Imre Jakabffy (szerk.): Ars Decorativa 3. (Budapest, 1975)

FERENCZY, László: Traditions and new trends in the Japanese art of the Meiji era

tions for the exhibition. As Japan having started with the modernization of the country just a few years before, she preferred to exhibit objects representing the rich natural resources of the country and the traditional arts and crafts to make a choice of high-quality material. And the Government was right to do so, as proved by the number of prizes they won and by the fascination of visitors upon having seen the products of some branches of Japanese art, like lacquers, silks, bronzes and porcelains. The press of the time was most enthusiastic about these exhibits and other things, and considerable orders for them arrived to Japan before long. The preparations for the exhibition were given much care to in Japan. Before sending the carefully selected material overseas, it was put on show first in Kyoto then also in Tokyo, with unexpected success.

3 No such rich display of art had ever been seen in Japan herself, and it is small wonder that this rich collection of national art has also enchanted the home visitors themselves. It is partly due to these exhibitions that interest for museums was aroused in Japan. Most of the exhibits coming back from the Vienna Fair found their final home in the National Museum of Tokyo opened in 1882. It may be of interest that most of the words related to art, crafts and museums (bijutsu, kogei, hakubutsukan) were created in the Japanese language at this time, and they have been used over since. The success of Japan's international appearance can well be measured by the reflections of contemporary press, and the influence of her art can be traced in late 19th century C J I. KOBAYASHI KIYOCH1KA (1847- 1915): KUNI NO TOKO-TACHI NO MIKOTO. PAINTING ON SILK.