Page:Brinkley - Japan - Volume 8.djvu/221

 the Popular school (Ukyo-e Riu), of painting, which, founded by the celebrated Iwasa Matahei just as the keramics of Kyōtō were receiving new inspiration from the genius of Nomura Ninsei, reached the zenith of its fame during the eighteenth century. The exquisite colouring and rich elaboration displayed by the Ukyo-e artists in depicting drapery could scarcely fail to influence the decorative motives of a contemporaneous school of keramists.

Scarcely less familiar than the Kinkōzan stamp in connection with Awata faience is the mark Hōzan. This, as has been noted in the genealogical table of the Minamoto no Yasuchika family, was an art name given to Yasubei by Tankai Hōzan Risshi, guardian of Hachidai Tennosha, at the beginning of the eighteenth century. The specialty of this potter appears to have been the use of blue sous couverte in decorating faience; a method not much practised owing to the difficulty of obtaining the necessary degree of heat in stoving. Landscapes, boldly executed, and floral scrolls were the usual motives. The effect of blue thus employed under a glaze glossy as oil and softened by a network of minute crackle, is highly artistic. About this time imitations of Delft faience began to be manufactured at Awata in small quantities. They do not merit special notice until the time of Bunzo, grandson of Yasubei Hōzan, who flourished during the latter part of the eighteenth century. This artist was a master in the use of engobe. One of his favourite methods was to cover the surface of a piece with rich blue wax-like glaze, forming a ground for floral designs or scrolls in white, and in many cases relieved by medallions with designs in engobe, copied from the Dutch. He was also the originator of a very beau-