It’s another name for Higashiyama-ware. It became a kiln for the Himeji Sakai family and firing went on there until around 29, and moved to Himeji Otokoyama in 31. For the work around this time, the products were particularly excellent because Ogata Shuhei, a Kyo-ware potter at that time, was invited in and asked for his guidance and such, However, when the Ansei era came, he became independent of the Sakai family and switched to production with private potters, and in 1876 of the Meiji era, established the workshop ‘Eiseisha’, changing to mainly producing porcelain for export.
At the time of this kiln, excellent products with delicate dyeing techniques finely depicting things like mountain streams/landscapes remain, and the market value is high, but the valuation of works exported overseas in the Meiji era such as works with dark blue as their basic color and Aka-e (red paintings on ceramics) fall in comparison to the former.
In addition, there is blue and white dyeing and engraving in the seal, and the ‘Harima Higashiyama’, ‘Higashiyama’, and ‘Himeji’, or the large and small seals of ‘Higashiyama’ in an oval circle, were made in the Oniwa-ware era, and the ‘Dainippon Shirasagi’ (‘Great Japan Heron’), and the blue and white dyed inscription of ‘Ei’ in diamond-shaped pine needles are highly likely to have been made by Eiseisha.
