Vadas József (szerk.): Ars Decorativa 12. (Budapest, 1992)
FAJCSÁK Györgyi: Kínai sztúpa díszítése az i. sz. 7. századból
cised details - were inspired by ancient Chinese mytiiology. PI. 14. Another important group of Buddhist monster statues is the figures of squatdng demons in high relief from the Southern and Northern Xiangtangshan cave-temples. The two groups of the cave-temples date back to the second half of die sixdi century. The squatting demon figures originally served as an architectural support at the entrance or inside a sanctuary. They were made from dark grey limestone and may be dated to the Northern Qi dynasty (A.D. 550-577). Most of these minor statues show similar principles of style and technique, though they seem to have litdc feeling for sculptural significance and linear rhythm. 26 Monster masks and figures were popular subjects for sculpture during the Sui and Tang dynasties. Further evidences - large carved dies made for the decoration of pillars 27 buildings and bridges 28 cast light on its importance in die Chinese representational art. In the Tang period demon painting was one of the six kinds of painting (gui-shenhua), "painting of ghosts and spirits". This term did not mean only the traditional Chinese monster or demon, but also included minor fearful beings of the Buddhist pantheon. Through die spread of Buddhism the malovolcnce of monsters became translated in popular belief into powers for good. These monstrous deities are well suited to their new function as guardians of Buddhism. Their fearful appearance was frightful enough to symbolize military, protective might. However, another important source for die depiction of the guardian figures in Buddhist art was undoubted the Indian artistic tradition; and wc might suppose that the monster or demon painting of Tang art comprised elements from die northern and southern Chinese as well as from the Indian traditions. SUMMARY The architectural concept of the pagoda at die Xiuding Monastery goes back to die Indian tradition of stupa building. However, it reflects both the Central Asian and die Chinese traditions: die square, one-storeyed stupa building covered by a pyramidal roof built in Central Asia and die central shaftplan used in die Chinese Buddhist cavetemples. The roots of die surface decoration (diamond- or lozenge-shaped tiles) might have originated from Central Asia (Kizil Cavetemples). It can be found in Chinese cavetemples as well (Dunhuang Cave 427). The diamond-shaped panels served as ceiling or background decoration separating the different parts of the decoration, depicting jataka-stories and later single Buddha images, floral motifs, birds, lions, etc. Another general use of these lozengeshaped panels can be seen in the friezes surrounding die niches or the main image groups in die Chinese cave-temples. The surface decoration of the pagoda at die Xiuding Monastery reflects strong Islamic influence, however, die root of diis Islande influence still demands further investigation. The use of die moulded tiles on the walls of the pagoda must have been influenced by die popular ceramic wares of Henan and Shaanxi provinces. Both glazed and unglazcd earthenwares were produced in this area especially at Gongxian. The depiction of the demon figures has a long tradition in Chinese representational art. Famous examples are known from die area where the Xiuding pagoda is located. The famous demon and monster images of die nearest Buddhist cave-temples at
