Vadas József (szerk.): Ars Decorativa 12. (Budapest, 1992)
FAJCSÁK Györgyi: Kínai sztúpa díszítése az i. sz. 7. századból
ity of the monastery are well attested by the sdll extant and rccentiy restored pagoda, while the excavadons conducted by the Henau Provincial Museum also revealed some of the earlier history of die monastic complex. 14 The plan of the whole monastic complex as it existed in the Tang dynasty clearly shows the siting of the main buildings and halls. P1.7. The gate faces south and die layout of the monastery reflects the axial sequence of classical Chinese temple architecture. The first hall was dedicated to the Four Heavenly Kings followed by die square pagoda at the centre of the monastic complex on die central axis. The pagoda was placed between the Four Heavenly Kings Hall and the Main Buddha Hall. The Two Buddhas Hall completed the sequence on the northern side. By die end of the 19th century only die pagoda remained. Between 1973 and 1978 the team of the Henan Provincial Museum with die Anyang Committee for Cultural Relics was working on the restoration of the original pagoda, which is one of die most valuable Tang Buddhist buildings surviving today, and which decorated with 3775 moulded bricks covering all four walls must have been the main attraction of the monastery. 15 PI. 8. The pagoda faces south and the length of each side is 8.30 meters. The roof has a bell-shaped form following die tradition of the classical stupa shape which had originated in India. The original height of die pagoda was about 20 metres reduced today to half of that dimension because die roof had not been rcstoratcd in the original form. The walls of the pagoda are covered by the 3775 moulded bricks arranged in 13 rows on each wall. Their various shapes rectangular, square, lozenge- or diamondshaped- and sizes show 72 different designs such as figures, floral motifs, animals, rosettes, demons etc. The decoration of the western, northern and eastern walls follow a similar scheme which is divided into two different areas. P1.2. At the top of each wall six horizontal layers can be seen decorated by animal masks, sitting and kneeling demon figures, various floral and plant motifs. Below the horizontal area each wall is vertically divided by similar floral brick rows into five sections, each with six rhomboidal bricks and two half bricks arranged one above the otiier. These show dancing apsaras, warriors, lions elephants, horses, lotus flowers, pearls, etc. Each tile was moulded from grey clay and fired as unglazcd earthenware covered by yellowish slip. An arched doorway with a semicircular tympanum representing a Buddha Triad: The Three Buddhas of the Past, Present and Future with their two disciples, two attendants and two dvârapalas is in the middle of die southern wall. PI. 9. Around the arched doorway demon figures and dragons can be seen joining in a monster face on die top of the gate. Two dvârapalas stand on cidier side of die doorway defending it against harmful demons. The basic structure of the pagoda from die Xiuding Monastery - a quadrangular building widi a bell-shaped roof - is of Indian origin. However, bodi the construction and the wall decoration also reflect the artistic tradition of Central Asian and Chinese Buddhist art. The idea of a quadrangular stupa-pillar was realized in die cavetemples of the Northern Wei period (A.D. 386-534). We believe diat die central shaft plan used in Chinese cave-temples derives from the Indian caitya enclosing a stupa. How-
