Jakabffy Imre szerk.: Az Iparművészeti Múzeum Évkönyvei 13. (Budapest, 1971)
HOPP FERENC MÚZEUM - MUSÉE FERENC HOPP - Horváth, Tibor: Report on the Activities of the Hopp Museum of Eastern Asiatic Arts in 1969 and 1970
Figs. 4a —b. Large celadon dish, China, 14 — 15th century. II.: 7.1 cm., diam. : 33.3 cm. Transfer from llie Ministry of ('nil ural Affairs. Inv. nr.: 69.68. The dish has an octagonal shape derived from a round one. The wall giving either the height or the depth of the piece remained round, although being divided inlo eight trapezoid parts, il helps lo give the general impression of an angular dish. These eight trapezoid séchons are decorated with incised flowers, meant perhaps for peonies, with leaves in the form of scrolls on one pari and as palm-leaves on the other. Regarding these motives closely we find two variations. In the case of the first one the flower set in the middle of the section has a clear form, each of the six petals is clearly delineated. In the second variation the flower looks more like a leaf. Every section is bordered with three parallel lines, except on the inside part. The flat middle part is also bordered with three parallel lines five-lobed as they are characteristically Chinese. Inside of these, the motive is a lotus flower with leaves in the form of scrolls. I hi the outside of the wall we find a row of leaves one slightly sticking to the other, with the \ems emphasized, the main or center vein again with three parallel lines, the Others with many lines. ( )n the loot-ring the decoration is more simple, made up of semicircles slightly in relief. The dish is a heavy piece with a thick body. During the firing it was tilted morion one side resulting in deformation and transmutation of the inside part lo a greyish variety. This part, looks also much worn by being used for a longer period. Another feature of this piece is that the lotus flower in the middle part is engraved with short quick strokes. In this way. the effect is artistic, giving a single piece impression amid the mass production of this kind of ware, but at ihe same lime the original pattern has lost ils accuracy. About 300 years later the lovely patterns of the Selo stonewares in Japan wenprobably painted by children or young women in a similarly charming simplification. We
