Page:Brinkley - Japan - Volume 7.djvu/459

 both as a carver and as an inlayer. Kyoto.
 * Jōchin. Furukawa. 1790. A skilled expert, even better than his father Genchin. His carving is generally incised, but sometimes in relief. Yedo.
 * Jōchiu. 1640. A pupil of Jōchiku and almost as fine an expert. The works of the two men are often confounded. He was subsequently adopted by Jōchiku. Kyoto.
 * Jōha. Goto. 1580. Mitsunobu. Kyoto.
 * Jōhaku. 1640. Wasuke. A pupil of Jōchiku and a skilled expert; afterwards changed his name to Shōyei. Yedo.
 * Joi. Nara. 1720. One of the greatest masters. A pupil of Nara Zenzo (Hisanaga). He displayed extraordinary skill in shishi-ai carving, and is considered the peer of the “Three Nara Masters.” (Vide Toshihisa.) He sometimes marked his works Issando Nagaharu. Yedo.
 * Jōkan Inshi. Vide Mitsutsune.
 * Jōken. Goto. 1680. Mitsuyoshi. Kyoto.
 * Jokū. Vide Hiroyoshi.
 * Jokwo. Torii. 1740. Uhei. Commonly known as Masuya Ukei. Osayka.
 * Jomi. Yeizuke. Present day. A great metal-worker of Kyoto. (b. 1839.) Celebrated for vases of woven metals; for various beautiful patinas; and for plaques with elaborately chiselled landscapes. Jomi is his art name; Yasuchika his personal name.
 * Jōrin. Goto. 1630. Uhei. A skilled expert of Osaka. Called also Mitsunari. Kyoto.
 * Jōriu. 1640. A pupil of Jōchiku. Yedo.
 * Jōsen. Goto. 1620. Kyoto.
 * Jōshin. Goto. 1540. The third of the great Goto masters. Kyoto.
 * Jōshiu. Vide Mitsutomo.
 * Jōtetsu. Isono. 1660. A daughter of Jōchiku. Her work is generally spoken of as Musume-bori, or “the girls’ carving.” Kyoto.
 * Jōtoku. 1650. Date uncertain. A Yedo expert, supposed to have been a pupil of Jōchiku.
 * Jōunsai. Vide Shiratoshi.
 * Jōunsai. Vide Kwanri.
 * Jōwa. Vide Masachika (Nara).
 * Jōyeiken. Vide Takakiyo (Sakawa).
 * Jōyeiken. Vide Yoshihisa.
 * Jōyen. Goto. 1600. Kyoto.
 * Jōyen. Fujii. 1660. A pupil of Goto Renjō. Kyoto.
 * Jōyen. Fujinaka. 1700. A pupil of Masanori Nomura. Yedo.
 * Jōyo. Goto. 1670. Mitsuchika. Kyoto.
 * Jōzui. Vide Sukeyori.
 * Jubei. Aoki. 1580. Generally regarded as the second generation of Kaneiye. Was employed by the feudal chief of Higo and settled at Hasuike. Art name, Tetsujin. A great expert, remarkably skilled in the making of iron guards. He inlaid some of his guards with brass.
 * Jugyokusai. This art name was originally used by Katsuyoshi, and is now employed by his pupil Yoshikawa Issei; both metal-chisellers in the Ishiguro style.
 * Jujō. Goto. 1720. The twelfth Goto master.
 * Junjō. Goto. 1650. Called also Mitsuakira. Kyoto.
 * Jūzō. Vide Kiyotoshi.
 * Jūzui. Vide Hisayori.
 * Kagawa. Katsushiro. Present day. A highly skilled metal-chiseller of TokioTokyo [sic]; pupil of Mori Ryoken and of Matsuo. He spent five years chiselling a five branched Paullownia within a square of 0.18 in. side for the furniture of a sword belonging to the Emperor.
 * Kagawa. Katsushiro. Present time. A highly skilled worker in metal. Famous for chiselling naturalistic subjects as plaques, vases, etc., using several metals. Has been employed to carve sword furniture for the Emperor.
 * Kageiye. Miyochin. 1560. A celebrated expert. Sagami.
 * Kahei. Mori. 1700. A pupil of Yanagawa Naomasa. Yedo.
 * Kaigunshi. Vide Kaneyuke.
 * Kaijō. Goto. 1620. Mitsutsune. Kyoto.
 * Kaijō. Goto. 1660. Mitsukatsu. Kyoto.
 * Kaizantei. Vide Motochika. (Hayama.)
 * Kajima. Ippu. 19th cent. (d. 1860.) A metal-chiseller of Yedo, who made kanamono, ita-gusari, ojime, etc.
 * Kajima. Ippu. Present day. One of the greatest metal-workers of the century. From 1855 to 1887, he