The close of this long period brought a new style of art, that of the Korin school.
The Kokka, a monthly magazine richly and beautifully illustrated and edited by Japanese students, has reached its 223rd number; the Shimbi Daikan, a colossal album containing chromoxylographic facsimiles of celebrated examples in every branch of art, has been completed in 20 volumes; the masterpieces of KOrin and Motonobu have been reproduced in similar albums; the masterpieces of the Ukiyo-e are in process of publication, and it seems certain that the Japanese nation will ultimately be educated to such a knowledge of its own art as will make for permanent appreciation.
Of individual artists, perhaps the most notable is Ogata KOrin (d.
His lacquer-ware is distinguished for a bold and at times almost eccentric impressionism, and his use of inlay is strongly characteristic. RitsuO (1663-1747), a pupil and contemporary of KOrin, and like him a potter and painter also, was another lacquerer of great skill.
Men of the calibre of KOyetsu KOrin, RitsuO, Kajikawa and Mitsutoshi must be rare in any age, and the epoch when they flourished is justly remembered with enthusiasm.