Szilágyi András (szerk.): Ars Decorativa 21. (Budapest, 2002)
Monika BINCSIK: The Trade in Japanese Art during the Meiji Period with Special Reference to Lacquer, as Mirrored in the Collections at the Ferenc Hopp Museum of Eastern Asiatic Arts, Budapest
Ferenc Hopp began his last round-the-world trip in November 1913. He travelled to Japan by way of Hong Kong, and again visited Tokyo, Yokohama and Nagasaki. During his stay in Yokohama he purchased numerous art objects, as four invoices attest. One invoice, dated 27 April 1914 and issued by the Azuma art firm (34, Water St.), 67 featured, among other things, a portable lacquer altar (zushi) with a Buddha sculpture. Another, dated 1 May 1914, was issued by the Samurai shökai concern (20, Honchö Itchöme). 68 A third, dated 9 May and originating from The Boston firm (78, Honmachi), 69 mentions three boxes, presumably lacquer boxes. The fourth, issued by Kuhn & Komor and dated 15 July, 70 mentions "Two cases Lacquer, Metal and Porcelain etc.", and a grand total of 3146 yen. The invoice features, among other things, ten gold lacquer boxes, seven gold lacquer inrös, combs, and hairpins to the value of 1735 yen. 71 For the more detailed investigation of lacquer art during the Meiji period a worthwhile field of inquiry may be the data concerning the art businesses in the big cities and the way these businesses, operated. With the help of this data we could then establish more precisely the circumstances in which lacquer objects for export were made during the Meiji period, as well as the deeper connections between their forms and embellishments. Many tasks still remain before clarification of the work and personalities of lacquer artists during the Meiji period is complete. Through the investigation of the histories of the collections in Europe and America we may acquire a fuller picture of the development of lacquer art during the Meiji period, caught as it was between Japanese traditions and the influence of Western culture. We look forward to an investigation of the collection at the Ferenc Hopp Museum of Eastern Asiatic Arts, and of the circumstances of the collecting activity itself. Such investigations would contribute to the solution of the tasks.
