Szilágyi András (szerk.): Ars Decorativa 15. (Budapest, 1995)
RENNER Zsuzsanna: R. M. Soelaeman Pringgodigdo, a műgyűjtő diplomata emlékére
dered variety, as classified by Miksic 12 , with Indian characters on the reverse of some of them. Sandalwood coins, decorated with a four petalled flower on the reverse, were made of silver in Java. The specimens in the collection belong to this Javanese variety and bear Indian characters on their observe. From among the bronzes of the collection, a 9th century Ganesha from Central Java, two hand-bells made in East Java around the 1 Oth— 11th century, an East Javanese oil lamp from around the 14th century decorated with a figure probably portraying a bodhisattva and another East Javanese oil lamp of the same age decorated with a wayang figure (plate 6) are particularly noteworthy. The terracotta art of the Majapahit empire is represented by quite a few objects - mostly small heads and architectural fragments - in the collection. Among the sculptural fragments, there are fine female heads and grotesque figures as well. Probably the most interesting terracotta piece is an architectural fragment of uncertain age and pronenance, decorated with a Buddhist scene (plate 7). The great majority of the wayang kulit figures come from Cirebon; most of them were made in the 19th century, but there are also a few figures from the 18th century as well. Most of the figures from Cirebon had originally belonged to members of the collector's family, although, as mentioned above, he did not inherit them, but acquired them through purchase. His relatives, when told of his intentions, did not refuse to sell him the figures. According to his account, family relations, however distant, played an important role in these transactions since it was unusual to part with these hereditary objects; if it did nevertheless sometimes happen, owners preferred to sell them to a relative. It was always an honour to acquire such an object. Consequently, it was not whole sets but single figures he took possession of, so his collection increased step by step, piece by piece. The figures belonged partly to the purva cycle relating Ramayana and Mahabharata stories, and partly to the wayang gedog type relating stories of the Majapahit empire. None of the series is full; the oldest figures are from the 18th century. Much fewer in number but of excellent quality and condition are the wayang klitik figures in the collection, all from 19th-century Central Java (Surakarta and Boyolali) (plate 8). The wayang golek puppets, most of them made at the end of 18th century, are also from Cirebon. Their acquisition was similar to that ol the wayang kulit figures, so they do not make up a full set either. They represent a typically Cirebonese variety of the puppet play relating, embedded into the Menak cycle, how the epic heroes embraced Islam and how they spent the rest of their lives as devout Muslims. This was of course, a means of propagating Islam ir Java. Among the topeng masks of the collection those from Cirebon are again the most noteworthy. Masks used for the small and great dana (topeng kecil and topeng besar) are equally present but, once more, the sets are incomplete The manufacturing and wearing of batil cloths is a characteristic part of Javanese cul ture. In the collection, there are batik cloth: from different parts of Java, as well as example: from Sumatra and Madura which fall within th< sphere of Javanese batik art. The finest piece; are a 19th-century tulis batik sarong from Ci rebon with two opposing rows of tumpal motif in the kepala and phoenix motifs in the body, ; late 19th-century silk slendang with ceplokai type motif from the North coast of Java 13 and 19th-century sarong with water, lotus, crane flower and peacock motifs from Pekalongar Dyeing techniques other than batik (plangi am tri tik) are represented by a 19th-century kai, plangi from Palembang 14 . Balinese art objects in the collection repre sent partly the peculiar Balinese version of th well-known arts - wayang kulit, wayang tc peng, kris - of Javanese culture, partly arts typ ical of Bali. Among the latter, two 18th centur temple scrolls (ider-ider) preserved in exceller condition with scenes from the Ramayana ar especially worth mentioning. R. M. Soelaeman Pringgodigdo had a lon^ standing affection for Bali. When writing h: diploma thesis on certain problems related t Balinese culture, he paid several visits to the i:
