Page:Brinkley - Japan - Volume 8.djvu/371

 below, his descendants have continued the keramic manufacture without interruption down to the present time. They did not, however, retain the monopoly at Matsumoto. During the Kambun era (1661–1672), an expert from the province of Yamato entered the service of the Mōri house, and was assigned for his support a tract of land in Higashiwake-mura, Abu district, receiving, at the same time, the name of Kiusetsu. This man also opened a factory at Matsumoto, and employing materials procured at Higashiwake, Mishimamoto, and Ukino-yama, manufactured faience not only after the fashion of Kōrai-zaemon's Hagi-yaki, but also in the style of the well-known Raku ware of Kyōtō. From his time, in addition to the pearl grey and salmon glazes of Kōraizaemon, there were produced pale green and light lavender glazes, sometimes applied as monochromes, sometimes used to variegate greyish or cream-white grounds. Another variety, known as E-hagi, or painted Hagi, also made its appearance. It had boldly executed designs in black, slate colour, or reddish brown, after the fashion of Korean painted ware (E-gōrai). The Hagi-yaki occupies a place of little artistic importance among Japanese keramic productions, though it is much valued by the tea-clubs. The artist whose name is best remembered for technical shill is Kiusetsu of the fourth generation, who flourished from 1740 to 1776.

Kōraizaemon; died 1643. Sukehachi; died 1668. Shimbei; died 1729.