Szilágyi András (szerk.): Ars Decorativa 14. (Budapest, 1994)

VINKOVICS Judit: Dzanabadzar műhelyének, követőinek újabb három mongol szobra a Hopp Ferenc Kelet-Ázsiai Művészeti Múzeum gyűjteményeiben

JUDIT VINKOVICS FURTHER THREE STATUES FROM DZANABADZAR'S ATELIER AND FOLLOWERS IN THE COLLECTIONS OF THE FERENC HOPP MUSEUM OF EASTERN ASIATIC ARTS A more detailed understanding about the artistic activities of Gombodorjin Dzanabadzar (1635-1723), the First Living Buddha of Urga could be obtained first from the books

1 written by Nyam-Osoryn Tsültem, Mongolian painter and art historian after the touching references of the special literature,

2 the taciturn notes of the biographies

3 and short publications.

4 The catalogue of the Mongolian visiting exhibition in the Musée Guimet of Paris

3 from 11.26.1993 to 03.14.1994. has proved to be a fundamental work presenting and summarizing the detailed results of research and initiating further scientific studies. As the above mentioned publication is an exhaustive work summarizing the data both from historical and art historical point of view the present short article is confined only to present three further Lamaist statues in the collections of the Ferenc Hopp Museum of Eastern Asiatic Arts attributable to Dzanabadzar's atelier and followers. According to the classification used in the catalogue of Paris (Dzanabadzar, Dzanabadzar's atelier, Dzanabadzar's followers) our statue depicting Vajratärä

6 could be inserted into the group ,,works of Dzanabadzar's atelier" (Ills. 1-2.) The figure depicted is a wrathful emanation of the female bodhisattva, the Yellow Tara Bhrikuti.

1 Several iconographie variants of the Yellow Tara can be encountered in the fundamental iconographie works Sädhänamälä and Nispannayogävalt* but our statue slightly differs from them in its sitting position and the combination of the attributes. The deity sits in lalitâsana on a high lotus throne. The lower part of her body is covered by animal skin, the paws of which rest on the pedestal. A necklace tied from snakes and a s.c. wet garland of freshly severed human skulls hang in her neck and her body is decorated by other bone decorations (e.g. bone apron made up of hexagonal parts), too. She has four heads, all of the four heads have wrathful expression, there is a third eye in the centre of her forehead, scull crowns with sculls of decreasing sizes to the sides can be found above her foreheads. She has a high ushnisha. Her hair is painted blue. Her shoulders are covered with silk scarf. In her eight arms (from the right lowest hand according to the rules of the holy circumambulance) she holds: vajra, elephant goad, arrow (the upper part of which has broken off), curved sword, lotus, bow, parashu and lasso. The characteristics of the high lotus throne are: the vertical grooving, the lotus petal decoration running completely around the lotus throne, the two petal rows facing one another are horizontally slightly moved compared to one another, a separating line of some mms can be seen between the lotus petal rows. The interior of the statue is hollow and empty, the closing metal plate and the sacraments are missing so the material of the statue (gilt brass) and the traces of soldering can be clearly seen. The gilding shows a slight additional red shine. Our statue depicting Gautama Shakyamuni

9 (ILLs. 3^1) can be attributed to Dzanabadzar's atelier and it is quite close in its size and the grade of finishing to the Svaraghosa-