Weiner Mihályné szerk.: Az Iparművészeti Múzeum Évkönyvei 11. (Budapest, 1968)
HOPP FERENC MÚZEUM — MUSÉE FERENC HOPP - Ferenczy, László: Japanese Inrö in the Hopp Museum
at the exhibition of Chinese art in the United States from the collection of the Palace Museum on Taiwan are of special interest. 16 Their forms correspond to Japanese inrö of two or three cases and at their sides we see small metal cord tubes like on early Japanese examples. They bear Ch'ien Lung marks. The study of inrö suggests three ways of approach, however, the description and publication of private and museum collections must be regarded as a first and preliminary step to them : a. Up to now perhaps the various techniques of lacquer work have been studied with most results. As to the construction of some inrö types, the recent article by H. P. Stevens in the journal "Oriental Art" must be mentioned. 17 b. Research of leading inrö-makers and schools. According to a number of specialists this issue is hard to study, as in most cases the signatures on the inrö represent the only data on their makers ; on the other hand, according to Japanese conventions the younger members of the family, as well as disciples assumed the name of the master, not to mention later copies and forgeries. The signatures of some lacquerers recur therefore through generations. The dangers and difficulties of research along this line have been best summarized by U. A. Casal, a specialist who has lived in Japan for fifty years, in his mentioned book. Literary data on inrö-makers are scarce and can be studied with promising results by scholars in Japan only. c. Research of style and artistic value of inrö offers much opportunity yet. Taking into consideration the results of technical and other research, this line might yield perhaps most to the history and appreciation of inrö. In this respect we are dependent on general works on Japanese lacquer work. The inrö collection of the Hopp Museum consists of nearly two hundred pieces. Most of them belonged to the original collection of Francis Hopp wha acquired them in Japan and on the European art market. A smaller part was transferred from the Museum of Industrial Arts at Budapest and some pieces belonged to the collection of dr. Ottó Fettick. Francis Hopp was passionately fond of Japanese applied arts, especially of lacquer work. We are indebted to him for nearly the entire collection of Japanese lacquer work in the museum. However, Zoltán Felvinczi Takáts, the first director of the museum, also cared much for lacquer work and puslished some inrö. 18 The exhibitions of "Eastern Asiatic Silk, Lacquer Work and Porcelain' * (1965-67) and "Japanese Art of the E do Period" (1967-68)gave an opportunity to study the inrö collection of the museum. For publication I have chosen chiefly pieces which might be of interest to further studies for the sake of technique and style. They will be published in two or three parts. The inrö collection of the museum represents a good average quality with some outstanding and interesting examples. 16 Chinese Art Treasures. Catalogue. Washington, 1961 — 62. p. 271, No. 204. 17 Stevens, H. P.: The construction of inrö. Oriental Art, N. S. Vol. I. 1955. pp. 147-150. 18 Felvinczi Takáts Z. ; The Francis Hopp Museum of Eastern Asiatic Arts. Far East, Budapest, Vol. I. N. 1-3.
