Weiner Mihályné szerk.: Az Iparművészeti Múzeum Évkönyvei 7. (Budapest, 1964)
HOPP FERENC MÚZEUM — MUSÉE FERENC HOPP - F. Takáts, Zoltán: Some Notes to the Bronzes and Other Objects of the Chinese Collection. III
ZOLTÁN F. TAKÁTS SOME NOTES TO THE BRONZES AND OTHER OBJECTS OF THE CHINESE COLLECTION I I I. During my trip to the Far East in 1936 I became acquainted with the well-known sinologist and expert on Chinese art, Dr. Herbert Müller. At his home I found many interesting art objects, among which the demoniacal figure published here attracted me as being the most singular specimen (Fig. 1.). Dr. Müller arranged for the Ferenc Hopp Museum to acquire it. In Europe the Italian renaissance was followed by Mannerism. Some similarity is to be found in previous Far Eastern art too. As the followers of Michelangelo in Italy could not enjoy the minute details of nature —• which are absolutely necessary to thoroughly understand it — so a pupil or imitator of Wu Tao-tzu only looked at the forceful lines of the master without subjectively interpreting it. For the Chinese painter or sculptor, otherwise mostly unfamiliar with anatomy, only the face, the very mirror of the spirit, was the focus and the rest was characterised by great expressivenes. The same holds true about the present work. The head of the demon figure from a Buddhist pagoda is vigorously stylised and well-constructed. The squatted position is even more apparent on it than on the variously executed body of the demon, which, except for a pair of ornamentally pierced boots, is naked. After returning home I received a letter from Dr. Herbert Müller dated April 19, 1937. It contained the following message: ,,I have put off writing this letter because I was hoping to visit the place of origin of the squatting demon. Unfortunately I was not successful and so I shall have to be satisfied with passing along what I learned from the man who sold it in Chang-te-ho (North Honan). According to him it originated in a ruined Pagoda on the hill Ts'ing-ling-shan, in the district of Yü-she-hsien (Shansi), 37° lat., 113° long. Nothing could be determined about its age, etc., but I was able to identify some sculptures from the same pagoda. I am having them photographed and the copies will be sent to you as soon as possible." Unfortunately he was unable to fulfil his promise. Nevertheless I believe I am correct in recognizing the artist as a follower of Wu tao-tzu, from the first or second century following that of the master. I have found it useful to study the figure anatomically. From this I am convinced that it is the result of careful anatomical observations, but the execution of the features seen is stylised into extravagant forms.