Imre Jakabffy (szerk.): Ars Decorativa 2. (Budapest, 1974)

CSEH, Éva: 18th century Japanese netsuke

tried to determine the ages of the unsigned ones by their style and characteristics. It is well nown fact that netsuke signatures are not always reliable. But in most cases — except of the Meiji period —, we cannot speak of intentional forgery. The only problem appears in the case of the signatures of famous old masters. Apart from this though, forged signatures are rarer in netsuke than in other branches of art.'

1 The study of technique and style of masters and comparison of signatures enables us to decide the originality of certain pieces. Within the period — if possible —, the order of the pieces listed below is according to the main centers of netsuke carving. Hotei. Painted boxwood. Height: 3,9 cm (Fig. 1.) Pot-bellied god of good luck with big, ball-shaped ears, holding a fan in one hand. Pink flowers with red and green dots on blue gown. Okada

5 lists an almost identical figure. Analogous flowers in Ueda's book as well.

6 On the back is the signature Shûzan, in a wavy frame. (Identical with Okada's signature photo.) The Osaka master Nagamachi Shûzan declared himself a follower of Yoshimura Shûzan, and always signed his works. Dog. Ivory. Height: 6,3 cm. (Fig. 2.) The vertebrae of the graceful sitting dog bulge delicately. With a bell on its wide dog-collar. The pupils of the eyes are of black inlaid stone. The dog is a favourite figure in netsuke, as a symbol of fertility and protecting children. Such a graceful dog is very rare. Prominent oval mark on the back: Garaku.

7 The pupil of Dembei, the founder of the later Osaka School, (Flourished beeween 1772—1780). Is mentioned in Soken Kisho. According to Meinertzhagen, most pieces with his signature 2. are the works of his pupils. 118