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
räja 10 kept in the Museum of Fine Arts Uianbator (5810-00) it could be included in the same set of statues. The buddha is sitting in meditation pose on a high lotus throne with the fingers of his right hand touching the earth, his left hand rests in his lap with an empty begging bowl in it." He has no decoration. He wears a dhoti with flower motif border. There is the urna, the centre of transcendental seeing in the centre of his forehead. His curly hair is painted blue. 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 closing metal plate and the sacraments are removed, so the structure of the composition can be seen from below. The material of the statue is gilt bronze. Gilding is not polished up, so it shines with a cool yellowish shine. In spite of the fact that no moulds have survived from Dzanabadzar's atelier, 12 our sitting Green Tara statue 13 could have been made by the help of a mould (Ills. 5-6). It greatly differs in size from the Marïcî 14 attributed to Dzanabadzar and kept in the Winter Palace Museum of Ulánbátor ( 1-82-2-1094) but iconographically it is nearly identical with it (111. 7. ). The 59th photo in N-O. Tsultem's monographic album shows 6 Tara deities of the same iconography without publishing their sizes (111. 8. ) The deity is iconographically rightly depicted. 15 She sits in lalitäsana, she wears the dress of an Indian princess with runner motif border. She holds her right hand in varada mudrä and holds the stem of the lotus rising over her left shoulder in her left hand. The speciality of her crown is that every gem of her crown rests on a separate lotus flower and Amitabha buddha's figure can be seen in her hair, before the ushnisha. The characteristics of the relatively high lotus throne are: the lack of vertical grooving, the lotus petal decoration runs completely around the lotus throne, the lotus petal rows look face to face completely, a separating line of some mms can be seen between the rows. The inside of the gilt bronze statue is empty although the closing metal plate with a gilt vishvavajra decoration (ill. 9. ) is still preserved. Gilding is not finished, it shines with a cool yellowish shine. The statue is not painted on the customary places (eyes, mouth, hair) that greatly decreases its aesthetic appearance. Dzanabadzar's authentic works without doubt can be depicted by the following characteristics: relatively unified bigger size (in the case of the sitting figures it is about 70 cms), the representation of the figures with natural proportions that remind the Newari art at the end of the Licchavi period (end of the Vllth - Vlllth c.) and the classicizing style of the Transitional and old Mal la periods (Xllth-XIIIth c), lfi the plastic representations of the hands and fingers, the central branch of the crown is more lavishly decorated, it branches out in „Nepalese fashion", the decorations of the ushnisha, the bracelets, armlets and ankle decorations, 17 the pearl necklace decorations used as bodhisattva ornaments after the Sui period (581-618), 18 the complete lack of incrustations, and the not vertical but bulging construction of the lotus throne 19 and that the smallest motif is not repeated in an unchanged way. This few numbered group is followed by a group that is considered authentic by art historians, in which one or several of these characteristics are not valid. E. g. the statue Akshobhya kept in the Monastery of the Choijin Lama in Ulánbátor (71-268) has a size of approximately half of the previous group, it is decorated with several precious stone incrustations and its lotus throne is a vertically grooved high lotus throne. 20 The Marïcî kept in the Winter Palace Museum of Ulánbátor (1-82-2-1094) 21 differs from the fully authentic group in its size, the gem crown and the form of the lotus throne. The statue of Samvara kept in the Choijin Lama's Monastery in Ulánbátor (58-215) 22 differs
