Szilágyi András (szerk.): Ars Decorativa 27. (Budapest, 2009)

Györgyi FAJCSÁK - Andrea FÜZES: Chinese Embroidered Screen from the Turn of the 19th and 20th Centuries

NOTES 1 Imre Vahot: Az 1862-ki londoni világkiállítás emlékkönyve [Memoir of the 1862 Great London Exposition]. Pest, 1862, pp. 8-9. 2 Ibid. pp. 88-89. See Countess Emma Teleki (Mrs De Gerandon): Világkiállítási tárcák [Worlds Fair Exhibitions]. In: Fővárosi Lapok 1878, no. 251, p. 1216; Fajcsák Györgyi: Collecting Chinese Art in Hungary from the Early 19th Century to 1945 as Reflected by the Artefacts of the Ferenc Hopp Museum of Eastern Asiatic Arts. Budapest, 2007, pp. 10-15. 3 Györgyi Fajcsák: "Az örömök kertje". Kínaiak, mandzsuk, mongolok Eszterházán. Az Esterházy-kastély hercegi lakk-kabinetje ['The Garden of Pleasures'. Chinese, Manchus and Mongols in Eszterháza. The Prince's lacquer cabinet in the Esterházy Palace]. Budapest, 2007; Philipp Württemberg: Das Lackkabinett im deutschen Schloßbau. Zur Chinarezeption im 17. und 18. Jahrhundert. Bern, 1998. 4 For the European history of screens, see Ferenc Batári: Tárgyak históriája: Régi paravánok [History of artefacts: old screens]. In: Az Otthon February 1998, pp 46-47; Janet Woodbury Adams: Decorative Folding Screen in the West from 1600 to the Present Day. London, 1982. 5 Györgyi Fajcsák: A Ming-bútor. A kínai bútorművességfénykora a 16-18. században [Ming Furniture. The golden age of Chinese furniture in the 16th18th centuries]. Budapest, 2001, chiefly pp. 8-19; Hu Desheng: Zhongguogudaijiaju [Old Chinese furniture]. Shanghai wenwu chubanshe, Shanghai, 1992; Hu Wenyan (ed.): Zhongguo jiaju [Chinese furniture]. Shanghai, 1994. 6 Such a single-leaf screen standing on wide legs is calledpingfeng, pingmen orpingzhang in Chinese. 7 A similar tunic is in: Zhongguo lidaifushi [History of Chinese costume]. Shanghai, 1984, p. 262, top picture. 8 Verity Wilson: Chinese Dress. Victoria and Albert Museum, Far Eastern Series, London, 1986, Reprint 1990, p. 63, PL 47. 9 Zhongguo lidai fushi [History of Chinese costume]. Shanghai, 1984, p. 280, figs. 530-531. 10 Fabric dimensions: height 100 cm, width 90 cm. 11 Tunic fragment height 88 cm, width 68 cm. 12 Gauze weave. 13 Braid width 1.2 cm. 14 Border width 8 cm. 15 Appliqué width 8 cm. 16 Frame dimensions: height 147 cm, width 98 cm. 17 Mandarin button dimensions: height 5.5 cm, width 3.5 cm. 18 Opaque glass. 19 HostaponT surfactant (fatty acid methyl tauride sodium salt) was used in 0.5g/l concentration. 20 Nikecell: Expanded thermoplastic cellular polystyrene foam. 21 Restoration work on the fireplace screen frame and mandarin buttons was carried out by Zoltán Asztalos, a restorer in the Ferenc Hopp Museum of Eastern Asiatic Arts. The documentation is based on verbal information. 22 The authors would like to thank everyone who helped in the restoration of the fireplace screen and production of the documentation: Tatjána Kardos (Ferenc Hopp Museum of Eastern Asiatic Arts, Archive), Katalin Csontos ceramics restorer (Museum of Applied Arts), Ildikó Kálosi, art historian (Museum of Applied Arts), Andrea Várfalvi, restorer (Hungarian National Museum Artefact Protection and Training Department), Ferenc Balázs, collection assistant (Ferenc Hopp Museum of Eastern Asiatic Arts) and Agnes Kolozs, photographer (Museum of Applied Arts). 181