Page:Brinkley - Japan - Volume 8.djvu/417

 as ware painted or enamelled over the glaze—was never carried to a point of greater excellence by any Japanese expert. His greatest triumphs, perhaps, were in modelling flowers and insects. Doubtless the fashion introduced by Haritsu found imitators in later times, but no distinction was gained in this line until the Tempo era (1830-1843), when the work of Miura Kenya, of Kyōtō, began to attract attention. Kenya came to Tōkyō (then Yedo), about 1840 and settled at Asakusa, where he continued the manufacture of faience mosaics until a recent period. He never reached the standard of Haritsu, but nevertheless left many specimens of great beauty and excellence. He was succeeded by Kozawa Benshi, who, in addition to inlaying with faience, manufactures figures of terra cotta elaborately painted in body colours.

This is the name given to ware manufactured by Numanami Gozaemon, the originator of the Banko-yaki, during his residence at the village of Komme, in the suburbs of Tōkyō (vide Banko yaki). It can scarcely be classed among the keramic productions of the capital, and of course it is not distinguishable from work produced by the Banko expert at his native village (Kuwana). In the same category of exotic manufactures may be placed ware made at the private kiln of the Prince of Mita, within the grounds of his Yedo mansion (at Toyama), up to the beginning of the present century. To this ware, as well as to the faience manufactured at the Prince's private factory in Owari, the name Oniwa-yaki (honourable garden ware) was given, and it was usually marked Go-raku-en