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

We figure in lovely paint: Our attitude's queer and quaint You're wrong if you think it ain't, oh!" In: Japan in the Victorian Mind, 1987, p. 173 33 Ferenc Hopp had himself photographed at Kamakura's Buddha statue in 1903. The invoice, which is preserved in the Museum's archive, is published in Mandarin on a Mule, 1999, p. 39 34 Onigawara tiles were patterned tiles placed at the highest and most extreme points of a tiled roof. They very often depicted the owner's coat of arms, or the faces of devils and demons to ward off evil and fire from the house. See Williams, Harold S.: Foreigners in Mikadoland. Tuttle, 1963, p. 204 35 A Handbook for Travellers in Northern Japan. Kelly & Walsh, 1881, p. 50 36 The following were famous lacquer dealers: Nakamura Shözan, Ginza nichôme Shibata Zeshin, Asakusa Kami Hei-ye-mon chö Ogawa Shömin, Asakusa Mma-michi (sic) Sugiyama Iwa-jirö, Uneme chö in Tsukiji (sic) Fujito Ki-hei, Yonezawa chö, it-chö-me Kuroye-ya (for ordinary lacquered utensils), Nihonbashidöri, it-chö-me The Sei-kô-sha (a large establishment where lacquered ware of all kinds was produced), Idzumi cho, Kanda Lacquerers on bamboo: Hashimoto Ichi-zö, Shin-zen-Za machi in Shiba Curiosity dealers (names only): Dai-mo & Ebiya, Dai-zen, Shigaraki, Tana-Gen, Kiri-ya, Handa-ya, Hayashi, Osaka-ya, Chö-yö-dö, Doi Ko-sen-dö, Shimidzu-ya, Bai-getsu, Sen-da 37 Zichy, Ágost: Tanulmány a japáni művészetről [A Study on Japanese Art]. Budapest, 1879, p. 77 38 Alice Mary Rea, 1990, p. 160 39 World Travellers, 2001, p. 52 40 "Through room after room he [the dealer] led us, the light fading as we went, till we reached a tiny garden and a woodwork cloister that ran round it. Suits of old armour made faces at us in the gloom, ancient swords clinked at our feet, quaint tobacco pouches as old as the swords swayed to and from some invisible support, and the eyes of a score of battered Buddhas, red dragons [...] glared at us from over the fence of tattered gold brocade robes of state. The joy of possession lives in the eye. The old man showed us his treasures, from crystal spheres mounted in sea-worn wood to cabinet on cabinet full of ivory and wood carvings, and we were as rich as though we owned all that lay before us." Quoted in Japan and Britain, 1991, p. 62 41 Chamberlain, Basil Hall - Mason, W. B.: A Handbook for Travellers in Japan. London, 1903, p. 12 42 The archives of the Ferenc Hopp Museum of Eastern Asiatic Arts preserve invoices relating to Ferenc Hopp

's art purchases in Yokohama. The author wishes to thank Mafia Ferenczy and Tatjána Kardos for their help in searching them out. 43 HMA: A 1

679/17u 44 We should like to undertake a detailed investigation of the work and history of the Kuhn & Komor firm in a study to be published in the near future. 45 "Yokohama seikö meiyökan" [Yokohama Success and Honor Directory]. MS. Yokohama, 1910, p. 217. Translated from the Japanese by the author. 46 Casai, U. A... Japanese Art Lacquers. Tokyo, 1961, p. 53 47 On its way home to Japan, the ship with the exhibition artefacts on board sank off the coast of Izu. When after eighteen months these artefacts were salvaged, it was found that the seawater had done no damage whatever to the objects made during the Edo period. News of this greatly enhanced the fame enjoyed in Europe by Japanese lacquer. Attila Szemere mentioned the story in his 1884 lecture. 4S The Kiriu kosho kuaisha concern, which was partly owned by the Japanese state, was set up after the 1873 Vienna World Exhibition to sell the Japanese pavilion and the art works it contained. The firm later specialised in the export of Japanese art and established studios, opening a shop in New York in 1876 and another in Paris in 1878. The chairman of the company was Matsuo Gisuke, and the vice-chairman Wakai Kenzaburö. The firm despatched many artefacts for shows and exhibitions staged at different places around the world, playing a highly important role in the export of Japanese applied art until liquidation in 1891. See Hida, Toyojirö: Meiji period Design Sketches for Export Crafts. Kyoto shoin, 1998 49 Japan in the Victorian Mind, 1987, p. 58 50 Dresser, Christopher: Japan - Its Architecture, Art and Art Manufactures. London, 1882, p. 345 51 On the surface of the artefact there is a raised, relieflike pattern sprinkled with gold powder (raised maki-e), 52 This Japanese technique developed through the influence of Chinese carved lacquer. The body of the artefact was carved to the desired design and then covered with layers of lacquer. 53 Rein, J. J.: The Industries of Japan. London, 1889, p. 338 54 "Yokohama seikö meiyökan" [Yokohama Success and Honor Directory]. MS. Yokohama, 1910, p. 205. Translation by the author. 55 Ibid, p. 206 « Ibid, p. 207 57 Ibid, p. 208 58 Ibid, p. 206 59 Gr. Vay Péter-féle Japán-gyűjtemény. Budapest, 1908, p. 131. Using state money (20,000 crowns) allocated by Minister of Education Count Albert Apponyi, in 1907 Vay purchased more than 2300 artefacts for the Museum of Fine Arts, Budapest. At the Japanese exhibition held in this museum in 1908, nearly 600 objects were displayed. In 1919 the entire Vay collection passed to the newly established Ferenc Hopp Museum of Eastern Asiatic Arts being affiliated with the Museum of Fine Arts. 60 Felvinczi Takács, Marianne: "Hopp Ferenc", Keletkutatás, 1994/2, p. 7. See Hopp's letter, sent from Yokohama and dated 30 October 1883, to Henrik Jurány, HMA: A 1525 61 Heinrich Ahrens - he was from Germany - opened the Yokohama branch of his business in 1873. He exported art works from Japan and imported dyestuffs, medicines and machinery. In addition, he handled forwarding and insurance. Ahrens died in 1886, after which time the firm Ahrens