Dobrovits Aladár szerk.: Az Iparművészeti Múzeum Évkönyvei 3-4. (Budapest, 1959)

HOPP FERENC KELETÁZSIAI MŰVÉSZETI MÚZEUM - Tibor Horváth: The new acquisitions of the Francis Hopp's Museum

Fig. 6. j to be distinguished from the robe. The collar of the robe is a bit slipped down to the back. It seemed to be necessary for us to give this detailed description of this statue, which belongs to that prototype which not much later became so conventional in blanc de chine porcelain, brass and wood. What is very surprising, even at first glance, is the fact that the statue was cast of different alloys. This is especially noticable on the left shoulder, a meeting place of three differently coloured materials. Either the bronzefounders ran short of material during the casting process and had to add more alloy in haste, or the statue was damaged (possibly by fire) and had to be repaired. The first possibility seems to be more likely and is supported by the goldsmith-restorer of the Iparművészeti Múzeum (Museum of Applied Art), by Mr. Pál Kiss. It could be seen also by the necessary application of hammered stub nails in several places, that the casting was not wholly satisfactory. We have another "gold-bronze" statue in our Chinese collection, a