Page:Brinkley - Japan - Volume 8.djvu/255

 that many of his productions are similarly misjudged in Western collections. Shōzan is a true representative of Japanese household industry. Apart from the mechanical operations of grinding and mixing clays, every process of the manufacture is performed by the artist himself within the precincts of his cottage. Among his wares one only can lay claim to any originality. It is faience of which the surface is partially coated with green sand resembling an incipient growth of moss. Such conceits are not common in Japan. They are confined, for the most part, to the inartistic works of Makuzu (vide Yukansai).

Sawamura Tosa, a potter of Gojō-zaka, was a pupil of the third Rokubei. He opened a factory in 1876, and employs himself chiefly in producing wine and tea vessels. There is nothing remarkable about his work.

Asami Gorosuke, a potter of Gojō-zaka, was a pupil of the second Rokubei and also of the third. He opened a factory in 1852 and devoted himself principally to manufacturing blue-and-white porcelain. He adopted the art name of Shonzui Gorosuke, but there is little danger that his pieces will ever be mistaken for those of the father of Japanese porcelain manufacture, Shonzui Gorodayu.

Yamamoto Tatsunosuke, a potter of Gojō-zaka, studied the art under Nakamura Masagoro (vide Ebisei) and opened a factory in 1864. His art name is Riuzan. He manufactures both faience and porcelain, but chiefly the latter.

Aki Zenkichi, a potter of Kyōmizu, opened a factory in 1876 and copied the methods of Kenzan.

Ito Koemon, better known by his art name of Tōzan, opened a factory at Gojō-zaka in 1862, and obtained some distinction as a manufacturer of faience