Forgács Éva (szerk.): Ars Decorativa 9. (Budapest, 1989)

MIKLÓS Pál: A Hopp Ferenc Keletázsiai Művészeti Múzeum új szerzeménye

NOTES 1 About the word „Fan" cf. the Matthews Dictionary. Shanghai, 1931. p. 257: „Tibet, tribes living in the West of China"; and L. Lóczy' work A Kínai Birodalom természeti viszonyainak és országainak leírása. Bp. 1886. p. 7

t

53 (in Hungarian): ,,fan-cz. . . tanguts, i. e. the tribes of the Nan-shan (South Mountains) speaking the the Tibetan language

.. ." 2 Pope, John A.: Sinology of Art History — Some Notes on Method in the Study of Chinese Art. Harvard Journal of Asiatic Studies, Vol. 10. (1947) Number 3—4. p. 417. :t Kotscheshkov, N. V.: Narodne iskusstve Mongolov, Moscow, 1973. (esp. the illustrations N° 48 and N° 49). 4 Kőhalmi, U. Katalin: A steppék nomádja lóháton, fegyverben. Bp. 1972. p. 161. 3 Zhou, Wei: Zhong-guo bing-qi shi-gao, Bei-jing, 1957. pp. 311—313, and the illustrations N° 83 nad N° 87. 0 Commeaux, Charles: La vie quotidienne en Chine sous les Mandchous. Paris, 1970. pp. 158—159. 7 Hu, Chia: Peking — Today and Yesterday. Peking, 1956. p. 62. 8 Cf. the Annual of the Palace Museum of Peking (Gu-gong Bo-wu-yuan Yuan-kan), and in it especially the well documentated sourcepublication by Yang Bo-da (vice-director of the Museum and a specialist of the period) : ,,Ying-dai hua-yuan guan" (A Survey of the Painters Academy in the Ch'ing [(Manchu) Epoch"] in: Gu-gong Bo-wu-yuan Yuan-kan, 1985. III. Bp. 54—68., illustrated with such „masterpieces" : „Mo Fan Kuan shan-shui tu" by Tang Dai (plate 2.) and „Fang Ni Can shan shui tu" by Zhang Zongcang, (both are academic painters, but without the least authenticity, notorious copysts). The meaning of the mo and fang characters is copy. — The best work on copying and authenticity (in Chinese art) : Robert H. van Gulik: Scrapbook for Chinese Collectors. Beirut, 1958.