Page:Brinkley - Japan - Volume 7.djvu/490

 down to the present representative, who manufactures vases, etc., decorated in the repoussé style with addition of inlaying. The names of the representatives of the family after Iyemasa are:
 * Yamada. Iyetada Jiyemon. 1630. Sword-smith as well as armourer.
 * Yamada. Iyesada Gorobei. 1655.
 * Yamada. Iyetsugu Ichiyemon. 1685.
 * Yamada. Iyenaga Jinyemon. 1720.
 * Yamada. Nagakatsu Gorobei. 1760.
 * Yamada. Nagamoto Sanyemon. 1810.
 * Yamada. Nagayo Gorobei. 1840.
 * Yamada. Iyemitsu Gorobei. 1860.
 * Yamagata. A name given to the mark, meaning “mountain shape.” The maker of the specimens thus marked has never been identified. They are generally decorated with herons, moorland views, spools of yarn, etc., in relief on a polished ground, picked out with gold (not plating but solid gold). The maker cannot have lived at a later date than the middle of the eighteenth century.
 * Yamagawa. Koji. 19th cent. (d. 1897.) A skilled metal-chiseller of Takaoka.
 * Yamashiro-no-kami. Tsuji. 1630. Originally an artist of Fushimi, he moved to Kaga and received an allowance of one hundred and fifty koku of rice yearly from the feudal chief of that province.
 * Yamayoshi. Shōami. 1540. One of the old experts, contemporary with Nobuiye (Miyōchin). He made guards with the design pierced à jour, but did not polish the iron. Worked in Owari.
 * Yamayoshi-bei. Shōami. 1570. Son of the first Yamayoshi. Worked in his father’s style, but polished the iron carefully, and gave a recurved rim to his guards. Worked in Owari.
 * Yamazaki. Family name. Vide Ichiga.
 * Yanagawa. Family name. Vide Naomasa.
 * Yasayobi. Vide Riyonenshi.
 * Yasuchika. Tsuchiya (sometimes spoken of as Nara). 1730. Yagohachi. A great artist, one of the “Three Nara Masters” (vide Toshihisa). His work resembles that of Toshihisa, but is bolder in style, and has a markedly subjective character. He had been called the Kwōrin (vide pictorial art) of glyptic artists. Imitations of his work have been numerous ever since the middle of the eighteenth century, but the essential features of his style are inimitable. Some of his pieces are marked Tōu. Yedo.
 * Yasufusa. Hirata. 1700. Ichizayemon. A maker of iron guards inlaid with gold. Awa province.
 * Yasuhira. Shinozaki. 1650. Shōyemon. One of the most celebrated of the Mito experts. The Mito carving is more elaborate than artistic, but the technique is often admirable. Mito.
 * Yasuhisa. Shingaku. 1770. Tomo-no-jō. Artistic name, Keirinsai. Sendai.
 * Yasukawa. Sanyemon. 19th cent. (d. 1887.) A skilled metal-chiseller of Takaoka.
 * Yasunobu. Nara. 1730. Son of Yasuchika. Called at first Yasunobu. An artist scarcely inferior to his father, Tō-ō. The representatives of the Yasuchika family worked generation after generation in Yedo, up to the sixth generation in 1850.
 * Yasunobu. Noda. 1600. Chiuzayemon. A skilled expert of Kyoto.
 * Yasushige. Fuse. 1630. Shōzaburo. A pupil of Goto Sakujō. Kyoto.
 * Yasutomi. Shibayo. 1730. Ihei. A pupil of Yokoya Teruaki. One of the earliest of the Sendai experts.
 * Yasuyemon. Komori. 1700. A pupil of Goto Kambei. Kyoto.
 * Yasuyori. Hamano. 1770. Yenjuro. At first called Naoyuki, and generally known as Hōzui (another pronunciation of Yasuyori). Yedo.
 * Yasuyuki. Tsuji. 1750. An artist of note. Had various names—Masayuki, Watanabe, Sukekuro, and Hikokoro. Yedo.
 * Yeiji. Nayemura. 1820. A Kyoto expert, skilled in carving dragons among waves.
 * Yeijō. Vide Narikado (Hirata).
 * Yeijō. Goto. 1600. Sixth of the great Goto Masters. Kyoto.
 * Yeiju. Takase. 1780. Izayemon. Pupil of Sekijoken.
 * Yeisendo. Vide Yoshinori.
 * Yeishu. Iwamoto. 1780. Yasuchika Shinsuke. Pupil of Iwamoto