Japan: Its History, Arts, and Literature/Volume 7/Artist Artizans

by Captain F. Brinkley

NAMES AND ERAS

OF

JAPANESE ARTIST ARTIZANS

OTHER THAN

KERAMISTS AND SCULPTORS OF
SWORD-FURNITURE

N.B. A few of the names in this list appear also in the List of Sword-Fumiture Chisellers. That is because of the general character of their work.

• Aichiku. 19th cent. (d. 1896.) A woodcarver of Echizen.
• Akiyama. Present day. Wood-carver in the style of Matsumoto Kisaburo, whom he accompanied to Tokyo from Kumamoto.
• Anraku. 19th cent. (d. 1893.) A netsuke-carver of Osaka, pupil of Kaigyokusai.
• Arakawa. Beiun. Present day. A skilled wood-carver of Tokyo, midway between the old and the new schools.
• Araki. Kihei. 17th cent. Pupil of Nagoshi Masataka. Metal-founder.
• Ariyoshi. Nagato. 19th cent. (d. 1890.) Originally a mask-carver of great skill, he became a worker in metals after 1870. Some fine netsuke in the form of masks were produced by him. His art name was Mori Ryoken.
• Asada. Sahichi. Present day. A highly skilled worker in cloisonné enamel, chiefly remarkable for transluced pastes run over gold and silver, which are chislled in various designs, or carry subjects worked in enamels of stronger colours.
• Asahi. Sho. 19th cent. (d. 1890). A carver and engraver of Tokyo.
• Asahi. Meido. Present day. A skilled ivory-carver of Tokyo; pupil of Gyokkin of Kyoto and Ishikawa Mitsuaki of Tokyo.
• Asahi. Gyokuzan. Present day. A netsuke-carver of Kyoto, celebrated for chiselling skulls.
• Asai. Hidejiro. Worker in cloisonné enamels; pupil of Hara Fujio.
• Asai. Bansaburo. A worker in cloisonné enamels; pupil of Kaji Tsunekichi.
• Awada-guchi. A mark found on netsuke of Miwa's time. It has not been identified.
• Bazan. Present day. A highly skilled wood-carver of Gifu. He has carved a string of cash on a straw rope so that each cash moves.
• Benkichi. 19th cent. (d. 1865.) A wood-carver of Ono in Kaga. He excelled in chiselling a multitude of cranes, deer, etc., in relief on a flat field. Also made mechanical toys.
• Chiujiro. (d. 1800.) Metal-founder.
• Chounsai. 19th cent. (d. 1885.) A netsuke-shi of Yedo (Tokyo); pupil of Tomochika.
• Daikokuya. Toyemon. 18th cent. A netsuke-carver of Kyoto.
• Deme. Uman. 18th cent. The Soken Kisho says: "Deme was a native of Yedo, and a mask-maker by profession. It appears that this artist carved as a pastime only. He had a natural gift for carving netsuke in the form of a mask, and none could surpass him in such work. There was also a sculptor named Deme Jōman, supposed to be a son of Deme Uman, who possessed great glyptic ability. No carvings except those of masks bear the name "Deme."
• Dōki. Minasuke. Worker in cloisonné enamels; pupil of Hara Fujio.
• Dōnin. 17th cent. Metal-founder.
• Dōraku. 19th cent. (d. 1895.) A netsuke-carver of Osaka; pupil of Kaigyokusai.
• Dōya. 17th cent. Called also Yaichiro or Yazayemon. Art names, Yoshitoshi and Dōya. Metal-founder.
• Dōya. 17th and 18th cent. Called also Yaichiro or Yazayemon. Art name, Dōya. Metal-founder.
• Dōya. 18th cent. Called also Yazayemon, or Tomoyoshi. Metal-founder.
• Dōya. 18th cent. Ryōshin. Metal-founder.
• Dōya. 18th cent. Shichiyemon. Metal-founder.
• Dōya. 19th cent. Shichiyemon, or Yazayemon. Metal-founder.

Fugita.  Shigeo. Workers in cloisonné enamels; pupils of Hara Fujio. Fugita. Yonejiro. 

• Fukawa. Kazuo. Present day. An eminent metal-sculptor.
• Fusa. 18th cent. (d. 1776.) A carver of Nara-mingyo. Called also "Kogan Shoyei Shinji," and commonly "Manzoku."
• Garaku. 18th cent. A skilled netsuke-carver of Osaka and pupil of Tawaraya Dembei.
• Gechiu. 18th cent. The Soken Kisho says: "Nothing is known of this artist, but his name appears upon some fine carvings."
• Genryosai. 18th cent. An ivory-carver of Kyoto; one of the best of the early netsuke-shi. A contemporary of Miwa, who worked in wood. Genryosai and Miwa were called the nifuku-tsui (pair of pictures) of their century.
• Gesshō. 18th cent. (end). A netsuke-carver of Nagoya. Bold and somewhat rough in style.
• Gido. 19th cent. (d. 1837.) A great bronze-caster of Yedo. Zenriusai Gido was his art name; Suwara Yasugoro, his ordinary name.
• Giji. (d. 1776.) Hikokuro. Metal-caster.
• Gohei. (d. 1782.) Metal-founder.
• Gorozayemon. (d. 1786.  Metal-founder.
• Gyokkin. 19th cent. (d. 1885.) A skilled netsuke-shi of Kyoto.
• Gyokumin. 19th cent. (d. 1 861.) A netsuke-shi of Osaka.
• Hada. Kusaroku. Present time. Pupil of Shihō Ampei. A great expert of Kaga, where many of the finest modern bronzes are made.
• Hakuriu. 19th cent. (d. 1873.) A netsuke-carver of Kyoto. He was a samurai of Unshiu, and his favorite subjects were dragons, tigers, and Dogs of Fo (shishi).
• Hananuma. Masakichi. Present day. A wood-carver of Yokohama who works for the foreign market.
• Hara. Fujio. Worker in cloisonné enamels; pupil of Hara Kiyozaburo.
• Hara. Kiyosaburo. A worker in cloisonné enamels; pupil of Isaburo.
• Haruchika. 18th cent. A skilled netsuke-carver.
• Hasegawa. Kumazo. Present day. A highly skilled metal-founder of Tokyo; works in the style of the great bronze casters Seimin and Tōun.
• Hata. Tomofusa. 18th cent. A netsuke-carver of Mimasaka. He was a lacquerer by profession, and his netsukes are all lacquered.
• Hayashi. Shogoro. A worker in cloisonné enamels; pupil of Kaji Tsunekichi.
• Hidari. Jingoro. 16th and 17th cent. (d. 1635.) One of the greatest of Japanese wood-carvers.
• Hidari. Sōshin. 17th cent. Son of Hidari Jingoro, and an almost equally skilled sculptor in wood.
• Hidari. Katsumasa. 17th and 18th cent. Grandson of Hidari Jingoro. A renowned sculptor in wood.
• Hidari. Issan. 18th cent. (end). A skilled carver of wooden netsuke who worked in Yedo.
• Hijikata. Tobioye. A worker in cloisonné enamels; pupil of Kaji Tsunekichi.
• Hirata. Sōkō. Present day. A skilled uchimono-shi of Tokyo.
• Hiratsuka. Mohei. 19th cent. (d. 1840.) A worker in cloisonné enamel who used translucid pastes with success for making ojime, Kagami-buta, and Kama-mono.
• Hiratsuka. Kinnosuke. Present day. Son of Hiratsukt Mohei. A skilled worker in cloisonné enamels. Remarkable for having introduced (1887) the style known as Hirata-jippo; namely, enamel designs suspended in the reticulations of silver vases chiselled à jour.
• Hitotsuyanagi. Kisuke. A worker in cloisonné enamels; pupil of Kato Yasubiyoye.
• Hōjutsu. 19th cent. (d. 1885.) A netsuke-shi of Kyoto, one of the greatest in Japan. He had a competence of his own as a samurai, and his profession was that of instructor in military science,—as was the case with Ogino Shomin,—but his passionate love for carving compelled him to take it up. A pupil of Ogino Shomin, and afterwards of Shibayama Soichi, he learned from the latter the art of inlaying with mother-of-pearl and decorating with gold lacquer; and many of his productions were thus distinguished. Art name, Meikunsai.
• Hori. Yōsai. (d. 1796.) Said to have been a pupil of Yamashiro Hori Jōho. Metal-founder.
• Hōshin. 18th cent. A netsuke-carver of Kyoto. The Soken Kisho says: “He worked in ivory, and made a specialty of carving a partially opened clam with buildings inside, and other subjects of that class.”

N.B. The buildings in the clam are supposed to be the palace of the dragon king—Riu-no-jō—at the bottom of the ocean. This motive has often been copied.

• Hōun. 19th cent (d. 1858.) A busshi of Yedo (Tokyo); brother of Hōzan.
• Hozan. 19th cent. (d. 1860.) A skilled busshi of Yedo (Tokyo).
• Ichiraku. 18th cent. A netsuke-maker of Sakai in Izumi. The Soken Kisho says: “His family name was Tsuchiya, and his art-name Botoken. He was the first to make girdle-pendants by plaiting rattans or fine wistaria. His calabash-shaped netsuke of these materials are well-known." (This style of plaiting was suggested originally by Chinese snuff-bottles. It is called “Ichiraku-gri,” after the name of its Japanese originator.)
• Ikkan. 19th cent. (d. 1885.) A netsuke-carver of Nagoya.
• Ikko. 19th cent. (d. 1858.) A netsuke-carver of Kyoto, who worked also in the Shibayama style. He is said to have been regarded as an imbecile, and to have been unable to tie his own girdle up to the age of 19. Nevertheless, without receiving any instruction, he became a great carver.
• Ikkosai. 19th cent. (d. 1880.) A netsuke-carver of Yedo; pupil of Tomochika.
• Insai. 18th cent. A netsuke-carver of Osaka. The Soken Kisho says: “He became famous for carving ivory netsuke representing the Sarumawashi (monkey-leader).”
• Isaburo. A worker in cloisonné enamels; pupil of Kaji Tsunekichi.
• Ishikawa (Mitsuaki). 19th cent. (d. 1835.) A wood-carver of Kyoto.
• Ishikawa (Toyomitsu). Present day. An ivory carver of great skill; pupil of Kikugawa Masamitsu. He was the first to receive the title of Gigei-in (artist to the Imperial Court) in 1890. Father of Ishikawa Mitsuaki. Works in Tokyo. Called also Kōmei.
• Ishikawa. Mitsuaki. Present day. One of the leading ivory-carvers of the era. His ancestors, through seven generations, were sculptors. His specialty is the carving of barn-door fowls, monkeys, human figures, etc., which he fastens into wooden plaques. Mitsuaki is a teacher in the Fine Arts School, and has a large atelier of his own in Tokyo, where many netsuke and ivory alcove ornaments are produced for the foreign market.
• Ishikawa. Katsuyemon. 19th cent. (early part). A skilled decorative wood-carver (miya-bori-shi) of Yedo. He executed the carvings on some of the gates of several temples and mausolea; notably those of Nikko, Hongwan-ji, and Shiba. Grandfather of Ishikawa Mitsuaki.
• Ittan. 19th cent. (middle). A netsuke-carver of Nagoya.
• Ito. Tosuke. A worker in cloisonné enamels; pupil of Kaji Tsunekichi.
• Ito. Katsumi Masataka. Present day. (b. 1829.) Originally called Shōsai. A metal sculptor of the highest skill; 10th representative of the Ito family, founded by Ito Masanaga, who with all his descendants down to the present representative, were makers of sword-guards for the Tokugawa Shōguns. A pupil of the celebrated Toriusai; he was adopted into the Ito family in 1860, his rival for that honour being Kano Natsuo. After 1867 he began to carve plaques, paper-weights, etc. He uses the marks Katsumi and Taikiu.
• Ito. Kojiro. Present day. A jade-carver of Echizen.
• Itsumin. Present day. A netsuke-carver of Nagoya, skilled in the style called Jidai-bori (ancient carving); i.e., the greatest effect with the smallest use of the chisel.
• Iyemasa. (d. 1626.) Called also Yagoro and Zuiyetsu. The third son of Nagoshi Zensho. Granted the rank of Etchiu no Shōjō. Being appointed founder to the Tokugawa Shōguns, he repaired every year to Yedo. Metal-founder.
• Izamiya. (1765–1800). Netsuke-carver.
• Jinnosuke. 17th cent. Pupil of Nagoshi Masataka. Metal-founder.
• Jirobei. 18th cent. A netsuke-carver of Osaka. He was famous for pipe-cases of horn, having dragons chiselled on them.
• Jitsugyoku. 19th cent. (d. 1892.) A skilled netsuke-carver of Tokyo; pupil of Hōjustsu.
• Jiuzō. 18th cent. A netsuke-carver of Wakayama, Kishiu. The Soken Kisho says: “He is very skilful. His work resembles that of Ogasawara Issai, and he will doubtless improve much as he grows older.”
• Jochi. 17th cent. A pupil of Nagoshi Masataka (q. v.). His family name was Hori. Metal-founder.
• Jōgen. There were three of this name. All had the common name of Seiyemon, and lived in the 18th cent. Metal-founders.
• Jōkiu. (d. 1685.) A celebrated metal-founder. Son of Onishi Josei. He cast tea-urns decorated with pine sprays in relief; others in the form of folded paper, a gourd, a rice-bag, an old-woman’s mouth, etc.
• Jorin. (d. 1727.) An eminent founder.
• Joriu. 19th cent. (d. 1835.) A netsuke-shi of Osaka.
• Josei. 17th cent. Family name Onishi. A metal-founder of Kyoto.
• Jōsetsu. 18th cent. Sanyemon. Metal-founder.
• Joun. A pupil of Onishi Josei (q. v.). Seiyemon. Metal-founder.
• Jūgyaku. 19th cent. (d. 1893.) A skilled netsuke-shi of Tokyo; pupil of the second Riukei.
• Jūkwa. (First half of 19th cent.) Netsuke-carver.
• Jutei. (End of 18th cent.) Netsuke-carver.
• Kagetoshi. (19th cent.) (d. 1868). A netsuke-carver of Kyoto. Highly skilled in the style called Kanton-bori (Canton carving), that is to say, work of microscopic delicacy, as landscapes and mythical scenes chiselled inside a clam shell, the whole in solid ivory. He carved a view of Itsukushima shrine within a space of two inches, so accurate in detail that the sacred bell swings in its frame.
• Kaigyokusai. 19th cent. (d. 1892.) A netsuke-carver of Osaka, one of the greatest that Japan has produced. His name was Yasunaga Kizayemon. At first he used the mark “Masatsugu,” but by and by he changed it to “Kaigyoku Masatsugu,” and finally to “Kaigyokusai.” He absolutely declined to carve anything that did not take his fancy, but when he had commenced a work, he scarcely laid it aside until it was finished. He gave all his carvings to charitable purposes.

Kainuma.  Zenzayemon.  Workers in cloisonné enamels; pupils of Kaji Tsunekichi. Kainuma. Kozayemon.

• Kaji. Tsunekichi. 19th cent. (d. 1883.) A worker in cloisonné enamels at Nagoya. He was the first to produce objects of any size decorated wholly with cloisonné enamels.
• Kaji. Sataro. Present day. A worker in cloisonné enamel, grandson of Kaji Tsunekichi. He adopts the Chinese style.
• Kamata. Sadakuni. A worker in cloisonné enamels; pupil of Kaji Tsunekichi.
• Kamaya. Higo. 18th cent. A great netsuke-carver of Osaka. He was originally a maker of peep-show boxes, but afterwards devoted himself to carving artificial teeth and netsuke.
• Kame. 17th cent. Called Kame-jo (the woman Kame). A skilled bronze-caster of Nagasaki.
• Kameyama. Jōsetsu. Present day. One of the best wood-carvers of Osaka; pupil of Kyōyen (V. Morikawa).
• Kanaya. Gorosaburo. 17th cent. Settled in Kyoto in 1625, and soon acquired an unrivalled reputation for skill, not only in casting and chiselling bronzes, but also for patina, called Gorosa-iro (Gorosa color). There have been ten generations of the Kanaya family, all called Gorosaburo. They are distinguished only by their posthumous names. The following is the list:—
• Gorosaburo (1). (d. 1660.) Posthumous name, Dōyen.
• Gorosaburo (2). (d. 1716.) Posthumous name, Nichizui.
• Gorosaburo (3). (d. 1779.) Posthumous name, Sokuyen.
• Gorosaburo (4). (d. 1772.) Posthumous name, Enshin.
• Gorosaburo (5). (d. 1817.) Posthumous name, Ichiryo.
• Gorosaburo (6). (d. 1825.) Posthumous name, Sōyen.
• Gorosaburo (7). (d. 1848.) Posthumous name, Ichijō.
• Gorosaburo (8). (d. 1873.) Posthumous name, Nichiyen.
• Gorosaburo (9). (d. 1889.) Posthumous name, Ryoki. This was one of the greatest of the family. He enriched his country with many beautiful works.
• Gorosaburo (10). Present time.
• Kanchi. Miyazaki. (d. 1728.) Hikokuro and Naoyoshi. Metal-founder.
• Kanchi. Miyazaki. (d. 1773.) Naonobu Shōshin. Known in Kaga, where he worked, as “Zeni-ya Kanchi” (Kanchi, the coiner). A great metal-founder.
• Kanchi. 17th and 18th cent. Family name, Miyasaki, and personal name, Hikosaburo. Called also, Giichi, and generally spoken of as Niudo Kanchi. (d. 1712.) Said to have been a pupil of Nagoshi Sansho, but as the latter died in 1638, the statement is apocryphal. Worked in Kaga. A celebrated metal-founder.
• Kaneda. Kanejiro. Present day. An ivory-carver of Tokyo. Some remarkably large works have been turned out in his atelier, notably ivory eagles, measuring 5 feet across the wings. The heads of these birds were chiselled by Ishikawa Mitsuaki (q. v.). Kaneda’s artizans have all been trained by Ishikawa or Shimamura.
• Kanjuro. 18th cent. A netsuke-carver of Osaka. The Soken Kisho says:—“He carved human figures having the faces and limbs of ivory and the costume, etc., in ebony.”
• Karamono-ya. Kiubyoye. 18th cent. A netsuke-carver of Sakai, in Izumi. The Soken Kisho says: “This artist was by profession a bronze-founder (Karamono-ya). His netsukes are of bronze, and generally take the form of the Kuwara-netsuke (vide note under Riusa’s name) or suigara-ake, “pipe-ash-holder,” (vide note under Toshinaga’s name).”
• Kashiu. 18th cent. The Soken Kisho says: “Nothing is known of this artist beyond the fact that the above ideographs, supposed to represent his name, are engraved on some fine netsuke.”
• Kato. Tamejuro. A worker in cloisonné enamels; pupil of Kato Yasubiyoye.
• Kato. Heishichi. A worker in cloisonné enamels; pupil of Kato Yasubiyoye.
• Kato. Yasubiyoye. A worker in cloisonné enamels; pupil of Kaji Tsunekichi.
• Kawai. Yoritake. 18th cent. A netsuke-carver of Kyoto. The Soken Kisho says: “He was a sculptor of idols by profession. His netsuke are exceedingly clever and well finished, and always show some peculiarity of style. He may be classed as an artist of special originality, and his works will certainly increase in value as years go by.”
• Kazaoka. Renyemon. A worker in cloisonné enamels; pupil of Kaji Tsunekichi.
• Kempaku. (d. 1820.) Joyetsu. Metal-founder.
• Kensai. 19th cent. (d. 1592.) A netsuke-carver of Nagoya; pupil of Masakazu.
• Kichibiyoye. 18th cent. A netsuke-carver.
• Kikugawa. Masamitsu. Present day. A skilled ivory-carver of Tokyo.
• Kimura. Heiji. Vide Tōun.
• Kimura. Yokichi. Worker in cloisonné enamels; pupil of Hara Fujio.
• Kobayashi. Shokei. Present day. A netsuke-carver of Nagoya; pupil of Masakazu.
• Kodani. 19th cent. (d. 1865.) A netsuke-shi of Osaka.
• Kōhōsai. 19th cent. (d. 1882.) A netsuke-carver of Osaka; pupil of Mitsuhiro.
• Kōjiro. (d. 1778.) Metal-founder.
• Kujutsu. 19th cent. (d. 1890.) A skilled netsuke-shi of Tokyo; pupil of Hōjutsu.
• Kōkei. Nine generations of this family lived and worked in Yedo, where they were regarded as highly skilled busshi. The Yedo family, a branch of the Nara Kōhei, goes back to the middle of the 17th century. Its records are obscure, but the representatives are said to have borne the names Kōhei and Zenkei in alternate generations. Several of them had the art rank of Hōkyo. The ninth representative was the teacher of Hōzan and Hōun.
• Kōmin. 19th cent. (1865.) A netsuke-shi of Osaka.
• Konoki. Tokutaro. Present day. Wood-carver in the style of Yamamoto Kisaburo (q.v.); the inventor of a species of very durable lacquer for covering sculptures. Works in Tokyo.
• Koyoken. Yoshinaga. 18th cent. A netsuke-carver of Kyoto.
• Kōzui. 17th cent. Pupil of Nogoshi Masataka. Metal-founder.
• Kuhei. 17th cent. Family name Nishimura, and commonly called Iyehisa. A pupil of Jomi (Nagoya Sansho).
• Kuribara. Keisai. 19th cent. (d. 1868.) A skilled bronze-caster of Yedo.
• Kurobei. 18th cent. A netsuke-carver. The Soken Kisho says: “He lived in Nagamachi, Osaka, and produced colored netsuke, imitating the glyptic style of Shuzan, to whom, however, he was much inferior.”
• Kuwamura. Tsunejiro. Worker in cloisonné enamels; pupil of Hara Fujio.
• Maizono. Genwo. 19th cent. (d. 1870.) A worker in cloisonné enamels of Kanazawa (in Kaga). Celebrated for his enamels in the Chinese style.
• Manjiya. Hisayasu. 17th and 18th cent. A skilled wood-carver of Toyama. The successive representatives of this family followed the profession of wood-sculptors until modern times.
• Masaharu. (d. 1880.) Yagoro. Metal-founder.
• Masakazu. 19th cent. (d. 1885.) A netsuke-carver of Nagoya; highly skilled.
• Masakira. (d. 1828.) Kemmei or Ippusan. Metal-founder.
• Masamichi. (d. 1762.) Yagoro. Metal-founder.
• Masanao. 18th cent. A netsuke-carver of Kyoto. The Soken Kisho says: “His skill in carving was great. He worked in both ivory and wood, and his productions are much prized.”
• Masanobu. 19th cent. Netsuke-carver. Kyoto.
• Masataka. (d. 1851.) Gonjiro and Yagoro. Metal-founder.
• Masatoshi. 19th cent. (d. 1880.) A netsuke-carver of Nagoya.
• Masatsugu. Present day. A netsuke-carver of Osaka; grandson of Kaigyokusai.
• Masatsune. 19th cent. (d. 1846.) A celebrated bronze-caster of Yedo.
• Masayoshi. (d. 1865.) Yagoro. Metal-founder.
• Masayoshi. 19th cent. (d. 1859.) A netsuke-shi of Osaka.
• Masayoshi. (d. 1746.) Yagoro. Metal-founder.
• Masayuki. 19th cent. (d. 1894.) A netsuke-carver of Osaka; pupil of Kaigyokusai.
• Matsuda. Ryōchō. 19th cent. Netsuke-carver of Takayama is Hida.
• Matayemon. 18th cent. A netsuke-carver of Kishiu. The Soken Kisho says: “He had skill of a very high order, and even now (1781), when good netsuke are found, dealers are fond of attributing them to Matayemon of Kishiu.”
• Matsumoto. Kisaburo. (d. 1890.) A wood-carver of remarkable force; originator of the natural school (vide text).
• Matsumoto. Ryōzan. 19th cent. (d. 1860.) Called also Kimbei; contemporary of Hōun (q. v.). Wood-carver. Carved the figure of Fudo at Naruta (hence received the name of “Fudo Kimbei”), and the figures of 500 Rishi in the Naruta temple.
• Meikei. First half of 19th cent. Netsuke-carver.
• Miao. Yeisuke. Present day. A bronze-founder of Yokohama.
• Michimasa. (d. 1690.) Yagoro. Metal-founder.
• Minko. There were three netsuke-shi of this name. The first was a contemporary of Miwa, and is separately noticed. The second, a woman, worked in the Tempo era (1830–43), and the third, Tsunohan Minko, was a great sculptor, who died about the year 1850.
• Minko. 18th cent. A netsuke-carver of Tsu in Ise. The Soken Kisho says: “His skill in wood-carving is very remarkable, especially in the production of ingenious and interesting figures. For example, he will carve a Daruma with eyes that turn in the head. His works are much liked, and his skill may be inferred from the fact that though he is still (1781) living, there are many imitations of his netsuke.”
• Mitsubashi. Riuun. 19th cent. (d. 1897.) A wood-carver of Tokyo, highly skilled in chiselling designs in medium relief. Much of his work was done for bronze-casters, so that few specimens remain.
• Mitsuharu. 18th cent. A netsuke-carver of Kyoto. “Several fine netsuke bear his name.”—Soken Kisho.
• Mitsuhiro. 19th cent. (d. 1865.) A netsuke-carver of Osaka; one of the greatest experts of the century. He could chisel ideographs as though they were traced by a great penman.
• Miwa. 18th cent. A celebrated netsuke-carver. The Soken Kisho says: “The other names of this artist are unknown. He lived and worked at Sekiguchi, in the street called Suidomachi, in Yedo (Tokyo). His skill was of the highest, and he specially distinguished himself in carving such figures as kodomo shishi-asobi (children masquerading as Dogs of Fo), take-ryoshi (catchers of cuttle-fish), etc. His netsuke were all of uncoloured cherry wood, and the holes through which the cord passed were lined with horn, stained light green. He did not work in ivory.”

N.B. Miwa is one of the names with which venders of bric-a-brac are wont to conjure. To account for the very considerable number of “Miwa” netsuke offered by them for sale, they have devised a legend indicating that several generations of the Miwa family followed the profession of netsuke-carver, and they do not hesitate to assign to the chisel of “Miwa the First,” netsukes elaborately coloured and even lacquered, though the author of the Soken Kisho explicitly notes that Miwa’s work was entirely in uncoloured cherry wood. Some well known European writers on Japanese art, failing to notice this point have been betrayed into obviously false identifications.

• Miyao. Kyosei. Present day. Ivory-carver of Tokyo.
• Miyazaka. Hakuryu. First half of 19th cent. Netsuke-carver.
• Miyochin. Yoshihisa. 17th cent. (d. 1664.) Common name Yazayemon. A celebrated armourer, kinzoku-shi and chiseller of sword-furniture. A son of Miyochin Munehisa. Originally he worked at Kamakura, but subsequently moved to Yuki (Shimotsuke province), and ultimately took up his abode at Fukui in Yechizen. A great expert.
• Miyochin. Yoshihisa. 17th cent. (Second of that name.) (d. 1675.) The most celebrated of the Miyochin masters for works outside the range of armour and sword-furniture. He forged dragons, craw-fish, and crabs with universal joints, birds with movable plumage, and other objects of iron showing extraordinary skill. The maker of an iron eagle now in the South Kensington Museum. This eagle was originally in the possession of the Matsudaira family (feudal chief of Yechizen), where some masterpieces by the same expert are still preserved. Miyochin Yoshihisa’s methods of manufacture were carried on by a son and grandson of the same name, the former of whom died in 1680, the latter in 1732.
• Miyogaya. Seishichi. 18th cent. A netsuke-carver, of whom the Soken Kisho says: “He lived near the temple Nishi-hongwan-ji in Bingomachi, Osaka. He was by profession a carver of ventilating panels (ramma), but he also excelled in producing elaborately chiselled netsuke. His carvings are never coloured or of ivory.”
• Mori no Koriu. Present day. Carver in ivory of Tokyo.
• Mori. Yasokichi. Worker in cloisonné enamels; pupil of Hara Fujio.
• Morikawa. Tōyen. 19th cent. (d. 1892.) A highly skilled wood-carver of Nara and Kyoto.
• Morikawa. Kyōyen. 19th cent. (d. 1890.) A highly skilled wood-carver of Osaka; son of Morikawa Tōyen, but died before his father.
• Nagai. Rantei. 19th cent. (d. 1853.) A netsuke-carver of Kyoto, originally a Samurai of Unshiu. It is related that being asked by the Court to chisel a thousand monkeys on a walnut, he finished the work in ten years, and the officials appointed to receive it had to put dots of red ink on the monkeys in order to count them. He received the art title of Hokkyo and a present of 30 riyo. He is said to have been a very proud man. If the slightest fault was found with his work, he refused to deliver the specimen. When he received the price, he spent it at once on sake.
• Nogami. Yataro. Present day. A skilled bronze-caster of Tokyo; art name, Riuki.
• Nagamichi. 19th cent. (d. 1855.) A netsuke-shi of Osaka.
• Nagao. Taichiro. The Soken Kisho says: “This artist was a Samurai of Wakayama in the province of Kishiu. He studied carving under Ogasawara Issai (mentioned as the best living netsuke-carver, of the era when the Soken Kisho was written). His works are clearly chiselled and elaborate, almost equal to those of his master.”
• Nagoya. Shichirozayemon. 13th cent. Metal-founder. (Second son of the Hojo Vicegerent Yoshitoki. Had the rank of Shikibu-no-jō and was also called Asataki.)
• Nagoya. Yashichiro. (d. 1471.) There were three of this name, but nothing is known of the two first. Yashichiro cast tea-utensils for the Ashikaga Shogun Yoshimasa, and was appointed founder of bronze and iron to the Shoguns, the Imperial Court, and the eight princes of Ise.
• Nagoya. Yashichiro. 16th cent. Chuami. Metal-founder.
• Nagoya. Yashichiro. (d. 1535.) Metal-founder.
• Nagoya. Yashichiro. (d. 1593.) Made tea-utensils for Ota Nobunaga, and received a pension of 3,000 koku of rice. Metal-founder. Art name, Zensho.
• Nagoya. Yagoro. (d. 1600.) Metal-founder.
• Nagoya. Yashichiro. (d. 1606.) Art name, Joyu. Metal-founder.
• Nagoya. Yashichiro. (d. 1619.) Art name, Zenshi. Metal-founder. Very celebrated.
• Nagoya. Yayemon. (d. 1638.) Art name, Sansho. Called also Jomi, and distinguished as “Ko Jomi” (the elder Jomi). Cast a bell for the temple of Daibutsu at Nara, and received the rank of Echizen no Shōjō, being named metal-founder to the Tokugawa Shoguns.
• Nagoya. Yayemon. (d. 1639.) Masataka. A great metal-founder.
• Nagoya. Yayemon. (d. 1708.) Masanori and Jomi. Metal-founder.
• Nagoya. Yayemon. (d. 1722.) Masaharu and Santen Jomi. A great metal-founder.
• Nagoya. Yayemon. (d. 1759.) Masamitsu and Jomi. Metal-founder.
• Nagoya. Yayemon. (d. 1784.) Masanaga. Metal-founder.
• Nagoya. Yayemon. (d. 1800.) Masaoki and Jomi. Metal-founder.
• Nagoya. Masanobu. (d. 1820.) Metal-founder.
• Nagoya. Yashichiro. (d. 1674.) Younger brother of Masataka. Metal-founder.
• Nakao. Sotei. 19th cent. (d. 1835.) A metal-caster of Osaka. His son continued the work. The family produced several artizans, as Nabeya Chōbei, Kihan, Kamachō, etc., and all used the mark Nakao Sotei. These bronzes were the first exported from Japan in modern times.
• Nakatani. Toyokichi. Present day. A skilled wood-carver of Osaka. Art name, Shōgō. Son of Nakatani Seisuke.
• Nakatani. Seisuke. 19th cent. (d. 1870.) A wood-carver of Hiroshima. Art name, Shisetsu.
• Nakaya. Jiyemon. Yasuteru. 16th and 17th cent. (d. 1623.) Called also, Shoyeki. Received art title of Tenka Ichi, and rank of Dewa no Daijo from the Taikō, who further exempted the Nakaya family from all taxes. This artist, originally an armourer, is said to have been the first to ornament bronzes with flowers, birds, figures, etc., in relief. He was associated with Nagoya Sansho in the casting of the Daibutsu bell at Nara.
• Nakaya. Jiyemon. Shigetomo. 17th cent. (early). Joyeki. Had rank of Dewa no Daijo, and enjoyed exemption from taxation. Metal-founder.
• Nakaya. Jiyemon. Yasuie. 17th cent. (early). Received art title of Tenka Ichi and had rank of Dewa no Daijo. Was also known as Sōmai-bōin, and on gongs cast by him the mark “Tenka Ichi Sōmai” is found. Metal-founder. Called also Joyeki.
• Nakaya Jiyemon. Iyetsugu. 17th cent. Succeeded to headship of Nakaya family in 1635. Had rank of Hitachi no Daijo. Cast bronze utensils, etc., for the mausoleum of Iyemitsu (1651), and a representation of the death of Buddha for the Koya temple. Joyeki.
• Nakaya Kuroyemon Muneakira. 17th cent. Succeeded to headship of Nakaya family in 1663. Cast bronzes for the mausoleum of Iyetsuna (1680), and produced many censers, alcove ornaments, figures, etc. One of the most skilled casters of the 17th century. Had rank of Dewa no Daijo. Called also Joyeki.
• Nakaya. Kichi-no-jo. Akisada. 17th and 18th cent. Succeeded to headship of Nakaya family in 1701, and had rank of Dewa no Daijo. Cast bronzes for mausoleum of Tsunayoshi (1709), and made many bronzes for temples of the Shingon sect. Joyeki.
• Nakaya Sanyemon. Yasuakira. 18th cent. Cast bronzes for mausoleum of Iyetsugu (1716), and for the temple Kobuku-ji, as well as many Buddhas and images. Joyeki.
• Nakaya Kameyemon. Yasusada. 18th cent. Cast all the bronze utensils for the Ise Dai-jin-gu in 1769, and many alcove ornaments, flower-vases, etc. Joyeki.
• Nakaya Kameyemon. Yasumune. 18th cent. Cast bronze vessels for mausoleum of Iyemoto (1779), and for the mausoleum of Iyeharu (1786). Also founded bronzes for the Ise Dai-jin-gu in 1789. Joyeki.
• Nakaya Kameyemon. Yasunari. 19th cent. Received rank of Ise no Daijo in 1851. Employed by the Tokugawa Shoguns to cast bronzes for the temple Senyu-ji in 1813. Cast bronzes for the mausoleum of Iyenari (1841). Cast the large standard-lantern for the Daishi-do at Kamakura in 1840; also that which stands on Chikubu-shima in Lake Omi, and that for Kitano Temman-gu; also the bronze caps for the balustrades of the Haiden of Inari-jinja, the utensils for Yokoku-ji in Yanagitani, and many bronze cisterns, images, etc. Received the art title of Hōkyo in 1847. Joyeki.
• Nakaya Kameyemon. Yasutomo. 19th cent. Received the rank of Yamata no Daijo in 1863. Made (1848–53) altar bronzes for Komiyo-ji, standard-lamp for Kitano Temman-gu, effigy of Ohito-nushi for Yokoku-ji; image of Kobo Daishi for To-ji (in Kyoto), many bronze sotoba, images, etc. Called also Joyeki.
• Nakaya Wasuke. Yasuyuki. (d. 1847.) Worked with his father, Nakaya Yasuyuki. Metal-founder. Called also Joyeki.
• Nakaya Kameyemon. Yasuharu. Present representative of the Nakaya family, but has changed his family name to Hasegawa. Works in Kyoto, and has cast several large temple images (12 feet high) of Shaka, Fudo, etc. Called also Joyeki.
• Nakayama. Yamato. 18th cent. A netsuke-carver of Yedo. The Soken Kisho says: “This woman was celebrated for her remarkable skill in engraving with the point of the burin extraordinarily minute designs of shishi or dragons upon kuwara-netsuke (vide Ruisa) of ivory.”
• Nando. Matashiro. 19th cent. (d. 1860.) A netsuke (wood) carver of Kanazawa in Kaga.
• Naotatsu. Miyazaki. (d. 1799.) Metal-founder. Hikokuro.
• Naotomo. Miyazaki. (d. 1799.) Metal-founder. Hikokuro.
• Naoyuki. Miyazaki. (d. 1786.) Metal-founder. Hikokuro.
• Negoro. Sokiu. 18th cent. A netsuke-carver. The Soken Kisho says: “He lived in Kyomachi, Osaka. He showed skill in the making of artificial teeth, and was also an expert netsuke-carver.”
• Negishi. Suketaro. Present day. A skilled carver of Kyoto, who works in ivory and wood.
• Nishimura. Donin. 17th cent. Father of the celebrated Kuhei Iyehisa. Metal-founder.
• Ogasawara. Issai. The Soken Kisho says: “A native of the province of Kishiu, he is the master, par excellence, of the present day (1781), and although he is still alive, his works are not easy to procure. He carves in ivory, walrus ivory, etc., so delicately and skilfully that his achievements seem beyond human capacity.”
• Ogino. Shōmin. 18th and 19th cent. (d. 1830.) A great wood-carver of Kyoto. A Samurai who never studied carving under any teacher. In coöperation with Ishikawa Mitsuaki he carved the Dewa Kings for the temple of Myobu. He lost the use of his eyes, and was tended until his death by Shibayama Soichi.
• Ogura. Sojiro. Present day. A modeller of likeness effigies in plaster of Paris for the use of bronze-casters and metal-sculptors.
• Ogura. Sojiro. Present day. A sculptor in European style, who has produced some fine works in plaster of Paris and marble.
• Okano. Shoju. Present day. Carver in wood and ivory of Tokyo. Called also Yasunori, and art name, Bunkei. Son of Yamada Koretaka.
• Okatomo. 18th cent. A netsuke-carver of Kyoto.
• Okazaki. Sessei. Present day. A celebrated bronze-founder of Tokyo. Renowned for large castings. (See text.)
• Omiya. Kahei. 18th cent. A netsuke-carver of Osaka.
• Onishi. Josei. (d. 1682.) Gorozayemon and Muranaga. He worked in company with Iyemasa (q. v.). A great metal-founder.
• Ono. Ryōmin. 19th cent. (d. 1875.) A great netsuke-shi of Tokyo; pupil of Rakumin; carved chiefly in wood.
• Ono. Hakujitsu. Present day. Ivory-carver of Tokyo.
• Onoura. Kichigoro. 19th cent. (d. 1880.) A busshi of Tokyo; teacher of Mitsuboshi Riuun.
• Oshima. Katsujiro. Present day. A skilled bronze-caster of Tokyo; art name, Jōun.
• Oshima. Yasutaro. Present day. A skilled bronze-caster of Tokyo; art name, Shōkaku. Yasutaro and his brother Oshima Katsujiro established the Sanseisha (firm name) in Tokyo, where, between 1873 and 1879, some of the finest bronzes ever produced in Japan were turned out.
• Ota. Kihichi. A worker in cloisonné enamels; pupil of Hayashi Shogoro.
• Otsuki. Shunzo. A worker in cloisonné enamels; pupil of Isaburo.
• Rakumin. 19th cent. (d. 1865). A great netsuke-shi of Tokyo. Not originally a carver, but a curio-dealer, he was induced to try sculpture for the purpose of imitating the fine netsuke that passed through his hands. He produced some excellent imitations of Miwa’s netsuke.
• Rakushiku. First half of 19th cent. Netsuke-carver.
• Rammei. 19th cent. A netsuke-carver of Kyoto; pupil of Nagai Rantei.
• Rankwa. 19th cent. A netsuke-carver of Kyoto; pupil of Nagai Rantei.
• Ransen. 19th cent. A netsuke-carver of Kyoto; pupil of Nagai Rantei.
• Ranshi. 19th cent. A netsuke-carver of Kyoto; pupil of Nagai Rantei.
• Riujo. Present day. A skilled wood-carver; pupil of Riumin.
• Riukei. There were three netsuke-shi of this name; the first worked from 1804 to 1830; the second, from 1830 to 1850; the third died in 1885.
• Riumin. 19th cent. A great netsuke-carver of Kyoto.
• Riumondo. Beginning of 19th cent. Metal-founder of Kyoto.
• Riusa. A netsuke-carver of Yedo. The Soken Kisho says: “He was a turner by profession, and he showed remarkable skill in making Kuwara-netsuke, which were lathe-turned, and particularly suitable for gold lacquer inro, because the lacquer received no injury from contact with the netsuke.”

N.B. The term Kuwara-netsuke signifies round netsuke with smooth edges, commonly known in Japan as manju-netsuke, because of the resemblance its shape bears to a rice-dumpling (manju). Such netsuke are also called riusa, after the name of their originator.

• Sadanosuke. (d. 1795.) Metal-founder.
• Sahei. 16th cent. Celebrated for casting tea-urns having “brush-mark” decoration. Metal-founder.
• Saihojutsu. First half of 19th cent. Netsuke-carver.
• Sakata. Chikuyen. Present time. A wood-carver of Osaka; pupil of Morikawa Kyōyen. Celebrated for carvings of sparrows.
• Sakunai. Tsunejiro. A worker in cloisonné enamels; pupil of Isaburo.
• Sanehisa. (d. 1603.) Yojiro. Second son of Nagoya Yashichiro (Zensho). In 1584 cast an image of Buddha 16 ft. high for the Dai-butsu temple in Kyoto. Cast many celebrated tea-urns. Metal-founder.
• Sanko. 19th cent. (d. 1860.) A netsuke-shi of Osaka.
• Sanko. 18th cent. A netsuke-carver of Osaka. The Soken Kisho says: “His technical skill as a carver was great, and he was a faithful copyist, but unfortunately his works are deficient in tone.”
• Satake. Sohichi. 18th cent. A netsuke-carver of Osaka. The Soken Kisho says: “An architectural sculptor by profession, he was also very skilled in carving netsuke, in ivory and in wood, both coloured and plain.”
• Sano. Koichi. Present day. Ivory-carver of Tokyo.
• Sato. To. Present day. Ivory-carver of Tokyo.
• Sato. Hirashi. 17th cent. Pupil of Nagoshi Masataka. Metal-founder.
• Sawaoka. Chiuhei. 19th cent. (d. 1836.) A wood-carver of Kanazawa.
• Seibei. 18th cent. A netsuke-carver of Kyoto. The Soken Kisho says: “His skill was so great that the epithet Seibei-bori (Seibei carving) came to be applied to all glyptic work of beauty and refinement, whether from his or other hands. Many imitations of his netsuke are now (1781) to be found.”
• Seimin. Present day. An ivory-carver of Tokyo; pupil of Rakumin. Up to 1876 he carved netsuke only, but thereafter he produced the small alcove ornaments which have found so much favour with foreign collectors. Among his netsuke the representations of frogs were so good that people called him “Kayeru Seimin” (frog Seimin).
• Seimin. 18th and 19th cent. (b. 1769, d. 1840). A celebrated bronze-caster of Yedo, specially skilled in producing the golden-yellow bronze called “Sentoku.”
• Sekku. 19th cent. (d. 1890.) Art name of a wood-carver of Mikuni; son of Shima Sessei.
• Shibata. Ichirobei. 18th cent. A netsuke-carver of Osaka.
• Shibayama. Saichi. 19th cent. A skilled wood-carver of Kyoto.
• Shiho. Ampei. 18th cent. (d. 1842.) A highly skilled metal-caster who worked for many years in Kaga. Art name, Ryumondo.
• Shikida. Otajiro. Present day. A carver of netsuke and alcove ornaments in Kyoto. Highly skilled.
• Shima. Sessei. 19th cent. (d. 1888.) A wood-carver of Mikuni, celebrated for minute work. Had the art rank of Hokkyo.
• Shimamura. Ryōmin. 19th cent. (d. 1896.) A skilled ivory-carver of Tokyo.
• Shimamura. Hōmei. Present day. Ivory-carver of Tokyo.
• Shimizu. Tahei. 17th cent. Pupil of Nagoya Masataka. Metal-founder.
• Shinkai. Taketaro. Present day. A wood-carver of Tokyo, who works in the modem style.
• Shinshi. Sairyukei. (First half of 19th cent.) Netsuke-carver.
• Shiugetsu. 18th cent. A netsuke-carver of Yedo. Had the art title of Hōgen. The Soken Kisho says: “A skilled pictorial artist, he has received the title of ‘Hōgen’ in recognition of his talents. He also carves netsuke which are of great excellence.”

N.B. This Shiugetsu is not to be confounded with the celebrated pupil of Sesshiu, who flourished in the 16th cent.

• Shiukai. Present day. Wood-carver of Tokyo. (Vide Yamazaki.)
• Shiura. Itataro. Present day. Wood and ivory carver of Tokyo.
• Shokiusai. 19th cent. (d. 1860.) A skilled netsuke-shi, much of whose work has gone abroad, as it was originally produced for low prices.
• Shoko. Present day. A netsuke-carver of Takayama; pupil of Sukeyuki.
• Shōmin. Vide Unno Shōmin.
• Shōminsai. End of 18th cent. Netsuke-carver.
• Shōsai. Hidemasa. 19th cent. (d. 1875.) A netsuke-shi of Yedo (Tokyo).
• Shōtoku. 6th and 7th cent. Generally spoken of as Shōtoku Taishi (Prince Shōtoku). Said to have been a skilful wood-sculptor.
• Shōun. Present day. An expert sculptor of wood or ivory alcove ornaments in Kyoto.
• Shūzan. 18th cent. The first recorded carver of netsuke; had the art title of Hōgen, on account of his skill as a painter. He was, in fact, the painter Mitsuoki. (Vide text.)
• Sōbei. 18th cent. A younger son of Nagoya Santen. (q. v.) Metal-founder. His family name was Shimoma, and his personal name Masakatsu.
• Sōbei. 18th cent. Son of above. Art name, Mijo. Celebrated for the manufacture of urns in the shape of tortoises, demons, cicada, etc. Metal-founder.
• Sōbei. 18th cent. Art name, Misen. Son of Sōbei Mijō. Jakiu. Metal-founder.
• Sokwa. Heishiro. 18th cent. A netsuke-carver of Osaka. The Soken Kisho says: “By profession an architectural carver, he derived his soubriquet, Sōkwa (plants and flowers), from the remarkable ability he displayed in chiselling leaves, blossoms, etc. He was an adept carver of netsuke, but his works are very rare.”
• Somada. Nobuyoshi. 17th and 18th cent. A wood-carver who ornamented his work with a delicate inlaying of mother-of-pearl, and was consequently known as Aogai (Mother of pearl) no Somada.
• Sōmin. 19th cent. A great bronze-caster of Tokyo, pupil of Teijo and Seimin. Sōmin is his art name.
• Suginaga. Chikayuki. (d. 1882.) Netsuke-carver of Tokyo. His work is called Asakusa-ningyo as he lived at Asakusa in Tokyo.
• Sukenaga. 19th cent. (d. 1855.) A skilled netsuke-carver of Takayama.
• Sukeyuki. 19th cent. (d. 1885). A netsuke-carver of Takayama, son of Sukenaga.
• Suwara. Seizayemon. 18th cent. (d. 1783.) A bronze-caster of Yedo.
• Suwara. Hatsugoro. 18th and 19th cent. A bronze-caster of Yedo.
• Suwara. Matagoro. 18th and 19th cent. (d. 1818.) A bronze-caster of Yedo.
• Suwara. Hatsugoro. 19th cent. (d. 1836.) A bronze-caster of Yedo. Another bronze-caster of the same name worked in Yedo sixty years later, (d. 1892.) He was a great-grandson of the above, and had the art name of Jūdō.
• Suwara. Kitaro. 19th cent. (d. 1871.) A skilled bronze-caster of Tokyo.
• Suwara. Yasugoro. Vide Gido.
• Suzuki. Kamekichi. Present day. A wood-carver of Tokyo, who produces masks for the foreign market.
• Suzuki. Kichigoro. Present day. Inventor of the antimony ware now largely produced in Japan.
• Suzuki. A worker in cloisonné enamels. There were two of this family name, and both were pupils of Kaji Tsunekichi. Their second names were Shinbyoye and Seiichijiro.
• Suzuki. Chōkichi. Present day. A skilled metal-founder of Tokyo.
• Suzuki. Heijiro. Present day. Wood-carver in the style of Matsumoto Kisaburo, (q. v.) whose pupil he was.
• Suzuki. Masakichi. Present day. A bronze-founder of Tokyo.
• Suzuki. Seven generations of this family lived and worked in Yedo, the seventh, Suzuki Gensuke being the present representative. The first six manufactured chiefly metal pen-cases (yatate) for the girdle, incense-boxes, etc. They used the mark Genshin. The present representative is a skilled metal-worker (uchi-mono-shi). His art names are Reigensai and Suzugen.
• Tadatoshi. 19th cent. (beginning). A netsuke-carver of Nagoya.
• Takabatake. Toyejiro. Present day. A worker in cloisonné enamel of Kanazawa (in Kaga); remarkable for his imitations of the Chinese style.
• Takamura. Kōun. Present day. A wood-carver of Tokyo, regarded as among the greatest of the century; pupil of Tōun. He stands between the old school and the new.
• Takasaki. Takaichiro. Present day. A skilled worker in cloisonné enamel.
• Takeda. Nobuhide. 19th cent. (d. 1845.) A great wood-carver of Kanazawa. Art name, Yugetsu. Celebrated for chiselling eagles, birds, and flowers, etc., in relief on the panels of letter-boxes. He had a pension of a hundred koku of rice from Mayeda, feudal chief of Kaga.
• Takeda. 19th cent. (d. 1865.) A mask-carver of Kanazawa; son of Takeda Nobuhide.
• Takehara. Torakichi. Present day. A skilled netsuke-shi of Osaka. Art name, Chikko. He has made some excellent imitations of Shūzan’s netsuke (vide Shūzan).
• Takenouchi. Yasuhei. 18th cent. A netsuke-carver of Wakayama, Kishiu. His netsuke are coloured.
• Takeoka. Gohei. Present day. Maker of wooden figures, masks, etc., for the foreign market, as well as for use in Japanese festivals, puppet shows, etc., in the style of Matsumoto Kisaburo (q. v.). Several generations of the Takeoka family were employed in the manufacture of votive images and puppets, from 1688 to the present day; as Takeoka Dengon (d. 1847), Takeoka Kōzō, and Takeoka Denkichi.
• Takeshita. Shōju. Present day. Metal-sculptor. Pupil of Unno Shōmin.

Taketa.  Seikuro. Workers in cloisonné enamels; pupils of Tsukamoto Kaisuke. Taketa. Tsunesuke. 

• Takusai. 19th cent. (d. 1885.) A skilled bronze-caster of Sado. He cast principally small objects, and was specially skilled in producing a fine, purple patina. His son of the same name is now working.
• Tamaji. 18th cent. A netsuke-carver of Kyoto.
• Tametaka. 18th cent. A netsuke-carver of Nagoya. The Soken Kisho says: “He devised a new style of carving; namely, chiselling vine scroll (karakusa) decoration in relief on the costumes of human figures. Hence his name is well known.
• Tametaka. First half of 19th cent. Netsuke-carver celebrated for chiselling figures and flowers.
• Tanchosai. Jikaku. 19th cent. A bronze-founder of Yedo, contemporary of Seimin.
• Tatsugoro. A worker in cloisonné enamels; pupil of Kaji Tsunekichi.
• Tatsuki. Kanzō. 18th cent. A netsuke-carver of Osaka. His netsuke are very rare.
• Tawaraya. Dembei. 18th cent. A netsuke-carver of Osaka. He was a pupil of Kanjuro, and carved in ivory and wood.
• Teijo. 19th cent. (d. 1861.) A great bronze-caster of Yedo; pupil of Seimin. Teijo was his art name, his real name being Kunibara Yahei.
• Tokoku. Present day. A wood-carver of Tokyo; works almost entirely in hard wood, called Sabita, which is obtained from Hokkaido, and which is almost as good a field as metal for engraving purposes.
• Tomochika. 19th cent. (d. 1873.) An ivory-carver of Yedo (Tokyo), not only one of the greatest but also one of the most prolific carvers of the 19th cent. Younger brother of Ogino Shōmin, like whom he never received any instruction in sculpture. His art name was Chikuyosai. Most of his fine netsuke were chiselled between 1830 and 1870.
• Tomochika. Present day. A netsuke-shi of Tokyo. Son of an adopted son of the celebrated Tomochika, but of far inferior skill.
• Tomokazu. 19th cent. (d. 1867.) A netsuke-shi of Gifu and Osaka, celebrated for skill in chiselling rats.
• Tomotada. 18th cent. A netsuke-carver of Kyoto. The Soken Kisho says: “He obtained renown as a sculptor of oxen, and his work was spoken of throughout the whole of the Kwanto district (eight provinces eastward of Hakone). There are hundreds of imitations, but the originals are admirably clever.”
• Tomotane. 18th cent. A netsuke-carver of Kyoto.
• Toshi. End of 18th cent. Netsuke-carver.
• Toshimaya. Ihyoye. 18th cent. A netsuke-carver of Osaka. The Soken Kisho says: “He was celebrated for a kind of netsuke which served to hold the glowing ashes of the pipe so that they could be used to light the latter after refilling. These netsuke were made by plaiting silver or copper wires after the fashion of the celebrated Ichirakuōri (a kind of rattan plaiting called after its inventor, Ichiraku). Some of his netsuke take the shape of a calabash.”

N.B. The Japanese pipe, holding only a pinch of tobacco, requires to be often recharged. The smoker’s habit is to deposit the glowing ashes in some convenient place that they may serve for lighting the re-filled pipe. These calabash-shaped netsuke of woven wire are common.

Tōun. 19th cent. (d. 1841.) A celebrated bronze-caster of Yedo, especially skilled in moulding dragons. Tōun was his art name, his real name being Kimura Heiji. The mark Heiji is found on some of his early bronzes.

• Tōun. 19th cent. (d. 1879.) A skilled wood-carver of Tokyo. Originally a busshi, he began to carve secular subjects from the time of the first French exhibition. Pupil of Hōzan.
• Toyama. Chōzō. Present day. Carver in ivory of Tokyo.
• Tōyen. 19th cent. (d. 1893.) A skilled wood-carver of Nara, who sculptured masks of great excellence.
• Tsuji. 18th cent. A netsuke-carver. He carved in wood only, not in ivory.
• Tsukamoto. Kaisuke. Present day. A worker in cloisonné enamels.
• Tsukuda. Shūkiyo. Present time. A skilled metal-sculptor, celebrated also for combining metals so as to produce fine effects of colour harmonies. He has made some fine iron plaques with designs in high relief.
• Tsunekawa. A worker in cloisonné enamels. There were four bearing this family name. All were pupils of Kaji Tsunekichi, and their second names were Tatsuzayemon, Yoshiro, Bunzayemon, and Seisuke.

Uchikawa.  Yoshiro.  Workers in cloisonné enamel; pupils of Kaji Tsunekichi. Uchikawa. Sanioye.

• Unjyu. End of 18th cent. Netsuke-carver.
• Umpo. Kajun. 1 8th cent. A netsuke-carver of Osaka. The Soken Kisho says: “He was a religionist, and carved strange Chinese figures. None of his work is without colour or made of ivory.”
• Unju-doin. Shimemaru. 18th cent. A netsuke-carver. The Soken Kisho says: “His other names are unknown.”

N.B. The reference here is to the fact that “Unju-dōin” is not a personal name, but a Kaimiyo; that is to say, a Buddhist name taken by a person of the better classes on retirement from active affairs.

“This man lived at Kamishima in Osaka and was a theologian. He had remarkable glyptic skill, but never exercised it except by request, so that few of his works survive and his name is not much known. All his carvings are of the style called Kiji-bori (i.e., uncoloured wood), or if they carry colour, it is only just sufficient to mark the folds of the garments,” etc.

• Wariu. 18th cent. A netsuke-carver. The Soken Kisho says: “A native of Yedo and probably a pupil of Miwa. Most of his carvings resemble those of Miwa.”
• Washoin. 18th cent. A netsuke-carver of Osaka. The Soken Kisho says that he was a religionist and that his carvings are coloured, resembling those of Umpo Kajun (i.e., wooden statuettes of mythical Chinese figures).
• Watafugi. Senzō. A worker in cloisonné enamel; pupil of Hayashi Shōgoro.
• Yahei. (d. 1715.) Metal-founder.
• Yamada. Heizaburo, or Mampei. 19th cent. (d. 1843.) A great sculptor of Nara-ningyo, nearly as celebrated as his father, Heiyemon. He was also called Jakugan Jonen Shinji. His art name was Bokuko and he used the mark Shoju Tsunenori.
• Yamada. Mampei. 19th cent. (d. 1889.) A skilled sculptor of Nara-ningyo; brother of Yamada Tsunenori. Called also Jippōken Taiyō, or Shōjū Koretaka.
• Yamada. Heiyemon. 18th and 19th cent. (d. 1810.) A celebrated carver of Naraningyo. Commonly called Hōhaku, and also Shinniu Sōjun Zenjōmon. The carving of Naraningyo is said to have reached its zenith in his time. He used the mark Shōjū. Being adopted into the Yamada family, he and his descendants used that name.
• Yamada. Heiyemon. 18th and 19th cent. (d. 1825.) The most celebrated of all the carvers of Naraningyo. Called Sempō Dōyen Shinji, and also Chōkoku no Shōjū Yasuhisa (Shōjū Yasuhisa, the sculptor). His art name was Gyōgetsu. The painters, Nagasa Rosetsu and Mori Sosen, lived for a time in his house in order to study the forms of monkeys and deer at Nara.
• Yamada. Shōmin. Present day. A netsuke-carver of Nagoya; pupil of Masakazu.
• Yamada. Gorobei Munemitsu. Present day. A metal-sculptor of Kaga celebrated for skill in répoussé work; tenth in descent from Yamada Ichiyemon Iyemasa (q. v.).
• Yamada. Gorobei Muneyoshi. Present day. Son of Yamada Munemitsu.
• Yamada. Ichiyemon Iyemasa. 16th and 17th cent. An armourer of Kanazawa (Kaga), specially skilled in inlaying with gold and silver. The Yamada family continued to work as armourers through nine generations. The present representative makes vases, etc., decorated in the répoussé style with addition of inlaying. The eight generations after Iyemasa were:

  Yamada Iyetada Jiyemon (d. 1630).

  Yamada„ Iyesada Gorobei (d. 1655).

  Yamada„ Iyetsugu Ichiyemon (d. 1685).

  Yamada„ Iyenaga Jinyemon (d. 1720).

  Yamada„ Nagakatsu Gorobei (d. 1760).

  Yamada„ Nagamoto Sanyemon (d. 1810).

  Yamada„ Nagayo Gorobei (d. 1840).

  Yamada„ Iyemitsu Gorobei (d. 1860).

• Yamaguchi. Okamoto. 19th cent. (d. 1875.) A netsuke-carver of Kyoto, highly skilled in carving rats, puppies, snakes, quail, etc.
• Yamaguchi. Tomochika. First half of 19th cent. A great netsuke-carver.
• Yamashiro. 17th cent. A contemporary and fellow-worker of Yamada Iyemasa (q. v.). Commonly known as Hori Jōho, Hori being his original family name before he adopted that of Yamashiro. He was also called Yasuke or Yagoro. A great metal-founder.
• Yamashiro. (2d.) 17th cent. Art name, Jōyei; common name, Yasuke. Metal-founder.
• Yamashiro. (3d.) 17th cent. Art name, Jōmin. Called also Hori Yosai. Metal-founder.
• Yamashiro. Ichibei. 18th and 19th cent. Younger brother of Hori Yosai. Metal-founder.
• Yamashiro. Tobei. 18th and 19th cent. Younger brother of Hori Yosai. Metal-founder.
• Yamazaki. Chōun. Present day. A wood-carver of Tokyo.

N.B. Shiukai, UnKai, Reiun, and Chōun, follow European methods, making their models in plaster of Paris before proceeding to carve the subject in wood or stone.

• Yasui. Yahioye. A worker in cloisonné enamel; pupil of Tsukamoto Kaisuke.
• Yasumori. 19th cent. (d. 1845.) A worker in cloisonné enamel.
• Yasumoto. Kamehachi. Present day. Wood-carver of Kumamoto who works in the style of Yamamoto Kisaburo (q. v.).
• Yemon. Tazayemon. 16th cent. A wood carver of Nara, commissioned by the Taikō to carve a shima-dai for the entertainment of the Emperor at the Palace of Pleasure. A maker of Nara-ningyo.
• Yemon. Tazayemon. 12th cent. Called also Uyemon Taro. A wood-carver, said to have been the first to chisel Nara-ningyo.
• Yoneharu. Unkai. Present day. A sculptor of Tokyo, modern school. He works in wood, and also in a stone called Kansei-seki (found in Mito), which is of fine texture and can be chiselled so as to give strong effects of light and shade.
• Yoshida. Munetoshi. Present day. Ivory-carver of Tokyo.
• Yoshida. Suketomo. 19th cent. Wood-carver of Yedo.
• Yoshimitsu. Miyazaki. (d. 1802.) Metal-founder. Called also Hikokuro.
• Yoshimoto. 18th cent. The Soken Kisho says: “Nothing is known of this artist, but his name appears on some good netsuke.”
• Yoshimura. Taiji. A worker in cloisonné enamel; pupil of Kaji Tsunekichi.
• Yoshitsugu. Miyazaki. (d. 1773.) Metal-founder. Called also Hikokuro.
• Yuchiku. Present day. A wood-carver of Echizen; son of Aichiku (q. v.).
• Yuchiku. Present day. A netsuke-carver of Nagoya.
• Yumemaru. End of 18th cent. Netsuke-carver.
• Zenyemon. 17th and 18th cent. (d. 1734.) A celebrated carver of Nara-ningyo. Called also Yugaku Jōshō Zenjōmon.
• Zenyemon. 17th and 18th cent. (d. 1738.) A skilled carver of Nara-ningyo. Called also Jōyei Shinji. Had the art rank of Hōgen.
• Zenyemon. 18th cent. (d. 1762.) A carver of Nara-ningyo. Called also Shinji Zenjōmon.
• Zenyemon. 18th cent. (d. 1765.) A carver of Nara-ningyo. Called also Jōkō Shinji.
• Zeraku. 18th cent. A netsuke-Carver of Yedo.

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