Weiner Mihályné szerk.: Az Iparművészeti Múzeum Évkönyvei 6. (Budapest, 1963)

HOPP FERENC MÚZEUM - MUSÉE FERENC HOPP - Tóth, Edit: Water-Pots with Gujarati Inscriptions in the Museum

Fig. 7. Scene of the Krisna Bäla-caritam, water-pot Fig. 4. quite different conception (Fig. 4). Here we see Krisna in the very fight; the Snake throws its bent body to and fro, while the god endeavours to kneel on it with a forceful movement of his foot. So bold and ambitious is the composition, arising from the body of the snake bent in a circle, that the idea of executing this design on a surface of a few inches seems almost incredible. Generally all the figurai representations of this vessel are characterized by the high-handed and concise design, regarded by A, K. Coomaraswamy as typical of räjput miniatures.

11 Should we imagine these scenes as large-size wall-paintings or reliefs, nothing would be lost from their effect, all their values could even be appreciated just as in this case (Fig. 8). Compared with the lota Nr. 1, reminding us of the style of Gujarati miniatures, the manner of portraying human beings is nearer to the style of Rajasthanï miniatures. The body is proportional and harmonical, its forms are soft and rounded, the nose is less emphasized, the lower third of the face is round too. The last feature is typical of the 17th century Mughal miniatures, although it may be found on the Rajasthanï miniatures made in the second half of the 17th century. The characteristics of the design prompt us to date the vessel to the second half of the 17th century

. The specimens of our collection, presented in Figures 12 and 13, may be almost coeval. The former is made of copper with hammering and tracé work. Here a new ornament appears between the ribbons of geometrical decoration, Fig. 8. Scene of the Rämävatära, water-pot Fig. 4.