Szilágyi András (szerk.): Ars Decorativa 24. (Budapest, 2006)

Béla KELÉNYI: Two Trunks from London. Hungarian aspects of the 'discovery' of Nepalese art

recessed back suited to a standing figure on this piece, we may assume that it was connected to a sitting figure."As for its iconographical structure, it follows the tradition of the Päla throne: at the top can be seen a Garuda with outstretched hands and with two nâgas clinging to its feet; under them on each side is a makara; down below, in separate frames, there are lions with a wheel above each of them. The next artefact is the upper part of a triumphal arch (Skrt.: torana) that used to serve as the back of a statue. (111. 13) At the top, there is a Kirtimukha head with a snake writhing in its mouth and in its hands on both sides; down below, there is a makara on each side. Above, in the middle, there is a reliquary (Skrt.: caitya) on an iron rod projecting from the lotus plinth. Unquestionably, another remarkable part of the donation is an exquisite sixteen-piece collection of jewellery, if only because the bulky special jewellery issue of the contemporary Journal of Indian Art and Industry described Nepalese jewellery solely through references and could present only a few examples of Tibetan jewellery and amulet boxes.

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" In addition, it is not easy to differentiate Tibetan jewellery from Nepalese jewellery, the more so since numerous Newar masters worked in Lhasa. Mostly, it is elements of Hindu iconography, relief technique and the shape of individual pieces of jewellery that indicate Nepalese origin; nevertheless, it is often difficult to decide whether an artefact was produced in Nepal or made by Newar masters in Tibet.

61 Schwaiger's interest in precious stones and jewels can by no means be regarded as accidental. When he arrived in India, his employer was János Telléry, who had begun his own career in precious stones: for a long time he managed the state-owned garnet mines near Jaipur.

62 At the same time, Schwaiger was regarded by the contemporary press as the 'heir' of a certain A. M. Jacob, an art dealer also interested in precious stones and, simultaneously, a shadowy agent in the service of the British. In 1904, in Simla, Schwaiger took over the Jacob's business, which had not been going well." On the other hand, he maintained very good business relations with Jacques Cartier, who visited India in 1911. Schwaiger sold Cartier numerous artefacts and looked after his interests in Delhi (one of Schwaiger's sons worked for Cartier later on).

64 The donation of the items of jewellery was presumably preceded by careful selection: all are exquisitely finished and are embellished with remarkably rich precious-stone inlay.

65 Especially worthy of mention is a set of items that probably all came from the same workshop and whose exquisite artistic execution and precious-stone inlay work resemble those of jewellery at the Asian Art Museum in San Francisco.

66 (111. 14) Although the set (brooches, other costume ornaments and three pairs of earrings) was registered in the inventory of the Museum of Applied Arts as Tibetan, this identification was augmented by notes saying that according to Schwaiger they were Nepalese.

67 One carefully finished brooch depicts Visnu riding the Garuda. The two figures are inlaid with turquoise and lapis lazuli; of the coral snake's heads above Visnu's head only two now remain. In any case, the most beautiful piece is a square necklace with precious stones set in sheet gold decorated in relief with scroll motifs; the carving in the middle depicts one of Durgâ's manifestations, Mahisâsura-mardinï, the goddess who defeated the buffalo demon. The necklace with a carved coral Ganesa figure in the middle was made using the same technique.

68 (111. 15) The amulet boxes worn around the neck (Tib.: ske'i ga'u) can be regarded as characteristic examples of the genre. Most probably, they were worn by ladies. Two of them form secant squares;

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' presumably, this shape can be traced back to the double vajra.™ (Ills. 16a, 16b) The oval box was a popular type not only in southem and western Tibet, but in Bhutan and Nepal as well;

71 the gilded, filigree base of the example here is inlaid with turquoise and there are cylindrical loops on its upper and lower parts. (111. 16) Finally, the silver box exhibits various techniques. On its filigree lid, the Garuda with a nâga on either side is depicted with lapis lazuli and coral inlay. Its edge is decorated with