Living artists in 1908 included Toshihide, Miyagawa Shuntei, Yoshiu Chikanobuone of the elder generationTomisuka Yeishu, Toshikata and Gekko.
This Makuzu faience, produced by the now justly celebrated Miyagawa ShOzan of Ota (near Yokohama), survives in the form of vases and pots having birds, reptiles, flowers, crustacea and so forth plastered over the surfacespecimens that disgrace the period of their manufacture, and represent probably the worst aberration of Japanese ceramic conception.
Miyagawa soon began to cast about for a better inspiration, and found it in Adoption of the monochromes and polychromes of the Chinese Chinese Kang-hsi and Yung-cheng kilns.
Value attaching to the incomparable red glazes of China, not only in the country of their origin but also in the United States, where collectors showed a fine instinct in this matter, seems to have suggested to Miyagawa the idea of imitation.
Seven kilns are devoted, wholly or in part, to the new wares: belonging to Miyagawa ShOzan of Ota, Seiffl YOhei of KiOto, Takemoto Hayata and Kato Tomojiro of Tokyo, Higuchi Haruzane of Hirado, Shida Yasukyo of Kaga and Kato Masukichi of Seto.
Miyagawa ShOzan, or Makuzu, as he is generally called, has never followed Seifus example in descending from the difficult manipuW a lation of colored glazes to the comparatively simpl Sk~n process of painted biscuit.
In that class of beautiful ware the application of pigment to the unglazed pdle is inevitable, and both Seif and Miyagawa, working or the same lines as their Chinese predecessors, produce porcelain~ that almost rank with choice Kang-hsi specimens, though they have not yet mastered the processes sufficiently to employ them in the manufacture of large imposing pieces or wares of moderate price.
The Owari potters were slow to follow the lead of Miyagawa ShOzan and Seif YOhei.