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. 9. Siva Batuka Bhairava, detail from decoration of water-pot Fig. 4. Fig. 10. Siva Batuka Bhairava, detail from decoration of water-pot Fig. 4. developped from ^footsteps of Visnu" put side by side. Below we see the inscription Orh Räma jaya, then a band of figurai decoration, every second or third field of which show r s a Ungarn combined with a yoni. Between them we notice Hanumän, Nandi, Ganesa, a sitting female figure with a cauri, Räma and a sitting god, possibly Siva's Batuka Bhairava form. Then follow fields of geometrical decoration only closed at the bottom by a string of pearls, consisting of schematically designed lotus buds. The manner of representation proves both as regards the forms of bodies and faces and the costumes of the figures, the continuation of the style observed on lota Nr. 1. Execution is nevertheless more superficial, the design becomes schematical. Dealing with these vessels one naturally has to bear in mind the difference between the skill of the masters. Primitive design does not necessarily determine the date. Nevertheless, a new technical process, not observed on the earlier pieces, reveals a later origin. Longer lines reminding us of fringes, are used in order to represent the hair, some parts of the attire, and often the outlines themselves. This technique, becoming more predominant in later products, is very related to incision ; only a through investigation may ascertain that these grooves were executed by stab-and-drag technique with an implement of a longer edge instead of a pointed one. The vessel presented in Fig. 13 is made of brass with hammering and tracé technique. In the first row of figures w r e see Hanumän, Räma, Siva, Nandi, Ganesa and a female goddess. A new way of presenting the Ungarn emblems appears here: two columns, surrounded by a frame of shading with cross-like lines. As to human figures, the mentioned fringe-like decoration occurs around their ears, possibly as a mark of whiskers of a lock of hair beside the ear. In the second row, the Dasävatärä is depicted, in the ribbon divided to twelve fields in the conventional w r ay. In the third band we see probably Siva's Batuka Bhairava and Lakulisa incarnations, geometrical and symbolic signs, the picture of bull Nandi, lingam-s and the footstep of Visnu. The figure of Batuka Bhairava differs from his former representations since he holds a triangular object in his right hand instead of a club, and the harpoon has become a mace in his left. In the fourth row we find all attributes of the typical decoration used on Fig. 11. Siva Lakulisa, detail from decoration of water-pot Fig. 4.
