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拍品專文
Compare the current inro to an identical one kept at the Victoria and Albert Museum and illustrated in J. Hutt, Japanese Inro, Victoria and Albert Museum - Far Eastern Series 1997, pp.76-77, pl.69,70 and 71. The authors says that 'the design occurs in several painted versions, some of which are associated with Kano School of painting. In addition, there is a closely related design in a woodblock printed book, the Wakan meihitsu gaho (Copies of pictures by celebrated Japanese and Chinese artists), first published in 1767 and illustrated by Mitsuoki Shuzan. It is quite possible that the lacquerer responsible for this inro used the design from the source, omitting one of the onlookers so that the composition fitted more comfortably on to the two faces of the body'.
As a matter of fact the book also illustrates the related printed design, from the Kress collection, which has been without any doubt the source of the inro composition.
See also another inro showing the sumi-e togidashi technique and illustrated in R. Bushell, The Inro Handbook, New York-Tokyo 1979, p.36, pl.20
As a matter of fact the book also illustrates the related printed design, from the Kress collection, which has been without any doubt the source of the inro composition.
See also another inro showing the sumi-e togidashi technique and illustrated in R. Bushell, The Inro Handbook, New York-Tokyo 1979, p.36, pl.20