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.
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.
Okamuia Yasutaro, commonly called Shozan, produces specimens which only a very acute connoisseur can distinguish from the work of Nomura Ninsei; Tanzan Rokuros half-tint enamels and soft creamy glazes would have stood high in any epoch; Taizan YOhei produces Awata faience not inferior to that of former days; Kagiya SObei worthily supports the reputation of the KinkOzan ware; Kawamoto Eijiro has made to the order of a well-known KiOto firm many specimens now figuring in foreign collections as old masterpieces; and ItO TOzan succeeds in decorating faience with seven colors sons couverte (black, green, blue, russetred, tea-brown, purple and peach), a feat never before accomplished.
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.
But in the matter of true monochromatic and polychromatic glazes, to ShOzan belongs the credit of having inaugurated Chinese fashions, and if he has never fully succeeded in achieving lang-yao (sang-de-breuf), chi-hung (liquid-dawn red), chiang-tou-hung (bean-blossom red, the peach-blow of American collectors), or above all pin-kwo-lsing (apple-green with red bloom), his efforts to imitate them have resulted in some very interesting pieces.
Takemoto and KatO of Tokyo entered the field subsequently to ShOzan, but followed the same models approximately.
Like Shozan, he is still very far from his original, but, also like ShOzan, he produces highly meritorious pieces in his efforts to reach an ideal that will probably continue to elude him for ever.
The Owari potters were slow to follow the lead of Miyagawa ShOzan and Seif YOhei.