Szilágyi András (szerk.): Ars Decorativa 24. (Budapest, 2006)
Béla KELÉNYI: Two Trunks from London. Hungarian aspects of the 'discovery' of Nepalese art
Säkyamuni Buddha's depiction is placed in front of an ornamental, extraordinary looking frame of leaves and flowers; the figure is far more rigid than the rest of the composition. (111. 6) He is sitting on a lotus throne in vajra posture (Skrt.: vajrasana). His right hand is touching the earth (Skrt.: bhumisparsamudra); in his left, which lies in his lap, he is holding an alms bowl. The two lions on the plinth of the lotus throne refer to an epithet of the Buddha's (Skrt. : Sâkyasimha). The lotus throne is angular; under the hanging veils a visvavajra can be seen. On the back of the plinth, there is an offering inscription. 51 The other Säkyamuni statue sent by Schwaiger is far less spectacular. It is assembled in an unusual way; most probably, it was owing to casting problems that the figure and the plinth were affixed to the upper edge of the double lotus throne with rivets. 52 (111. 7) Although it can be identified as Tibetan on the basis of its style (an identification in which the inventory concurs), its ornamentation and the characteristic location of the halo holder (on the back) suggest that it is the work of a Newar master. The helmet-like ceremonial crown (Skrt.: mukuta) is used by Newar Buddhist priests (Skrt.: vajräcärya) in the course of religious rituals; as a rule, its symbolism represents a five-member family of Buddhas and related Vajrasattva. 53 So far, one unusual work has been published, 54 one whose iconographical system has been shown to be the equivalent of the Manju vajra mandala described in the Nispannayogävali. 55 The iconography of the artefact at the Hopp Museum is, however, absolutely unique. (111. 8) The three-part crown can be regarded as a very early work of art. Figures sitting on lotus thrones and wearing one-branch diadems framed by flames are joined to the bands of the crown; without doubt, they also represent a mandala system. Originally, sixteen figures were placed on the lower band, but only nine now remain. Of these, deities nos. 3 (111. 9) and 14 are four-handed; the other six - with the exception of no. 13, which is holding a sword and a shield - depict two-handed goddesses holding various attributes. Goddess no. 16 is sitting in a posture entirely different from that of the others and is pouring liquid out of a vessel. Originally, there were eight depictions on the middle band, but today only five remain. Four crescent moons with vajra handles are placed in the inter-cardinal points; presumably, they symbolise the corners of the mandala. In all probability, depictions of deities were placed in the cardinal points themselves. Of these depictions, only goddess no. 1 now remains. She is holding her hands in front of her mouth. 56 As for the eight goddesses originally on the upper band, just four have survived: all are wearing long garlands of skulls around their necks. Figures nos. 1 and 3 are identical. Each holds a skeleton staff (Tib.: keng rus dbyug) in her right hand and a skull-bowl (Skrt.: kapala) in her left. Goddesses nos. 2 and 4 (111. 10) have heads of different animals; their depictions are also analogous yet their attributes differ. We may assume that, originally, goddesses with the same attributes were placed at the cardinal points, while goddesses with the heads of different animals were put at the inter-cardinal points. It is noteworthy that there is a gateshaped aperture behind figure no. 1. The iconography of the crown raises a number of questions. Indeed, it is a possibility that over time the order of the figures has been changed. 57 The assumption that the crown is an early piece is corroborated by the style of the figures, as well as by the shape of the vajra on the top. The next three artefacts were made using the repoussé technique. The Bhairava mask, a wrathful manifestation of Siva, is a well-known ritual object in Nepal and is used during the IndraYäträ festival, in the course of drinkoffering. 5 " (111. 11 ) The mask is characterised by three bulging eyes; a diadem ornamented with skulls; an open, tanged mouth; blazing hair, eyebrows and moustache; and snake earrings. Originally, a small tube was placed in the aperture at the mouth and liquid was poured through it. A halo (Skrt.: prabhâmandala) attached to the sculpture by means of pegs is a typically Nepalese feature. (111. 12) As we see no
