. 1948 Report of the excavation of the shell-mound of Nojima, Kanagawa, KS I, 8-21.

I57

AKABOSHI, N., and SAKAZUME, N. 1938 On the excavation of the pit-dwellings in the shell-mound of Moroiso near the town of Mi-

saki, Kanagawa, SGZ X/3, 25-38. DUMOUTIER, G.

I892 Etude sur les depots archeologiques d'Omori et d'Okadaira, Bulletin de geographie historique et

descriptive III.

ESAKA, T. 1938 Rediscovery of the Yayoi-cho shell-mound, KGR VIII, I92-196. 1938a Brief report of Tsukiyomishirodai site in Maokama, Kakio village, Minamitama county,

KGR IX, 25-30. 1938b On the pottery of Higashi shell-mound number 3 in Shimoda-cho, Kanagawa ward, Yoko-

hama, KGZ XXVIII/5, 345-35 0.

1938c Brief report of the excavation of Honmura-cho shell-mound in Azabu ward, Tokyo, KGZ

XXVIII/io, 685-692. I939 Archaeological miscellany, KGZ XXTX/6, 399-401. I939a On the pottery from the Miyanoya shell-mound, Kikuna-cho, Kanagawa ward, Yokohama,

KGR XIV, 5 6-6o. i939b The sites with stratigraphic layers in which Jomon pottery is found in the Kanto, KG X/4,

190-195. 1940 On the site of Kitakami, Komae village, Tokyo, SGZ XII/I, 4I-46. I940oa Earliest and Early Jomon type finds in the drainage area of Zenpukuji River, MB 1/4, 10-I2.

1941 Preliminary report of research in Goryogadai shell-mound, Sagami, KB XII/Io, 553-5 57 I942 Study of the Inaridai culture, KB XIII/8, 417-427. 1944 On the communities of the middle Jomon culture period in the vicinity of the water sources

of the Musashino highland, JGZ LIX/675, 6-8. i944a A study of carved-stick-impressed pottery, JBGZ LIX/8. 1948 A survey of the prehistoric sites within the ancient city of Tokyo, NK I/2, 32. 1948 a A study of carved-stick-impressed pottery, Anthropos III/i. 1949 Report of the excavation at the shell-mound of Goryogadai, Sagami, KS III, I-Io. I953 Ancient pottery unearthed from the site of pit-dwellings at Tsukayama, 3-chome, Shimotakaido,

Suginami ward, Tokyo, SB III, I3-I6. 953 a The remains of the early stage of the Jomon Stone Age in the basins of the Zenpukuji and

Kanda Rivers, SB IV, 25. I954 Report of the excavation of the Nonaka shell-mound, Ibaragi, KGZ XXXTX/3-4, 49-58.

ESAKA, T., SHIRAZAKI, T., and SERIZAWA, C.

1939 Distribution of early Stone Age sites in the provinces of Izu, Sagami and Musashi, JGZ LIV/62I, 295-300.

FuJIOKA, K., and IWANE, Y.

1941 The Toyoka basin in the Tajima district and the Nakaya shell-mound, SGZXIII/5, 1941, I-22.

GOTO, S. I933 Report of investigation on preservation of historical objects X, Commission for protection of his-

torical sites in Tokyo-fu, Tokyo. I937 Dwelling sites with stone paved floors at Haketa, Musashi, KGZ XXVII/7, 429-462.

GROOT, G. J., and SHINOTO, Y.

1952 The shell-mound of Ubayama, Archaeological Institute of Japan, Ichikawa.

HANEDA, K. 1926 Letter from Kai, KGZXVI/7, 448-449; XVI/9, 614-615.

HARA, K. 1942 On the Matsugoe site in Ogusu, Sagami, KGZ XXIT/2, 81-87.

HAYASHI, G.

1900 Ryokei shell-mound, JGZ XV/I70, 336-337. HIRANO, G., and TAKIGUCHI, H.

1935 Stone Age sites on the eastern side of Abo seashore, KGZ XXV/8, 5 o6-5 5. HORINO, R.

1932 Stone Age finds from Ekota-ontake in the environs of Tokyo, SGZ IV/3-4, 84-87. 1938 The numerous Stone Age remains from Ekoda, SGZ X/2, 44-47.

IDE, S., and TAKESHITA, J. 194I Report on the investigation of remains of Hammaiba, Hosaka village, Yamanashi, SGZ

XIII/6, I-30.

IIJIMA, I., and SSAKSI, C.

1883 Okadaira shell-mound in Hitachi, Appendix to Memoirs of Science Department, Tokyo Uni- versity, I.

IKEDA, T., SAITO, F., and SATO, Y.

I935 The excavation of the shell-mound of Inariyama, Nakamura-cho, Yokohama, SGZ VII/i, 21-30.

IKEGAMI, K. I93I Report on the research in the shell-mounds of Aso-omiyadai in Hitachi, SGZ III/4, I-I4. 193I a Cultural remains from the site of Nogawa, Musashi, SGZ 111/4, 30-3 3. I932 On the pottery from Mitsuzawa shell-mound in Yokohama, SGZ IV/I, 24-27. 1933 The Hirohata shell-mound, Futto village, Ibaragi, SGZ V/5, 1-44. 1934 Painted pottery from shell-mounds in the Kanto, SGZ VI/5, 3 3-40. 1937 The cultural remains of the Jomon culture site, Tobe, near the town of Usui, Chiba, SGZ

IX/3, 1-32. 1943 Excavation of the group of shell-mounds at Hatosaki hill, Inashiki county, Ibaragi, SGZ

XV/i, 1-25.

IKEGAMI, K., and OGYU, T. 1936 Excavation of the Nakazawa shell-mound, Kamagaya village, Higashikatsushika county,

Chiba, SGZVIII/4, 1-24. I937 The Takaku-mirume shell-mound, Funashima village, SGZ IX/4, 33-34.

IKEGAMI, K., OGYU, T., and TOKI, N.

1935 Report of the excavation of the group of shell-mounds of Shosen, Shimosueyoshi, Tsurumi ward, Yokohama, SGZ VII/4, I-31.

ISEKI, H., and many others

1952 Brief history of Awashimadai Jomon type site in Minami-ogawa-cho, Choshi city, JB XXTT, 9-I3.

ISHINO, A.

I925 Brief report on the research of the Manda shell-mound, Asahi village, Naka county, Sagami, KGZ XV/9, 605 -6 o.

1930 On the cord-impressed pottery piece with handle discovered at Yado, Musashi, KGZ XX/9, 5 89-592.

I934 Investigation of the Stone Age stone paved dwelling at Hachimandai, Sagami, SGZ VI/I, I-I4.

I954 The remains of Nakasato (Kamonomiya), Odawara city, JGZ T.XTTT/702, I49-1I 53. ITO, N.

I929 On the dwellings in the shell-mound of Kamihongo, Chiba, SGZ I/i, 57-76. KANNo, K.

1933 Additions to the Stone Age sites of Musashi and Shimosa, SGZV/3, 50-51. KANTO HIGH SCHOOL ARCHAEOLOGICAL DEPARTMENT

1950 Prehistoric remains in Minamikajino Koganei, Tokyo.

159

KAWAKADO, T.

I895 Tachiki shell-mound in Shimosa, JGZ X/II3, 440-444. KAWAZUMI, T.

1899 Pottery found in a shell-mound at Fukuda, Hitachi, JGZ XIV/i 53, I 8. KOBAYASHI, S.

I953 Pointed bottoms from Chichibu, Kodai X, 30-32. KONO, I.

I924 On the shell-mounds recently discovered at Umio village, Musashi, JGZ XXXTX/438-440, I84-I98.

1928 Report on the research in the shell-mounds of Shinpukuji in the village of Kashiwasaki, Saitama, SGS II.

I929 Report on the excavation of the shell-mound of Nakazuma, Komomma village, Ibaragi, SGZ I/I, 37-55.

1931 On shell-mound number I, SGZ III/5, 24-26; IV/i, 17-23. 1932 Jomon finds from Kobukasaku, Haruoka village, Kita-atachi county, Saitama, SGZIV/3-4,

83--84. 1932a A new type of Jomon pottery in the Kanto, SGZ IV/3-4, 93-95. 1935 The evolution of the Stone Age Jomon culture in the Kanto, SGZ VII/3, 1-63.

KONO, I., and YOSHIDA, I. 1949 Chronological catalog of the Jomon culture: no. I, Hanawadai culture, Tokyo.

KUWAYAMA, R. I935 Preliminary report on the Kamimiyao shell-mound, Kitaterao, Musashi, SGZ VII/4, 32-34. 1941 On the remains from the neolithic shell-mounds at Natsushima, Sagami,JGZLVI/646, 27-3 I.

I942 Excavations of sites at Edoyama, Kamisueyoshi, Kanagawa, JGZ LVII/66i, 10-25. I943 On the shell-mounds of Shiba Park in Tokyo and their remains, JGZ LVIII/668, 17-20.

MASUI, T. 1927 Report of the excavation of the natural caves near Akitsu-machi, Kazusa, KGZ XVII/I2,

802-809.

MATSUI, S.

1948 Excavation of Inume Stone Age remains, Anthropos III/2, 7-Io. MATSUMOTO, N., FUJITA, R., SHIMIZU, J., and ESAKA, T.

1952 A study of the neolithic site and a neolithic dug-out canoe discovered in Kamo, Chiba, Keio University, Archaeological and Ethnological Series, no. 3, Tokyo.

MATSUOKA, R. 1938 The shell-mound of Magome, Omori, Tokyo, KGZ XXVIII/8, 55 2-569.

MATSUSHITA, M.

I926 The group of pit-dwellings at Higashiyama, Meguro, KGZ XVI/8, 541-544. MATSUSHITA, T.

1929 The new example of Moroiso type remains along the Choshi River, KGZ XIX/9, 592-595. 1930 Table of Stone Age sites in Yokohama, SGZ 11/3, 5o. 930oa The prehistoric site of Okuzawa, Tamagawa village, Ehara county, Tokyo-fu, SGZ II/5, 45. 93 o b General notes on archaeology, KGZ XX / 2, 856-860.

I931 Preliminary report on the shell-mound of Miyanoya at Kikuna, Musashi, SGZ III/4, 34-3 5. 193 Ia Preliminary report on the shell-mound of Shinohara in Yokohama, SGZ III/5, 27-30. 1933 Preliminary report on the remains from the Yamanote shell-mound, Naka ward, Yokohama,

SGZ V/2, 42-43. 1934 On the prehistoric finds of Yokohama, SGZ VI/6, 62.

MIYASAKA, M. 1929 The pit-dwellings of Chidorikubo, SGZI/I, 78-80.

I6o

MIYASAKA, M., and YAWATA, I.

1927 Preliminary note on the Stone Age dwelling sites in the shell-mound of Ubayama, Shimosa, JGZ XLII/47I, I-27.

MIYAZAKI, T.

I934 On the fragments of Jomon vessels discovered in the underground cave in Ochanomizu, Hongo, Dolmen III/io, 62-63.

1936 On the remains of a stone floored house at Azanishi village, Otsuka, Nishiyashiro county, Kai, SGZVIII/2, 17-26.

1938 The remains of the Stone Age in the vicinity of Ninomiya, Nishitama county, Tokyo-fu, SGZX/2, 21-40.

MIYAZAKI, T., and INO, T.

I935 The Jomon style pottery from the shell-mound on the opposite bank from the Horinouchi shell-mound, Shimosa, SGZ VII/4, 35-38.

MORSE, E. S.

1879 The shell-mounds of Oori, Memoirs of the Science Department, Tokyo Imperial University, I/i. NAKAGAWA, N.

I938 The site of Aradate, Yokohama, SGZ X/i, 22-37. NAKANE, K.

1930 Pottery from the Orimoto shell-mounds, Musashi, JGZ XLV/5 2, 211-219. I93oa On the pottery from the Stone Age site of Futamatagawa, Musashi,JGZ XLV/517, 445-450. 1932 Pottery from Shosen, Kugahara, environs of Tokyo, Musashi, SGZ IV/3-4, 92.

NAKAYA, J., YAWATA, I., and YAMAZAKI, N.

I925 Stone Age sites recently discovered at Kaigarazaka in the province of Sagami, JGZ XL/451, 205-2 5.

NISHIMURA, M.

I95I Brief report of the archaeological survey of the Ikazuchi shell-mound at Shirai, Kamisato village, Katori county, Chiba, Kodai III, 26-3I.

NISHIMURA, M., and NAKAZAWA, Y.

I954 The shell-mound of Shimogumi, Kohoku ward, Yokohama, Kodai I-II, 3-20. NISHINA, Y.

1929 Notes on the Stone Age sites in Uenohara, Kai, JGZ XLIV/495, 23-34. NISHIOKA, H.

1936 The relics and remains of prehistory in Ebara tableland, KGZ XXVI/5, 30I-325. NOGUCHI, Y.

I951 Report on the site of Chitose, Seta ward, Tokyo-to, JB XXI, 17-22. NONAKA, N.

1904 The type of pottery found in the shell-mound of Horinouchi, JGZ XX/224, 117-119. OBA, I.

1930 On sites yielding fiber-tempered pottery, SGZ II/2, 11-21. I931 The Mutsu style pottery in the Kanto, I, SGZ III/5, I-6.

1936 Stone floored dwelling in the grounds of the Bunka-gakuin school, SGZ VIII/4, 39-42. 1952 On the vestiges of the Stone Age in the vicinity of Shin-machi, Suginami ward, Tokyo, SB I,

3-I I; II, 15-20. OKA, E.

1934 On the excavation of the shell-mounds at Suenagakubo, Kanagawa, KGZ XXIV/3, 15 3-166; XXIV/4, 24I-260.

I934a Report on the shell-mound of Shinzaku, Hachimandai, Tachibana village, Musashi, SGZ VI/6, 1-20.

OKAMOTO, I.

I953 Hirasaka shell-mound in Sagami, SS III.

12 I6i

OMACHI, S., and KATAKURA, O.

I937 The Iwai shell-mounds of Chiba prefecture with special reference to the Angyo type pottery found there, SKG I/i, I-I6.

OMIYA, M.

1937 On the shell-mound of Koyama, Kasori village, Chiba, KGZ XXVII/6, 387-413.

ONO, I.

1927 On the distribution by thickness of pottery and shells of sea or fresh water variety of shell- mounds in Kitasoma, Inbata and Inashiki counties, KGZ XVII/II, 749-75. I

OTOMASU, S., and WAJIMA, S. 1940 Report on the excavation of the shell-mound of Mizuko in the village of Mizutani, Saitama,

KB XI/2, 90-II6.

OYAMA, K. 1926 On the Chidorikubo shell-mound, Shimochofu village, Tokyo-fu, JGZ XLI/469, 5II-523. 1927 Report on the research at the Katsusaka site, Shiniso village, Kanagawa, Brief Reports of the Pre-

historical Society, no. I. 1928 Complete report of Katsusaka remains, Shimo Araiso village, Kanagawa, Reports of the Prehistorical

Society. I931 A shell-mound in the village of Kamizato, Kato county, Shimosa, SGZ III/5, 7-I I.

1932 Vorlaufiger Bericht iiber die Chronologie der Jomon-Kultur der Steinzeit im Kanto (Mittel- Japan), Praehistorica Asiae Orientalis I, Premier congrs des prehistoriens d'extreme-orient, Hanoi, 77-90.

OYAMA, K., and IKEGAMI, K.

1934 The Shimosugeta shell-mounds, Yokohama city, Chronological research on Jomon culture of the Kanto, no. i.

1934a The Orimoto shell-mound, Miyakoda village, Kanagawa, Chronological research on Jomon culture

of the Kanto, no. 2.

OYAMA, K., IKEGAMI, K., and OGYU, T. 1937 The excavation of the Kasori shell-mound, Miyako village, Chiba county, Chiba, SGZ IX/i,

i-68. 1937a The excavation of the Takaku-neda group of shell-mounds, Funashima village, Ibaragi, SGZ

IX/4, 1-32. i937b The excavation of the Ichinomiya shell-mound in the town of Ichinomiya, Chiba, SGZ IX/5,

1-36.

OYAMA, K., and OGYU, T.

1938 Observations on the Fukuda shell-mound, SGZ X/3, 39-45. I940 The Miyadaira shell-mound, Funashima village, near the Takaku-neda group of mounds,

Ibaragi, SGZ XII/4-6, I-56.

OYAMA, K., SUGIYAMA, S., MIYASAKA, M., and KONO, I.

1929 The excavation of the Kaizuka shell-mound group, Yoshibumi village, Chiba, SGZI/s, 1-23. OYAMA, K., TAKESHITA, J., and IDE, S.

1941 The excavation of the site of Nagasaka-kamijo, Hinoharu village, Yamanashi, SGZ XIII/3, I-28.

SAITO, F.

1934 On the shell-mound no. o026, Kugahara, Omori ward, Tokyo, SGZ VI/4, 55-58. 1937 Jomon pottery of the excavations of the Umagome shell-mound, Musashi, SKG I/2, 6i.

SAITO, B., and SAITO, F.

1934 The Stone Age site at Yukigaya, Omori, KGZ XXIV/6, 371-386. SAITO, F., and SAITO, B.

1933 The prehistoric pottery discovered at Kugahara in Tokyo, KGZ XXTTT/Io, 643-660.

I62

SAKAKIBARA, M.

192I Report on the Stone Age site of Moroiso, Sagami, KGZ XI/8, 443-465. i92Ia On the shell-mound of Kuhiri, KGZXI/io, 584-591; XI/ii, 664-683.

SAKAKOKU, H.

I953 The Stone Age remains near Osaki-cho, Risseikoko V, 8-io. I954 Brief report of research on several sites in the middle of the Tsurumi River, I, Risseikoko, VI.

SAKAZUME, N. 1939 General view of the Stone Age sites in Imba county, Chiba, JGZ LIV/6z2, 305-356. 1942 On the comparative relations between the species of molluscs and the types of pottery from

the shell-mounds of the Stone Age in the southern Kanto, JGZ LVII/656, 245-250.

1942 a On the excavation of the shell-mounds at Ogawa-machi, Shimosa, JGZ LVII/66i, 463-470. I942b On the shell-mound at Mukaiaburada, Shimosa, JGZ LVII/662, 50I-502.

I948 The shell-mound of Yoshinuma in Hitachi, NK 1/3, I5-6.

1952 Shell-mounds in the Kanto and their pottery, Nihon Minpoku, 58-82. SAKAZUME, N., and ESAKA, T.

1938 Excavation of Yomaibatake shell-mound, Ozuzawa-machi, Itabashi ward, Tokyo, KGZ XXVIII/6, 368-393.

I939 Report of the shell-mound of Sakaida, Kanagawa, KGZ XXIX/7, 458-481.

SAKAZUME, N., and HIROSE, E.

1944 The Komagata shell-mound, Hitachi, KGZ XXXTV/8, 431-439.

1948 The Anjikidaira shell-mounds of Hitachi, NK 1/4, I-II.

SAKAZUME, N., and SERIZAWA, C.

1938 Relics found in the shell-mound of Aradate in Yokohama, KGZ XXVIII/2, 93-IO8. SAKAZUME, N., and WAJIMA, S.

1941 On the excavation of a dwelling site at the Okkoshi shell-mounds, Musashi, JGZ LVI/645, 19-27.

SAKAZUME, N., ESAKA, T., and SERIZAWA, C.

1937 On the excavation of a dwelling site in the shell-mound at (East) Shimoda-machi, Shinagawa ward, Yokohama, KGZ XXVII/I , 733-748.

SANO, M. I934 Footed pottery from Shosen, Kugahara, Tokyo, SGZ VI/6, 59-60.

SASAKI, C., and IIJIMA, I.

I895 Plates illustrating the pottery collected in the Okadaira shell-mound at Hitachi, JGZ X, frontispieces for numbers Io7-III.

SATO, D.

1894 Report on the excavation of a shell-mound at Fukuda, JGZ IX/Ioo, 384-420. I898 Report on the second excavation of the Fukuda shell-mound, Hitachi,JGZXIII/I46, 3I5-317.

SATO, D., and WAKABAYASHI, K.

I894 Report of the investigation of the Ukijima village shell-mound in Hitachi, JGZ X/io5, Io6-- II5.

SEKIGUCHI, T.

I930 Yayoi and Jomon pottery from Yuwafuchi-machi, Tokyo-fu, SGZ II/I, 75-77. SERIZAWA, C.

1947 An overall view of the Earliest Jomon type culture in the southern Kanto, Anthropos 11/4, 13-I7.

1954 An hypothesis concerning the end of the non-pottery culture and the beginning of the pottery culture in the Kanto and Chubu, SS IV, 65-io6.

SHIMOMURA, S.

1935 The dwellings of Higashiyama, Kami-meguro ward, Tokyo, SGZ VII/i, 40-43.

163

SHIOBARA, D.

1937 The neolithic site and relics of Yonezawa, Shimosa, KGZ XXVII/II, 754-776. SHIOBARA, D., and GOTO, J.

1936 On the site and relics at Yonezawa village, Katori county, Shimosa, and vicinity, KGZXXVI/ II, 719-733.

SHIRAZAKI, T. 1941 The prehistoric site of Inaridai, Tokyo, KB XII/8, 394-405.

SUGIHARA, S.

I932 Brief report of research in the Tobinodai shell-mound, Shimosa, SGZ IV/3-4, I9-34. I933 Short excavation report on the Tobinodai shell-mound, Shimosa, SGZ V/3, 3I-34. 1936 On the meaning of research of the Suwada site, Ichikawa city, KG VII/i-2, 39-44. 1938 Two Jomon type shell-mounds in Suwada, KG IX/5, 256-266.

SUZUKI, H. I933 A report of the excavation of the shell-mounds at Higashikaizuka, Musashi, JGZ XLVIII/5 5 3,

636-655. I934 The shell-mounds at Shimizuzaka in the northwestern part of the city of Tokyo, JGZ XTTX/

559, I65-I72. 1935 A chronological study of the Stone Age by the evolution of the clam (Meretrix meretrix) in

the main shell-mounds in Tokyo Bay, SGZ VII/2, I-44.

TAKASHIMA, T.

1934 On the site of Uenodai, the military drill field, Toyama-no-hara, Tokyo, SGZ VI/i, 46-51; VI/2, 29-35.

TAKEDA, M. 1938 Report of the excavation of Yahagi shell-mound, Shimosa, KG IX/8, 37I-395.

TAKESHITA, J. I940 On the shell-mounds of Sengen and Komatsugawa, Hatozaki village, Hitachi, SGZ XII/z2-3,

42-44.

TANIKAWA, I. 1923 On a Stone Age site at Nogawa, Tachibana county, Musashi, KGZXIII/io, 623-63o;XIII/i i,

717-725. I924-25 Study of Moroiso pottery, KGZ XIV/9, 546-551 I; XIV/II, 679-689; XV/i, 26-50. I925-26 Report on the excavation of the Minowa shell-mounds, Sagami, KGZ XV/3, 172-176;

XV/9, 544-569; XVI/4, 213-235. I926 The remains of Hachioji and in its vicinity, KGZ XVI/7, 443. i926a The excavation of the Angyo shell-mound, KGZ XVI/9, 617-618.

TANINAKA, K. 1929 On the discovery of the Yaehara shell-mound, KGZ XIX/, 335-336.

TAZAWA, K., OBA, I., IKEGAMI, K., and MIYAZAKI, T. I937 The Ogushi group of shell-mounds, SGZIX/2, I-24.

TOBINODAI SHELL-MOUND RESEARCH ASSOCIATION

1939 Report of research in the Tobinodai shell-mound, Shimosa, KG X/4, I49-I64. TOKI, R.

1926 On the distribution of shell-mounds in the Kanto from the viewpoint of geomorphology, JGZ XLI/II, 524-552.

TOKI, N. I934 Report on the site of Dokanyama, Tokyo, SGZ VI/4, 29-42. I934a On the technique of raised designs, SGZVI/5, 23-31.

TOKI, N., and TAKESHITA, J. 1934 On the shell-mound of Tsurumi, Kanagawa, SGZVI/5, 47-51.

I64

TOKUTOMI, T., and NAKANE, K.

1932 Pottery found in the Stone Age site at Isa, Hitachi, JGZ XLVII/542, 481-493. TORII, R.

1920 Musashino in the prehistoric period, Musashino 111/3. TSUNODA, B.

1939 Researches on the shell-mounds of Higashikuriyama, Hitachi, JGZ LIV/623, 363-399. UEHA, S.

I929 The shell-mound of Hatsutomi, Kamagaya village, Chiba, SGZ 1/2, 46-47. YAGI, S.

1897 On the pottery from the Stone Age site of Moroiso, Sagami, JGZ XIII/I39, I8-26. YAGI, S., and HAYASHI, W.

I896 The shell-mounds of Shirai and Kaizuka, Shimosa, JGZ XII/I27, 4-0o. YAGI, S., and SHIMOMURA, M.

1893 Report on the investigation of a shell-mound recently discovered at Shiizuka, Hitachi, JGZ VIII/87, 336-389.

YAGI, S., and SHIMOMURA, S.

I894 Report of the exploration and research of the Atamadai shell-mound in Katori county, Shimosa,JGZ IX/97, 254-285.

YAJIMA, S.

1940 The Stone Age dwelling sites at Mayezawa, Kurume village, Musashi, KGZXXX/ii, 804-8 6.

1941 The Stone Age house remains in Naka-arai, Benten, Itabashi ward, Tokyo, KGZ XXXT/iI, 685-697.

1942 The Stone Age dwellings of Tonoyama, Kurume village, Tokyo-fu, SGZ XIV/6, 29-44. 1942a On Igusa type pottery, KB XIII/9, 47I-479. 1943 Stone Age house remains in 2-chome, Nishida-cho, Suginami ward, Tokyo, KGZ XXXTTT/2,

7I-88. YAJIMA, S., and MURASU, S.

I940 Stone Age dwelling sites at Agiyama, Tokyo, KGZ XXX/2, 121-139. YAMANASHI PREFECTURE

I93 I Investigation of historical sites under government preseration, Tokyo (Jomon section, pp. I- I). YAMAMOTO, S., ed.

n. d. Collection of archaeological materials of Kai, I, Kofu city. 95 2 Collection of archaeological materials of Kai, II, Kofu city.

I953 Collection of archaeological materials of Kai, IX, Kofu city. YAMANOUCHI, S.

1928 The Kamihongo shell-mound, Shimosa, JGZ XTJTT/io, 463-464. 1929 Fiber-tempered pottery in northern Kanto, SGZ I/2, 1-30. 1934 A reconsideration of the Shinpukuji shell-mound, Dolmen III/I2, 34-4I. I937 Early Jomon finds from Tonobukuro, Musashi, SKG I/2, 63-64.

YAMAZAKI, N. 1894 On the ages of shell-mounds existing near Tokyo, JGZIX/98, 326-329.

YAMAZAKI, N., YAWATA, I., and NAKAYA, J. I925 Remains of the Manda shell incline, Asahi village, Naka county, Sagami, JGZ XL/45I,

205-2 5. YAWATA, I.

1924 Exploration in the shell-mounds of Kasori in the province ofShimosa,JGZXXXTX/438-440, 209-2 I I.

1927 Painted pottery from the shell-mound of Ubayama, JGZ XLII/479, 342-353. 1932 Pottery discovered at Nasunahara, Minami village, Minamitama county, Musashi, KGZ

XXII/x, 8-I5.

YAWATA, I.

1932a A Stone Age site at Tomizuka, Shimosa,JGZ XLVII/53i, 41-45. 93 2b The Stone Age site at Ubayama; the shell-mound and the ancient dwelling below the shell layer, Papers of

the Anthropological Institute of the Imperial University of Tokyo, V. I934 The genealogy of the Stone Age remains in the Kanto Plain, Dolmen 111/3, 49-5 I; III/6, 50-5 I.

YOSHIDA, I.

I938 Fibrous pottery from the shell-mound of Higashi-rokusho, Musashi, SGZ X/6, 24. 1940 The shell-mounds of Ishigami, Saitama, JGZ LV/637, o56-5 13. 1948 A general report on the shell-mounds of Hanawadai in the prefecture of Ibaragi, NK I/i,

27- 33. 1948 a The site within the precincts of the Hikawa shrine, Komuro village, Saitama, NK I/z, 23-25.

i948b A criticism of Mr. Nishioka's upper limit problem of Japan's Stone Age, Anthropos III/2, 14-I 5.

I950 A short report on the Shimmeiyama site, Kawasaki city, JGZ LXI/69I, 82-84. YOSHIDA, K., and ESAKA, T.

1942 The shell-mound of Kaigarayama, KB XIII/9, 480-499. YOSHIDA, T., and SUGIHARA, S.

1939 Study of the prehistoric pottery of the Tokai district, JRGK XIII, -5 I.

SOUTHERN TOKAI AICHI PREFECTURE

1942 Report of research on famous places in Aichi prefecture, XX, Nagoya. COMMISSION FOR THE PROTECTION OF CULTURAL PROPERTIES.

1952 The shell-mounds of Yoshigo, Report on archaeological excavations by the Commission for the Protection of Cultural Properties, I, Tokyo.

ESAKA, T.

95 I The remains of Kijima, Ihara county, Shizuoka, AJ I, 62.

ETO, C.

I937 The Stone Age remains in Kashiwakubo, Nagaizumi village, Shunto county, Shizuoka, KG VIII/5, 197-223.

ETO, C., KAWABE, S., and SATO, T.

1938-39 Studies of the Early Jomon culture on the Izu Peninsula, KGIX/5, 267-27I; X/5, 207-268; X/8, 435-475.

GOTO, S. 1923 Notes on Mikawa province, KGZXIII/6, 391-418; XIV/4, 229-243.

HISANAGA, H.

I951 The remains of Onoki, Minamishitara county, Aichi, AJ I, 62-63. IKEGAMI, M.

1920 The Nishio-cho shell-mound, Mikawa, KGZ XI/4, 189- 13. ITO, G.

1942 Outline of the excavation of the mixed prehistoric and early historic sites in Shiraha-cho, Hamamatsu city, KGZ XXXII / I, 6o6-6 o.

KOMATSU, S.

1922 Neolithic sites along the coast in the province of Izu, JGZ XXXVII/42I, 136-I46. KOMURA, H.

1949 An important piece of pottery found at the shell-mound of Nishishiga, KS III, 32. MATSUMOTO, K.

936 The Jomon site ofKawayama, Miyakoda village, Inasa county, Shizuoka, SGZVIII/6, 25-30.

i66

MATSUSHIMA, T. 1952 Onedaira site of Sanshu, Ina Kyodoshigaku Oasshi, Nov.

OKAMOTO, I.

I951 The remains of Momoyama, Atami city, Shizuoka, AJ I, 62. OSAWA, K.

1937 Nihondaira in Suruga province, KGR IV, 66-68. 1937a The numerous remains of Izu, SKG I/I, 21-24.

OYAMA, K.

1923 Report on the remains of the shell-mounds ofHomi and Hiraki near the town ofFukue, Akumi county, Mikawa, JGZ XXXVIII/429, 1-24.

SAKAZUME, N.

1942 On the excavation of the human remains at the shell-mounds of Miyanishi, Ogawa, Aichi, JGZ LVII/659, 369-373.

I95 I The shell-mound of Okasato, Toyohashi city, Aichi, AJ I, 63-64. I95 i a The remains of Murakami, Okazaki city, Aichi, AJ I, 64.

SANO, B. 1928 Notes on the Stone Age sites at Omiya and its environs, Suruga, JGZ XTTTT/492, 451-458.

SATO, T.

I938 The old type of Jomon pottery in Izuito, KG IX/5, 267-271. SERIZAWA, C.

1948 The Jomon pottery of Tokigaya in the city of Shizuoka, NK 1/2, i8-22. 1954 The remains of Hirai, Takata county, Shizuoka, AJ II, 63.

SERIZAWA, C., and KATO, A. 1937 Sasagakubo in Izu province, KGR IV, 60-64. 1937a The ancient type of Jomon pottery and accompanying stone implements in Izu and Suruga

provinces, KGR V, I-25. SUGIHARA, S.

I954 Gokanmori remains, Toyohashi city, Aichi, AJII, 63-64. SUGIHARA, S., and YOSHIDA, T.

1937 Studies on the Stone Age sites along the Tenpaku River in the province of Owari, KG VIII/io, 439-455; X/I2.

SUMITA, S.

951 The Itoguchikawa shell-mound, Chita county, Aichi, AJ I, 65. 1954 The Nagato-machi remains, Nagoya city, AJ II, 64-65.

SUzuKI, B., and HISANAGA, H.

1948 The shell-mound of Mitsuiwa in the city of Okazaki, Aichi, NK I/2, 28-30. YASUMOTO, H.

1940 A list of Stone Age sites in Izu, KGZ XXX/8, 602-614. YOSHIDA, T.

I93I On the cord-marked pottery with spouts discovered at the Nishio shell-mound, Hazu county, Mikawa, KGZ XXI/4, 295 -298.

I935 On various types of prehistoric pottery in Osan, KG VI/i, 40-48.

KANSAI

Fujii, S. I931 A table of Stone Age sites in Wakayama, SGZ III/4, 46.

HAMADA, K. and TATSUMA, E.

1918 Report on the excavation of a neolithic site at Ko in the province of Kawachi, KTDKH II, 1-33. 1920 A second excavation at Ko, a neolithic site in the province of Kawachi, KTDKH IV, 1-48.

I67

HIGUCHI, K.

1925 The Stone Age site at the foot of Miwasan, Yamato, KGZ XV/io, 679-682. 1927 General report on Yamato, KGZ XVII/8, 572-577.

1929 New finds of Jomon pottery in the province of Yamato, SGZ I/2, 50-52. 1936 The Stone Age remains of Takenouchi, Yamato, Nara.

IKEGAMI, K. 1934 The Stone Age site of Tendoyama, Tategami village, Shima county, Mie, SGZ VI/I, 43 -48.

IMAZATO, I.

1948 Jomon pottery from Onchi in Kawachi, NK 1/3, 13-14. KEIYAMA, H.

1954 The Ishiyama shell-mound, Otsu city, Shiga, AJ II, 65. KITANO, K.

1951 On the Jomon site in Nishikiori, KGK V, 34-35. KOBAYASHI, Y.

1935 Painted Jomon pottery, Toyo Bijutsu XXTT, 89-99. KOBAYASHI, Y., FUKIOKA, K., and NAKAMURA, H.

1938 The remains of Sugisawa, Shunsho village, Sakata county, Omi, KG IX/5, 221-235. KYOTO NATIONAL MUSEUM

I953 Yamashiro archaeological exhibition, Oct. I -Nov. Io. MORIMOTO, R.

I924 Prehistoric sites in Yamato province, KGZ XIV/Io, 587-600; XIV/I , 664-679. 193 3 Notes on the prehistoric site at Takenouchi, Kitakatsuragi county, Yamato, KGIV/7, 197-202.

NAKAYAMA, H. 1929 On the cord-marked pottery of the provinces of the Kinai, the Yayoishiki pottery of the prov-

inces of the Kanto, the pottery found in the Mukogaoka shell-mound, and the so-called Mo- roiso style pottery, KGZ XIX/x, 66 -683; XX/2, 10I-107; XX/4, 225-246.

NAORA, N. I926 Study of the remains of Otoshiyama, Yamada-tarumi village, Akashi county, Harima, privately

printed. 1927 A study of the Jomon pottery of the Kinki region, II, KGZ XVII/4, 272-297. 1943 Investigations on the ancient culture of the Kinki, Tokyo.

OBA, I.

1938 Jomon material from Ise, SGZ X/I, 38-40. OE, Y.

1950 Prehistoric pottery from the bottom of Lake Biwa, Kyoto. 1952 On the Jomon style of pottery excavated at Daigo, Shiga, Bunkashigaku V, 74-78. I954 The geographical situation and the cultural deposit of a neolithic site at Daigo, Higashi-asai,

Shiga, Kodaigaku III/I, 52-64. OSAKA CITY MUSEUM

I954 Exhibition of the ancient culture of Osaka, May 15 -June 30. SHIBATA, T.

1925 Pottery and stone artifacts discovered on the bottom of Lake Biwa, JGZ XL/447, 3I-32. SHIMADA, F., and SATO, M.

I935 On a few Yayoi sites and the newly discovered Jomon sites in Setsuhoku, KGZ XXV/I, 690-703.

SHIMADA, S.

1924 A site of the Stone Age recently discovered at Kitashirakawa-machi in the city of Kyoto, KGZ XIV/5, 278-286.

1926 Excavation of the remains of the shell-mound of Kusaka, Nakakawachi county, Kawachi, JGZ XLI/I2, 583-591.

i68

SHIMADA, S.

1934 Prehistoric pottery in Omi, KG V/5, 30-I3 3.

SHIMAMOTO, H. I934 On the Jomon pottery of Yamato, SGZ VI/4, 1-27. I937 Stone Age finds at Uchimaki village, Uda county, Yamato, SGZ IX/3, 49-5 5. 1938 Stone implements and pottery from Takenouchi, Nara, SGZ X/3, 49-50.

SUENAGA, M.

I932 Brief report on the remains of Miyatake, Rekishi to chiri XXTX/5, 47-53. 1939 Archaeological survey of the sacred field of the Kashiwara shrine, KGZ XXTX/Io, 589-608.

I944 Remains of Miyatake, Kyoto.

SUENAGA, M., and KOJIMA, T.

1954 Report of cultural investigation along the Yoshino River, Nara Prefecture; archaeology, 289-352, Nara.

TAKAYAMA, K.

1927 An outline report on stone implements and other relics from Shirahane village, south Omi, KGZ XVII/9, 627-628.

TANIKAWA, I.

1925 Report of the Stone Age sites and relics recently discovered in the province of Yamato, KGZ XV/I , 735 -747.

TSUBOI, K.

I95I The remains of Shigasato, Otsu city, Shiga, AJ I, 65-66.

UMEHARA, S. 1935 Report of research on the Stone Age site of Ogura in the Kitashirakawa district of Kyoto, Reports of

research on the famous historical places in Kyoto prefecture, XVI. URA, H.

1939 First report on the excavation of the shell-mound of Kozanji, Kii, KG X/7, 389-407. YOKOYAMA, S.

1930 Jomon pottery in the province of Ise, SGZ II/i, z2-I6. YOSHIDA, U.

1929 On the Jomon pottery from Shimada village, Yamato, KGZ XIX/4, 281-284.

CHUGOKU AND SHIKOKU

ESAKA, T.

195I The Kijima shell-mound, Oku county, Okayama, AJI, 66.

HAMADA, S.

1953 The place where relics were found in Ushirokawara, Yama-

guchi University. HIGUCHI, K.

1926 Two sites that yielded Ainu pottery in the province of Iyo, KGZ XVI/io, 648-662. 1936 Report on the Tsutajima shell-mound on the Kotsuta island near the city of Nio, Sanuki,

SGZ VIII/I, -22.

I938 On the Minami-kusaki shell-mound, Nio, Kagawa, SGZ X/5, I-I7.

IKEDA, J. 1948 Jomon sites in Aki, NKI/4, 13-I5. 1949 The Kijima shell-mounds of Bizen, Anthropological Reports, no. 3, Hiroshima Medical College,

3-24. ITO, T.

I938 Rouletted pottery from Kurojima, Bizen, KG IX/3, I46-155.

I69

KAMAKI, Y.

1954 The Isonomori shell-mound, Kurashiki city, Okayama, AJII, 65-66. i954a The Nagasakihana remains, Tamano city, Okayama, AJ II, 66. i954b The Kijima shell-mound, Oku county, Okayama, AJ II, 66-67. 1954C The Ouchida shell-mound, Tsukubo county, Okayama, AJ II, 67-68. I954d The Takehara shell-mound, Jodo county, Okayama, AJ II, 68. I954e The remains of Kamikohama, Shodo county, Kagawa, AJ II, 69.

KANo, M. 1938 The shell-mound of Hijiyama in Hiroshima, SGZ X/2, 41-43.

KIMURA, M.

I95 The Kimatsu remains, Shodo county, Kagawa, AJ I, 70. KINTO, Y.

I954 The remains of Tatsukehira, Uzuka village, Hyogo, AJ II, 65. KOBAYASHI, Y.

I937 The cave of Gongenzan, Sakigahana, Moriyama village, Izumo, KG VIII/Io, 458-475. MATSUZAKI, K.

I951 The Uchikuraosayama shell-mound, Hiroshima city, AJ I, 69-70. MITSUMORI, S.

1936 A study of the Jomon pottery in south and west Japan, KGR I, I2-48. 1937 A study of the Kotsutajima remains in Sanuki, KGR IV, 337-373. 1938 The prehistory of west Japan, no. 2: the prehistoric culture of the zone along the Seto Inland

Sea; no. 3: carved-stick-impressed pottery of western Japan, JRGK II, 35 -72. MIZUHARA, I.

Date unsure. The Jomon pottery of the Nakatsu shell-mound, Kurozaki village, Asakuchi county, Okayama, Kibi Kokokan Hakko.

NAGAYAMA, G.

1924 The excavation of the shell-mound at Hiragi, Iyo, KGZ XIV/II, 703-7I4. NAGAYAMA, M.

I930 Pottery and stone implements from southern Iyo, JGZ XLV/5o8, 86-88. NAORA, N.

I925 On the relics of the Stone Age at Tokushima, KGZ XV/II, 705-734. 1930 The Jomon type pottery discovered in the Sanindo, The Naora Institute for Stone Age Culture

Studies, Tokyo. NAORA, N., and YOSHIDA, I.

1939 Remains from the no. i cave of Sakigahana, Moriyama village, Izumo, KGZ XXTX/8, 533-537.

OKAMOTO, K.

1954 The Sukumo shell-mound, Hata county, Kochi, AJII, 69. SAKAZUME, N.

I95 The Kijima shell-mound, Oku county, Okayama, II, AJ I, 66-67. I95Ia The Hikozaki shell-mound, Kojima county, Okayama, AJ I, 67-68.

SHIMADA, S.

1924 The shell-mound of Isonomori, Kojima county, Bizen, with special reference to the pottery with nail-shaped impressions, KGZ XIV/7, 387-396.

1925 The remains of Minogahama, Yoshishiki county, Suwo, KGZ XV/I2, 779-794. 1930 The Ota shell-mound, Takasumura, Umabe county, Bingo, Rekishi to chiri XXVI/4, 23-33.

SHIMADA, S., KIYONO, K., and UMEHARA, S. 1920 The excavation of the shell-mound of Tsugumo, Oshima village, Asakuchi county, Bitchu,

KTDKHV, I-63.

170

SUGIYAMA, S.

I935 Observations on Shikoku pottery, KG VI/2, 64-7 . I935 a A discussion of prehistoric pottery in Shikoku, KG VI/9, 412-417.

TERAISHI, M.

1891 The discovery of a shell-mound in Shikoku Island, JGZ VII, 17-21. YAMAMOTO, R.

1897 The shell-mounds in the prefecture of Okayama, JGZ XII/I30, 134-140.

KYUSHU

DAIFUKU, H. I949 The early cultures of the island of Kyushu, Japan, SJA V, 253-27I.

HAMADA, K. 1921 A prehistoric site at Ibusuki in the province of Satsuma and the pottery found in it, KTDKH

VI, 29-48. 1925 A study of the transition from the Stone Age to the Metal Age, Min:oku I/I, 1-12.

HAMADA, K., SAKAKIBARA, M., and KIYONO, K. I920 The excavation of the shell-mound at Miyanosho, Todoroki village, Uto county, Higo,

KTDKHV, 65-88. HAMADA, K., KOMAKI, S., and SHIMADA, S.

I926 The excavation of the shell-mounds at Uki in the province of Hizen, JGZ XLI/459, 1-13; XLI/46o, 79-92.

HIGUCHI, K.

193 A study of the Mori shell-mound, Kawauchi village, Nishikunisaki county, Oita, SGZ III/I, 8-50o.

HIGUCHI, K., and OTOMASU, S.

1938 The investigation of the cave of Hikiyama, Kajiki-machi, Kagoshima, SGZ X/2, 1-20. HIGUCHI, T., and TSURITA, M.

1950 Report of scientific research on the island of Hirado, Kyoto University Expedition (archaeology section, 43-85).

KAWAGUCHI, S.

I952 Prehistoric sites in Tanegashima and Yakushima, no. I, KKS II, 49-55. 1952a The Kurokawa cave site, KKS II, 59-69. I953 The Jomon type culture in southern Kyushu, KKS III, 6-20.

1953 a Distribution of prehistoric remains in Taniyama-cho, KKS III, 45 -65. KAWANO, H., and KAWAGUCHI, S.

I952 Report on the excavation of the Kusano shell-mound, Taniyama Archaeological Society, Kagoshima city.

KIMURA, M.

1933 On a type of Jomon pottery in southern Kyushu, KG IV/5, 13I-138. 1936 On the Hikachiyama pottery, Isa county, Satsuma, KG VII/9, 429-432.

KOBAYASHI, H.

I934 On the pottery of the Ataka and Goryo shell-mounds, CK VII/3-8. 1935 A chronology of Jomon pottery from Higo, KH I/2. I937 The remains of a dwelling in Hirano cave, Nakazato village, Kitamorogata county, Hiuga,

KG VIII/5, 224-229. 1939 The Jomon pottery of Kyushu, JRGK XI, -48.

KOBAYASHI, Y.

1954 The Take shell-mound, Sakurajima, Kagoshima, AJ II, 69-70.

I7'

KOKUBU, N., and KAWAKAMI, S.

1952 The Toshoji remains in Kamiishuin forest, KKS II. KOMAKI, S.

I927 A preliminary note on the excavation of the shell-mound of Gusukudake, Ryukyu, JGZ XLII/478, 295-309.

KUMAMOTO PREFECTURE

1918 Report of Historic Sites in Kumamoto prefecture, I, Prefectural Office. KUMAMOTO PREFECTURE, EDUCATION BOARD

1952 The report of the investigation of the Kokanhara shell-mound, Report of Cultural Objects in Kuma- moto Prefecture, no. 6.

KUWAYAMA, R.

1935 Excavations report on the Jomon and Yayoi culture in the prefecture of Nagasaki, SGZVII/5, I-6.

I937 Pottery of the To and Nishiako shell-mounds, Higo, SKG I/2, 62. MATSUMURA, A.

1920 The shell-mounds of Ogido in the Ryukyus, TTJKH III. MITAKA, Z.

I935 On the Stone Age of the southern islands, Dolmen IV/6, I49-I59. MITOMO, K.

1934 Double jar sites in Saga, KGZ XXIV/5, 321-336. 1952 List of sites in Kagoshima prefecture as of May I95 i, KKS I, 31-48.

MITOMO, K., KAWAGUCHI, S., and KOKUBU, N. I953 Archaeological expedition to the Satsunan Islands, no. i: northern Tanegashima and Itsuso of

Yakushima, KGZ XXXTX/I, 25-44. MITSUMORI, S.

I935 On the pottery from the Todoroki shell-mound, Higo, KG VI/2, 88-97; VI/5, 235-239. 1935 a On a manner of impressing Jomon pottery in Kyushu, Dolmen IV/6, 2I I-216. I938 Western Japan in prehistoric times, JRGK I, I-33.

MIYAKE, S.

1940 The prehistory of the Ryukyu Islands, JRGK XVI, I -43. MIYAZAKI PREFECTURE

1927 Historical sites of Miya~aki Prefecture, V (on Higashi-morogata county), Miyazaki city. I929 Historical sites of Miyazaki Prefecture, VII (on Higashi-usuki county), Miyazaki city. 1931 Historical sites of Miya.aki Prefecture, VIII (on Kita-morogata county and Tsushiro city),

Miyazaki city. MIZUNo, S., HIGUCHI, T., and OKAZAKI, T.

1953 Tsushima, Archaeologia Orientalis, Series B, VI.

MORISONO, N. '953 On the Nigahama shell-mound in Yakutsu, Nakatani-cho, Kumage county, Kagoshima, KGK

VIII, I6-20.

19 53 a The remains of Nakatane-cho, KKS III, 66-78. NAGAYAMA, M.

1927 The Stone Age remains and relics in Naoiri county, Bungo, KGZ XVII/I, 40-50. I929 Jomon pottery from Sugo village, Naoiri county, Bungo, SGZ I/, 56-57.

NAKAYAMA, H. 1917 Shell-mound and Yayoi pottery in Kyushu, KGZ VIII/4, 196-218. 1918 On a shell-mound at Sobata, Iwakoso, Hanazono village, Uto county, Higo, KGZ VIII/5,

257-272. 1926 Some Ainu type pottery from Nishiobori, Fukuoka castle, KGZ XVI/I2, 765-769.

172

NORTH KYUSHU TEACHERS ASSOCIATION

I950 Plates of north Kyushu's ancient culture, High School Teachers Association, Fukuoka, Kurume.

OBARA, K.

1932 On the Tokunoshima shell-mound in the Amami islands group, SGZ IV/3-4, 35-43. OYAMA, K.

1922 The shell-mound of Ifa in the Ryukyus, Tokyo. I93I The remains in the vicinity of Umekita village, Miyazaki, SGZ III/I, 55-56.

OYAMA, I., and OBARA, K.

I933 The cultural remains from the Omonawa shell-mound no. I, Tokunoshima, Ryukyus Islands, SGZV/5, 57-64.

SAGARA, S., and TsuJI, M.

I953 The remains of Shiyoiya, Nagayoshi village, Hiyoki county, KKS III, 82-84. SAKAZUME, N., and NAKAJIMA, T.

1943 On the shell-mound of Shimonokama, Hizen, JGZ LVIII/672, 394-403. SHICHIDA, T.

I934 Report on the site of Senbagatani and Yoshinogari, SGZ VI/4, 43-54. I935 Jomon type remains in the north of Nikawa, Chikugo, KG VI/9, 418-425.

SHIGEMORI, J., and HIGASHI, S.

1953 On the prehistoric remains of Yoshida village, KKS III, 78-81. SHIMADA, S.

I922 Some prehistoric sites in the southern part of the province of Osumi, KGZ XIII/I, 19-36. 1923 On a shell-mound at Tono, Shimomasuki county, Higo, KGZ XIII/8, 492-496.

SHIMADA, S., and HAMADA, K. 1921 Excavation of the shell-mound at Izumi in the province of Satsuma, KTDKH VI, I-27.

SUGIYAMA, S.

I934 Jomon pottery found at the Kanegasaki site, Fukuoka, KG V/4, II2-II5. TANAKA, Y.

1936 The Jomon pottery of north Kyushu, KGZ XXVI/7, 426-444. I937 The Jomon sites in Takuma county, Higo, KGZ XXVII/4, 259-265.

TERASHI, M.

1936 The Jomon pottery of Isa county in the northern part of Satsuma, Kyushu, SGZ VIII/6, 3 -49.

I939 The Nampukuji shell-mound in Higo, KG X/7, 421-434. 1943 Classification of Jomon pottery and list of remains in Kagoshima prefecture, Kagoshima city. I952 Carved-stick-impressed pottery in Kagoshima, KKS II, 28-38. I953 Prehistoric pottery with carved-stick-impressions found in southern Kyushu, Kodaigaku II/2,

138-I46.

1954 Jomon pottery in southern Kyushu, Oguchi (privately printed). TsujI, M.

1953 The remains in Yoshiri village, Shimohara, KKS III, 85-86. YAMAZAKI, I.

I918 A site which includes stone implements, Ainu and Yayoi type pottery, KGZVIII/7, 429-431. I920 On the shell-mound of Izumi, Satsuma, KGZ XI/i, 13 -21.

1921 Further observations on the Izumi shell-mound, Satsuma, KGZ XI/5, 288-294. I921 a On the shell-mound in west Ichiki village, Hioki county, Satsuma, KGZ XI/I2z, 727-736. 1926 Reports on ancient sites, beautiful scenery and national monuments in Kagoshima prefecture, I, Prefectural

office. I929 Reports on ancient sites, beautiful scenery and national monuments in Kagoshima prefectre, II, Prefec-

tural office (Prehistoric: I-23; Izumi shell-mound: 107-12I). I930 The shell-mound at Omonawa, Tokunoshima, Kagoshima, KGZ XX/io, 654-664.

I73

YAWATA, I.

I950 Some notes on the prehistory of the Ryukyu Islands, MGK XV/2, 31-38.

TOSAN

AKAGI, K.

I935 The pottery of Nukazuka, Hidabito 111/3, 18-24; 111/4, 23-28; 111/6, 29-33. 193 5 a On the Stone Age pottery from the vicinity of Ichinomiya, Hida, Hidabito III/9, 2-6. I936 The thin type of Jomon pottery of Hida, Hidabito IV/I, 37-40; IV/2, 6-II. I936a The pottery of Miya village, Nuke cave, Hidabito IV/3, 21-22. i936b The Stone Age remains in Hijiyama-enago, Hidabito IV/4, 52-68; IV/5, 8-12; IV/6, 25-29;

IV/7, 25-26; V/I, I6-25; V/2, 7-II; V/3, 26-33. 1936 The shell-scraped and impressed pottery of Hida, Hidabito IV/7, I-4. i936d The remains from Shimomichi, Kamihirose, Ko village, Yoshishiro county, Hidabito IV/II,

I3-I5.

1937 The Stone Age remains of Kitanishirakawa village, Hidabito V/8, I2-i6. i937a The erasing method in carved-stick-impressed pottery, Hidabito V/9, 23-27. 1938 Preliminary report of Stone Age remains in Matsubara, Hidabito VI/2, 27-31. I938 a The Morishita remains of Yamaguchi in Ohachiga village, Hidabito VI/4, IO-I5; VI/7, 13 -I8.

FuJII, J. I930 A memorandum on two shell-mounds, KGZ XX/io, 702-703.

FUJIMORI, E.

1934 The type of pottery found at Odoriba in the province of Shinano,JGZ XLTX/564, 402-409. 1934a The pottery of Idenokashira, Shinano, SGZ VI/5, 41-43. I934b Pottery and a stone saw from Shinano, SGZ VI/6, 57-59. 1936 Pointed bottomed and fiber-tempered pottery from the foot of Tadeshina mountain, KG

VII/9, 428. 1943 Pottery from Kuwanagawa, Shimominochi county, Shinano, JGZ LVIII/665, Io4-13.

HAYASHI, K. 1926 Letter from Mino, KGZ XVI/9, 6Io-6II. I930 The Stone Age site at Ogawa, Mino, JGZXLV/5I6, 413-4I9. I933 On the sites in the vicinity of Takayama, Gifu, and the objects found in the area, SGZ V/2,

21-33. 1936 The discovering of Kamegaoka pottery with Yayoi type pottery, Hidabito IV/6, I5. I937 On the Stone Age finds of Kamitakara village, Yoshiki county, Hida, SGZ IX/6, 40-52. 1937a The Mikawa remains in Ko village, Yoshishiro county, Hidabito V/2, 40-42. i937b The remains of Kurabashira, Yoshishiro county, Hida, Hidabito V/II, 6-7. 1938 On the discovery of Jomon pottery with stone lids and the presumably Stone Age house re-

mains in Gifu, KGR IX, 19-24. 1938a The remains of Asobu village, Yoshishiro county, Hidabito VI/5, 30-31. 1942 Some notes on prehistoric sites and relics in the province of Hida, JGZ LVII/66o, 423-430. 1943 Notes on the neolithic sites and remains at Aso, Hida, JGZ LVIII/669, 300-3 I4.

HIRAIDE RESEARCH COMMITTEE

I1955 Hiraide: a synthetic study on the remains of ancient villages at Sogamura, Nagano Prefecture, Tokyo, Osaka and Kokura.

IKEGAMI, K.

I935 The Stone Age dwellings of Tsukinokizawa, Karino village, Nasu county, Tochigi, SGZ VII/6, 31-44; VIII/i, 23-44.

1941 The Stone Age finds of Iguchi, Karino village, Nasu county, Tochigi, SGZ XIII/4, I8-31.

I74

INUZUKA, G. 1930 On the pottery and stone implements found in Hida province, KGZ XX/4, 260-266.

KASAHARA, U.

193I The clay figure and Jomon pottery with spouts recently discovered at Nibukawa village, Ono county, Hida, KGZ XXI/8, 586-59I.

KAWAKAMI, S.

1934 The discovery of shell-marked pottery, Hidabito II/i. KIDDER, J. E. JR.

I952 A Jomon vessel in the Buffalo Museum of Science, Artibus Asiae XV/ -2, 1-i6. KOBAYASHI, Y., and NUMATA, R.

1900 Stone Age patterns from Nozawa village, Shimotsuke, JGZ XV/I66, I29-132. MIYASAKA, E.

I933 A memorandum on the excavation of the Togaruishi remains, Dolmen III/i, 44-47. 1942 Excavation report on the dwelling community Kaminodan, Kitayama village, Suwa county,

Nagano, SGZ XIV/i, I-40. 1942 a Excavations of the prehistoric dwelling site at Togaruishi, Suwa county, Nagano, JGZ LVII/

652, 76-84. MIYASAKA, M.

I930 The excavation report of the protohistoric tomb in Nakayama, Nagano, no. 2, SGZII/2, 28-38. MOROZUMI, M.

I930 Investigation of pre- and protohistoric finds in the vicinity of Suwa accompanied by His High- ness Prince Fushimi, SGZ II/, 58-72.

NAORA, N.

1927 The study of Stone Age pottery in the central part of Japan, KGZ XVII/4, 272-296. OBA, I.

I937 The Stone Age in Kiso valley, Nagano, SKG 1/3, 65-79. OGYU, T., and IKEGAMI, K.

1935 Stone Age material from Nasunogahara, Tochigi, SGZ VII/5, 33-36. RANDA, Y.

1948 The Kirioshe coast in prehistoric times, Ryomo Association of Archaeology, August. I949 Brief report on the research of the Fumonji Kannon site, Kodaigaku I.

RYOKAKU, S.

1932 Enokiumito remains, Nagachi village, Suwa county, Shinshu, KGZ XXII/i, 28-48. SAKAZUME, N.

1954 Sites along the Kanna river in Gumma prefecture, Jimbungaku XIV, 59-I3I. SAKAZUME, N., and WATANABE, H.

I949 On the excavation of the Fumonji site, Tochigi, JGZ LXI/690, 7-I4. SHIOBARA, D.

1941 On the stone implements from Ina-machi, Shinano, KGZ XXXT/2, 97-122. 194I a Hachinin-zuka, Ina-machi, Shinano, KGZ XXXI/io, 6 5 -6I9.

SONODA, Y.

1948 The earliest Stone Age remains at Kannonyama, Fumonji, Aya village, Anthropos III/2, 21-25. SUGIMOTO, T.

I933 The discovery of Jomon pottery, KGZ XXTTT/6, 385. TAKAHASHI, K.

1929 Pottery (vessel) with animal figure, SGZ I/5, 57. TAKAHASHI, N.

1928 Two archaeological finds, KGZ XVIII/5, 270-273. TOCHIGI PREFECTURE

1928 Reports of research onfamous historicalplaces in Tochigi prefecture, III, Utsunomiya city.

I75

TORII, R. 1924 The history of Suwa, Tokyo. 1926 The prehistory and early history of Kamiina, Tokyo.

TOZAWA, M. I950 The early Jomon pottery of Kudaribayashi in Okaya city, Shinano 11/7. I952 Report of the research of Kudaribayashi in Okaya city, Suwa Kokogaku VIII, April.

WATANABE, R. 1935 The remains of the Stone Age house in Kawanishi-cho, Tochigi, KGZ XXV/3, I79-I182. 1940 Supplementary list of Stone Age sites in the northern part of Nasu county, Tochigi, SGZ

XII/2-3, 45-46. 1948 A new site yielding pottery of the Tado type in Ono village, Nasu county, Shimotsuke, NK

1/3, IO-I2.

YAWATA, I.

1932 Pottery of Sano, Shimotakai county, Shinano, KG III/3, 83-88. I932a Carved-stick-impressed pottery, KG III/6, i85 - 88.

1934 Archaeological research in Kitasaku county, Nagano city. I936 The Kamegaoka type of pottery in Hida, Hidabito IV/4, 8-12.

I937 The Moroiso type remains in Saku county, Shinano, SKG 1/2, 39-46. 194I On the remains from Ishibayashi, Nasu county, Shimotsuke, JGZ LVI/647, 479-484.

HOKURIKU

AKITA, K.

1935 Brief report of Kamiyamada shell-mound in Unoki village, Kawakita county, Kaga, KGZ XXV/3, I72-178.

1937 Kobushigasego in Noto province, KGR IV, 78-79. 1938 Archaeological discovery of Hotatsuyama, Noto, KGR VII, I64-I66. I95 Brief report on the Azaoginoshima site, Shiyucho, Hasako county, IKKS III, I I-14. 1952 Brief report on Soboku in Anamizu-cho, IKKS IV, 29-32.

FUJIMORI, R.

I935 One type of Jomon pottery in Hokuriku, KG VI/i, 49-58. GoTo, S.

I930 Lower Echiu in ancient times, KGZ XX/9, 6I7-633. HAYAKAWA, S.

I936 The Stone Age in Echiu, Hidabito IV/2, 9-10. 1936a The prehistoric culture of Echiu. 1937 Kuragatani and Fukamichi in Echiu province, KGR IV, 79-80.

ISHIKAWA ARCHAEOLOGICAL STUDY SOCIETY

I95 List of Stone Age and Tomb Age sites in Kaga and Noto, IKKS (unnumbered). ISHIKAWA ARCHAEOLOGICAL STUDY SOCIETY AND THE JUSHU LOCAL HISTORY STUDY SOCIETY

1952 Investigation of Niho site, Matsunami-cho, Jushu county, IKKS IV, 7-I2. ISHIKAWA ARCHAEOLOGICAL STUDY SOCIETY AND THE KANAZAWA MIDDLE HIGH SCHOOL SOCIOLOGY

CLUB

1952 Excavation of the house remains of Kitazuka in Kanazawa city, IKKS IV, 24-29. ISHIKAWA PREFECTURE

1923 Report of investigation of historical sites of Ishikawa prefecture, I, Kyoto. KONDO, K., and KONDO, A.

1936 The Umataka remains in Echigo and pulley type earrings, KG VII/io, 478-483. KUBO, K.

1933 The shell-mound at Kamiyamada, Ishikawa, KG IV/9, 264-266.

I76

KUBO, K., and TAKABORI, K. I95 i The Kiya site in Unoki-cho, Kawakita county, IKKS III, 14-23.

KURATA, I.

I930 The Stone Age site of Takaoka, Echiu,JGZ XLV/5II, I7I-I82. IUROKAWA, S.

I939 Sites in the neighborhood of Shibayamagata, Ishikawa, KGZ XXIX/i, 47-53. MINATO, T.

I935 Mutsu type pots in Echiu, KG VI/2, 98-106. MITSUMORI, S.

I936 Jomon pottery in Ono county, Echizen, Hidabito IV/9, i6-20.

MIYAGAWA, H. I95 Excavation of Ushitsu-cho site in Hoshi county, IKKS III, 34-39.

NOBAYASHI, T.

1952 Report of Investigation of Kusudashin remains, Geography Club, Kosugi Senior High School, Toyama Prefecture, Jan.

NUMATA, K.

I951 On the Kariyasu and Uano sites, IKKS III, 32-34. 1952 Brief report of Kasamai site in Kanazawa city, IKKS IV, 56-57.

ONO, E. 1900 The Stone Age relics discovered in Echigo, JGZ XVI/i76, 51-58.

SAITO, M.

I937 The new prehistoric materials in Ono county, Fukui, KGZ XXVII/I, 54-6 i.

I937a Omi in Echizen province, KGR IV, 80-84. 1937b Report on the Stone Age sites of Niigata prefecture, Prefectural office.

SHIYANAGI, Y.

1950 A guide to the Jomon sites in Hoshi county, IKKS II, 23-25. TAKABORI, K.

I950 Investigation of the house remains in Funaokayama, Tsuruki-cho, Ishikawa county, IKKS II, -I I.

195oa On the Stone Age site in Fukura village, Hagui county, IKKS II, 3-I7. 1952 Mangyo site in Nanao city, IKKS IV, 41-44.

TOYAMA PREFECTURE 1922 Report by the Toyama prefectural committee on investigation andpreservation of historical sites and relics,

III, Prefectural office.

TSUKUDA, K.

1953 Brief report of Takazuka remains in Moro-oka village, Hoshi county, IKKS V, 29-34. UEDA, S.

1917 An account of the Stone Age remains at Kitabori, Nishiyasui village, Tano county, Echizen, KGZ VII/7, 428-430.

1918 Further account of the Stone Age remains at Kitabori in the province of Echizen, KGZ VIII/9, 55 2-554.

1921 Ancient remains and historical sites in the provinces of Kaga and Noto, KGZ XII/2, 97-103; XII/7, 397-405.

UENO, Y.

1943 Report of investigation of the Uenohata shell-mound in Azashibayama, Tsukizu village, Enuma county, Ishikawa, KGZ XXTTT/II, 525-532.

1952 Report of excavation of the Azashibayama shell-mound, Tsukizu village, Enuma county, Ishi-

kawa, IKKS IV, x-6.

1953 Brief report of rouletted Jomon in Hashitate-cho, Enuma county, Ishikawa, IKKS V, 24.

I) I77

UENO, Y., and MIYAGAWA, H. I951 Brief report of the Azaozo site in Oguchi village, Ishikawa county, Ishikawa, IKKS III, 23-28.

YAWATA, I.

1936 Some notes on the neolithic pottery from Imosaka, Echigo, JGZ LI/590, 539-544. 1937 Some types of pottery from Echigo, JGZ LII/59I, 20-26.

YOSHIZAWA, S. I908 Notes on some Stone Age sites in the province of Echiu, JGZ XXIV/272, 52-59.

TOHOKU

ABE, M. 1920 The Yayoi type pottery found at Tazawa village, Hokai county, Ugo, KGZ X/I2, 658-665.

COMMISSION FOR THE PROTECTION OF CULTURAL PROPERTIES

1953 Stone remains of Oyu, Commission for the protection of cultural properties, II, Tokyo. ESAKA, T.

I952 The origin of the primeval culture of Japan, Kodaigaku I/2, 85-97. I954 Oka-machi remains, Higashi-tsugaru county, Aomori, AJ II, 43. 1954a Butsudaii remains, Shimokita county, Aomori, AJ II, 43. 954b Notsukoro remains, Ohata-machi, Aomori, AJ II, 43-44.

I954C Mushiri remains, Shimokita county, Aomori, AJ II, 44. I954d Kuzuzawa remains, Shimokita county, Aomori, AJ II, 45-46. 1954e Yachigamori remains, Shimokita county, Aomori, AJ II, 46-47. I954f Choshakyuho remains, Katchi village, Kamikita county, Aomori, AJ II, 47-48.

GOTO, S.

1924 The pottery discovered in Takaragamine, Rikuzen, KGZ XIV/io, 634-635. HASEBE, K.

I919 The Ipongi shell-mound, Fukiura, Ugo, JGZ XXXIV/8, 276-278. I925 Notes on the excavation of the Obora shell-mounds, Rikuzen, JGZ XL/456, 349-360. 1927 Notes on the cylindrical pottery found chiefly in the northeastern part of Japan, JGZ XLII/

471, 28-41. ITO, N.

1940 Report of investigations of the shell-mounds of Soyama in the village of Fudodo, Miyagi, Reports on historical research, Imperial University of Sendai, II.

KASAI, S.

1918 A general view of the prehistoric remains found in the northern part of Honshu, no. 2, KGZ VIII/7, 398-4I .

918 a On a Stone Age grave discovered in Mutsu province, KGZIX/2, 65-85. KIDA, S., and SUGIYAMA, S.

1932 Plates illustrating the vegetal remains of the Japanese Stone Age, Tokyo. KIDDER, J. E. JR.

1953 The Kamegaoka vessels in the City Art Museum, St. Louis, Artibus Asiae XVI/3, 198-208. KOIWA, S.

I953 Report of archaeological survey of the site of Odatezutsumi, Morioka city, Iwate, Kodai XI, 21-24.

KONO, R.

I95 The Kingoji shell-mound, Miyagi, AJ I, 36. 1 95 a The Kamikawana shell-mound, Miyagi, AJ I, 36. I95 ib The Kiyomizu remains, Miyagi, AJ I, 36-37.

KUSANO, S. I930 On the sherds of pottery vessels of the Ichioji type found with vegetal remains, SGZ II/6, 2i.

178

KUWAYAMA, R.

I951 The Jomon culture of Aizu Bonchi, AJI, 37-40. I954 The Tokoyo remains, Yama county, Fukushima, AJ II, 48.

LUHO, V.

I953 Relations of the Shirahama and Fukikirizawa pottery to the Kammkeramik, Kodaigaku II/3, 193-200.

MATSUMOTO, H. 1919 A comparative study of the pottery found in the various strata exposed in the shell-mounds of

Satohama at Miyatoshima, Rikuzen,JGZ XXXIV/389, 285-314; XXXIV/390, 3 3 I -343. 1919 a Pottery of the Osozawa shell-mound, Kisen county, and Miyatoshima, Satohama, Gendai no

Kagaku VII/ -6. 9I 9 b Discussion of man in prehistoric Japan, Rekishi to chiri III/2, 19-3 .

1930 Three Stone or post-Stone Age sites in Nishitaga village, Natori county, Rikuzen, KGZXX/2, 61-77; XX/4, 245 -259.

1930 a The shell-mounds of Aoshima in the village of Minamikata, Rikuten, Reports of the Palaeontolog- ical Institute, Tohoku Imperial University, IX.

MIYASAKA, M.

I930 The Stone Age site of Ichioji, Korekawa village, Aomori, northeast Japan, SGZ II/6, I-20.

MURANUSHI, I. 1928 Prehistoric sites and remains of stone quarries in the vicinity of Shiogama, KGZ XVIII/I2,

758-771; XIX/2, 129-I36. MUTO, T.

1933 The site in Kamishiro village, Ugo, SGZV/3, 35-39. 1933 a Two examples of finds of Ichioji type pottery (Ento), SGZ V/5, 72-76. 1935 Two Ichioji type designs, SGZ VII/z, 5 I-5 2.

1938 Excavation report of the site of Fudanoki, Kamiyo village, Semboku county, Akita, SGZ X/5, 18-24.

NISHIMURA, M., SAKURAI, K., and TAMAGUCHI, T. 1952 General report of the archaeological survey of sites in the vicinity of Morita, Aomori, Kodai V,

25-41.

OYAMA, K. I92I New studies on the sites and relics of the Stone Age at Matsushima village, Rikuzen, JGZ

XXXVI/408-41 , 67-79. 1932 On the shell-mound of Numazu, Inai village, Rikuzen, SGZ IV/I, 43-44.

OYAMA, K., KONO, I., IKEGAMI, K., SUGIYAMA, S., and others I930 Korekawa Studies Issue, SGZ II/4.

SAITO, T.

I930 Short report on the research in the shell-mounds on the islands in the Matsushima Bay, Studies on the culture of northeast Japan, 11/4. _ - - 4 _* . _ , e . .1 T 7, T J * _L' TT ,

I953 lne ancient culture or nortn Japan, Koaazgaeu 11/2, 5 SAKURAI, K.

1954 Archaeological notes on Tsugaru, Kodai XII, 27-30.

SATO, D.

94-I07.

1889 The large jar from Hanamaki village, Tsugaru county, Mutsu, JGZ V/45, 39-41. I896 Report on the excavation of the Stone Age site of Kamegaoka, Mutsu, JGZ XI/I i8, 125 -148. 1896a Report on the second excavation of the Stone Age site of Kamegaoka in Mutsu, JGZ XI/I24,

389-412. 1897 Notes on the lacquer-like substance from the Stone Age sites in Japan, JGZ XII/I3 8, 47I -473.

I3* I79

SUGIYAMA, H.

I953 On the prehistoric age of the vicinity of Mangoku-ura Bay in Miyagi prefecture, JGZ LXII/ 700, 62-69.

TAKAHASHI, N.

1933 Stone Age relics found in Ishinadate, Ugo, KGZ XXTTT/I, 58. TATEOKA, T.

I895 The Shinchi shell-mound in Iwaki, JGZX/III, 347-352; X/IIz, 400-410. TOBA, G.

1900 The Stone Age relics discovered at Kotomo village, Rikuzen, JGZ XV/i68, 243-247. TSUBOI, S.

1901 On the Stone Age designs which seem to be derived from the forms of the femurs of some

mammals, JGZ XVI/I 84, 4I 3-418. TSUNODA, B.

I935 Late Jomon in Tohoku, KHI/2.

I936 A study of the Funeirishima shell-mound, Rikuzen, KGR III, 265. 1936a The pointed bottomed pottery from the Satohama shell-mound, Miyatojima, Rikuzen, SGZ

VIII/5, 17-26. I939 A study of the Enokibayashi remains in Mutsu, KGR X, 153-I75. I95 i The meaning of the earliest culture in Japan, Shigaku gasshi LX, 24-41.

UEDA, S.

1934 A large Jomon jar, KGZ XXIV/8, 540. YAMANOUCHI, S.

I929 The distribution of the pottery of the so-called Kamegaoka type and the latest phase of the

Jomon pottery, KG 1/3-4, 139-157. I929a Fiber-tempered pottery in the Kanto and Tohoku, SGZI/z, I-30; 1/3, 85-86; II/I, 73-75. 1932 The ancient Japanese culture, Dolmen 1/4, 40-43; I/5, 85-90; I/6, 46-50; II/2, 49-5 3

YASHIRO, Y.

1932 The Stone Age sites by the course of the Fujiwara River, Fukushima, and their chronology, JGZ XLVII/534, x49-160.

HOKKAIDO AND NORTHERN ISLANDS

AKABORI, E.

I933 An individual examination of pottery and stone implements in Hokkaido, Dolmen II/I, 51-55. ARASAWA, Y.

1922 Pit-dwellings and shell-mounds of Abashiri, Hokkaido, KGZ XII/5, 295-299. BABA, O.

1934 Archaeological investigations on Shimushu island, JGZ XTJX/55 6, 39-63. I936 A second archaeological investigation on Shimushu, an island of the Kuriles, JGZ LI/58i,

9I-II5. 1940 Archaeological outline of Sakhalin, JRGK XVII, i - 19.

GOTO, J. I934 A personal opinion on the prehistoric age in Hokkaido, KGZ XXIV/ii, 709-727. I935 On the tomb that resembles a pit-dwelling in Ebetsu-cho, Ishikari, KGZ XXV/2, 87-107;

XXV/5, 298-327. I937 Prehistoric sites and relics found in Sapporo, Hokkaido, KGZ XXVII/9, 585 -619. 1938 Neolithic site of Temiya, Hokkaido, KGZ XXVIII/I2, 806-829.

GoTo, J., and SONEWARA, T.

1934 The ancient burial mounds and fortress in Eniwa, Hokkaido, KGZ XXIV/2, 79-102.

i8o

GOTO, S.

1934 A study on the relics from burial mounds in Hokkaido, KGZ XXIV/2, 103-128; XXIV/3, 191-204.

HIRAKO, G. 1929 Notes on the prehistoric pottery from Bentenjima, Hokkaido, and the Kurile islands, JGZ

XLIV/498, 131-I43; XLIV/499, 192-200; XLIV/o5I, 384-389. IKEGAMI, K.

1937 Stone Age finds from Riamnai in the town of Iwanai, Iwanai county, Shiribeshi, Hokkaido, SGZ IX/4, 46-47.

INO, T.

1939 A history of research on the pottery of Okhotsk type, JGZ LIV/626, 526-537. ITO, N.

1935 An opinion on the Stone Age in Karafuto, Dolmen IV/6, 109-113. 1937 Jomon pottery from Karafuto, Bunka IV/3, 99-180.

KANATANI, K.

I952 Pottery discovered in Chishima, KGK VI, 3.

KITAGAMAE, Y., and SUMI, H.

I953 A report on the Okhotsk type at Tosamupuro in Nemuro, Hokkaido, JB XXIV, 31-47. KODAMA, S.

1948 The Moyoro shell-mound, Hokkaido Genshi Bunka Kenkyukai, Sapporo. KODAMA, S., and OBA, T.

1953 Researches in the prehistoric sites at Sumiyoshi-cho, Hakodate, Studiesfrom the research insti- tutefor northern culture, VIII, 67-142.

KOMAI, K.

195I Moyoro shell-mound, Abashiri city, Hokkaido, AJI, 35-36.

KONO, H.

I932 The pit-dwelling site covered by volcanic ashes at Chitose village, Iburi, JGZ XLVII/535, 165-177.

I933 A human skull and other remains found in a burial place of the Stone Age at Ebetsu, Hokkaido, JGZ XLVIII/548, 311-3I5.

1933 a Catalog of exhibition of primitive culture in Hokkaido, Society for the study of native industrial arts, Tokyo, June.

1934 On the ancient tomb-like burials in Hokkaido, KGZ XXIV/2, 65 -78. 1935 A survey of the Stone Age of Hokkaido, Dolmen IV/6, 114-122.

KONO, H., and NATORI, T.

1938 The prehistory of Hokkaido, JRGK VI, i -4.

KONO, I.

1932 Jomon pottery from Kamiiso, Hokkaido island, SGZ IV/I, 44-47.

NAORA, N.

1926 On the relics discovered in Honto-cho, Karafuto, KGZ XVI/4, 250-259.

NATORI, T.

1933 Report on the archaeological investigations on the islands of Riishiri and Rebun near Hok- kaido, SGZ V/3, 1-30.

1933a A presentation of prehistoric relics collected by the late Mr. Shinooka, KGZ XXTTT/3, 143-I49.

I933b On the excavation of the pit graves at Ebetsu, Hokkaido, KGZ XXTTT/II, 715 -732.

1939 The pottery of Hokkaido, JRGK X, I -42.

I947 The Moyoro shell-mound, Anthropos 11/4, i8.

I8I

NIIOKA, T.

I940 Prehistoric sites along the northwestern coast of southern Sakhalin, JGZ LV/634, 370-389. 940 a The Ekoye Stone Age site in Karafuto, KGZ XXX/9, 675-693.

OBA, T. I954 The sand hill remains, Funatomari village, Rebun Island, AJ II, 42. 9I54a The Sayibe marsh remains, suburbs of Hakodate city, AJ II, 42-43.

OBA, T., and OGITANI, M.

I952 The Erimo remains, Report of Study of Institute of Humanistic Studies, Hidaka, II, Sapporo city.

OKA, M., and BABA, S.

1938 Report on the archaeological investigations in the region of Taraika on Sakhalin and in Shimushu in the northern Kuriles, MGK IV/3, 489-522.

OYAMA, K. I929 Jomon pottery from Muroran, Hokkaido, SGZ I/i, 86.

SAITO, C.

1933 Pottery and stone implements found on Etorofu, Chishima, KGZ XXTTT/6, 333-344. SAITO, Y.

I943 Small stone implement site with pointed bottomed and combed pottery, KGZ XXXIII/7, 33I-362.

SAKAZUME, N. I954 The shell-mounds in Karafuto, The shell-mounds of Japan I, Kyoto.

SEKI, T. I940 Stone Age finds in the vicinity of the Erimo Peninsula, SGZ XII/I, 36-40.

SUGIHARA, S.

1933 The west beach of Karafuto, Dolmen II/I2, 12-18.

SUGIYAMA, S.

1932 Pottery with figures representing bear from Hokkaido and Sakhalin, JGZ XLVII/54I, 432-437.

1938 A note on the prehistoric rock-shelter at Okajima, Hokkaido, JGZ LIII/6o9, 348-360. TAKIGUCHI, H.

I953 The pottery of Etorofu Island, south Kuriles, Kodai XI, 17-20.

TORII, R. 1923 A neolithic vessel from Rebun Island, Hokkaido, JGZ XXXVIII/434, 249-25 .

TSUBOI, S. I895 On the similarity of the Stone Age pottery found in Hokkaido and Honshu, JGZ XI/II6,

45-49. UEDA, S.

I934 Stone implements and pottery in Chishima, KGZ XXIV/II, 777-778. YAWATA, I.

1936 Pottery with projections in Hokkaido, KGR II. YONEMURA, K.

I932 On the pottery found in the city of Abashiri, Hokkaido, SGZ IV/3-4, 44-53. I934 A relief in the form of a bird on a pottery vessel, Hokkaido, SGZ VI/2, 52. 1935 Notes on the burials found in the shell-mound of Moyoro, Hokkaido, JGZ L/568, 47-56. I950 The Moyoro shell-mound, Abashiri Municipal Museum, Tokyo. 1954 The Okyoku cave remains, Abashiri city, Hokkaido, AJ II, 41.

I82

FIGURINES, PLAQUES AND MISCELLANEOUS

AKAGI, K. 1938 New material on Hida figurines, Hidabito VI/I2, 21-22.

ETO, C. I936 Figurine and face-like handle discovered in Izu province, KG VII/Io, 454-455.

GOTO, S. I92I Stone Age earrings, KGZ XI/Io, 628-632. I937 The Stone Age figurine found at Shinpukuji, Musashi, KGZ XXVII/6, 4I6.

HAGIWARA, H. I950 A figurine from Iwate prefecture, JB XIX, 24.

HASEBE, K. I924 On the so-called snow goggles represented in the clay images of the Japanese Stone Age,

KGZXIV/Io, 573-576. HAYAKAWA, S.

1922 Problematic relics, KGZ XII/8, 502-503. HAYASAKA, S.

1940 A fragmentary work of clay, SGZ XII/4-6, I75 -176.

HIGUCHI, K.

I93 A clay idol from the province of Uzen, SGZ III/5, 35. 1933 A bell-shaped piece of clay, SGZ V/5, 83-84.

IKEGAMI, K. I930 New discoveries of clay plaques in the Shimpukuji shell-mound, Saitama, SGZ II/6, 60-63. I933 The clay plaque of Shimpukuji, Dolmen 11/3, 6-7. 1933 a A clay figure from the shell-mound of Iwai, Tega village, Chiba, SGZ V/5, 85. 1935 Clay figures from the shell-mound of Shimpukuji, Iwatsuki, Saitama, SGZ VII/5, 29-30. I935 a On plaques which have ayama character, Dolmen IV/6, 236-240. I936 Two discoveries of idols in the vicinity of Nasuno, Tochigi, SGZ VIII/2, 50-52. 1936a Site tabulation of clay and stone plaques, SGZ VIII/5, 3I-36.

IMPERIAL MUSEUM n. d. Postcards of clay figurines and plaques of the Stone Age, 17 packs of Io each, Imperial Museum,

Tokyo. ISHINO, A.

1926 Some mythological implements of the Japanese Stone Age, KGZ XVI/2, I26-129. KAMBAYASHI, A.

1943 On the clay figurines of conical form, JGZ LVIII/668, 237-240. KATSUMI, K.

1952 The clay figurines of Jomon type found at Manazuru, Sagami, KGZ XXXVIII/3, 62-63. KIYONO, K.

1925 Does the Stone Age clay object which has both sex forms indicate sexual intercourse? KGZ XV/3, 191-I92.

KONDO, Y.

I952 Scale-weight shaped clay objects, KGK VI, 22-27.

KONISHI, S.

1933 On a clay figure and clay plaque from Ishinadate, Akita, SGZV/2, 34-37. KONO, I.

1932 A rundown of imitations, Dolmen I/2, 33-34; 1/3, 42-44. g932a Are cultural patterns of the Stone Age typical of a Stone Age? Dolmen I/5, 40-43.

1933 Masks in the Stone Age, Dolmen II/i, 24-27. 1939 Notes on the human figured jars in prehistoric Japan, JGZ LIV/626, 545-551.

I83

KOYAMA, M.

I934 The clay figures found in Chiisagata county, Shinano, KGZ XXIV/II, 80.

MATSUSHITA, T. 1930 A clay figurine from the Mizusawa shell-mound, Aoki-machi, Yokohama, SGZ 11/2, 64. 1930 a On earrings and bracelets from the shell-mounds in the area of Yokohama, SGZ II/S5, 5 I -5 2.

MATSUTANI, S.

1942 A strange looking figurine discovered in Nishigahara shell-mound, KGZ XXXT/I2, 665. MIWA, T.

1923 Musical instruments of the Stone Age, KGZ XIII/8, 538.

MIYASAKA, E. 1938 Report on the figurine from Nimizukake remains in Suwo county, Yatsugatake hillside, no. 2,

Hidabito VI/I i, ii-i 6.

MIYASAKA, K. 1929 The clay figurine from Sakaki-machi, Nagano, SGZ I/i, 86.

MIYAZAKI, T. I935 A clay figure from Narabara, Minamitama county, Musashi, SGZ VII/4, 43-45. I936 A clay figure from the dwelling site of Narabara, Musashi, SGZ VIII/4, 43-45.

MIYAZAKI, T., and INO, T.

I935 A clay figurine from the Shimpukuji shell-mound, SGZVII/z, 49-50.

MUTO, I.

1924 On a trace of circumcision which seems to have been practised in Stone Age Japan, KGZ XIV/6, 336-340.

1934 A clay figure found with Ento pottery, SGZVI/I, 52-54. I935 Clay and stone plaques from all viewpoints, Dolmen IV/5, 56-6o.

NAGAMINE, K.

I951 A new example of a male figurine, JB XXI, 38. NAKAJIMA, T.

I943 On the breast and abdomen swelling of the Stone Age figurines, JGZ LVIII/669, 287-299. NAKANE, K.

1932 A spindle-shaped piece from the Kamishinshiku shell-mound, SGZ IV/3 -4, 87-88.

NAKAYA, J. I930 Figurines neolithiques du Japon, Documents II/I, 25-32. 193oa Introduction a l'etude des figurines de l'age de pierre au Japon, JPEK, I9-30.

NAORA, N. I930 A broken leg of a figurine from Otoshiyama, Hyogo, SGZ 11/2, 64-65.

NISHINA, Y.

I933 Stone Age clay figurines discovered in Kai province, KGZ XXTTT/I2, 751-776. I935 The prehistoric figurines of Kai, Dolmen IV/6, 226-23I.

NOGUCHI, T.

1937 The remains of Shirohara, Hizen, KGZ XXVII/8, 541 -546. 1949 On the new type of clay images, KS III, 21.

1952 Figurines of the Moroiso style culture, KGZ XXXVIII/3, 60-62.

OKAWA, K. 1954 A female figurine from the northern culture area, Kodai XII, 38-41.

OKONOGI, C.

1927 Clay animal figurines of the prehistoric age of Japan, JGZ XLII/475, I72-I75.

I84

ONO, N.

1897 Clay tablets and human fgures found in the Stone Age sites of Japan, JGZ XII/ 3 I, 201 -204.

1898 Report of the excavation of the Stone Age site of Aso in Ugo, JGZ XIII/I43, 179-181. I898 a Stone tablets and clay human figures from the Stone Age sites in Japan, JGZ XIII /44, 23 5. 1901 Genealogy of the clay human images and tablets made by the Stone Age people of Japan,

JGZXVI/I84, 4 1-4I3. 1910 Clay human figures of the Stone Age with tattoo-like marking on their faces, JGZ XXVI/297,

109-I I I.

OTAGIRI, K. 1917 The distribution of Ainu prehistoric remains in Hokkaido where clay figures are found, JGZ

XXXII/362, 178-181; XXTT/363, 202-205.

PAINE, R. T. JR. 1947 An Ainu clay figure, Bulletin of the Museum of Fine Arts, Boston XLV/259, 14-I7.

SAITO, F.

1935 An earring from Arai, Noda city, Saitama, SGZ VII/I, 43-44.

SAITO, H.

1940 Clay figures of the Japanese Stone Age house dog and the habits of the dog, SGZXII/, I I -23.

SAITO, Y.

I925 The figurine discovered at Takaragamine, KGZ XV/8, 53 -5 32.

SAKAI, T., and ESAKA, T.

I954 A clay figurine excavated at Sugisawa, Yamagata, KGZ XXXIX/3-4, 71-72.

SATO, D.

1898 On the clay human figures from the Stone Age site of Tokomai in Mutsu, JGZ XIII/I42, I49-I6I; XIII/I44, 230-234.

SHINOTO, Y. 1953 The head of a clay figurine unearthed in the vicinity of Zenpukuji Pond, SB VI, 18-I9.

SUZUKI, S. 1928 A Stone Age mask, KGZXVIII/9, 586-587.

TAKAHASHI, M.

I935 A clay figurine from Tsurukawa village, Minamitama county, Musashi, SGZ VII/2, 47-48.

TANABE, G.

1949 Some clay figures with asphalt adhered to their broken ends, JGZ LXI/69o, 5 -i6.

TANIKAWA, I.

1922 On the totemic idea in the Stone Age, KGZ XIII/4, 248-253.

TORII, R.

1922 The religion of the Ainu neolithic population of Japan with emphasis on the goddess cult,JGZ XXXVII/427, 371-382.

USAMI, S.

I938 Stone Age head decoration on the clay figurines from Aizu, Fukushima, SGZ X/4, 16-20.

WAKABAYASHI, K. I891 On clay figurines found in the shell-mounds of Japan, JZ VI/6I, 235-254.

YAGI, S.

1894 On the clay human figures found in the Shiizuka shell-mound, JGZ IX/98, 320-325.

YAMAZAKI, Y.

1954 A clay figurine excavated at Satohara, Gumma, KGZ XXXIX/3-4, 66-7I.

I85

YAWATA, I. 1922 An Ainu statuette of neolithic times found in the village of Toyohira, Suwa county, Shinano,

JGZ XXXVII/424, 270-273.

1931 A clay monkey figure of the Stone Age of Japan, JGZ XLVI/5 i9, 29-30. I939 The question of the religious beliefs of the prehistoric Japanese,JRGK XII, I- 8; XIV, 19-29;

XVIII, 3 -47. YOSHIDA, B.

1905-6 On the various coiffures of the clay human figures that were made by the Stone Age people of Japan,JGZ XXI/236, 41-51; XXI/238, I46-158; XXI/239, 177-I9I; XXI/240, 224-237.

YOSHIDA, T.

1935 A new example of human-faced pottery, KGZ XXV/i, 54-55.

i86

FIGURES

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> :L .--~C I- ,[email protected]: r 4; I 14

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i =

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HORINOUCHI DESIGNS, f

1

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2- . .

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Fl G.6 rOKAI

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KANSAI FIG. 7 -~~~~~~~~~~~~~ . _ I [ I D _ - ' ' - f _[ - - _11[ _ . ..... WiU.g|WI>lSl ~ ,...[...... ,,L

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KASHIWARA

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KAMEGAOKA DESIGNS, TOHOKU

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BOWL BOTTOM DESIGNS, KANTO ANo TOHOKU

10

6

8

:) s 4 a -k -- :% =

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13

KAMEGAOKA 4--5 DESIGNS, TOHOKU

FIG. 10

9

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FIG. 11 KANTO

_-_ _- - KANSAI

iSHIYAMA a. KA'AMA TYPES: ISIVYAMA SITE

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SHIBOGUCHI

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KAYAMA

HANAZUMI

SEKIYAMA

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I

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FIG. 13 ,, TOKAI

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FIG. 17

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I, TOSANAHo HOKURIKU

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FIG. l9 V

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FIG. 20 UBAYAMA ,I TOSAN

K -DAIGI.N N. TOKAI- S OOKU_

DAIGI , . N. TOKIAI~,AI SE. TOHOKU

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HORINOUCHI B , TOKAI

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HORINOUCH I C iN TOKA! FIG.24

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/

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HORINOUCHI ,CHUGOKU

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C ,m TOKAI FIG. 24

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---

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.. a 7= 7

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8

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HORiNOUCHI A TOHOIU 20

HORINOUCHI A IN TOHOKU

FIG.2S

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z 3 4

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6

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HORINOUCHI IN HOKKAIDO

I

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KASORI FIG. 28 I, TOKAI

2 5 6

1 i

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NAGANO Par. SADO . HOKKAIDO

.

TOHOKU

3S$ 36

42

I

KASORI , TOHOKU FIG. 29

ANGYO- KAMEGAOKA

1z

14 17 ?:-"~-

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34 =

35

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KAMEGAOKA

7

2

8

g, TOHOKU

9

FIG. 32

11

25

30

6

31

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iz 13

2 8~~~2 29

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FI G. 33 Im TOHOKU

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KAMEGAOKA 4 ,. TOHOKU

i2

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5

.N HOKKAIDO

,, KYI ICHI I K . . . . .

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FIG. 34

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l

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KAMEGAOKA .J S. TOKAI,A^ KANSAI

MIYATAKE .........KAN AI

MIYATAKE ,. KANSAI

9

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KASHIWARA

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OKAYAMA, O$^KA

_if ~~~~~~~~~~~~~~-M 1 - -- 41 .t_

__ 29 g 30

GORYO .KYUSHU

36

FIG.35

7

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8 9 0 ?~~~ ---?-- ~~~~~~~~~~ __~~~~~ ~~~ I__~~~1

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17

I ;.

II~~~~~~~~~1 ELX i4 85jS 1S6i4

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FIG.36 -- IIIIII I I II --- a

1Z

2+~

= .

-i-

24

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FIG. 37 .N HOKKAIDO

ZENHOKU - KURILES

S

.

, ,.* -M

KOHOKU AANB , . HOKKAIDO

14 16 t 67

28

KOHOKU C-D f -s

.= ?

ea wffi

,

ffi w t , A w

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=

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KOHOKU FIG.38

,. HOKKAIDO C^A D

KOHOKU '

KURILES

H OKKAIDO

[ I 8 1 9 ~ -= -~ z o . z1 7

OKHOTSK SEA A^D B NSAKHALIN

,. KURILES

31 33

ff_- ' --e -e

30

FIG. 39 ON-IOTSK SEA WI HOKKAIDO

,. SAKHALIN

AA^C B

D HOKKAIDO KURILES

7- -

114 LO

SAKHALI N

17

4 - :-:

is 23~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~1

? I~~~~~~~~ LI~~~~~~~~Y I~~1- - -

I, ~ ~ ~ . --

OKHOTSK SEA ,. HOKKAIDO

i9 I 23

HANAWADAI MOROISO F G. 40

ATAMADAI

KAT,SUSAKA .N TOKAI ̂ ,- TOSAN __

HORINOUCHI .TOKAI H ~2i_ ,- TOA

- , TOSAN X

__ _ W_

~---. 4 F - .9 - J- le .. _ I S 1 . . .& X- ' . i LU - _- '- S - i ..D --

1-I.S

I 30

iY r

24

28 33

E -S e_.

#: i

s F 7

FIG.41 O. TOHOKUA. HOKKAIDO Tunw 1 V" nV%AL

KASORI ,- TOKAI

% ~6 ?7 s~ 8 et D:f_.I to0 t

ENTO KASORI iNTOHOKU

""

"242 2R O 2 Y9 S

____GORYO ,K KYUSHU

' 7 3

it 32

(iTj Kg /4:I

( t~

HORINOUCHI

f8lo

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I

3'0 34-

K*\ASHIWARA I KANSAI

I .

1$, .'

li-^ 7 ~M ?>iJ 8

13 tb

ANGYO , TOKAI

11

'\ K I i. 1

17

13

jo

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_- w Ot pI e Ws; _P --- : ; #rs T - - s _ r W-

t -T Mo t ?

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----- - -- ---- C?-411

r

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,?k-1 f ^R

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Z&s

UJ t2 __ 3 \^ 4 __ S

FiG. 44 KAMEGAOKA TO 44

NACANO TOOIUflt1

FIG. 4S

KAMEGAOKA 1 3~-4 IBARAGI fUKUSUIMA

6

ANGYOA-o KAMEGAOKA TOKAI A,-o TOSAN

1 44 S T6172S2 .2O

23 $5 G 27 2.0

,. TOHOKUA.o HOKKAIDO

29 32

.- . .. _1w_ 4

-v-7 I .-FIN- __ -

_. _.,

- - _

_ S 2 _ _ w F:;E __ _ -- I , _ f _ _ _ _~~-

...........~~ ~,,, ~ ~~_4 ..... . _

33

,.IC~C/!

PLATES

. : :. l

. : Ln

I

PLATE II

2

5

-7

3

6

" mu 'i -n 'm' i''~lflm ---tIf -e........... ...

4

t, I 1;-1

1

i.'

7 8

PLATE III

2

1

3 4

PLATE IV

1

3

4

5

2

i

e1n_.

9

&

17

:, - l

IAag IVd

c

PLATE VII

2

4

3

5

b

.

.

6

INDEX

n after the page number indicates reference to footnote

Abashiri province I 38 n; site 14 , 143, I 45 Abe River 49 Aga River io6 Agano site 92 Agiyama site 3 5 agriculture 8 Ai site 76 Aichi prefecture I3, 49, 5on, 53, 54, 103, io6 Ainu 42, 96, i 5, 125, 132, 133 Aira county 86 Aizu II7

akagai (bloody clam) II7 AKAGI, K., 5 , io6, Ino Akagawa site I 8; type 119, 120

Akan National Park I38 Akashi Straits 67 Akazuka type 13 Aki Gulf 67 Akita prefecture II5, ii6, 119, i2, 122, 2, 124,

I3I, I37, I48 Akitsu site 46 Akkeshi Bay I38; site I4I Amakusa Islands 77 Amami Oshima 94, 95 Anadara granosa 9 Angyo site 43; type 3, i0, i8, 35, 36, 40, 4I, 43-47,

53, 54, 55, 63, 65, 73, 98, 105-107, II3, 123, 124,

I25, 127, I28, I30, I32, I33, I35, I49, I50 animals (zoomorphic sculptures) 26, 27, 30, 39, 47,

65, 86, 104, 105, 126, 145 Aniwa Bay I44 Anjikidaira site 39, 43, 46 Anno 85 Aomori Bay I15; city I 5; prefecture 47, I0o6, I I 5,

ii8, II9, I20, i2i, I22, 123, 13I, I33, I35, I48 Aoshima type 120

Aoyanagi-cho site I42 Ara River (Hokuriku) io6; (Kanto) I5 Aradate site 35, 38 Aradatedai site 36

14

Arai site 19n Arai-kochi site 19gn Ariake Bay 77; Plain 77 Arita county 62 artifacts I9, 54, 88, 150 Asahi (Shiga) 59; Mt., 138; site (Akita) 131; (To-

yama) IIo Asahikawa site I39n Asakuchi county 7I, 73 Ashihira site 50 Aso, Mt., 77; site (Akita) 131; (Gifu) 102, 105 ,10o7 Asoda site 54; type 54, 55 Aso-omiyadai site 39 Ata type 82, 971n Ataka site 80, 8i, 82, 86, 87, 89, 93; type 78, 79, 85,

86-87, 89, 90, 93, 95, 96, 97n, 98, 99, 149 Atamadai site in, 30; type in, 21, 25, 30-3I, 34, 35,

36, 37, 43, 98, 1o9, III, 120, I49 Atami 5 Atsude I, 2, 125, 149 Atsugi-machi 25 Atsuma site I43 Atsumi Peninsula 49, 53, 54, io6 Awaji Island 57, 67 Awao site 6z Awashimadai site 2I, 25 Awazu site 61 axes 29, II7 Ayamura A type 88 n Ayase River io, 15 Azanishimura site 29, 35, 39 Azaoginoshima site IIo Azaozo site 112

Azashibayama site 112

Azuchi site 58, 59, 6o, 6i, I03; type 58n Azuri site 63

BABA, O., I37 Babame site 131 Baba site 19gn Ban-ki 4, 54, 68 baskets 8, 25sn, 26, 33, 42, 129

I89

beads 150 bears 47 Beppu city 96 berries 27 Bingo Gulf 67, 68-69 birds 71, I2I, i26n, 127, I28, I29, I45, 150 Biwa, Lake 57, 58, 59, 63 Biwazawa site 13 I boar 47, z26 bone 86, 127, I33 Boso Peninsula 8, 25, 40 bronze 66, 94 Butsudaii site I I 7

canines 30, 47, I 26 Carbon I4 dating 3 Chiba prefecture 8, I8, 25, 30, 31, 36, 38, 42, 43, 117 Chidorikubo site 22, 29, 38 Chijiwara Bay 77 Chikuho River 77 Chikuma River ioi Ch'in Dynasty 96 Chiran site 78, 79, 85 Chitose city 1 38; site I41 Chofu site 29, 35 Chokai Mountains I I5 Choshakyoho site II7 Choshi city site 25 Chou Dynasty 27, 41, 42, I27, 129 Chubu 5, i2, 49, 50, 5I, 53, 54, 59, IOI, 103, io6, I30,

I40, I47, 148, I49 Chu-ki 4, 68, 149 claws 27 clothing (costume, garments) 30, 40, 4I, 46, 47, I32,

I33 cloud patterns I29

coins 96, 145 comb-marking 45, 138 Commission for the Protection of Cultural Properties

54 copper I45 cowrie shell 27 cup-collar 19, 26, 30, 32, 89, i2o, I27

Daigi site II6, I20, I2I, I39, 140; type 7I, I03, 104, 20o-122

Daigo site 62 Daimaru site I 3; type I 3, 14 Daisetsusan National Park I 38 Dewa province I I 5; type I 25 dog 47, i26

Dookanyama site 22 dotaku 66, io6, I28, I30, 135, I50 dragons I26n1, 127, iz28, I29, I30, I33, I50 dragon-birds 27, 28, 29

earrings 47, 85 East shell-mound 3 site 22

Ebetsu city I38; sites 141, 143 Ebina 25 Echigo Plain o101, 105, Io9; province 109 Echiu province I09 Echizen province I09

Edo River io Edozaka site 29, 3I Egasaki site 9gn Eharadai site 39, 43; type 36, 46, I05 Ehime prefecture 70, 92 Ekoda site 29 Ekota-ontake site 39 embryo designs 27 Enokibayashi site I20, I22; type 22-1 23 Ento types Io, 112, ii6, I8, 119, I20, I22, 123, I37,

I40, 148, I5I Enuma county I09 Erimo Peninsula I37, I40o; site 139, I42 ESAKA, T., 3, 10, II, I3, 14, 15, 25, 36, 50, 52, 53,

54, 55, 58, 67n, 105, II6, 117, ii8, I20

Esashi site 141 Eterofu I37 Etomo site 14I

felines 30 fern patterns i29

figurines 24-25, 27, 29, 30, 39-40, 4I-42, 46-47, 65-66, 73, 92, 93-94, 96-97, 124, I32-I34, I35,

148, 50 five major divisions 2, 4, 67-68, 79, I32, 137, 142 flowers and floral patterns 27, 33 n, I45 fox 30 Fuji Range 51, 57 Fujikabu site I 3 FUJIMORI, E., I02

Fujiwara River 22

Fukirizawa site 6, 139, 140; type 6- 8, I 48 Fukuda site (Ibaragi) 39, 42; (Okayama) 7I; type

(K3) 68, 70, 7, 72zn, 92 Fukuhara-Todoroki site 88 Fukui prefecture 21, 109, IIo, III

Fukuoka prefecture 79, 9I, 92, 94 Fukura site iii

Fukushima city 5, 6; prefecture 40 n, 115, 117, I2I, 122, 124

Fumonji (Kannonyama) site ioz02 Funabashi city 36 Funamoto site 70; type 58n , 70 Funaokayama site 1 2

Funetsu site 7I Fundanoki site I24 Funeirishima site ii6, ii8, ii 9; types 118-11 9, I 2

190

Futamata cave site 92 Futamatagawa site 35

Gamo county 59 Gifu prefecture 21, 49, Ioi, 103, I05, I07 Gochihashi site 36 Goka I05

Gongenyama site 7I; type 7I

Goryogadai site 25; type 2i, 25, 52 Goryo site 80, 8i, 86, 93, 94; type 55, 66, 72, 92, 93-

94, 96, 97, 98, 99, 15 Goshi 88 Goto Islands 77 GOTO, J., I37, 139, 40on, I43 Gowa 96 GROOT, G. J., 2, II, 14, I7, 31, 36, 42n, 51, 54,

96, io6 Gumma prefecture ioi, I02, I04 Gusukudake site 95, 96 Gyokuryu High School 85

Hachigobaru site 87 Hachimandai site 39 Hachinohe city II5, II7; site 131 Hachiro Lagoon II 5, i 6 HAGUENAUER, M. C., 2

Haijima type i , I3, 15, i6

Haji pottery I44 Hajima site 67, 69; type 68 Haketa site 22, 29, 35, 39 Hakkoda Mountains I I 5 Hakodate city 117, 138, 139, I40; site 141 halberds 145 Hamamasu site 141 Hammaiba site 3 5 Han Dynasty 40, 41, 127, 129, 134 Hanamaki site I22

Hanawadai site 25; types I I, I3, I4, I5, i6 Hanazumi site I7, 36; (Lower) type 3, 12, I4, I5, i6,

I7-i8, 25, 36, I02, I40

Haneyama site I 3 I haniwa 134 Hannyaji site I 3 I

Harima Gulf 67 HASEBE, K., 126

Hasegawa site 96 Hashi site 75; type 7I, 75, 76 Hashitate-cho site i09

Hasuda site i 8; type i 8 n Hatsuki 88 Hatsutomi site 3 9 HAYASHI, K., io6 Hazu county 53 headdress (crown, hairdo) 30, 47, 66, 104, I32, I33,

134

Hei River I I 6 Hida county 96; province i 01

Hidaka province 138 n Higashikaizuka site 46 Higashikuriyama site 35, 39 Higashimorokata county 84 Higashi-rokusho site 22

Higashisawada 5 I Higashiteisei-harada site II 7 Higashiwase site I 3 Higashiyama site 35 HIGUCHI, K., 69 Higo province 93 Hijiyama site 50, 101; type 101-102

Hikachiyama site 83; type 83 Hikozaki site 69; (Zz) type 68 Hime River io6 Himi city io, I I I, I 13 Hioki county 90

Hirado Island 77 Hiragishi site 141 Hiraimidoyama site 5 I

Hiraki site 70 Hirano 53 Hirasaka site II; types II, I3, 15 Hiratoyama site 29 Hirohata site 43 Hiroshima prefecture 67, 69, 7I, 75 Hirota Bay I I 6 Hishikari 84, 86 Hitosaki site 31, 35 Hiyama province 3 8 n Hizen province 77 Hokkaido Incised type I40, I43-144 Hokkebaru site 83 Hokonoki site 52 Hokuto types 137, 139, 140-I42, 15 Hombetsu site 141 Homi site 49, 54, I30; type 54 Honmuracho site 22

Honto Minamihama-machi site I44 Horinouchi site 36, I22; type in, 8, 20, 27, 3In, 32,

34, 35, 36-40, 4I, 42, 43, 53, 55, 62, 63, 7I, 73, 75, 88, 91, 92, 98, 104, I05, io6, 109, oI, 112, I22,

I23-125, I27, I35, I37, I39, 4I, I42, I49, I50 horns 27, 46, 86 horse 86, i26

Hosokubo site 109 Hotarudani site 60 Hotatsuyama site 112

Hoyo Strait 67 Hyogo prefecture 57, 6i, 67, 69, 70, 73

Ibaragi prefecture I 5, i6, 17, 26, 33, 38, 42, 43, I I 7 Iburi province 13 8n, 143

I9I I4*

Ibusuki site 87; type 78, 79, 87-88, 90, 95, 98, 99, I49 Ichikawa city 31 Ichiki site 78, 87, 90o, 92; type 78, 79, 89-9i, 95, 98,

99, I49 Ichinohe site I I

Ichinomiya site 39 Ichioji site i z121 I, I 22

Idenokashira site ioz02, I05 Iga province 5 7

Iguchi site I05

Igusa type 12, 13, I4, I5, i6 Iha site 95 Ikawaseko site 92 Ikawatsu site 49 Ikazaki city 50on Ikazuchi site 25 Ikenohara site 46 Ikenokashira site 80, 83 Iki Island 77 Ikihashi site 20, 6i

implements 25, 86, I32 Inaridai type I3, I4, 15, i6, I I6, I 8 Inariyama site 39, 54; type 54 incense burners 8, 42, 44, 45, I27 Inland Sea 4, 57, 62, 63, 67, 68, 69, 72, 73, 74, 8o, 8i,

94,97,98, 147, 150 Inner Zone 77 Ino site 75 Inume site 25, 35 iron oxide 7, I29

Irumi type 5 o, 5 9-60 Isa county 78, 8o, 8i, 84, 86, 88-89; site (Ibaragi) 46 Ise Bay 23, 57, 59; province 57 Ishigami site 36, 46; type 3 Ishii site 96 Ishikari Plain 138, 141, I42; province I 38n; River I 38 Ishikawa prefecture i o6, I 09, I , 11 2

Ishikawano site 140; type 139 Ishikure site 59, 62, 63 Ishimaki-cho site I22

Ishinadate site 13 Ishinomaki Bay I I 5 Ishiyama site 5 o, 58, 59, 6 i; temple 58, 59, 6o; type

50, 58n, 59-60 Ishizaka site 78; type 78, 79, 83-84, 85, 99 Ishizuka (-cho) site 5 2; type 5 o, 52 Iso site 74 Isonomori site 6i, 67, 69; type 68, 69-70 Itayanagi site I 31 Iwai site 46; type 3 Iwaibe pottery 88, 144 Iwaitsu site 141 Iwaki province 1 5; River I 15, i 6 Iwasaki site 79; type 79, 87, 98, 99 Iwashiro province I 5

Iwate, Mt., 115; prefecture II5, ii6 22, i22 6, I31,

I35, I37 Iwatsuki hill 9n

Iyo Gulf 67 Izu Peninsula 9, 49, 50, 5 , 53 Izumi county 89; province 57; site 89, 9o; type 78,

8 in, 89-9I, 98, 99

jade 4I, I35 Japan Sea 40, 57, 74, I05, II5, iI6, I38 Japanese Alps ioi Jimmu Tenno 57 Jinta county 75 Jintsu River Ioi

Jinya site 117

Jionji hill I7, I9n Jumenzawa site 47 Jusanbodai type 3, 2zn, 22zzn, 52, II0

Kaga province I09

Kagawa prefecture 68

Kagoshima city 6, 79, 84, 85, 95; prefecture 77, 78, 8o, 8i, 82, 83, 84, 86, 87, 89, 90, 92, 94, 95

Kahoku county ii 2; Lagoon I io

Kaigarazaka site 35, 38 Kaimon-dake, Mt., 87 Kaizuka site 39, 43 Kajiyama type 3 Kake site I 9n Kakinokidaira site i22

Kakurajokuji site I 9 n KAMAKI, Y., 58n, 67, 68, 71, 72n Kamanoue site i 22

Kamegaoka site i25, 131; type 5, 8, 42, 43, 44, 53, 54, 55, 63-, 6 65, 66, 82, Io05-107, Ii2, II3, I23, I24,

I25-135, I37, I39, 14I, I42, I43, I49, 150, I51

Kameyama site 49, 5 3; type 53 Kamigamo site 62, 63; type 58n, 62-63 Kamihongo site 35 Kamikakita site 8I

Kamikawa province 3 8 n Kamikurokoma site 30 Kamimashiki county 8o

Kamimiyao site I 7 Kaminodan site I05 Kamiyamada site I o Kammkeramik I48 Kamo (Lowland) site 2I, 22, 31 Kamuro site 19n

Kanagawa prefecture 8, I5, i6, 21, 25, 38, 4on, 117 Kanaoka 5 I

Kanazawa city 109, I o, III

Kanegasaki site 92; type 78, 79, 85, 87, 90, 9I-93,

97n, 93, 99, I49 Kanfuzan site 3 I

192

Kannonyama (Fumonji) site i02

Kanoya city 87 Kanto loam I 3, I 5 Karafuto String-impressed type 144 Kariyasu site i i

Kasamai site i i Kashiwagi site I3 I Kashida type 84n Kashiwakubo site 52; type 52 Kashiwara site 55, 58, 64, 65, 66, I50; type 58n, 65,

72, 92, 94, 97, Kashiwazaki city I09

Kasubata site 5 I, 59; type 5 o, 59-60 Kasuga (Nagano) I02; (-cho) site (Kagoshima) 78,

79, 89; type 78, 79, 88-89, 99 Kasori site 31n, 36, 39, 40, 43, 46; type in, 36, 40-42,

43, 46, 47, 66, 93, 97, I05, I24, I25, 127, I35, I49,

150; B type 10, 3In, 36n, 37n, 53, 75, 92, Iz23, I24,

I50; E type 3In, 7In, I20, 149 Kataori I 05 Katsurajima site 1 6, 22

Katsusaka site 25; type 5, 20, 21, 25-30, 31, 32, 33, 34, 35, 36, 37, 43, 46, 52, 53, 62, 70, 7I, 84, 87, 98, I02, 103, 104, I09, IIO, III, II8, II9, I20, 121,

I22, I49 Kawachi province 57 KAWAGUCHI, S., 77, 79, 84, 85, 87, 95 Kawakami site 90, 92 Kawanami 75 Kawauchi 92

Kayama type ii, 12, I3, I6-17, i8, I9, 20, 35, 50, 51, 59, 6o, i02, IIO, ii8

Kazehayadai site 20

Kazukenoue type 50 Kenyoshi site I 3 Kidogami type 5 I Kii Channel 67; Peninsula 57, 59, 62, 69, 77; province

57 Kijima site (Okayama) 68, 69; (Shimane) 76; type 50,

58n, 68-69 Kikuchi county 80, 88, 93; River 77 Kikuna type 3, 2 z, I7 KIMURA, M., 84 Kinki 23, 57, 6o, 64 Kintaichigawa site i 3 I Kire site 6z Kiryu city ioz Kiso River 49; valley I04 Kisora site 9 n Kita-atachi county 43 n Kitagoshi site 88 Kitakami Plain I 15; River I 15, I i6; site (Tokyo)

39, 46 Kitakata site 122

Kitami site 14I

Kitanakano site I23 Kitanishikawa site I07

Kitan-yura Strait 67 Kitasaku county i, I02

Kitashirakawa site 58, 6o, 65, 74, 95, 148; types 50, 52, 58 n, 6o-6i, 69, io

Kitatabuse site 78 Kitayashiki type 5 3 Kitazuka site i i i; type i i

Kiya site 112, 113; type 112 KIYONO, K., 54, 86 Kiyozumi 93 knives I45 Ko site 58, 6 ; type 58 n KOBAYASHI, H., 85, 86, 89, 93, 94 Kobe city 6i Koda site 92 Kode site I 7 Koetoi site 141

Kogakure site 79, 87 Kojima county 71 Kokaba site 19n

Ko-ki 4, 54, 68 KOKUBU, N., 95 Kokubunji site 22

Kohoku types I37, 138, I40, 143, 144, 145, 151

Komagata site (Fukushima) ii 8; (Ibaragi) 39, 46 Komatsugawa site 3 5 Komuro site 46 KONO, H., 137, I39, I40on KONO, I., I,io Korea 4, 77, 129, I35, I47, I48 Korekawa site 129, I30, 131 Koriyama (Fukushima) I 5, i i6; site (Oki Islands)

74, 75 Koshigo site 40n Koshiki Islands 77 Kotabori site i o Koten site 87 Kotsutajima site 68, 69, 7I; type 58n Kozanji site 69; type 49, 50, 58 Kozuke province ioi Kozuya site I 3 Kugahara site I9, 29, 35 Kuhiri site 29, 35 Kumaba site 86; type 86, 95, 98 Kumage county 95 Kumamoto prefecture 80, 8i, 82, 84, 86, 87, 88, 89,

9?, 92, 93, 94, 97 Kunashiri Island 137 Kurabashira site 107

Kuraishi site 131 Kurashiki Archaeological Museum 67 Kurihara type 13 Kurino 86

I93

Kurobe River ioi Kuroda site 8i, 83 Kurohama hill 19n; type io, 5 , i8, I9-20, 2I, 23,

24, 25, 35, 6i, 102

Kurojima site 68, 69 Kurokawa site 79; type 79, 94 Kurokizuka site 8i Kuroya site 19gn Kurozaki 7I Kurozuchi (Bi) type 55, 68, 72-73, 94 Kurume site 35, 38 Kusabana type 3, 2 In Kusaka site 63, 65; type 58n Kusano site 78, 79 Kushimoto site 63 Kushiro I38, I4I, I44 Kushirokoku province 38 n Kusudashin site z12; type II13 Kusuhashi shell-mound i site 39 Kuwabara-cho 103 Kuwanagawa site I05 Kuzuzawa site I 3 I Kyoto city 57, 6o, 6 , 62, 69, 148; -fu 57, 6i, 63;

University 85, 87, I34 Kyugo cave site ioI, I02

lacquer 7, 41, 127, 129, I35, 150 leather bags 8 1'eaucourante 66, io6, iz26n, 128, 129, I34, I50 leaves 27 lids 134-135 Li Yu 41 lobsters 67

Maeyachi site I 31 magatama 65 Magome site 35, 39, 46 Maji site 74; type 74, 76 Manchuria 144n Manda site 3 5 Mangyo site i 12 Manza site I24 Maruo site 81 masks 4I, 47, 133, I34-I35 Masugata site 1 32 mat and leaf impressions 53, 64, 88, 91, 105, II2 MATSUMOTO, H., i, 20o

MATSUMURA, A., 5 n, 95 Matsusaka site I22 Matsusaki site I 3 1 Matsushima 11 5; Bay I 115, I I 6 MATSUSHITA, T., 17 Mayezawa site 29 Megumi site 74 Meiji 79

metal containers 1 38, 143, 151 Midori River 77, 86, 93 Mie prefecture 57, 62, 63 Mikawa province 49 MILNE, J., 2, 9 Mimanda site 72, 73, 8o, 93, 94, 96, 97; type 93 Minamata city 90 Minami Kotogaku 96 Minamikata site I 20, 1 3 I Minami-kusaki site 71 Minami-ku (Nagoya) 5 I Minamimura county 62 Minaminomura site 62 Minamishigaki site 96 Minamiyamada site i io Minari site 75 Mino province ioi Minowa site 38-39; type in mirrors I29, I50 Misaki (Fukuoka) 91; site (Oki Islands) 74 Misen, Mt., 57 Mitarai site 88; (A & B) types 87, 88n, 9In Mito site I3, 15, i6, II7; type I4, I5, 51, 102, II6,

140, 148

MITOMO, K., 95 Mitsui I05 MITSUMORI, S., 52, 53, 54, 67n, 7I, 82, 85, II6,

I20, 124

Mitsuse site 83 Mitsuzawa site 39 Miura Peninsula 8, 15, i6, 21, 23 Miwa site 63 Miyadaira site 22, 3 Miyagi county I32; prefecture 21, 7I, II5, ii6, ii8,

i20, I2I, I22, I23, 126, 13I, I39

Miyajima site 86 MIYASAKA, E., I03

Miyasaka site I04 Miyatake site 58, 65, I50; type 55, 58n, 64, 72 Miyatani (Miyanoya) site 17 Miyato ii8; type z23n, 125 Miyatojima site I3 Miyazaki county 84; prefecture 77, 8o, 8i, 84, 87 Mizawa site 75 Mizonokuchi site 63 Mizuko site 22; type 3, zin

Mogami River ii6 Moji city 77 Momoyama site 51 monkeys 47 Mono county i 18 Mori site 69, 92 Morishita 105, 107 Morita site I 3 Moriyama 71

I94

Moroiso site 2i, 47; type In, 3, 5, Io, I5, i6, i8, 19, 20, 21-25, 26, 30, 35, 37, 38, 43, 5I, 52, 54n, 59,

6i, 68, 70, 7I, 74, 76, 88, 89, 95, 102, 103, 109, IIo, III, 117, ii8, 119, 120, i2i, I40, I48, I49

MORSE, E. S., i, 2

Motoara River io, 15, 17, 19 Moto-jo site 83 Motomaki 105 Moyoro site I44, I45 Mukaiaburada site 3 I

Munakata county 9I

MUNRO, N. G., 2, 6, 9, 133, I34 Murakami type 50on Murohama site I 16 Muroran site I4I Mushiri site 13 I

Mutsu area i, 2, 40n, 115, I23, 125, I3I; Bay I15

Naga Island 77 Nagaizumi 52 NAGAMINE, K., 24 Nagano prefecture i, I3, 21, 26, 30, 33, 40, 49, 54, IOI,

I02, 103, 104, 105, io6, I34

Nagasaka site I3 I

Nagasaka-kamijo site 46 Nagasaki prefecture 77, 92 Nagayama site 92; type 92

Nagoya city 5 I, 52 Nagure-cho 6I Naha 96 Naiji pottery I44 nail-impressions 7, 21-23, 25, 38, 50, 52, 6o, 6I, 63,

64, 68, 69, 70, 7I, 72, 73, 74, 76, 88-89, 95, 98, 102-103, IIO, 148, 151

Naka Umi 75 Nakaarai site 35 Nakabaru site 87 Nakagawa site 22, 29, 39 Nakagori site 79, 84 Nakai site 119, 129

Nakama 94 Nakanodai site 2I

Nakasato site 39 Nakatsu city 96; site (Oita) 96; (Okayama) 71; type

68, 7I-72 NAKAYA, J., 2

Nakaya site 46 NAKAYAMA, H., 82 Nakayama site (Aichi) 53; (Akita) 131; (Nagano) 103 Nakazato site 92

Nakazawa site 39, 43 Nakazawahama site 1 3 Nakazume site 39 Namiki site 88; type 78, 79, 87, 88-89, 95, 98, 99 Nampukuji site 87, 90o; type 78, 89-9I, 98, 99

Nanao Bay io9; city I i2, site (Kumamoto) 87 Nanatsuike site I 3 I Nara city 57, 62; prefecture 57, 62, 63, io6 Narahara site 29; type in Narukami site 62 Narumi-machi 52 Naruto Strait 67 Nasunahara site 39 National Museum 134

NATORI, T., I37, I39, I40, I42, I45

Natsushima site Ix, i6; type 13, 15 Negishi site 3 Nemuro Bay 1 38; province 138 n Nemuro-shibetsu 1 3 8

net-impressed 79, 84-85, ii2, 124, 14I

Niho site I I, 112

Niigata city 109, I 6; prefecture 21 , 49, 103, 109, I I I,

II5 Ninomiya site 22 Nishibira site 78, 82; type 78, 79, 85, 87, 91-93, 97n,

98, 99, 149 Nishikaratsu site 82 Nishikunisaki county 92 Nishimura Collection I30

Nishino-omote site 79, 83 Nishi Notoro, Cape 144 Nishio site 53 NOBAYASHI, T., I 12

Nogawa site 29, 3 5 Nojima site i; type Ii, 13 Nomo Peninsula 77 Nomura site 62 Nonaka site (Ibaragi) 17, i8, 22; (Mie) 59 Nonakado site I24

Nopporo site 142; type 142, 143 Noshirominato 115 Noto Island o09; Peninsula io9; province 109

Notsukoro site iI8; type ix8 Nukazuka site o 03; type IIo

Nuke cave site I07

Numazu (Shizuoka) 49; site (Miyagi) 122, 131

Obora site 125, 126, 13I; type 125, I30 I32 Ochanomizu cave site 39 Odomari site 72 Odoriba site 103; type 50, 52, 102-103, IO

OE, Y., 59 Ofunato Bay 126; site 31

Oga Peninsula i I 5 Ogara, Lake I I 5, 116

Ogawa site (Akita) I31; (Fukushima) I24; (Lower) type 124

Ogawa-machi site (Chiba) 19 Ogaya city 54 Ogido site 95

I95

Oguchi-machi 6, 86, 92 Oguchizaka site 12, 16

Ogumi site 92 Ogushi site 17; type 3 Ogusu site 3 I

Ohase site 40n Oi River 49 Oirase River i 5 Oita city 79; county 79; prefecture 69, 8o, 92, 96, 97;

University 96 Okadaira site zi; type in

Okajima cave site 140

Okamachi site 131 Okasato site 5 5 Okaya city I 3 Okayama prefecture 2i, 6i, 67, 68, 7I, 72, 73, 92;

site (Osaka) 62, 63, 64 Okayamaruyama site I03 Okhotsk Sea 138, I4I; type 137, I38, 139n, I42, I43,

I44-I45, 5 I

Oki Islands 73, 74, 75, 148 Okinawa 94, 95, 96, I48 Okino Erabu 94, 95 Okkoshi site 19 Okozaki site 62, 63 Okubo Shrine 65 Okuzawa site 39 Omi province 57; site I o, III

Omigawa 30 Omonawa no. i site 95; no. 2 site 95 Omori site 9, 38, 42; type in, 35, 36, 37n, 41, 42-43,

105, 150

Omotejionji site I gn Omura Bay 77 Onchi site 6i, 63 Onedaira site 13 Onga county 94; River 77 Ono county 96; site (Kumamoto) 73, 87, 89; (To-

chigi) I02

Onsen site 75, 76; type 75, 76 Onuki site 75 Orimoto site 21, 24 Osaka Bay 57, 67; city 57, 62, 65; -fu 57, 6i, 62, 63, 65 Osakata site 3 5 Osaki 90 Oseido site I 19

oshigatamon 7, 12

Oshika Peninsula 115 Oshima county (Kagoshima) 95; province 138 n Osozawa site I 31; type I 23z 3 n Osumi Island 94, 96; Peninsula 87 Ota site (Hiroshima) 69 Ota-cho (Gifu) 107

Otaru I42; Bay 137 Otoshiyama site 73; type 58n, 70, 71, 74

Otsu city 60, 62

Otsubo River II5

Otsuka site 87 Ou II5, ii8n, 124, I25, I37 Ourayama type 13, 14 Outer Zone 77 Owari province 49 OYAMA, K., 2, 9, 43 n, I04, 130, 1I49 oysters 67 Oyu site I24; type 123-I25

Pacific Ocean 8, 67, 115, 138 paleolithic 30 pans with inner lugs 26 Pecten Yesoensis 9 phallicism 42, 44, I27

pit-dwellings 29, 31, 40, I03

plaques 39, 66, 73, 97, 1I34-I35 pointed bottoms 8, 15, 17, i8, 50, 52, 58, 59, 8I, 83,

97, ioi, 102, II6, II7, ii8, 132, I38, 139, 147, 1I48

prawns 67 pregnancy symbols 42, 47, 66 Prehistoric Institute 2, 9, 130, 1I49

pre-Jomon 147

pseudo-cord-impressing 68, 7I, 73, 85, 87, 92, 97, II2, 113, 124, 139, 14I, I43

punctates (punched designs) I5, i6, 17, i8, 19, 23, 24, 30, 38, 41, 42, 44, 45, 47, 50, 52, 6o, 6i, 64, 65, 68, 69, 70, 72, 73, 75, 79, 83, 85, 89, 90, 93, 95, 105,

io6, IIo, III, iI2, II3, II7, ii8, 121, 128, I32,

I33, I40, 14, I43, 1I44, 1I45, 1I48, 15I

Rebun Island I38, 140, 14I, I42, I45 red paint I5, 32n, 52, 85, 103, Io, I28, 142, 143, 150 Rhus vernicifera 129

rice io06, 132 Riishiri Island 138, I40, 141, 145 Rikuchu province I 5, 131 Rikugo province II5 Rikuzen province II 5, 13 rims, waved I5, 17, 22, 23, 30, 32, 53, 6o, 69, 70, 8i,

95, I2Z, 124, I41; rim-heads 23, 25, 30, 104

rings 47 rodents 30 rope patterns 23, 24, 26, 27, 31, 37, 43, 44, 102, I43

Ropomatsu site 87 rouletting 5, 7, 8, II, I2, 13, 14, 49, 50, 5I, 58-59,

68-69, 71, 73, 74, 78, 79-82, 83, 86, 92, 93, 97, 98, 99, 101-I02, 109-IIO, 39, 147, 1I48, 15I

Rumoi 138 Ryokei site 46 Ryukyu Islands 82, 83, 84, 85, 94-96, 148; type 95

Sada River 74 Sada-kobu (Unada) site 74, 75; type 74, 76

I96

Sado Island o109 Sadowara Plain 77 Saga prefecture 77, 82 Sagami River 25 Sai River ioi Saigo site i22

Sainokami site 84; type 78, 79, 84, 95, 98, 99 Saitama prefecture 8, I 5, i6, 7, i8, 26, 38, 43 n SAITO, Y., I 38 Sakai site 24 Sakaida site 22 Sakando site 17 Sakata i 6 SAKAZUME, N., 10, 50, I40 Sakhalin 125, 137-I45, 15I Sakigahana site 75, 76 Sakura River 65 Sakuraishi site 13I Sakurayama site 19gn Sanin 63, 7I, 73-76, I48 Sano site io6 Sanyo 63, 71-73, 74 Sapporo city I38, 141 Sata, Cape 67; Shrine 74 SATO, D., I25

Satogi site 6i; type 58n, 6o, 6i-62, 70, 7I, 75, I03 Satohama site II6, 122, I32 sea foods 8, 9, 27, 67, I45 seki-bo (stone clubs) 27, 29, 44 Sekiyama site I7; type II, I4, I5, I8-I9, 20, 23, 24,

25, 35, 36, 6i, 102, IIo, ii8, II9, I20, I48 Senbagatani site 79; type 58 n, 79, 99 Sendai 115, 25sn; Bay II5, II6

Sengen site 3 I, 35 SERIZAWA, C., II, I2, 13, I4 Seta River 57, 58, 59 Seto Naikai 67, 71, 72 Settsu province 57 Shakujii type I3, 5 Shansi province 4I shell-imprinting (marking, incising) I5, i6, I9, 52,

63, 64, 68, 69, 70, 7I, 84, 87, 90, 9I, 99, io2, III,

II3, ii6-ii8, I23, 132, 138, I39, I40, I48, 151 shell-scraping ii, I5, i6, I7, 19, 33, 5I, 54, 55, 58,

59-60, 68, 73, 74, 75, 76, 78, 79, 82, 83, 84, 85, 86, 87, 94, 95, I03, II6

Shell-mound 1026 site 9 Shiba Hachiman Shrine site 36 Shibayamagata site I o Shiboguchi site I ; type io, II, 12, I3, i6, 17, 20,

50, 51, 102

Shichigahama site 122

Shiga prefecture 57, 6i, 62, 63 Shigasato site 62, 63, 64, 65; type 72n Shiizuka site 39

Shikotsu, Lake I 38 Shima province 57 Shimabara Bay 77; Peninsula 77 Shimaibata (Yomaibata) type 3, z In

Shimaji site 70, 73 Shimane Peninsula 75; prefecture 7I, 73, 75 Shimizusaka site I7 Shimobuchi site 6z Shimoda site (Nara) 63 Shimoda-machi (Kanagawa) I9

Shimogumi site i 2, I 7; type 3 Shimokita Peninsula II5, Ii6, I40, I48 Shimo-kusuda site 87 Shimomashiki county 86, 93 Shimomichi Kamihirose site I07 Shimonoseki city 77, 92; Strait 67 Shimonumabe site 35 Shimosa province z22

Shimosugeta site 22

Shimozuke province ioi

Shimpukuji site 46, I29; type 3 Shin River 49 Shinano province ioi; River ioi, Io6 Shinchi 124

Shinji, Lake 74 Shinohara site 22

SHINOTO, Y., 3 I

Shinzaku site 20, 21 Shio-no-misaki, Cape 57 Shioya site 141 Shiozawa site I22

Shira River 77 Shirai site 29 Shirahama site I 7, I39, I40 Shirasu site 29 SHIRAZAKI, T., I2, 13 Shiribeshi, Mt., I 38; province I 38 n Shiriya, Cape 11 7 Shiriyasaki site 139 Shirodai site I 2, 6 Shironodai site 117 Shitakorobe site I38 Shitaru site 94 Shizuoka city 49; prefecture 49, 50, 5 , 52, I05 Shonohata site 53, io6; type 53-54, io6 Shosen site 29 Shosen Shimosueyoshi site 39 Shuku site i9n Shuku-ura site 19gn silver 145 skeletons 49, 54, 86, I26, 127 snakes (serpentine) 26, 27, 28, 33, 34, 37, 89, I2i Sobata site 80, 82, 89; type 5I, 78, 79, 8i, 82-84, 85,

86, 87, 95, 99, I48, I49 Soboku site I12

'97

So-ki 4, 50, 68, II7, 142

Sokoino site 94 Soma county I24 Sone site 5 , o02 Sonoki Peninsula 77 Sonoo site 36 Sorachi province 138 n

Soya province 13 8 n

Soyama site 117; type 17 spouted (pouring) vessels 8, i8, 37, 38, 44, 73,

104, 124, 127, i28, I42, 143 stags i26 stone circles 40 stone clubs 27, 29, 44 string-impressing 7, II, I2, I3, 14, I5, i6, 102, II6,

117, ii8, II9, I20, I24, I39, 140, I4I, I42, I43,

I44, I45, I47, 148, 151 Suenagakubo site 22

Suginoto site I131

Sugitani site 59, 6o, 62, 63 SUGIYAMA, S., 130, I40 Sumigama site ign Sumiyoshi site I I6, I 117, 139; type I38, I39, I40 Sung Dynasty I45 Sunto county 5 I, 52 Suo Gulf 67

surikeshijomon 7 Suragai site 46 Suruga province 49 suspension vessels z6-27 Suwa city 103; county 103; Lake 53, IOI, 10, io6 swords I45

Tachibana i6 Tadeshima, Mt., i02 Tado site 13, II7; types II, 12, I3, I4, I5, i6, 51, I02,

I I6, I148

Tagajo I32 Tai site 69-70; type 68

Takajima site 71, 72; type 55, 72 Takaku-neda site 31 Takaoka site 13 Takaragamine site i131; (Lower) type 123- 25 Takase River I 5 Takayama site io2 Takazuka site I I2 Take site 78 Takenouchi site 58, 63, 65; type 58n, 63 Takinokuchi site 63 Tama River io, i6n Tamana county 8o Tamashima city 73 Tambaichi type 58n, 62, 65 Tamukeyama type 78, 8i-82, 83, 86, 99 Tanega Island 83, 84, 85, 86, 94, 95, 148

TANIKAWA, I., 47 Tanji site 64 Tanna Tunnel 5 I Tashiro 84 Tashirohama site 122

Tashirojima site i22 Tateishi site I 3 I

Tateno site I 3 tattooing 30, 42, I33 Taura-cho site 39 Tazawa site 3 Temiya site 141

Tempaku River 5 , 52 tempering, fiber 7, 15, i6, 18, I9, 22, 50, 51, 52, 102,

103, ii6, 117, ii8, II9, I40; sand (mica, grit) 7, I4, I5, 30, 3I, 50, 59, 60, 69, 70, 72, 73, 74, 75, 82, 84, 87, 88, 89, 90, 9I, IOI, I2I, 124, 140, I42; shell

90, 94; talc 83 Tengan site 95 Tenganzawa type 5 o

Tengusawa type 123-I25 Tenjinbashi site 83 Tenjinbashishita site 92

Tenjindai site 40n

Tenryu River 49, io6 TERASHI, M., 6, 78, 79, 8i, 84, 87, 89, 90, 91, 92 Terauchi site 13 textiles 50 tin I45 ting 42

Tochigi prefecture ioi, I02, I05, I 115 Todoroki site 82, 85, 86, 89; type 78, 79, 85-86, 87,

89, 95, 99 Togaruishi site o03; type 103-105, IIo

Togo site 74 Togu site I22 Tokachi province 138; River I38 TOKI, T., 9 Tokomai site 131 Tokoro River I 38 Tokoshinai site I 3 Tokoyo site I 7; type i 8n Tokunoshima 94, 95; type 88n, 98 Tokyo 2, 5, 1o, 15, i6, I7, 30, 35, 38, 42, 104, 130,

I34; Bay 9; -to 8, i8, 25 Tomakomai I42 Tomamae I44 tomb tiles I 35 Tome county 20 Tomita 73 Tomizuka site 46 Tone River io, 30, 98, 0o2, I47 Tonoyama site 29 TORII, R., 2, 53, io6, I 37 Torikami site 75

I98

Tosando 82 z totemism 47 Totomi province 49 Totsurazawa site 131 Towada, Lake 115 Toyama Bay ioi, i09, iio; prefecture 49, 109, III,

112,113

Toyoda 86, 93 Toyofuku 86 Toyohashi city 52, 55 Toyokawa city (Aichi) 54; (Oita) 96 Toyuzawa site 13 Tsu city 62 TSUBOI, K., 50, 58, 59, 60, I27 TSUBOI, S., i, 2

Tsugaru Peninsula 115; Strait 137; type 25 Tsugumo site 70, 71, 73; type 70-7I, 79 Tsukayama site 31, 35 Tsukinoki site II7; types ii6, 117, ii8 Tsukinokizawa site I05 Tsukiyomisha site 9gn Tsukiyomishirodai site 29 Tsukushi hill and plainland 77 Tsumura site 22

tsumegatamon 7, 23 n TSUNODA, B., 52, 53, 54, ii6, ii8, 119, 120, 123,

I24, 132 Tsurumi River io, i6n; site 22

Tsuruoka I i6 Tsushima 77, 94 turban I32, 134 Turkish stock 134 Two-chome, Nishida-cho site 3 5 typology I, 2, 3, 14, 40 n, 68, 137

Uano site I I

Ubayama site 31, 36; type 21, 25n, 31-36, 40, 53, 62, 70, 71, 73, 75, I03, 104, 105, 109, III, 120, 121, 122, 123, 149

Ueno site 19n Uenobaru site 80 Uenodai site 38 Uenodan site I05; type I05 Uenohara site 29, 35, 39 Uenohata site i I

Uenoyama site 59; type 50, 59 Ugo province II5,I 3

Uji River 5 7 Uki site 73, 87 Ukijima site 22 Umatori site 69 Umio site 22 Unada (Sada-kobu) site 74 Unebi 65 Unjo (Ogido) site 95

Uno 69 Unoki-cho 112

Uraguchi site I 6, II8, Urahoro I 3 8

Uratedai site 39 Usa county 96 Ushimado site 70 Ushitsu-cho site 112 z Ushuku site 95 Usude I, 2, 125 Usumoto site I03 Utsunomiya I 15 Uzen province i 15 Uzuka 69

ii9; type 118-119

Wakasa Bay 57, 109 Wakayama prefecture 57, 58, 6i, 62, 63, 65, 69 Wakkanai site 139n, 14I Wang Mang 129 Wasa site 63, 65 Watarijima Peninsula I43 wings 27, 28, 34 wood-carving 8, 127 wooden containers Io6, I50

Yachigamori site I 3 Yado site 22

Yagami type 3, 2 n Yagamiyato site 20o

Yahagi site 3 8 Yakushima 94, 95 Yamada type 1 O-11 Yamagata prefecture x I5 Yamaguchi prefecture 71, 72, 92 Yamamoto site (Aomori) 133; (Oita) 96 Yamanashi prefecture 24, 30, 33 Yamano 86, 92

YAMANOUCHI, S., I, 2, 4, 21n, 22, 50, 54, 58, 6o, 67, 75, ii6, 12o, 124, 126, 132, 139, 149

Yamanoue site 8o Yamase 102

Yamashiro province 57 Yamato Historical Museum 65, province 57 Yasunosawa site 51 I

Yasuoka site 92 Yasutagi site 87 Yatsugatake, Mt., 103 Yatsuka county 7I Yatsushiro county 9i; Sea 77 YAWATA, I., i, 53, 96, I02, 124 Yawata site 131 Yawatano site 87 Yayoi 40, 4I, 43, 44, 45, 47, 49, 54, 55, 64, 69, 76, 77,

79, 86, 88, 96, 98, io6, iz8, 130, 132, 150

I99

Yodo River 5 7 Yoichi site 141 Yoko site 79 Yokohama 3, i6, 17, 22

Yokosuka city 117 Yomaibata (Shimaibata) site 24; type 3, 2In Yonago city 74 YONEMURA, K., 137, 144 Yonezawa site 35, 38

yoriitomon 7, z, I4, iI6 Yoshida site 79, 84; type 78, 79, 84, 98, 99 Yoshigo site 49, 54, 5 5; type 54 Yoshii site 35, 39

Yoshino (Kumamoto) 9I; (Nara) 57, 64; River 64 Yoshinuma site 46 Yoyama site 42, 46; type in Yukigaya site 22 Yuni site I4I Yusu type 55, 92, 94, 98, 99

Zenhoku type 137, I40o, I4I, I42-I43, I44, I5 I Zen-ki 4, 50, 68, I I6, Ii8, I42 zoned (erased) cord-impression 7, 23, 34, 43, 45, 53,

63, 68, 7I, 72, 73, 75, 76, 78, 79, 85, 91-93, 97, 98, 99, 105, io6, IIO, II2, 123, 124, 127, I40, I4I, I42,

I49, 150, I51

200