Page:Brinkley - Japan - Volume 8.djvu/219

 and delicacy. Their command of technical processes was thorough, yet they never allowed themselves to be betrayed into exuberance of ornament. Birds, landscapes, floral subjects, and other familiar objects were faithfully represented, excellent judgment being shown in adapting the motive to its purpose. Their pâte was always carefully manipulated; their glazes were lustrous and uniform. A characteristic and favourite glaze of the second Dōhachi was pearl white, tinged or clouded with pink. The idea of this glaze was derived from Korean faience, but the development it received in Dōhachi's hands amounted to a new departure.

Kiya Sahei, or Mokubei as he is called in art, was born in 1767, and received instruction from Eisen. But as he owes his reputation chiefly to his skill in manufacturing porcelain, it will be more convenient to speak of him when that part of the subject is considered.

In the account given above of the family of Yasuchika incidental mention is made of a potter called Kihyō, or Kagiya, who was especially appointed to manufacture utensils for the palace of the Shōgun in Yedo. The record of the Kagiya family commences with Kagiya Tokuemon, who began work at Awata in 1693. Both this man and his son are said to have been clever keramists, but as to the particular direction in which their skill lay the student is left to conjecture. It was not till the time of Kagiya Mohei, the third generation, that the family acquired a wide reputation. This artist succeeded to his father's business in the Enkyō era (1744–1747), and in 1756 he had so distinguished himself as to be appointed potter to the Tokugawa Court in Yedo. In connection