Vadas József (szerk.): Ars Decorativa 12. (Budapest, 1992)

FAJCSÁK Györgyi: Kínai sztúpa díszítése az i. sz. 7. századból

Gongxian and Soudi and North Xiangtangshan must have influenced our sitting demon figure from the wall of the Xiuding pagoda, however, a strong influence of die southern Chinese representational art was realized as well. The grey unglazed, moulded tile of this demon figure shows characteristic elements of the mature Tang style such as the rendering of the muscles, the individualized facial type, the curling hair, the protruding eyes, die rhytiim of die lines, etc. Presumably the early Tang period played a dominant role in unifying two different traditions: under the strong influence of Buddhism die native Chinese tradition of representational art and of the siniciscd Buddhist tradition could be joined and a new style established. This was the peak of Chinese Buddhist art and it served as a basic model for later centuries. Our tile of the sitting demon can demonstrate the first period of die flourishing Tang art (first half of die seventh century A.D.) and reflects the different sources of the art of the Tang dynasty which helped to create many objects possessing beauty and high artistic value. NOTES 1 I am indebted to Professor Roderick Whitfield who recognized the tile of a squatting demon in the catalogue of the Ferenc Hopp Museum as coming from the pagoda of the Xiuding Monastery and who encouraged me to write about it. 2 Pál Miklós: Chinese Arts (Kína művészete) Catalogue, Chinese Collection of the Ferenc Hopp Museum of Eastern Asiatic Arts, Budapest, 1987. p. 19. 6/2. 3 Zoltán de Takats: 'The Heritage of Wu Taotzu" in: Journal of the Indian Society of Oriental Art, Vol. XV. 1947. p. 110. 4 O. Siren: Chinesische Skulpturen der Sammlung Eduard von der Heydt, Beschreibender Katalog, Museum Rietberg, Zürich Pis. 11-12. 5 Renc-Yvon Lcfebvrc d'Argence: The Avery Brundage Collection, Chinese, Korean and Japanese Sculpture Asian Art Museum of San Francisco, 1974. PI. 119. Some other tiles from the same pagoda Pis. 120-126. 6 William Watson: Tang and Liao Ceramics, London, Thames and Hudson 1984. p. 51. 7 sec in Oriental Art in/2. Summer, 1962. Advertisement of N. V. Hammer Inc. 147 East 72nd St. New York 8 Zhongguo gudai shi diao yishu (Ancient Chinese Stone Sculpture), Compiled by A. F. Howard and He Ping-nan. Taipei 1983. pp. 144— 147. 9 Professor Roderick Whitfield told me about these tiles belonging to the collection of the Royal Ontario Museum, Toronto. Here I would like to thank him for this important information and to express my gratitude for his instructions. 10 Diagonal ridge-end tile with demon-mask Unified Silla period 7th—Sth century A.D. Earthenware with green glaze in: R. Goeppcr-R. Whitfield: Treasures from Korea, British Museum Publications 1984. p. 105. pi. 101. 11 Tomb door knocker in the form of a homed monster biting on a ring Henan and Shaanxi ware (first half of the eighth century) Fitzwilliam Museum, Cambridge in: W. Watson: Tang and Liao Ceramics, Thames and Hudson, London 1984. p. 59. A monster-head door-ring holder, gilt bronze. Six Dynasties (A.D. 265-581) in: Handbook of the Cleveland Museum of Art, 1966. p. 249. 12 According to the record carved on a stele erected in the monastery during the Jiajing reign (1522-1567) of the Ming dynasty, the temple was established "in the 18th year of the Taihc reign" of die Northern Wei dynasty, A.D. 494. Henan sheng Wenwu yanjiusuo ed., Anyang Xiuding-si ta, Beijing: Wenwu chuban she, 1983. Fig. 132, p. 84. 13 Xu gao seng zhuan " Biographies of Famous Monks" Chapter 10. "Da tong Hc-shui si shi fa shang chuan; 14 Henan Bowuguan, Anyang diqu wenguan hui, Anyang xian wenguan hui, ed. Henan Anyang Xiuding-si Tang ta "The Tang Pagoda of the Xiuding Temple, Anyang, Henan Province, Wenwu 1979/9, pp. 7-16. 15 For the number of the tiles sec: Henan Anyang Xiuding-si ta, p. 33; and A. F. Howard records