The religion of Japan, apart from its symbolism, has little appreciable influence upon its pottery, possibly on account of the comparatively late and rapid growth of the ceramic art. The original religion was Kamism or Shintoism, the worship of ancestors. This is the religion upheld by the Mikados. Upon it Buddhism was in-grafted, and supported by the Tycoons. The two harmonized well, thanks to Japanese toleration, but their combination presents many a curious puzzle. The Japanese cosmogony is simple. Heaven and earth were evolved out of chaos, and then the presence of controlling power being necessary, the gods came. At first there were only three, but afterward seven generations of gods and goddesses succeeded each other, and from the last pair of these came Sin-mon, the founder of Japan. The seven household gods concern us more in looking at Japanese ceramics. These represent the physical wants of the people, and correspond with the Chinese god of longevity and his compeers. The first, Ben-zai-ten-njo, or Benten, is the Madonna of Japan, the ideal matron; Quamon, queen of heaven, appears to be the ideal of happiness; Yebis is a jovial marine god, the food provider, and is generally represented with long legs, claws, drapery of marine origin, and riding on a dolphin. Hotei, a portly, complacent deity, is the very picture and god of contentment. A totally different being, short, thick, and almost lost in his clothes and under the burden of his wealth, is Daikoku, the god of riches. Shion-ro, with long beard, placid face, and towering cranium, is the god of longevity. He leans upon a staff, and is attended by either a tortoise or a stork. He is evidently a relative of the Chinese Cheou-lao. Tossi-toku, with staff and fawn, is the dispenser of knowledge. The last and least esteemed of the seven is the strong, armor-clad Bis-ja-mon, god of glory. Who shall say that there is not philosophy in a religion which thus holds up military glory almost to contempt, and discriminates between riches and contentment? Besides the gods here mentioned there is a host of demons which need not be enumerated, and which, with the household deities, are met with under the most fantastic forms and in the most ridiculous situations, for, according to Japanese ideas, ridicule did not necessarily involve impiety. [Illustration: Fig. 115.--Japanese Porcelain Bowl. Diameter, 3 ft. 7 in. (Corcoran Art Gallery.)]