Page:Brinkley - Japan - Volume 8.djvu/254

 and after the abolition of feudalism he saw nothing better than to adapt his designs solely to the taste of foreign markets. The result was a faience loaded with decoration in gold and pigments. Among modern Kyōtō wares this is, perhaps, the best known outside Japan. Though too often a gaudy, meretricious production, unworthy to be classed with the choice efforts of Japanese keramists, some specimens are very beautiful. In truth, when Kanzan really puts forth his strength, he manufactures faience which, alike in pâte, glaze, crackle, and decoration, supports comparison with anything of the kind ever made in Japan.

Shōfu Katei, a potter of Kyōmizu, came thither, in 1850, from Owari, of which province he was a native. His original name was Kitō Kajuro, but when settling in Kyōtō he called himself Katei, and assumed the art name of Shōfu-tei. He did not distinguish himself for originality. The only point to be noted with reference to his faience is that, being an ardent devotee and student of Buddhism, his decorative motives were often of a religious character, as, for example, the Shichi-fuku-jin, the Jugo Dōji, the Juroku Rakan, the Rishi, and so forth. The first Shōfu-tei was succeeded by his son, of the same name, in 1864, who still carries on the industry with considerable success.

Okumura Yasutaro, a potter of Kadowakicho (a branch street of Gojō-zaka), commenced the manufacture of faience in 1864. His art name is Shōzan. This keramist's skill in imitating the works of the old masters, especially Ninsei and Kenzan, is very remarkable. A cup made by him used to be exhibited in a museum of antiquities in Tōkyō as a genuine production of Nomura Ninsei, and there is no doubt