Igarashi family

This is a family of Maki-e artists that is as famous as the Koami family. During the Muromachi period, the first Shinsai, who served Ashikaga Yoshimasa, applied Maki-e to his furnishings and was praised as a master of his time. In later generations, his works were called Higashiyamadono's treasures and highly valued. His son, Hosai, the second, served Toyotomi Hideyoshi. The third generation was Hosai's son Doho (?-1678), who was invited by Maeda Toshitsune, the lord of Kaga domain, to Kanazawa during the Kan'ei era (1624-1644) and built the foundations of Kaga Maki-e. The style and style of Igarashi maki-e are well represented in these three generations, and its characteristics are wide open spaces, contrasting Chinese painting with Yamato painting, and placing gold and silver inscriptions in thin cloud shapes. This is well shown in Doho's representative work, the Akino maki-e inkstone box. The fourth generation was succeeded by his heir, Kisaburo, who took the name of Doho II. He was the younger brother of Koami Seizaburo and was adopted by the Igarashi family, living in Kaga permanently and working at the domain's workshop. His successors were his pupil Shobei for generations, and Shimizu Kyubei, who came from Kyoto with the first Doho, was also a major pupil, and his family supported Kaga maki-e together.

[Goka loyal retainer]

Source: Shogakukan Encyclopedia Nipponica About Encyclopedia Nipponica Information | Legend

幸阿弥(こうあみ)家と並び称せられる蒔絵師(まきえし)の家系。室町時代、足利義政(あしかがよしまさ)に仕えた初代信斎(しんさい)はその諸調度に蒔絵を施し、当代の名手とうたわれ、後世その作品が東山殿(ひがしやまどの)御物と称せられて、大いに珍重された。その子2代甫斎(ほさい)は豊臣(とよとみ)秀吉に仕えている。3代は甫斎の子道甫(どうほ)（？―1678）で、寛永(かんえい)年間（1624～1644）に加賀藩主前田利常(としつね)に招かれ金沢に赴き、加賀蒔絵の基礎を築いた。五十嵐蒔絵の様式、作風は、これら3代でよく現れているが、その特徴は空間を広くとり、漢画と大和(やまと)絵を対照的に取り入れたり、細い雲形に金銀の印金(いんきん)を細かに置いたりというものである。道甫の代表作、秋野蒔絵硯箱(すずりばこ)にはそれがよく示されている。4代は嗣子(しし)の喜三郎が継ぎ、2代道甫を名のった。彼は幸阿弥清三郎の弟で、五十嵐家の養子となり、加賀に永住して藩の細工所でも業を行った。以後の後継者には門人の庄兵衛(しょうべえ)が代々これにあたり、また、初代道甫とともに京都より赴いた清水(しみず)九兵衛も主要な門人で、彼の家系もともに加賀蒔絵を支えた。

［郷家忠臣］

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