Szilágyi András (szerk.): Ars Decorativa 14. (Budapest, 1994)
VINKOVICS Judit: Dzanabadzar műhelyének, követőinek újabb három mongol szobra a Hopp Ferenc Kelet-Ázsiai Művészeti Múzeum gyűjteményeiben
from the authentic group in its size, in the central gem of the crown and in some respect the form of the lotus throne. In my opinion this group should be followed by the group of the statues of cca. 20 cm height with a bulging lotus throne in the form of a gigantic blossoming lotus, with vertical grooving. These sculptures differ from the first group in every other characteristics except the lotus throne (the central branch of the crown, the relative simplicity of the decorations and their recurrrence). The Vajradhara and Manjusri statues kept in the Ferenc Hopp Museum of Eastern Asiatic Arts could be classified into this latter group. Further statues that do not show the authentic Dzanabadzarian stylistic characteristics, the wall of their high lotus throne is vertical decorated with facing lotus petal rows moved horizontally relatively to one another or not, with the application of vertical grooving or not could be attributed to Dzanabadzar's atelier or followers acccording to their finishing. In the case of the above three statues of the Ferenc Hopp Museum of Eastern Asiatic Arts the composition and proportions of the figures, their pose refer to Dzanabadzar or his atelier. The vertical grooving of the lotus thrones (in the case of Vajratärä and Gautama Shakyamuni) also refer to Dzanabadzar's atelier or followers, as it is proved by Ills. 10-12. The lack of vertical grooving (in the case of our Green Tara) does not exclude the possibility of attribution to Dzanabadzar's followers if the other stylistic characteristics can be observed, as it is proved by 111. 13. The lotus petal rows' horizontal movement compared to one another does not exclude the attribution in the presence of other stylistic characteristics according to Ills. 14-15. The gilt closing metal plate in the case of our Green Tara statue supports the same attribution according to the examples taken from the catalogue of Paris (Ills. 16-17).
