He established his kiln at Arita in Hizen, and the event marked the opening of the second epoch of Japanese ceramics.
Not until the year 1620 do we find any evidence of the style for which Arita porcelain afterwards became famous, namely, decoration with vitrifiable enamels.
From that time forward the Arita factories turned out large quantities of porcelain profusely decorated with blue under the glaze and colored enamels over it.
The porcelains of Arita were carried to the neighboring town of Imari for sale and shipment.
The most characteristic examples of it are distinguishable, however, by the preponderating presence of a peculiar russet red, differing essentially from the full-bodied and comparatively brilliant color of the Arita pottery.
Moreover, the workmen of Kaga did not follow the Arita precedent of massing blue under the glaze.
At Arita, although pieces were occasionally turned out of which the color could not be surpassed in purity and brilliancy, the general character of the blue sous couverte was either thin or dull.
The porcelains of Owari and Arita naturally received most attention at the hands of the Hyochi-en decorators, but there was scarcely one of the principal wares of Japan upon which they did not try their skill, and if a piece of monochromatic Minton or Svres came in their way, they undertook to improve it by the addition of designs copied from old masters or suggested by modern taste.