Page:Brinkley - Japan - Volume 8.djvu/403

 shown that the porcelain industry, as distinguished from that of pottery and faience, received a notable impulse in the opening years of the nineteenth century. The Nishihama factory is an example of this development. Very little is known of its first productions. They were completely lost sight of when, in 1827, Harunori, after one of his periodical visits to Kyōtō, brought back with him the already renowned keramist, Zengoro Hozen. The character of the Kishiu-yaki immediately underwent a complete change. Zengoro had made his name by imitating the brilliant glazes of the so-called Cochin-Chinese faience, and to this species of work he applied himself at Harunori's factory. The outcome of the kiln was thenceforth known as Oniwa-yaki (ware of the honourable park) or Kairaku-en-yaki (ware of the park of ease and fellowship). The pâte, sometimes white, sometimes reddish grey, was very fine, varying from porcelain to faience, but being for the most part hard stone-ware. The glazes were remarkably rich and beautiful: purple, green, turquoise, yellow, and white. They were employed in various ways. Perhaps the most common was a purple ground covered with scroll-work in relief, portions of the scroll being filled with turquoise blue. In other and even more excellent pieces there is found rich green ground marbled with purple, or decorated with medallions in yellow, purple, white, and blue. Glazes showing greater richness, lustre, and purity of colour were never produced by any Japanese potter. Harunori loaded Zengoro with favours, and bestowed on him three seals; two of silver, bearing the inscriptions Kairaku-en and Eiraku, and one of gold, inscribed Kahin Shiriu. Japanese antiquaries say that the term Kahin Shiriu