Szilágyi András (szerk.): Ars Decorativa 16. (Budapest, 1997)

ASZTALOS Zoltán-KELÉNYI Béla: Egy mongol rituális táncmaszk restaurálása

NOTES 1. Kelényi, B.-Vinkovics, J.: Tibeti és mongol buddhista tekercsképek (Tibetan and Mongolian Buddhist Painted Scrolls). Oct. 1995 - Jun. 1996, Cat. No. 2 2. The property of the Orientalist Katalin UrayKőhalmi. She has disclosed that the artefact passed to her in the mid-1960s, through purchase from from the BAV (Commission Shop Company). At the time this was the most usual way to acquire artworks from Mongolia. Measurements: 76x33.5 cm; thickness: 3-5 mm. Materials: paper, textiles, wood, dyed human hair 3. Thingo, T. T.: „Masken". In: Buddhistische Kunst aus dem Himalaya. Ausstellungkatalog des Museums für Ostasiatischen Kunst der Stadt Köln, Sammlung Werner Schulemann, Bonn. Köln, 1974, p. 172 4. Thingo, T. T.: „Masken und Kulttanz in Tibet". In: Der Weg zum Dach der Welt. Pinguin Verlag, Innsbruck-Frankfurt, 1982/83, p. 355 5. Waddel remarks that in the foothills of the Himalayas, in Sikkim and Bhutan, dance-masks are made from wood, since the moist climate is not suitable for papier-mâché. Waddèl, L. A.: Tibetan Buddhism. Dover Publications, New York, 1972, p. 535 6. For a detailed description of the method of making dancemasks in central and eastern Tibet see: Ronge, V. & Ronge, N. G.: „Anfertigung von Cham Masken". In: Zentralasiatische Studien [hereinafter: ZAS], 15 (1981), pp. 513-536 7. Thingo, T. T.: (1974): Op. cit., p. 172 8. Heissig, W.: „Der Tsam-Tanz und seine Masken". In: Die Mongolen. Pinguin Verlag, Innsbruck-Umschau Verlag, Frankfurt/Main, ed. Heissig, W. & Müller, C. C, 1989, vol. l,pp. 240-241 Heissig, W.: The Religions of Mongolia. London & Henley, 1980, p. 81 Formán, W. & Rintschen, B.: Lamaistische Tanzmasken. Koehler & Amelang, Leipzig, 1967, p. 62 9. Forman, W. & Rintschen, B.: Ibid. p. 51 The tsam is now once again performed in Ulaanbaatar, and has been since the 1990s (information by courtesy of Judit Vinkovics). 10. The types of different Tibetan ritual dances are listed by Thingo. Thingo, T. T. (1982/83): Op. cit., p. 360 11. Forman, W. & Rintschen, B.: Op. cit., p. 51 12. For a detailed description of the course of the dance and its participants see: Pozdneev, A. M.: Religion and Ritual in Society: Lamaist Buddhism in Late 19thCentury Mongolia. The Mongolia Society, Bloomington, 1978, pp. 505-521; Forman, W. & Rintschen, B.: Op. cit., pp. 68-143 13. Pozdneev, A. M.: Op. cit., p. 525; Forman, W. & Rintschen, B.: Op. cit.. pp. 84, 121 14. Uray-Kőhalmi, K.: „Dpal-ldan Lha-mo lószerszámának steppei elemei" (Central Asiatic Elements in the Horse Accoutrements of Dpal-ldan Lha-mo). In: Történelem és kultúra 8., Uray Géza emlékére Budapest, pp. 139-148. Published in German as „Zentralasiastische Elemente am Pferdegeschirr der Dpal-ldan Lhamo". In: ZAS, 20 (1987), pp. 233-249 15. For the styles of Mongolian dance-masks, see: Berger, P.-Bartholomew, T. Ts.: Mongolia. The Legacy of Chinggis Khan. Catalogue. Asian Museum of San Francisco, 1995, p. 152 16. Information by courtesy of Katalin Uray-Kőhalmi 17. The results of the solubility test were as follows: water: - ethylene trichloride: ++ acetone: +++ carbon tetrachloride: ++ alcohol: ++ methyl bromide: ++ toluol: ++ formaldehyde: xylol: + 18. It was recommended that formaldehyde not be used, since this could react with the glue later on. Nevertheless, in the above-mentioned solubility test this chemical proved the most suitable. 19. The use of plextol, PV-alcohol and PV-acetate was also considered. 20. According to the paper restorer Gyula Gajdó (Museum of Fine Arts), the pH of shredded paper was the most suitable. 21. Ronge, V. & Ronge, N. G.: Op. cit., p. 515 I should remark that in building up of the missing parts (parts of the skull-crown) of another Mongolian mask, I used the traditional practice described by Ronge, as opposed to the technique utilizing synthetic materials widespread today and known to me. I succeeded in making the necessary additions with paper and cotton layers shaped in clay moulds. See photo No. 5. 22. This is important so that the first layers hould quickly bind, preventing the glue-soaked pieces of textile from sticking to the clay. In this way the mask is easily separable from the clay.