ARTIST ARTIZANS
- 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;
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