The history of Kito warewhich, being for the most part faience, belongs to an entirely different category from the Hizen porcelains K -~ spoken of aboveis the history of individual ceramists 10 0.
Nomura Seisuke, or Ninsei as he is commonly called, was one of Japans greatest ceramists.
After Ninseis time, the most renowned ceramists of the Awata factories were Kenzan (1688-1740); Ebisei, a contemporary of Kenzan; Dhachi (1751-1763), who subsequently moved to Kiyomizu-zaka, another part of Kieto, the faience of which constitutes the Kiyomizu-yaki mentioned above; Kinkzan (1745-1760); Hezan (I69o-~-I72I); Taizan (1760-1800); Bizan (1810-1838); and Tanzan, who was still living in 1909.
They are family names, and though the dates we have given indicate the eras of the most noted ceramists in each family, amateurs must not draw any chronological conclusion from the mere fact that a specimen bears such and such a name.
On the slopes called Kiyomizu-zaka and Goj-zaka lived a number of ceramists, all following virtually the same models with variations due to individual genius.
He summoned to his fief the painter Tangena pupil of the renowned Tanyu, who died in 1674and employed him to paint faience or to furnish designs for the ceramists of Tatsumonji.
At Hirado the ceramists affected a lighter and more delicatetone than that of the Chinese, and, in order to obtain it, subjected the choice pigment of the Middle Kingdom to refining processes of great severity.
When the mediatization of the fiefs, in 1871, terminated the local patronage hitherto extended so munificently to artists, the Japanese ceramists gradually learned Chany,~ of that they must thenceforth depend chiefly upon the Style after markets of Europe and America.
Thenceforth his example was largely followed, and it may now be said that the tendency of many of the best Japanese ceramists is to copy Chinese chef s-dteuvre.
Among the seven ceramists here enumerated, Seif of KiOto probably enjoys the highest reputation.
But a sharp distinction has to be drawn between the method of Seifu and that of the other six ceramists mentioned above as following Chinese fashions.
The line chosen by these ceramists is purely Chinese.
Many copies were made by European ceramists in the eighteenth century.
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