Jakabffy Imre szerk.: Az Iparművészeti Múzeum Évkönyvei 13. (Budapest, 1971)
HOPP FERENC MÚZEUM - MUSÉE FERENC HOPP - Horváth, Tibor: Notes to the Iconography of the White-robed Kannon
some significance in connection with the legend. A hasty comparison of the two paintings seems to suggest that the smooth surface of the latter was discarded over the years and a new depiction of Kannon developed, with tin 1 god stepping into the world out of a shell. 28. Barofu Kannon. '"This standing figure appeal's as a lady" according lo Kannon no shiruhe (p. 64). The drawing shows a lady dressed in Chinese style in a rohe with wide sleeves and ribbons attached. In the Kencho-ji painting (fig. 6) the figure is sitting deep in thought, in a comfortable position on a cushion of leaves, dressed in a transparent summer robe of thin silk. The water below the rock is quiet and peaceful. A much more unusual depiction is that of Barofu Kannon (Kuan-yin as a Lady) in the Maeda Ikutoku-kai Foundation in Tokyo (dating hack In the Yuan period and carrying inscriptions by Yung-fu and Shih-yiieh). which also depicts an elegantly dressed, beautiful, young girl, but she is holding a narrow scroll in her hand. Mer figure 1 extends only to about the knee 18 . (This picture is painted in colour on silk). In the case of the 32 Kancho-ji pictures of Kannon, we can also try to find out whether then 1 are any analogies between these pictures and the muséums depiction ol Kannon silling on the roi J k (figs. 3 and 4). which might promote a more exact interpretation of the latter. Some similarity has been found in the no. 6 (fig. 7), where Kannon is sitting on a ledge of rock in lalita-sana ("royal ease") position, with his left foot resting on the rocks below and his right leg [Hilled up. Ile is leaning slightly forward, resting on his right forearm, looking at a man with a moustache and beard, who is standing up to his waist in the mist that surrounds the rock. This figure, enveloped in a beautiful robe and wearing a tall cap decorated with ribbons, is greeting Kannon with his hands held together in front of his chest. Kannon's other hand is resting on his left knee, bis palm is turned upwards and all his lingers, exept for the little one. are bent inwards. There is a huge rock behind Kannon's hadk. which is visible through the halo (as is general in I he Kencho-ji pictures). The dry branch of a tree can be seen growing from the rocks higher up. A young man with a large hat is pictured beneath the branch, half concealed by the rocks. Behind bis hands, which are clasped together, a sword (?) can he seen lying across his arms. Ribbons that an 1 attached to bis hat and bell an 1 visible blowing in the wind. In the fig. S here, which has no serial number of the Kencho-ji on it, is a variation of the above painting, there are no accompanying Figures. The position of the left hand has been modified, because Kannon is leaning on his elbow and resting his head in his hand; another smaller alteration is that Kannon is holding a rosary in his right hand. The shape of the nick is also slightly different, but one of the Iwo paintings is nevertheless regarded as a variation of the other. Kannon in our painting is also leaning forward, bill he is not looking at anything. The rock, on which all Kannons in the Kencho-ji series sit. is either situated beside the water's edge, or il rises out of the water, or in some eases, mist. We can suppose therefore thai, the Kencho-ji paintings, as a sel. originated from a coastal region, most likely in P'u-l'o shan Island. In comparison, the Kannon painting in our museum is a version sel on a dry land, in a hilly region, lui I it is not a variation that has been combined with the landscape. In further consideration of the Kencho-ji pictures, it is interesting lo nolo that not. only in th< case of this particular painting, but in other similar paintings (there are '8 Chinese Arl of the Sung and Yuan Periods, a Catalogue. Tokvo. .National Museum, 1961. nr. 87.
