Weiner Mihályné szerk.: Az Iparművészeti Múzeum Évkönyvei 6. (Budapest, 1963)
HOPP FERENC MÚZEUM - MUSÉE FERENC HOPP - Tóth, Edit: Water-Pots with Gujarati Inscriptions in the Museum
of human portraits are identical too : an emphasized nose, a somewhat large head as compared with the stature, long arms and short legs, giving a charming grotesqueness to the figures and bringing the briskness of the representation into relief. There can be no doubt that this piece corresponds in dating and place of origin to the vessel in possession of the Baroda Museum. The form of the water-vessel presented in Fig. 4 is identical with the specimen treated above: the only difference is the truncated cone-shaped support instead of the ring closing the pedestal, the inferior edge of which is arched outwards. Its made of hammered brass, the decoration is made also with a trace technique. The geometrical ornament is almost identical with that of lota Nr. 1. In the first row of figures we see two symmetrically placed divine figures, between them a Ungarn and the picture of Nandi. Each god has a club in both of his hands (Fig. 11). Their attributes and the symbols pictured between them suggest us to identify the design with the Lakuliea incarnation of Siva, once very popular in Western India. 8 The definition becomes problematical if we consider that Siva is presented with the hair piled on the head, jatä, whereas the figure of god in question wears a mukuta headdress, an attribute of Visnu. On the other hand all male figures visible on the lota, including Ganesa and Hanumän, have mukuta-s on their heads. Considering all angles of the problem we cannot regard our definition as conclusive. Ganesa's figure is repeated in the following four fields. The two exterior figures in dhyänäsana, the two interior ones räjaliläsana, again putting the emphasis on the symmetry of the composition. The inscription repeating the formula Oih Räma jaya runs above the second line. The letters were not punctured simply as in the former specimen but were as carefully outlined as the figurai portraits. Nor did the master divide the second row 7 into fields by simple vertical lines but he applied columns, holding a narrow cornice, giving the impression that all the scenes take place in the same portico. In the first field we see the sitting figure of Ganesa, flanked by two standing female figures, probably his wives Siddhi and Riddhi. Both turn to the god, each holds lotus and water-vessel in her hands. All three are dressed from the w T aist only, wearing jew r els or possibly transparent veils above. The following scene shows Hanumän w 7 ith a lotus bud in his hand, behind him Durgä can be seen riding a lion (Durgä Sinhavähini) (Fig. 5). Then we find an illustration of one of the scenes from Rämävatära. Holding his hand in a saluting gesture, Hanumän falls to his knees before Räma, who raises his right hand, holding an arrow, above the other, expressing, as it were, his willingness to listen. An other male figure, probably Laksmana, stands behind the god. An armed man, holding a parasol over his head with his left hand is visible behind Hanumän too. All of them wear mukuta-s, their naked waists girt by the upavita-cord only (Fig. 6). The following scene, the story of the victory over the snake-demon Kaliya, is taken from the Krisna Bäla-caritam. Flanked by two female figure, cauri-bearers, Krisna appears on the back of the snake demon in a dancing posture, flute in his hand. The female figures, holding peacock fans and lotus buds, take a relaxing position, bending one foot at the knee and watch the scene with inerest. It seems the fight has already ended, the snake has acquiesced to defeat (Fig. 7). The water is represented by a lotus flower growing out of the foreground only. In the last picture a female figure with joined hands, holding a peacock
