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

wholly expressed by the face and we can state the same tendency in the very unusual composition too, by withholding the left foot, the face is brought forward. This treatment which necessitated the shortening of the left foot was not very convincing. Shako's Shöki is a mild echo when we look for an analogy, but still it could be useful for the dating. The painter of our Shöki was also living in the second part of the 15th century, and was — probably — closely connected with Sesshü, the great Master of the "heavy, bounding line which had been part of the great achievement of Chö Densu, and endowed the older tradition with a new excellence."

18 P. 8. The same kind of angular lines composing or decomposing the robe which is so characteristic on the Shöki painting described above and which is also a very Japanese element in the Suiboku painting, seems to come to new life on one of the latest woodblock print — Christ —, of the greatest living Japanese woodblock artist, Munakata Shükö.

19 When one is regarding this print and tries to find reminiscent of the German Expressionist movements in it, he should be reminded that the national tradition should be accounted for it, first of all. 18 R. Tr. Paine —A. Soper : The Art and Architecture of Japan. The Pelican History of Art, Penguin Books, 1955, pp. 84 — 85. 19 The Mingei, 66, 1958/6, p. 21. — Yanagi Yoshiro visiting Budapest in October, 1958 very kindly presented a copy of this print to our Museum.