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

NOTES 1 Ferenczy, Mária - Kincses, Károly: Mandarin öszvérháton. Hopp Ferenc fényképei [Mandarin on a Mule. Photographs by Ferenc Hopp]. Budapest, 1999. (Hereinafter: Mandarin on a Mule. 1999) 2 This was a distinctively Japanese method of embellishing lacquer. In line with the pattern, gold powder was sprinkled onto the lacquer while it was still wet, thus making a "sprinkled gold picture". 3 A közoktatási miniszter megbízásából 1869-70-ben Keletázsiában országos költségen gyűjtött s a M.N. Múzeumban ideiglenesen kiállított népismei tárgyak leíró sorozata [Inventory of Ethnic Artefacts Collected at Public Expense in East Asia in 1869-70 on the Authority of the Hungarian Minister of Education and Temporarily Exhibited at the Hungarian National Museum]. Pest, 1871 4 In a letter dated 13 June 1883, Ferenc Hopp tells of a meeting with Szemére in Yokohama. Archive of the Ferenc Hopp Museum of Eastern Asiatic Art (hereinafter: HMA): 1476/ 1-5 5 Document No.: Archive of the Museum of Applied Arts 401/1884 6 Library of the Ferenc Hopp Museum of Eastern Asiatic Arts, Fii. 381 (912). The lecture was given in the Lipótváros ("Leopold Town") district of the capital and the text published in the newspaper Pesti Hírlap, Nos. 42 and 43, 1884. 7 The first Hungarian translation of this work appeared in 1875. A two-volume Japanese translation, by Yokohama's Kawashima Tadanosuke, followed shortly afterwards (vol. 1 in 1878 and vol. 2 in 1880). Yokohama's harbour features in the novel. In: Sekai manyükatachi no Nippon [World Travellers in Japan], Yokohama kaikö shiryökan, 2001, p. 18. (Hereinafter: World Travellers, 2001) 8 Japan and Britain, An Aesthetic Dialogue 1850-1930. London, 1991. p. 17. (Hereinafter: Japan and Britain, 1991). Admittedly, at this exhibition the Japanese art works - screens, lacquer, silks, and bronze artefacts - were displayed in the Chinese section. Among the exhibitors there were private collectors as well as import firms. As a consul in China, Sir Rutherford Alcock played a part in the selection of the material. Flaving been asked to do so by the organising committee of the 1862 event, Alcock prepared the Japanese exhibition material. Alcock collected this material in and around Edo, Yokohama, Hakodate, and Atami ; it was "a fair sample of the industrial arts of the Japanese, and their capabilities of production in rivalry with the nations of the west". Nevertheless, some of the material exhibited may have been made for the Western market. Ibid, p. 80 9 Iwakura shisetsudan. The head of the delegation, which consisted of forty-six members and which visited twelve countries on the European and American continents, was IwakuraTomomi. The delegation's task was on the one hand to prepare the way for revision of the unequal treaties (in this it was unsuccessful) and on the other to study the political, economic, agricultural, educational, religious, etc. institutions of the countries visited. 10 Yokoyama, Toshio: Japan in the Victorian Mind. London, 1987, p. 115. (Hereinafter: Japan in the Victorian Mind, 1987) 11 The Japanese tried to keep foreigners away from Edo, the centre of the shogunate. on the one hand, and from the country's main highways on the other. They were especially anxious to keep them away from the Tökaidö, where the feudal lords (daimyo) and their retinues travelled on their way from Kyoto to Edo. 12 Japan and Britain, 1991, p. 55 13 World Travellers, 2001, p. 49 14 Satow, Ernest Mason - Hawes, A. G. S.: Yokohama. Kelly & Walsh, 1881, p. 50 13 These foodstuffs were Liebig's extract of beef, German pea-soup, sausage, Chicago corned beef, tinned milk, biscuits, jam, cheese, salt and mustard, Worcestershire sauce, bacon, tea and sugar. Ibid, xviii lfi "A Journey round the World 1881-82 by Alice Mary Rea". In: Yokohama kaikö shiryökan kiyö [Yokohama Archives Bulletin] 8, 1990, p. 164. (Hereinafter: Alice Mary Rea. 1990) 17 Ibid. p. 163 15 Foreigners with residence permits in Japan also needed authorisation to enter the inner regions of the country. World Travellers, 2001. p. 37 20 Following the introduction of the policy of isolationism, in 1635 the shogunate designated the island of Dejima as the place for trade with foreigners. 21 From approximately the 1830s until 1867. 22 A distance of some forty kilometres. Beyond the zone were the so-called inner regions, where foreigners could travel only with permission. 23 Yokohama gaikokujin kyoryûchi [The Foreign Settlement at Yokohama]. Yokohama kaikö shiryökan, 1998 24 Ibid, p. 36 25 Rickshaw 26 Alice Mary Rea, 1990, p. 162 27 Inv. no. 82.3. (In a letter dated 30 May 1883 Ferenc Hopp wrote: "The day before yesterday I worked practically all day long compiling an album of Japanese sights and costumes. I bought the best I could find; I'm sure you'll like them." HMA: A/1525) For these photographs see Catalogue of Japanese Art in the Ferenc Hopp Museum of Eastern Asiatic Arts. Nichibunken Japanese Studies Series 6. Kyoto, 1995 2S Williams, Harold S.: Tales of the Foreign Settlements in Japan. Tuttle, 1958. p. 181 29 Japan in the Victorian Mind, 1987, p. 151 30 The more eminent authors included Engelbert Kaempfer, Vasily Mikhailovich Golovnin and Philipp Franz von Siebold, as well as St. Francis Xavier and the 16th-century Jesuit sources. 31 Japan in the Victorian Mind, 1987, p. 160 32 World Travellers, 2001, p. 43. On 14 March 1885, before the premiere of The Mikado in the Savoy Theatre, London, the chorus sang the following: "If you want to know who we are, We are gentlemen of Japan: On many a vase and jar On many a screen and fan,