Imre Jakabffy (szerk.): Ars Decorativa 6. (Budapest, 1979)

KÁRPÁTI, Andrea: „Blanc de Chine" porcelain in the collection of the Hopp Museum of Eastern Asiatic Arts

neatly elaborated figure, not an original solution. Here follow the descriptions of our pieces (Inv.-Nr: 58.214 and 51.161, fig. 5): In these two Kuan-yin representations all the requisits are present, and the composition is strictly symmetrical. This type is most widely spread, dating about 1725. A red clay copy of this type was made by Böttger, and a fayence copy by the masters of the manufacture of Meissen. The contemporary copies show how popular this figure group must have been among the collectors of the early 18th century. A huge quantity was produced of them in Te-hua as well, but did „mass production" result in a schematic reproduction of one and the same variant? The two pieces of our collection seem, at least in the first blush, to be completely identical. In fact they are the variations on a strict scheme, and not copies or replicas. The number and quality of these differences show us how adaptable the scheme was. The first figure (Inv.-Nr: 51.161 (fig. 5, left)) is plastically moulded, and its surface is varied. The veil of the goddess mildly covers her face. Her hand is narrow, with long fingers. The attending figures turn towards each other, their posture breaks up the strict symmetry of the frontal view. The squirming dragons are also arranged assymmetrically. The lotus unites the two groups of figures: the dragons on the mount and the goddess with attendants on the throne. The maker of the other Kuan-yin statuette (Inv.-Nr: 58.214 <fig. 5., right)) adopted the scheme mechanically. The drapery is divided by symmetrical folds, the hand is broad and thick. The figures are kept in strict frontal order. There is no formal connection between the mount and the throne. 7. KUAN-YIN WITH ALL ATTRIBUTES This example shows the limits and possibilities of artistic creation, bound by subtle iconographie and compositional prescriptions. Many of the Te-hua masters succeeded in altering or in entirely breaking up the schemes, and in giving their 101