Imre Jakabffy (szerk.): Ars Decorativa 1. (Budapest, 1973)

FERENCZY, László: Japanese inro in the Hopp Museum. Part two

49a 49b the observation of von Ragué, inrô of one or two cases came into use among the Töyö masters in the second quarter of the 19th century. We find, however, hardly any inro of circular form in the catalogue of their works. The inro published under Nr. 184, though circular, is made in a quite different technique. I know of a circular inro in the Tomkinson collection. This has the signature of Tatsuki Kökyö (Takamitsu), who worked about 1800. This inro comes closer to our piece. Its ground imitates the surface of stone and it is decorated with the figure of a dragon in gold lacquer on it.

1:1 On the other hand, we find about a dozen inrô with engraved (not gold-filled) decoration in the catalogue of the Töyö lacquer works. Decoration in relief technique appears sometimes on their backs. Von Ragué mentions that this is a recurring combination which may form a speciality of the Töyö school ; their work in relief is minute and imitates apparently metal-work.

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' Our piece imitates not only the metal surface but reproduces the form of the metal object, that of the bronze mirror; in this it differs from other inrő. Von Ragué mentions that a Töyő master of unusual versatility worked about 1820—30 and he experimented with various techniques. Incidentally, the double Kanshösai Tőyő signature is rather infrequent; it appears but on five inro and on four other lacquer works according to the list compiled by von Ragué. 49. Inrő of four cases; internal channels (Fig. 49). Inside black, the rims gold-painted. The whole surface of the inrő is covered by same-nuri (polished whitish sharkskin) ground. A number of small objects are scattered on the ground: habaki, hyőtan, yatate, kushi, me133