and early twentieth century Satsuma ware sacrificed quality to pander to the export boom. Some prominent artists of the Meiji and Taishō periods include: Taizan Yohei IX [帯山与兵衛 (9代)] (1856–1922) Itō Tōzan [伊東陶山] (1846–1920) Kinkōzan Sōbei VI [錦光山宗兵衛 (6代)] (1824–1884), Kinkōzan Sōbei VII [錦光山宗兵衛 (7代)] (1867–1927) Yabu Meizan [藪明山] (1853–1934) Chin Jukan XII [沈寿官] (1835–1906) Miyagawa Kōzan (Makuzu) [宮川香山] (1842–1916) Seikozan [精巧山] Ryozan [亮山] Most of these artists set up etsuke workshops around 1880, coinciding with the export slump. Although they did export, stylistically their pieces demonstrated a wish to return to tradition. Their works are recognized for a "restrained style" and "sparing distribution of motifs." Painted themes were often taken from literary classics, heroic legends, or represented nostalgic renderings of life in pre-Meiji Kyoto. Early in the twentieth century these artists also began to incorporate western techniques and styles, including perspective and muted colours, as well as the use of , which was originally developed by Germany's Meissen. Marks While older Japanese ceramics often do not feature any stamps or signatures, items made after 1870 in particular, can bear a variety of marks in addition to that of the artist. Shimazu crest Many pieces of Satsuma ware—regardless of age or authenticity—feature the kamon (family crest) of Satsuma's ruling Shimazu clan: a red cross within a red circle. It is placed above any signatures or stamps. While it was originally an indication of a link to the Satsuma domain and the Shimazu clan's direct involvement in the items' production, in the age of mass production and export, the crest simply became a marketing convention. All genuine examples are hand-painted rather than stamped or machine-printed, though hand-painting is not a guarantee of legitimacy. Satsuma "Satsuma" or "satsuma yaki" is sometimes painted or stamped on pieces below the Shimazu crest. It can be written in kanji characters, hiragana, or with the Latin alphabet. Dai Nippon The "Dai Nippon" (大日本 'Great Japan') mark was applied to items during the Meiji period (1868–1912) as an indication of their place of origin during a period of fomenting nationalism. These characters often appear immediately to the right of the maker's mark. Workshops/studios Chōshūzan: Kyoto workshop active in late Meiji period specializing in dragon ware Fuzan: workshop active in Meiji period Gyozan: Kyoto studio active in Meiji period Kinkōzan: pottery active 1645–1927, headed by Kinkōzan Sōbei; exported heavily from 1875, especially to America; largest overall producer of