Forgács Éva (szerk.): Ars Decorativa 9. (Budapest, 1989)
MIKLÓS Pál: A Hopp Ferenc Keletázsiai Művészeti Múzeum új szerzeménye
PÁL MIKLÓS A NEW ACQUISITION IN THE FERENC HOPP MUSEUM OF EASTERN ASIATIC ARTS In September 1982 Edmund de linger, a noted collector of Islamic art in England, visited Hungary, his native land, and on this occasion, with his accustomed magnanimity, and not for the first time, he offered a gift to our Museum. This time it was a very interesting Chinese painting which went to the Hopp Museum. „I don't collect Chinese objects . .. You will apreciate this scrool, I hope . . ." Yes, we appreciate it. And here too, we express our thanks once again to Edmund de Unger. The horizontal scroll (handscroll, shou-juan), ink and colours on silk (32,5X 255 cm, with a new mounting of 4,5 cm white brocade), represents a hunting procession. ' At the right hand of the scroll the introductory colophon of the painting on paper (32,5X53 cm) is mounted; it is (probably the oldest one, written in cursive script (Fig. 63). At the left hand end of the scroll, behind the picture, in the direction of unrolling, there are three laudatory colophons, also on paper, mounted seriatim : the first (32,5X33,55 cm) is a poem — ten verses of seven characters, qi-yan-shi — in cursive script (Fig. 64) ; then second and the third are in a single leaf (32,5X33 cm), one in the ancient official style, the other also in cursive (Fig. 65). The painting has sign, nor any seals. The colophons are signed and sealed. The introductory one defines the sub j sets of the painting as „Mongol hunters from Tibet" (. . . she-lie-wei you-zhe .. . Xi-zang meng-gu .. .). This is repeated in the text of the third colophon in other words (Fan-meng). 1 The introductory colophon gives us a date and a place — probably of the colophon and not of the painting, i. e. information about the proprietor — at the end of the text: the 6th year of the reign of the Emperor Kang-xi (1667), in the Yong-he Palace (Yong-he-gong). It is signed by a certain Yu Fang-ting. The second colophon, the poem, is signed by a certain Tan Yuan-jing (interesting, that this Tan character is employed only in a double surname Tan-tai, never in a single surname), and in the year Geng-yin (i. e. with a name of the sexagenary cycle, perhaps the year 1710, or 1770 or 1830). The third colophon is signed by a Taoist monk: Wei-shan Dao-ren, without a date. The fourth colophon's sign (in cursive script) can not be identified by me. I also find the seals on the colophons indecipherable. The painting is surely, not a masterpiece. The usual virtues of the Chinese brush, chiefly in the representation of
