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

Fig. 5. Sadäsiva, Hanumän, Durgä Sinhavähini. Scenes on the water-pot Fig. 4. tion of the reliefs. His attributes however, the harpoon in his left and the club is his right hand, and the dog standing beside him, support the identification with Siva's Batuka Bhairava incarnation

10 (Fig. 9—10). The style of the vessel described above is at variance with the decoration of the lota presented in Fig. 1. Although the trend of symmetrical composition is inherent also in the present one, it is not followed consistently. The lively motion of the figures is a pleasing counterbalance to the rigidity of symmetrical arrangement, whereas the combined application of both tendencies creates a remarkable inner tension in the design. The artist observed the movements so perfectly and depicted them in such a lively manner that his figures, though arranged frontally, convey the impression of full reality. In the Rämävatära scene we notice that Hanumän, falling upon his knees, has come to Räma in haste to fulfil his mission; one feels the impetus of running in the kneeling figure (Fig. 6). The dynamic composition of the scene illustrating the fight of Krisna and Kaliya, the soft line of the snake raised to the last swing, the telling movement of the excited and tired gopi-s, bending their foot at the knee and relaxing without their slippers, — all these features remind us of the elegant and concise design of 17th century räj

put miniature-painting (Fig. 7). The artist returned to this theme in the Dasavatära series, executing it in a Fig. 6. Scene of the Rämävatära, water-pot Fig. 4.