Szilágyi András (szerk.): Ars Decorativa 14. (Budapest, 1994)

FAJCSÁK Györgyi: Luo-han-festmények a Hopp Ferenc Kelet-Ázsiai Művészeti Múzeum kínai gyűjteményéből

scrolls depicting scholars' gatherings, two scrolls painted by Qiu Ying (1494/95-1552) should be mentioned details of which can be found on both our album-leaves, entitled Zhao Meng-fu Writing the „Heart" (Hridaya) Sutra in Exchange for Tea

34 and The Garden for Self-Enjoyment

35 On the latter albumdeaf Qiu Ying painted the recluse scholar's enjoyments in a number of smaller scenes on a narrow handscroll which was more likely to be "read" rather than seen as a total painting. Collecting chrysanthemums and admiration of this flower were favourite themes for seventeenth- and eighteenth-century painters. The choose of topic concealed a hint: the painters wanted to refer to the lover of chrysanthemums, the poet Tao Yuan-ming, who lived in the fourth-fifth centuries, became symbol and model for secluded Chinese scholars, and who retired from politics and refused positions. 10. The luo-han sitting with hunched up leg is gazing at the flying up and falling flowers.

% 11. The luo-han sitting on a rush mat on the left side of the album-leaf is sewing. He is just tearing the sewing thread. On the right side three servants are ironing the cloth using a charcoal ironing machine. The origin of the scene goes back to the genre painting of the Tang dynasty.

37 Sewing and ironing luo-han figures - in similar compositions - can be seen on late Ming luo-han scrolls.

38 12. The last album-leaf, which depicts a luo-han figure, records an audience.

39 A Manchu armoured warrior is bending in front of the luo-han, who leans forward from his chair. An attendant holds an ornament indicating the warrior's rank. Similar scenes can be seen on the scrolls depicting imperial audiences at the Qing court and presentations animals or objects in tribute.

40 The warrior's servant looking out of the picture deserves special attention. He is a typical figure of eighteenth-century genre painting, perhaps he can greet us as one of the figures of the scroll Sellers of Drinks painted by Yao Wen-han (fl. 1739-1752).

41 13. Maitreya, The Future Buddha, as a mendicant monk called Bu-dai (The Sack Carrier) most frequently appears in pictures in the company of luo-hans. Since the Song period their worship and their group representation had, with the spread of the cult of Bu-dai and the luo-hans, become intertwined. Bu-dai sitting on his large sack can be seen on the album-leaf holding a rosary in his hand.

42 Six children are playing around him whose number refers to the six mortal sins. Depiction of Bu-dai, however, summarized the Chinese good wishes: long life, wealth, abundance, large family and many offspring. 14. Bodhisattva Guan-yin, a Bodhisattva of Mercy is the central figure in Chinese Buddhism. The album-leaf follows the iconography of the White-Robed Guan-yin images. Guan-yin in royal ease can be seen on an irregular rock pedestal hold her rosary. The maid-servant standing next to her holds a willow branch (a symbol of meekness) placed in a vase. Guan-yin's rock pedestal is carried by five demon figures. In the right lower corner of the picture Shudhodana can be seen, frequent attendant of Guan-yin in the seventeenth- and eighteenth-century paintings.

43 15. Bodhisattva Wen-shu (Manjusri) can be seen on his typical animal, a lion. He is depicted as a man with curled hair, moustache and beard.

44 He holds a Chinese sceptre (ry-yi). His fillet - with a diadem above the forehead - is an archaic ornament recalling thirteenth - and fourteenth-century Bodhisattva ornaments. Behind him is his attendant wearing a lotus-hat and collar. The positioning and gesture of the old male figure bowing before Wen-shu was significantly influenced by the European prints which reached China through the Jesuits.

45 The cult of Wen-shu, Bodhisattva of Wisdom, became pronounced under the rule of Manchus. In the central temple of his worship (on Mt. Wu-tai-(shan) the Manchu emperors also offered sacrifices on a number of occasions. 16. Da-mo (Bodhidharma), the legendary founder of Chan Buddhism, is meditating on