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owari

owari Sentence Examples

  • 1891 (28/10) - Mino, Owari 222,501 7,273

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  • In the hill country on the borders of Ise, Owari, Mikawa and TOtmi, on the one side, and Omi, Mino and Shinano, on the other, granite frequently forms dark grey and much disintegrated rock-projections above schist and diluvial quartz pebbles.

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  • The feldspar of a splendid pegmatite and its products of disintegration on the borders of Owari, Mino and Mikawa form the raw material of the very extensive ceramic industry of this district, with its chief place, Seto.

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  • In his country retreat at Shizuoka he formed one of the richest libraries ever brought together in Japan, and by will he bequeathed the Japanese section of it to his eighth son, the feudal chief of Owari, and the Chinese section to his ninth son, the prince of Kishu, with the result that under the former feudatorys auspices two works of considerable merit were produced treating of ancient ceremonials and supplementing the Nikongi.

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  • It had long been customary in Japan to send students to China for the purpose of studying philosophy and religion, and she now (1223) sent a potter, Kato Shirozaemon, who, on his return, opened a kiln at Seto in the province of Owari, and began to produce little jars for preserving tea and cups for drinking it.

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  • The principal kinds of ware are Hizen, KiOto, Satsuma, Kutani, Owari, Bizen, Takatori, Banko, Izumo and Yatsushiro.

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  • It was at the little village of Seto, some five miles from Nagoya, the chief town of the province of Owari, or BishU, that the celebrated Kato Shirozaemon made the first Japanese faience OwarL worthy to be considered a technical success.

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  • Owari abounds in porcelain stone; but it does not occur in constant or particularly simple forms, and as the potters have not yet learned to treat their materials scientifically, their work is often marred by unforeseen difficulties.

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  • But at Owari the experts were content with an inferior color, and their blue-and-white porcelains never enjoyed a distinguished reputation, though occasionally we find a specimen of great merit.

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  • Decoration with vitrifiable enamels over the glaze, though it began to be practised at Owari about the year 1840, never became a speciality of tile place.

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  • Nowadays, indeed, numerous examples of porcelains decorated in this manner are classed among Owari products.

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  • Tc such a depth of debasement had the ceramic art fallen in Owari, that before the happy renaissance of the past ten years, Nagoya discredited itself by employing porcelain as a base for cloisonn enamelling.

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  • He was succeeded by Tozawa Benshi, an old man of over seventy in 1909, who, using clay from Owari or Hizen, has turned out many porcelain statuettes of great beauty.

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  • 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.

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  • The Owari potters were slow to follow the lead of Miyagawa ShOzan and Seif YOhei.

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  • At the industrial exhibition in RiOto Ware ~, (1895) the first results of their efforts were shown, Owari attracting attention at once, In medieval times Owari was celebrated for faience glazes of various colors, much affected by the tea-clubs, but its staple manufacture from the beginning of the 19th century was porcelain decorated with blue under the glaze, the best specimens of which did not approach their Chinese prototypes in fineness of pdte, purity of glaze or richness of color.

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  • Only lately did Owari feel the influence of the new movement towards Chinese types.

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  • The work began in 1838, and Kaji Tsunekichi of Owari was its originator.

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  • cloisonn enamelling was practised in the manner now understood by the term; when foreign merchants began to settle in Yokohama, several experts were working skilfully in Owari after the methods of Kaji Tsunekichi.

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  • Very soon, however, the artisans of Nagoya (Owari), Yokohama and Tokyowhere the art had been taken upfound that faithful and fine workmanship did not pay.

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  • There has been nothing like them in any other country, and they stand at an immeasurable distance above the works of the early Owari school represented by Kaji Tsunekichi and his pupils and colleagues.

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  • Wari (formerly known also as Owari, Oywhere, &c.) is a much-frequented port on a branch of the Niger of the same name reached from the Forcados mouth, and is 55 m.

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  • Table services of Owari porcelain the ware itself excellently manipulated and of almost egg-shell fineness2re now decorated with floral scrolls, landscapes, insects, birds, figure-subjects and al sorts of designs, chaste, elaborate or quaint; and these services, representing so much artistic labor and originality, are, sold for prices that bear no due ratio to the skill required in their manufacture.

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  • During the first twenty-five years of the Meiji era, the Owari potters sought to compensate the technical and artistic defects of their pieces by giving them magnificent dimensions; but at the Tokyo industrial exhibition (1891) they were able to contribute some specimens showing decorative, plastic and graving skill of no mean order.

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