Weiner Mihályné szerk.: Az Iparművészeti Múzeum Évkönyvei 12. (Budapest, 1970)

HOPP FERENC MÚZEUM — MUSÉE FERENC HOPP - Horváth, Tibor: Report on the Activities of the Ferenc Hopp Museum of Eastern Asiatic Arts in 1968

Kathmandu (Nepal, Kunst aus dem Königreich im Himalaya, Essen, Villa Hügel, 1967. mr. 43.). The folds of the robe covering the legs are rendered with exceptional care. The feet are placed on lotus-shaped footstools extending from the throne. The lotus stalks attached to both sides of Maitreya are made in a simple way, by attachment of several wires. We find the same tendency for simplification in the case of the jewellry made up by imitation of a row of pearls bordered by flat edges. In this row the larger pearls are flat on the top, they stand out in the same way as in other statues with inlays of semi-precious stones. The hands are in dharmacakramudra touching each other by the encircled thumb and forefingers but one hand is not covering the other as it is usual with the Maitreya representations made in later times. The throne, looking from above, is cross-shaped in form and on the sides it is divided into six partitions in the order of 1—3—2. Basically its structure is architectural. On the top and on the bottom there are wires attached with regularly repeated incisions in the practice of imitating a row of pearls. The back part of the throne is flat without divisions or border wires. Maitreya is sitting on an almost round lotus-seat placed in the middle of the throne. Among the early medieval Maitreya statues one of the best is in the Cleveland Museum of Art (Stella Kramrisch, The Art of Nepal, Asia House Gallery, New York, 1964, nr. 6.). For a later type see: E. D. Sanders, Mudra, London, I960., pl. XIII. T. H.