Imre Jakabffy (szerk.): Ars Decorativa 6. (Budapest, 1979)

KÁRPÁTI, Andrea: „Blanc de Chine" porcelain in the collection of the Hopp Museum of Eastern Asiatic Arts

Its plastical modelling as well as its milky white glaze make it probable that the statuette was made in the last years of the 18th century. The next of our blanc de Chine pieces depicts Tou-mu (Inv.-Nr: 58.21, fig. 11). ,,Tou" is a bushel measure, so Donnelly renders this name into English in Bushel Mother. She was originally the Indian Maritchi, whom the Taoists worship as the goddess of the Pole Star. In their religion Tou-mu has the same significance as Kuan-yin in Buddhism. Tou-mu site upon a lotus throne, wearing a boddhisatwa crown. She has three eyes, and 18 hands, with which she brandishes the Sun, the Moon, the sceptre, the axe, the pearl, the peach — symbol of longevity —, the vase of heavenly dew, the lotus — symbol of perfection —, the conch shell, the alms bowl, the scrolls, an elefánt tusk and other precious things. She has a control over the Books of Life and Death, her feast is on the 14th and 18th day of the eight month. The blanc de Chine Tou-mu figures are neatly elaborated, valuable pieces, even in a deteriorate condition. Only 9 arms of our statuette remained unbroken, 3 of the attributes are identifiable. (The Sun, the Moon, and the lotus.) Our statuette was probably made between 1700 and 1750. As a composition, it is very typical: a lively total effect constituting of static elements. To create the type, elements of Buddha- and Kuan-yin-representations were made use of: Tou-mu assumes one of Buddha's favourite postures, on a lotus throne; the serpents and the attending figures were taken from the representations of Kuan-yin. To join the two parts, the creators of the compositional type turned to the chalice form of Buddhist attributes. The 11. TOU-MU mount is similar to the mount of a cup, and a long and slender stalk supports the throne of the goddess. The 18 arms can be arranged in a picturesque way, depicting various hand movements and positions. The maker of our piece did not exploit this possibility, he arranges the arms as the spokes of a wheel. They frame the figure like a ray mandorla. 104