Imre Jakabffy (szerk.): Ars Decorativa 1. (Budapest, 1973)
FERENCZY, László: Japanese inro in the Hopp Museum. Part two
black ground. The inrô is carved in light wood and it is decorated with the plastic figures of three demons expelled and fleeing from a house. The figure of the oni in the centre is in black and red negoro lacquer on the kijimakie ground. The figure of the kneeling oni is in light green faiance, with whitish garment; the body of the running oni at the house is red. In the pottery square under the window a seal: Kan (Ritsuö). 6.7X5.5 cm. First part of the 19th century. The dynamic decoration of the inrô is of good quality both in design and technique. Were it not for the painted — gold on black ground -— window, one might even think of an earlier date. There are quite a number of lacquer works with Ritsuő seal or signature (inrô and other boxes, but mostly later works) in the collection of the Victoria and Albert Museum. 20 Usually they show the same style and technical combinations. The Tomkinson collection contained 17 inrő with Ritsuö sign, the latter being placed frequently in a pottery square. An inrő of the Behrens collection had a Kajikawa signature with the seal Kan. It is decorated with the head of a "hishi in green faiance. 21 53. Inro of one case; external channels (Fig. 53 a —b). Inside two oblong cases and a third smaller one. A plastic heron in white porcelain decorates one side of the inrô on the kijimakie ground. The leaves of the water plants around are in green faiance and in gold hiramakie with some nervures in raden. On the other side similar aquatic plants. In the lower left corner signature in pottery square: Kenya. 8X4.5 cm. Mid 19th century. This is a late but interesting inrô decorated with unusual technique. The plastic figure of the heron is effective on the wooden ground. According to Nakagawa Sensaku, Miura Kenya (1825—1889, born in Kyoto but worked later in Edo) made ceramic-inlaid lacquer works in the style of Ritsuő up to the beginning of the Meiji Era. In the Meiji period he made pottery in the style of Kenzan; later he studied also European shipbuilding. 22 He is mentioned as one of the most talented follower of Ritsuő and Kenzan. 54. Kijimakie inrő of three cases; the corners are rounded. Internal channels (Fig. 54). The outer rims are carved in wavy line. On one side a wild-goose and bamboo on the riverside. On the other side a heron with bamboo and flowers. Gold and silver hira- and takamakie on the veined wooden ground with some black painting and greenish gold powder in the foreground. Signature on one side: Naonobu ga. Signature on the bottom: Jőka. 8.3X8.1 cm. This inrő was decorated after the painting of a Kanő painter by a late member of the Yamada family. According to Weber, all members of this family of Edo bore the name Jőka and the last master still worked in 1879. 23 Several inrő with Jőka signature are known with decoration after Kanő paintings. 2 ' 1 55. Black inrő of four cases; internal channels (Fig. 55). Inside black. Carved scrollwork above and below and partly extending sidewards. On one side an old Chinese literate playing the koto in moonshine on the terrace of a house. In the background small table with books and a screen. To the left streamlet among hills. On the other side an angling Chinese with a basket. Farther a boat and mountains. The whole decoration is carved. Engraved signature on the frame of the screen: Oizumi sumu Murayasu (Zonsei) and kahihan. Second half of the 19th century. 7.3X5.4 cm. The Behrens collection had a tsuishu inrő decorated in the same style with Chinese sages (signed also on the screen) and another tsuishu inrő with seven sages in the bamboo grove, both made by the same master, by Murayasu. 25 136
