Weiner Mihályné szerk.: Az Iparművészeti Múzeum Évkönyvei 11. (Budapest, 1968)
HOPP FERENC MÚZEUM — MUSÉE FERENC HOPP - Horváth, Tibor: Report on the Activities of the Hopp Museum of Eastern Asiatic Arts in 1967
b) Spice-box with lid, Java, second half of the XIX th century. Purchased from the late Zboray's collection. Size: 18 cm. Inv. No.: 67.134. Its peculiarity is the decoration, soldered subsequently to it. Cast copper, not only the bottom and the utensil were made separately, but the sutures resulting from casting are clearly visible on its sides, too, (even on the photo). The ornamentation arranged in horizontal stripes was cast together with the object, but the hemisphere — shaped decoration on the lower part and the triangular decoration on the upper third of the figure were made separately and were subsequently added by soldering. The variety of forms and ornamentation of the Javanese metal-utensils indicate regional differences which might be traced back perhaps to tribal culture. Thorough investigations have not yet been started, for this reason we can't tell the exact place of their origin. The approximate date of the Javanese copper utensils belonging to the collection is the second half of the XIX th century. The craft of manufacturing such copper utensils has nearly vanished by now. V. H. Fig. 9. Mongolia. Silver teapot. End of 19 th , beginning of 20 th century. Height: 34,5 cm. Inventory-Number: 67.152. The pot is made of silver, it has a cylindrical body with a chased ornamentation. The bottom is round, the body grows narrow evenly upwards. The pot is divided into three parts by the chased ornamentation running all round the cylindrical body. The pouring lip attached to the last part is plain, without ornamentation, it does not destroy the proportions formed by the ornamentation. Its back part near the handle of the pot is open. The cylindrical body of the pot is decorated by chased ornamentation. It consists of two parts, one of them is the adjoinment of two strongly jutting rings, the other is a flatter, more drawn chain motif. This ornamentation is repeated and it divides the surface of the pot in such a way that we find one chased and one flat ornament below and above, just as on the pouring lip, while in the middle the chased ornament is surrounded by two flatter ones. There is a moveable, chiseled handle attached to the back part with two leaf ornaments at the end. There are two sheets at the locking. This tea-pot with its cylindrical body resembling both in form and ornamentation the one made by a certain master, Tungegin Schary 1 , also proves the foreign, mostly Tibetan influence exerted on the rise of Mongolian goldsmith's craft.
