Makuzu Kōzan

He had studied with a local bunjinga artist, the future Taigadō IV of the Ike no Taiga line, from age nine.

He moved to the Kantō at the invitation of Umeda Hannosuke, a Tokyo merchant who was interested in exporting Satsuma ware.

Suzuki found for Kōzan a site (about 0.3 ha) in Nishiōta (present-day Kanoedai in the central ward of Yokohama).

Bringing four apprentices from Kyoto, Kōzan by 1872 had overcome the initial problems, and expanded his workshop with a large recruitment of local men and women.

[9] This was the period at which modern Satsuma ware was distressed for export as antique, and Pollard considers that, up to 1876 at least, there was truth in the allegation of Frank Brinkley that the Makuzu workshop participated in the fraudulent trade.

Kōzan was at the forefront of the successor policy of industrial development, which included crafts, called shokusan kōgyō.

[12] He exhibited at the Centennial Exposition of 1876, in Philadelphia, a wide range of ceramic wares, including high relief vessels presaging later work.

[11] In the aftermath, much attention was paid to Japanese ceramics for the next few years in Cincinnati, and the Japonisme reached the Rookwood Pottery Company.

Kōzan also showed much development of lines quite independent of the Satsuma ware at First National Industrial Exposition of 1877 in Tokyo.

[15] The 1893 World's Columbian Exposition in Chicago won an Honorary Gold Medal for the workshop for a pair of elaborate stoneware vases.

[20] The most distinctive feature of Kozan's works in the early period was the unprecedented amount of three-dimensional sculptures applied to them.

Birds such as raptors and Pigeons, mammals such as bears and cats, crustaceans such as crabs, plants such as cherry blossoms and grapes, and fictional creatures such as oni and anthropomorphic frogs were frequently used as motifs for sculptures.

[29] Makuzu Kōzan IV (Miyagawa Tomonosuke, 1884–1959) did continue the business, with difficulty, after World War II.