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Bihtor  IHtt^ailomitfd}  ^asn|rt|om. 

l  *    '  Con  IJlodbbrud  »ctbot?ttJ 

Cr«gop  Jaroho« 

«iMÜ^  2Ö««nie^,  ben  größten  runi!cE)<n  SDkiter  bcr  ©eßenWört 
l)dbtn  flc  ermordet.       ,  .  l 

SCflö«mein  l^rrfd^t  bic  Stnfld^t.  böfe  Scnin,  Stopft  rnib  bte  SowjctI 
«UQ€nbItcfIi(^  in  ©rolrujjlQnb  wßicrcn,  btxf)  t[t  baS  nici^t  mef)r  bct 
3fan.  2)i«  ©otüjetä  unb  bt€  SolfSbeauftragtcn  Fjoben  il)rc  fd^inbote 
37lad^t  längft  t)CTloren,  unb  bic  Qan^i  ^walt  ruf)t  je^t  in  ben  ^nben 
ber  BSlitgliebet  ber  ^uBerorbentlid^n  Äommifrion  ^ut  ^fäm^fung 
b«t  ®|>cfulatton  unb  bcr  ©fgenreoolution. 

SHid^t  of)iie  Äom^t  l^aben  bte  ©ott3rct§  ifjw  Stellung  öufgcceben. 
6d^an  im  Oftober  öortncn  3af)re8  begonnen  bie  ©otüietjournaliften 
m  faft  oCten  fommuniftifd^n  S3lottern  iljten  ijclb^ug  gegen  bie 
„2:f{i^re&n?t)t|<fyitnoiö''  (bie  „Slu^er4>rbentlid)e'')  ober,  mie  ber  ei(ien- 
cvtlq  f-amiliäte  3Jlo§fn.ueT  fie  li'cbetjofl  nennt,  bic  .,2;f(i;reS«Jt)tfcf)flita*. 
damals  waten  äße  ©eföngnifye  betört  übetftiOt,  bte  3:tibuna(e  mit 
%tUii  bcrart  überf^äuft.  bo^  man,  um  ntd^t  boreilige  Urteile  föDcn 
^u  muffen,  bie  ben  ©efongenen  3ufteF)enbc  5laf)rung  ju  froren  unb 
cnbcrcrfeitS  bie  „Sdjul^ljoftfdjanbe*  au3  ber  SÖelt  ^u  fcfjaffen,  in  ber 
^.'Äu^erorfcetttlic^n*  einen  red^t  eigenartigen  (Sntfri^Ut^  fnfete  unb 
ßw^  burd^^ufüfircn  begann.  Sluf  il)ren  Sefef)!  würben  bie  ©cfangenen 
no^  in  ber  9lad)t,  bic  bem  5)erf)aftung§ta9e  folgte,  einfad^  furjer* 
f)anb  etfdjoffen.  . .  .  S)ie  ®erid]t§oerl)anblun0en  über  ben  ^üU  fanben 
bann  einige  Xage  ober  SCßod^n,  ie  nöd^  ber  ?lrbeitSluft  unb  nad^  ber 
SÄcnge  bc8  SJlatcrialS,  ftatt.  6teüte  fld^  babei  ^erau§,  bafe  ber 
^üfilierte  unfc^ulbig  war,  fo  ging  bie  Hommiffion  fogar  fo  weit, 
ba^  fle  ben  i^ü  ,>eb<iuertc''.  S^i  einmcl  eingef'ül)rte,  Öufeerft 
bequeme  Softem  würbe  nun  nidjt  me^r  auf^efyoben.  unb  fo  lam  c5, 
bö|  bie  aJlitglieber  ber  Sowiet^,  bte  ebenfo  gut  wie  jeber  onberc 
o^ne  ©ertc^t,  einfad^  infolge  einer  SJenun^iation  ober  ouf  SDßunjcft 
eine«  aJlitgltebeS  ber  ,.Slu&erotbentltd)cn''  crfd^ffen  werben  lonnten, 
bm  ftampf  gegen  biefe  neue  öinrid^tung  oufnol^men.  Slber,  wie  t% 
fc^int,  erfolglos.  (Sana  erfolglos!  .  .  .  Unb  augenblidli^  regiert 
in    ®ri>Bru&Lanb    bie    „2lu^rorbentlid)c  Äommiffion  ;^ut  .  .  / 

Slucl^  aSkSnie^ow  tjaben  [\e  bor  einigen  Xögen  ermorbet.  2Da§ 
golt  fein  l)ol)e§  Filter  (er  ift  1848  geboren),  waS  galten  feine  55cr» 
bienftc  t)or  ber  ru|rtid}en  unb  toor  ber  SSklttunft,  wq8  galt  fdjlicMicf) 
feine  „Unf(i)ulb*?  a)ie  SJlörber  t)aben  feftc^efteflt,  ha^  ber  Äünftlcr 
ein  ei)rcnmitglieb  beS  „SunbeS  ed^t  rufrifd)er  ßeute"  war,  unb  il)rc 
6uf)nerl)itnc  fonntcn  barauS  feine  anbere  ilonfequen.^  /\icl)en,  al§  il)re 
eiüig  einzige,  bie  fte  noc^  cinigcimo^en  einig  mQd)tl  Unb  S3ifror 
!B2ic^iiowit[p^  lebt  nicf^t  mctit.  •• 


Ucbet  feine  ©ebeutung  alS  ftünftlet  fönnte  man  biete*  unb  bodi 
nid)t8  9icue§  fd)reiben,  S)te  ^l)nt)cit,  bie  Äraft  unb  bie  eigenorti^ 
fünftlcrifc^  ®en>on^t!}eit,  mit  ber  er  feinen  ^infel  füljrte,  gaben  ilun 
ben  Jl<tmtr\  bc§  ruffifcf)en  33uonarottt,  unb  bamit  ift  wof)^I  baS  meifte 
gelagt.  SllS  ©o^n  eineS  ruffifd^n  ^riefterS  trat  er  1868  im  aitet 
bon  20  SfQfjtcn  ol8  ©tubent  in  bic  bamoligc  fatfcrlid}€  Slfabemic  ber 
fünfte  ein,  abfolbierte  fie  aber  nid)t  unb  ging  fürs  bor  ber  Sc- 
enbigung  feiner  ©tubict^  nad>  Stallen,  um  ba  feine  ßel)r3eit  aum 
5lbfd)luf3  3u  bringen.  25ann  fam  er  wicber  nad^  S^u^lanb,  wo  er  mit 
einer  !Reif)e  fleinerer  ©enrebilber  in  bie  Deffcntlid)feit  trat  S)ie 
^erfe  biefer  Seit  finb  aagemein  bef<mn*,  ba§  befte  ift  wo^l  ba« 
„Äricg§telcgramm'.  Slbcr  für  baS  ungefjeuere  Talent  3Bo§nje^ow8 
war  ber  0lal}men  bc5  ©enrc§  au  eng,  unb  fo  toerlieö  er  bicfeS  ©ebiet. 
um  fic^  einem  neuen,  breiteren  unb  fetner  ßroft  meljr  entfprcdjenben 
au^uwcnben.  Sßa3  er  bon  ba  an  t>on  feiner  l^unft  wollte  unb  wie 
er  fie  auffaßte,  ,fann  man  am  bcften  auS  feinen  eigenen  gu  (Staffow 
gcfprod)encn  Söorten  ertennen.    (jr  fagt: 

„SCßir  werben  nur  bann  unfer  Xeil  in  bie  ©d)afe!ammcr  ber  SCßelt- 
funft  einbringen  fönnen,  Wenn  wir  olle  unfere  strafte  auf  bic  ®nt- 
widlung  unfcrer  eigenen  rufftldjen  Äunft  fonaentrieren,  ba^  fiei^t, 
wenn  wir  bie  HJiactjt  unb  ben  8inn  unjerer  53olf§bilbcr,  unferet 
rulfifdien  37atur  unb  9J?enfd^n.  unfer  gegenwärtiges  Öeben  unb  unfere 
SJergongenl^eit,  unfere  Sräume  unb  Hoffnungen  unb  unferen  ©lauben 
mit  ber  für  un3  möglid}ftcn  SSoHenbung  unb  pllc  a«m  SluSbrudC 
bringen,  nnb  wenn  wir  imftanbe  fein  werben,  in  unfercm  (ydjt- 
nationalen  baS  eigene  ewig  Unberganglid^  wieberaugebcn.  .  / 

®te|er  ©cbanfe  würbe  a««^  ICeitmotio  beS  gonaen  ©d^o^fenS 
SSaSnje^owS.  (St  beginnt  biefe  a^eite  ^eriobc  mit  2J^Qrd)en.  unb 
8agenbilbern,  bic  einen  ungel}euren  Streit  pro  unb  contra  ent» 
feffeln  unb  xifm  in  gana  9flu|lanb  einen  Flamen  fdjöffen.  2)ie  brei 
größten  (^«agcnbilber:   „^Ijo  ^uxi>mt^\  „3>te  brei  ^ü^n"  unb 

S>a8  ed^Iad^fclb"  (ollc  brei  in  ber  8ommIung  ber  Grübet 
iretjafow'  in  !Dlo§fau)  ftnb  jefet  in  ber  ganaen  SCÖelt  befannt  ©eine 
ajJärt^nbilber:  „SDie  brei  2)örfer  be8  unterirbifd^n  Uiiä^',  „Xtt 
fliegenbe  5cppid^',  „Scriewitfd)  ^toan  a-uf  bem  grauen  ÜRoffe*  unb 
bic  unbcrgleidj!irf)e  „«Ijonufdjfö'  werben  je^t  al8  ttd^nifd)  unböfl- 
tommen  onge[e^n,  waren  aber  ^ut  3eit  be«  erfd>cinen8  eine 
Offenbarung  für  bie  3ei5genoffen  unb  werben  SO&cSnie^ow  immer 
neue  unb  begciftertc  2krc§rer  bringen. 

2:<tnn  berann  bic  britte  unb  le^te  *Perix)be  im  ^rf)affen  befi 
^ünft'ers     (jein  crftc§  grrt-eS  2Öcrf  bie|cr  3«it  tft  bie  SSanbmalerei 

lln'^ere  5:"  vjaliren  tn  ber  eteinjeit"  im  Hiftorifd:en  Hllufeum  a- 
^Ut)?fau.  Tie^§  2£crf  ncvrnlottc  ben  tpiofeffor  ^  ^xüd;m,  oI« 
man  c;r.c:i  .(tünfticr  fiir  bic  ^Jlfilcre-cn  a"t  9>cnenbun<j  bei 
2iM'n^imir-c'?n  ^<ttl;ctrr:e  (aiMnbin:irifii  ecbor)  in  Ittew  f-udj'e 
bie  5(tbeH  SSJnSuieK^  3»'  überlaffen.    Sie  würbe  ^um  aJleifterwerf 


be8  ÄönftTerg  unb  inx  größten  (Jtrun^jenfd^ft  in  ber  SÖeWftr*€«t 
fünft  ^n  SRu^lanb  fpric^t  man  je^^t  allgemein  t>on  SOa§nje|owfd^n 
©efid;tcrn  unb  klugen,  unb  ßmile  3oIii  fagte  über  bic  bon 
SöoSnje^ow  gefd^affcnc  .,3Kutter  ®Dtte8^  fie  wäre  bic  bcftc  bct 
HOe'tmabonnen  .... 

SDiefeS  unb  nod^  ein  anbereS  2öerf  beg  ÄünfllerS  „SCaS  jüngfte 
(&crid|t',  bo8  er  im  Auftrage  beS  ^rtn  3.  %  ^lietfdf^ajew.^naltcw  für 
feine  Orabtiffird^e  in  ben  3}ialtewwerfen  moltc  unb  baS  bic  Äritif 
all  „bog  gefd)Ioffcne  Ergebnis  ber  (Jrrungen^d^ften  ber  gefamtcn 
curoöaifd)wd)riftItd^n  Äultur*  beaeid^nclc,  mu^  man  felbft  fe^en.  6« 
lol)nt  ftd^  nid)t,  etwoS  barüber  a"  fd)rciben.  ba  man  mit  Söorten  nid)t 
im  entfernteficn  bic  (Sewoltigfeit,  bie  ^Jlad^t  unb  bie  eigenartige  2öa8. 
nje^owfd}?  Sdjönbeit  ber  2ßerfe  mtSbrürfen  fann  .  .  . 

S)tc  legten  ^af)re  oerbrod^te  ber  ßünftlcr  immer  nod^  fd^ffenb  in 
3}lo§fau,  bis  etneS  2ageS  bie  „SlufeeroAentlid^"  ^rouSfanb,  ba^  et 
nid)t  nur  cm  genialer  Wlakv,  fonbern  aud^  ein  (J^rcnmitglieb  bc§ 
„^unbcl  ber  cd^t  ruffifdjen  ßeutc"  war.  ÜDaS  fdjabcte  c?,  ba^  ber 
53unb  feit  langem  ntd)t  mcl)r  ejifticrte,  wnS  fd)abete  eS,  bob  SQDaS- 
njc^ow  feXbft,  fdyon  feineS  f)o]^en  ÄlterS  wegen,  feine  ®efaf)r  für  bie 
ruffi[d)e  „Sf^eüolution"  bilbete?  .  .  . 

Unter  ben  betau fd)en{>cn  ^rebigtcn  übet  bic  bemofratifd)e  unb 
au^drpolitifdöe  Äunft  ber  ^rrcn  iOunatfc^rffi,  ^orbcnffi,  ©orft  unb 
tiicler  onbercr  würbe  ber  geniale  3Ba8nict^ow  in  ®efcll[d)öft  einiget 
Spefulanten;  gftüubcr  unb  5)lörber  erjd)offen .      , 

Unb  fRu^lftnb?  ...    Unb  Wir?  ... 

SicUcic^t  tft  es  ba«  ©djidfal  ber  ^mcnfc^ljett,  ba^  Ttc  il^re  ®röfetcii 
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P     R      E      F     A      C      )B 


The  one  handred  three  objecta  described  in  this 
oatalogue  are  only  beautiful  remnante  of  a  oollec- 
tion  hioh  numbered  eight  hundred  thitty  six 
pleces  in  1923  and  was  built  up  in  nearly  fifty 
years« 

In  1942,during  the  German  occupation  of  the 
NetherlandSfOur  property  was  stolen  by  the  notorious 
"SS"  and  only  a  few  pieoea  oould  be  regained* 
While  the  men  fled  the  Ganadian  Shells  these  pieces 
remained  behind  in  the  attic  of  the  hous«  where  the 
"SS"  had  had  their  last  quarter s. 

Most  of  the  objects  of  our  colleotion  had  been  brou^ht 
home  from  travela  in  the  Par  and  Near  East.  However 
there  were  additions*  We  bought  from  famous  experts 
like  Edgar  Woroh,Joeg  TrUbner, Prof .Kümmel  as  well 
from  reknown  oollections  to  mention  only  the  counts 
Meida  and  Otani^Dr.A.Breuer« 

In  this  way  we  suoceeded  in  building  up  a  small  bat 
adequate  survey  of  some  brauche s  of  Far  Eastern  Art 
in  which  I  had  beoome  interested  already  at  the  end 
of  the  last  Century.  The  ho spi table  house  of  the 
Japanese  consul  Oustav  Jacoby  with  his  famous  ooilec- 
tion  of  Japanese  Art,later  the  pride  of  the  "Ostasia- 
tische  Kunstabteilung  der  Berliner  Museen",furni8hed 
the  natural  centre  where  it  was  poasible  to  beoome 
aoquainted  wlth  and  to   seeyto  feel  the  essenoe  of 
the  Par  Eastern  Art^as  well  as  to  meet  scholars, 
artistSfConnoisseurs  and  collectora. 
Here  I  laid  the  foundation  to  ray  knowled^^e  which 
enabled  me  to  collect  on  my  travels  true  works  of 
art.  Here  I  met  the  director  of  the  "Ostasiatisohe 
Kunstabteilung  der  Berliner  Museen"  and  its  keeper, 
Otto  Kümmel  and  William  Gohn,to  mention  these  na.ties 
only.  Dr.Cohn  now  director  of  the  Museum  of  Piastern 
Art  and  adviser  to  the  university  in  Indian  and  Par 
Ka Stern  Art  at  Oxford. 

Thus  I  entered  a  cirole  to  which  I  am  indebted  for 
immense  Stimulation.  I  bacaxne  a  member  of  the 
"Kxpert  Commission  of  the  Eastern  Art 's  Department 
at  the  State  Museum, Berlin"  (1924-1953)  and  a 
co-founder  aa  well  as  a  member  of  the  board  of  tha 
direotora  of  the  "öesellsohaft  für  Ostasiatisohe 
Kunst"  Berlin  (1926-1938). 


l'M 

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IT 


In  oonsequenoe  of  the   seoond  world  war  th©  0«t- 
a»iatl80he  Kiinstabteilung  der  Berliner  Museen 
as  well  88  the  (Jeaellöchaft  für  OBtasiatieche 
Kunst  exifct  no  more.   But  our  ••buildlng"  too 
is  destroyed,8lnce  the  greaiter  part  of  our  col- 
lect Ion  haa  diaappeared.   Chine ae  and  Japanese 
paintings  aa  well  aa  the  lacquera  have  aliaoat 
oompletely  vanished.   Our  Japanese  No  maaks, 
netzuke  and  oolor  prints  seem  lost  for  ever« 

Using  the  wonderful  opportunity  wfaioh  New  York 's 
libraries  offered  rae  I  have  nevertheless  tried 
in  this  catalogue  to  give   aome  meanlng  to  the 
rraaina« 

The  mernory  of  some  of  our  lost  werke  of  art  is 

preserved  in  aonie  publioations  and  in  some 

Ciitaloguee  of  those   exhibitions  where  parte  of 

our  oollection  have  been  shov/n* 

I  mention: 

1912  ••Auöstellung  alter  ostSGietiacher  Kunst" 
Berlin, Akademie  aer  Künate 

1929  •Ausstellung  Chinesisoher  Kunst**  veran- 
staltet von  der  Ges.f.ostas. Kunst  und 
der  PreusBiöohen  Akademie  der  Künste, 
Berlin. 

1934  "Sechs  Jahrtaueenae  Toepferkunst"  Akademie 

der  Künste, Berlin 

1935  "International  Kxhibition  of  Chinese  Art" 

Royal  Academy  of  Arte, London. 

1939  ••Netzuke  uit  ae  oollectie  G."  Kunstaaal 

Tikotin,aen  Haag  (Holland) 

1940  "ßruikloen  G.van  Oost-Aziat lache  Kunst" 

Gerne ente  iuuseu:::,den  Haag   (Holland) 
1946   "Bruikleen  Herbert  Ginsberg, Zei st" 

Museum  van  Aziatisohe  Kunst, Am8terdam(}iolland) 
1935    "Ausstellung  der  Kunst  deö  alten  Japans" 

Kunstgewerbe  ivluseum, Basel (Switzerland) 
195Ü   "The  Art  of  Greater  India" 

Los  Angeles  Gounty  Museum( California) 


'•twr 


•^  A 


aH  ^ 


Forest  Hills. L.I.N.Y. 
1951 


I 


31  r^  T    *?■  r 


l,.i   ,         Wüll   ■ 


lv.r 


I'IM 


••"••■...,,,    ''■'"■' •.'I'I   'i         •    •"• ,..."' 


CONTENTS 


HH 


:;;; 

:?•' 


•:•! 


|8:; 


?ti 


'>  rf 


t  -j 


I  * 


iv  r.?.  'X>'f'  lo 


^it 


r»  .3.. 


^   .\i'\ 


Ki. 


;   f'i 


t      -      -      V 


i   J 


.   \ 


iii. 


:;)■>•. 


i  '' ' 


.\  t:  '.  r  '}^i;,   ' 


«., 


V 


.L  , 


#  .  ♦<•. 


<  *' 


"C  ■* 


'   4    • 


1  <'-v;..fir'T'' 


.'  j  r  V 


••'     -^ia;^.: 


•,n 


.>^*^i 


♦t 


U*i  A 


.*.      :■.. 


f«*     *t      ,•«.'    T     \ 


( 


.>>»"»»f» 


>* 


I 
II 

III 
IV 
V 
VI 

VII 


A.    CHINA 

Anoient  Chine 8e  Bronze s 

#  1-25 

Anoieat  Chinese  Soulptures 
w   2o-*34 

Ancient  Chinese  CarvinÄS 

#  35-36       ^ 

Anoient  Chinese  Ceramios 
,  ^   *  37-51 

Anoient  Chinese  Paintinga 
ff   52 

Anoient  Chinese  Lacquer 

53 
Anoient  Chinese  Ruga 
#  54-57 

VIII  Japanese  Sword-Gear  Masters 
TY       .     .        *   58-67 
AA   iinolent  Japanese  Potterv 

#  68-75 

X  Anoient  Japanese  Lacquer 

ff  76 

XI  Anoient  Japanese  Netzuke 

XII  Anoient  Japanese  Painting 

ff   78 

XIII  Anoient  Japans ••  Color  Printe 

^   79-33 


C,   INDIA 


XIV  Anoient  Indian  Art 

^   84-90 


XV 

XVI 


D.  NKAR  EAST 

Anoient  Bronze, Ceramio, I vor v 

#  91-94  ^ 

Anoient  Oriental  Rugs 

#  95-102 


B.  PACI?IC 
XVII  Anoient  New  Zealand 

#  103 


1 

11-45 
46 

49-61 

62-64 

65 
70-85 

86 

87 

88 

89-91 


92 

94-97 
98 

103-106 
107-108 

109 

110 
111-114 


115 
118-124 


125-127 
128 

133-136 


137 


'.iir 


'   •   II  •    •    »ti*ilW^!tTr' 


jasMüMMeifies* 


t'IIHill 


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■■•<» 


r 


;^tt 


1 

II 


9 


^ 


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VI 

V 


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I     Ott 


IV 


<        .     A 


f:-:.  M.if: 


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VT 

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A.      C     H     I     N     i 


!•   ANCIENT    CHINESE   BT?nW7.Tgg, 


Some  notes  on  carly  Chinese  bronzes. 
«»  Veseels  -  Utensils. 

^JJL^^^v'^*  Chinese  ceremonlal  bronae  ressels.recovered 
from  tombs  or  unearthedwlfcn  bullding  modern  ro^ds.attlJn 

o?o^f*^'J/r^^*^°  Perfectlon  and  belong  to  th^  wo?^ 
of  craft  which  prooured  world  value  to  t*w  Chinese  ArtT 
They  are  unique  in  the  art  hlstory  of  the  woSdV 

They  are  monumental  in  the  very  sense  of  the  worjd 

V Webster:"  of  the  nature  of  a  monument;  hence  massive. 

Iastlng,impre8sive.  "  ) 
They  speak  their  own  language  cleaj^and  mighty,they  teil 
of  the  religion  and  the  belief s  that  inspiJed  them. 

Hature /»tt seif  oared  affectionately  for  these  works  of  mea. 
i-ecuiiarity  in  the  oomposition  of  the  bronzes  as  well  as 
in  the  Chinese  earth, which  preserved  these  treasures  so 
long  a  time.enriched  them  with  a  patination  not  known  to 
any  other  bronze  art  in  the  world. 

J=f  *foo^c\^S^/£°5  prehistorio  to  hlstory  beglas  when  the 
Hsla  i 2205-1766  B.C.)  are  suaseeded  by  the  S  H  A  N  G  ,also 
called  Y  I  N  (1766-1122  B.C.).  * 

The  Shang  (Yln)  moved  their  oapitals  five  times.  Their  ca  - 
Pital  An-yang  near  Hsiao-t'un  on  the  Huan  river  in  Honam 
has  been  exoavated  in  1929.  Sinoe  then  praotioally  «ti»  whole 
of  our  ideas  about  dating  ofi  early  bronzes  ha«  changed. 

The  exoavated  bronzes  of  the  Shang  people  show  ao  advanced 
a  raetal  art  that  we  have  to  take  for  granted  that  centuries 
of  avt  tradition  must  have  preoeded  such  perfectlon. 
ür  as  Karlgreen  puteit:  "  Our  material  proved  that  the  fitst 
great  classical  art  in  China  ^vas  mature,finished,ready  in 
all  detail s  and  in  all  Infinitive  varieties  already  in  Yin 
time,and  there  was  but  little  to  add  in  early  Chou  time." 
The  vesaeis  show  great  variety  of  form, size,decoration. 
There  are  large  reotangular  veB»els,completely  covered  with 
elaborate  ornanentations,with  flanges  and  bold  relief, 


It.,    ii«>>t; 


UMiwiliiiiiiri. 

f' 


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flamboyant  of  a  oertain  barbarous  beauty, 

aS?«t  noM?f+  vessele  simple  "severe"  in  atructure  with  a 
quiet  nobility  in  line.the  decor  restricted  to  small  frl« 
l^nu^J^J  enhancing  the  beauty  of  a  piain  smSo^Tsirfacr 
lLl^^        Karlgreen  again  :"  Decoration  of  the  body  of  tS* 
less  ^e^'Sir.nJ?;  ^^'^'f"?  simplicity  to  overloaLd  ricL 

^priMtlv^  nn  JJi'®^^*^^^^''  ^°^y  •  ^°"  *^e  lese  far  from 
nS  i^  !•  i°«  *^®  oontrary  very  elegant." 

Sf+?J:!^*-   ff^""  *^^  beginning  the  tendenoy  was  to  elabo- 
until  tL°nS?ior'^^*'  oonventionalized  and  sjmbolic  dls^a 
out  Lh  L??i^®°!i°  *®''®  completely  covered  with  a  deeply 
out  and  brillantly  executed  pattern  in  a  style  that  bear* 
Jw^icaf "   likeness  to  that  of  the  templeJ  of  Centra? 

«nmi+n«»^^®  evidence  that  e.g.  the  magnificent  pieces  of 
sumptuoua  appearanoe  füll  of  aooumulated  power  and  compres- 
sed  ensKy,  John  Ellerton  Lodge  acquired  fSr  the  neaS? 
incomparable  ?reer  GolleOtion  in  Waahington.originated  in 
the  same  epoch  as  the  vessels  of  simple  beauty  whlch  are 
described  in  the  following  pagee. 

Although  little  is  knovm  about  the  ceremonial  of  the  an- 
cestral  oult,it  is  undisputed  that  th..  vessels  wäre  used 
for  food  and  drink  offeringa. 

Por  wine  libations  three  most  appreoiated  bronze  tvpes 
were  employed  ;  Yu  ,  Ku  ,  Chüeh  . 

The  millet  wine  was  brou^^ht  to  the  ceremony  in  the  oovered 
Container  calleri  "Yu". 

To  toaat  the  spirita  of  the  departed  a  oertain  amount  of 
the  sacrificial  wine  was  poured  from  the  Yu  into  the^Ku" 
whioh  was  then  swung  in  the  different  directions  whereby 
the  high  rim  prevented  spillin^fthe  wine. 
To  give  pledge  to  the  spirits, wine  wie  poured  into  the 
tripod  libation  cup,calle*  "  Chüeh  ".  A   little  of  the  con- 
tent wie  poured  out  the  spout^to  the  earth;  the  rest  had 
to  evaporate  into  the  sky  while  the  vessel  vvas  set  over  a 
fire. 

In  the  following  deacription  I  was  gviided  by  the  fundamen- 
tal studies  of  Karlgreen,I  have  already  quoted. 
Karlgreen  divides  the  early  bronze s  into  four  epochs; 
1,  YIN  ("  means  the  same  as  Shang  ")       1766-1122  3. C, 


'k    tS^..r.^^kk,Ji 


^«■■liii'ii'lilliil    I     ih'l'l^^..^ , 


giniilliii^f"-""" 


im, 


mmm 


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1 


2.YIN-CH0U  U   "first  half  of  Weatern  Chou"U122-  947  B  G 

("meana  that  the  Chou  time  art 

was   atill  essentiaBj  the   same 

art  of  the  Chin  "dth  but  small 
.  ..,        imiovations.") 

3.MID3LE  CHOU  n.r   ^^H  o  n 

4.HUAI     (-  late  Chou)  ^tzlV-  l?^\ 

The  ORNAMENTATION  is  oomblned  with  the  purpoee  of  the  vea- 

?hi-/''°^f  ""^^  "i'^J  ^••-   *°  appea8e,tS  render  favorab!« 
the  anoestral  spirits  who  might  be  able  to  avert  disaste?  . 
bring  good  luok  also  to  natural  phenoma  like  rain  and  har- 

V©  8  w  • 

Important  Karlgreen^s  addition:  -  The  cult  of  the  dead  in 
ancient  Ohlna  was  above  all  a  fecundity  cult  intended  to 
ineure  re8urrection,vitality  and  propa^ation  of  the  family 

4?u'xJ  1^^®  ^^  ^^®  reason  for  its  intimate  connection 
with  the  fertility  cult, the  oult  of  the  soll  —  a  hißhly 
natural, primitiye  logio  as  shown  by  parallele  all  over  the 
World  —  then  it  is  reasonable  to  expeot  that  the  decora- 
tlons  on  the  bronzes  used  in  the  ancestral  oult  should 
have  a  votive  d^nificanoe*  •* 

Therefore  the  decorations  of  the  bronzes  are  s^/mbolio  Or- 
nament 8,inoötly  zoomorphic  figures  set  on  a  Spiral  ^round- 
worke 

I  oan  here  enter  only  into  eoae  of  these  forma. 

1.  SPIRAL  PILLirTS,the  so^oalled  "Thunder  pattern(Lei-we.i)" 
also  called   neander   or  fret  pattern. 

Karlgreen  prefers  »*  to  combine  the  whole  series  under  the 
simple  name  of  'apirals '"and  reject  the  designation  above 
as  a   "somewhat  risky  Sung-time  speculation." 
Confronted  with  Karlgreen's  authority  I  mention  the  expla- 
nation  of  Adolf  Harnaok,given  in  his  "THE  G  INESE  CiIRPET", 
with  sorae  doubt.  Harnaok  derives  the  lei-wen  from  the  ol- 
dest  hieroglypic  form  of  thunder  (l)  chari^ed  from  round  to 
Square  form   (2)  and  combined  in  a  double  picture  for deco- 
rat ive  purpose  (3) 


»»IW^I, 


il  M ■«  «1. •,,,.,,. ^ 


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However  we  muet  keep  in  mind  that  the  spiral  is  a  very  far 
ßpread  symbol  of  the  sun  among  people«  who  were  more  or 
lese  oontemporaries  o£   the  Shang.  I  have  only  to  refer  to 
the  exoarvationa  Marshall 's  in  India  (lAohenjo-Daro  3250- 
2750  B.C.)  and  the  finde  in  Denmark  and  Sweden. 
Since  Sun  and  Rain  with  oocasional  thunderstorm  are  essen- 
tial  for  the  agriculture  in  the  whole  world  I  prefer  to 
believe  that  the  spiral  is  not  only  an  artiatio  preferenoe, 
but  was  useg^ also  by  the  early  phinese  as  a  magic  expedient. 
The  same  opinion  seerns  expreasedf^an  the  denotation  "meander- 
thunaer"  I  found  used  by  i^lan  Priest. 

2.  ZOOMORPHIC  ?I(JURES 

The  use  of  more  or  less  fabulous  beings  mostly  zoomorphio 
in  form  is  no  doubt  partly  syinbolio  of  the  animistic  reli- 
glon  of  the  time.  By  taking  as  ornament>  they  beoome  appea- 
eed;  they  invoke  the  potency  of  animal  spirits.  What  animals 
are  represented  is  often  a  moot  point. 

For  esoteric  purpose  is  the  use  of  ''double  faced"  animals, 
a  peculiarity  whereby  one  and  the  same  ornament  in  a  com- 
bination  with  a  second  of  the  same  or  other  kind  lets  see 
a  second  face. 

a*  The  T'AO  -  T'IEH  =  The  voracious  glutton. 

The  name  was  used  by  the  soholar  LU  Pa-wei  not  earlier  than 
232  B.C. and  is  taken  from  the  ancient  texts  as  one  of  the 
four  monsters  mentioned  in  connection  with  the  legendary 
emperor  Shun.  It  became  an  accomodating  term  Inwh^   shelter 
ef  whioh  the  most  diverse  elements  have  becn  merged. 
Or  as  Karlgreen  puts  it:  "  The  t'ao-t*ieh  ocours  in  an  In- 
finitive series  of  varieties  from  the  most  realistic  ani- 


symbolism 

B  great  part? 


l*s  head  to  the  most  oonventional  vague  fi^s^ire,  sometimes 
80  dissolved  into  geometrical  designs  that  only  the  symme- 
trioally  plaoed  eyes  oan  help  us  to  demtect  it." 
Alan  Priest  calle*  it   "the  magnificaat  rebus"  and  tries 
the  Solution  of  the  rebus  writing: 
"  Isn't  it  the  Import ant  thing  that  tkm   in  the 
of  the  early  Chinese  a  Beast  and  a  Bird  played 
Does  it  matter  muoh  whloh  bird,whioh  beast?  While  our 
ioonot^raphers  bicker  and  wrangle  over  the  bull  and  ram,the 
tiger  and  water  buffalo,the  pheasant  and  the  owl,most  of 
them  persist  in  ignoring  the  answer  to  the  magnificaat 
rebus  of  the  t 'ao-t 'iehithat  interlooking  conposite  of  bird 
and  beast  which  is  the  symbol  of  one  fundamental  precepts 
of  Chinese  thinking  -  the  balanced  dualism  of  yin  and  yang, 


JMMM.riin  iibiUhi 


IwvA 


;';: 


ä 


fi 


V-i.  ». 


•.' " 


«  u  a  ;  ^  4- 


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il 


sä: 


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/ 


c. 


ureei.in  the  ßirth  of  China, deaonstrated  most  of  tha  ei« 
?rl^^£.*^^  ^^^^«-  ^«  Pointed  out  -  and  no  one  has  coiträ- 
dicted  him  -  that  if  you  bisect  the  mask  of  the  fr^at  ?acia« 
SrrP«J*r''  «ill  find, that  the  two  halves  of  the  deeigi  SaJ^ 
be  read  as  profile  piotures  of  beast  facing  beast  noarto 
noee.  He  also  demonstrated  that  the  same  profile  aa /be  read 
a'birrfn^Jn  ^'I^°J  °«««  **^«  hindquarter«  oftJe  b?^^t  become 
LS  Tn^f  ^  f""  i*'®  °*^«'  direction.  Only  one  thing  reznain- 
on^i J  /^""""^^r*®  ^^*  ^^^   Mrd.full  faoe,with  wlÄgs  out- 
8pread,i8  an  integral  part  of  the  front  facing  maak.  Thia 

n«^r^*M^^^^  ^°Ü®  ^"^   *^^  November  1938  iseue  of  the  Metro- 
politan Museum  of  Art  Bulletin " 

Por  the  reut  1   agree  with  Dagny  Carter:  "  The  name  of  the 
?f «*  !J  ?®f*  «io^B j^o*  really  matter:  what  doea  matter  is  the 
ract  that  it  constantly  reappears  in  the  designa.  Sometimes 
the  entlre  ornamentation  of  a  bronze  consists  of  two  or  three 
t  ao-t  ieh  heada  placed  in  marked  relief  on  a  back^round  of 
fine  splrala  or  meander  f igurea.  Or  it  raay  be  one  or  two 
realistic  heads  placed  in  a  oircular  band...» 
These  just  mentioaed  "realistic  heads"  look  mostly  like 

1^   8  tieads.  So  I  do  not  winder  at  the  further  Suggestion 
of  a  Ohinese  scholar  to  take  the  t 'ao-t 'ieh  as  a  syrabol 
for  the  bull, all  over  the  world  the  symbol  of  power  and  aale 
fertility. 

The  newest  thesis  belongs  to  Oswald  Siren  who  explains 
"that  the  meaning  of  the  t »ao-t «ieh  denends  upon  its  com- 
bination  with  other  Bymbols"and  he  laentions  as  especially 
Blgnificant  in  such  combination  the  dragon  and  the  cicada, 

b.  The  CICADA  pattern(Ch«an-wgn) 

Small  Jade  objeots  injforra  of  the  cioada  have  been  used  from 
early  times  to  be  placed  on  the  tongue  of  the  dead. 
Since  the  cioada  is  ar^beraating  inseot  that  oomes  to  life 
in  spring  again,the  use  of  the  oicada  in  cinnection  with 
the  ancestral  cult  aa  symbol  of  the  resurrection  needs  no 
further  explanation.  Nevertheless  it  äeems  worthvlle  to 
mention  Karlgrten's  thesis  that  the  shrill  notes  of  the  male 
cioada, if  produced  by  thousands, likens  the  whistle  of  the 
wind  and  might  easily  beoome  connected  in  the  feelings  of 
the  ancient  with  the  voice  of  ghosts. 


>J*»fTff^», 


i'ÄS. 


'./ 


'.1 


'-'Waiiim 


't 


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10 


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;^i^c       -iu^  -  »5*i-j»  "^    "•-  V      i»^ 


1 


t 


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C 


O,  AMIMAL  TRIPLE  BAND 

Karlgreen  uaes  thls  denotation  to  deÄominate  a  most  ourioua 
decoratlve  element;  A  band  in  three  horizontal  seotions 
whioh  upon  close  examinatlon  turneout  to  be  an  extremely 
dlssolved  animal  shapei  in  eome  of  ite  best  varianta  a 
row  of  wingquills  at  the  top  and  an  animal  eye  is  distiat- 
ly  recognlsable.  "^     ■^°  "-^ox-l«». 

YIN  -  CHOU  period  (1122-947  B.C.)  :  The  Yin  tradition  in 
bronze  production  ia  oontinued  vrith  relativelv  few  ofiai^ea 
MIDDLE  CHOU  period  (964-770  B.C.)  :  DietiiSl^e  new  etemeni. 
coiae  to  the  fore.  Spiral  and  meander  backgrounds  corae  almost 
to  an  end.relief  ia  lese  clearly  cut  and  the  forma  of  the 
vessels  tend  to  be  heavier.  Vhen  in  770  B.C. the  capital  is 
Boved  from  Hao  to  Loyanß,from  Shensi  to  llonam.the  art  of 
bronze  naking  deteriotes,the  traditional  decorations  become 
overloaded  and  baroque, 

HAN  DYNASTY  (203  B.C.-221  A.D.)  :  Centuries  of  strife  end. 
when  general  Lien  Pung  founda  the  Han  Dynasty.  The  deaAnating 
tendenoy  in  bronze  art  beconies  now  of  inoreasing  simplicity, 
Heavy  reliefs  of  conventionalized  animal  forns  disappear, 
refinement  with  perfect  pr  >portious  reaiain  and  the  inlaying 
of  preoious  netals  on  bronze  v/ins  a  peculiar  ap?eal,even 
in  the  Ornament ations  of  the  acceseories  of  warriors*  oha  - 
riots.  With  the  warrior  in  füll  regalia  on  it,it  must  have 
raade  a  resplendend  sight,when  Chinese  armiea  n-ere  sent  to 
epread  the  power  of  the  Chinese  emperor  into  North, South 
and  far  into  the  We8t,to  protect  also  the  curavans  along 
the  so-called  "silk  road"  aoross  Aeia  on  the  route  to  the 
Roman  Empire.  But  it  did  not  last.  Internal  strife  broke 
the  Chinese  empire. 

SIX  DYNASTIES  (222-589  A.D.)  :  This  term  refers  to  the  dy- 
uasties  which  have  their  capitals  on  the  site  of  the  present 
Hanking;  it  has  come  to  be  applied  loosely  to  the  period 

Batween  Han  and  Sui.  because  of  its  convenient  simplicity. 
But  political  chaos  in  China  reigns.  The  North  is  in  the 
hands  of  invaders.  I  will  her^'Wntion  fft^v   the  T'opa  tribes 
which  been  known  as  the  WEI  DYNASTIES  (386-550  A.D.)  with 
their  capital  Tatungfu. 

SUI  DYNASTY  (589-618  A.D. )  :  A  Dynasty  of  Short  living  splendorj 
it  is  Said  that  in  these  thirty  years  the  Chinese  population 
increased  from  twenty  to  fifty  millions.  But  the  dynasty 
is  wanting  in  military  strength  to  oust  the  invaders. 


--^' 


./ 


•tmmti 


:  7..^  .'7  1  fit 


mti- 


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ü 


fil 


»  - 


TANG  DBfASTY  (618-906  A.D.)  :  T'ang  T»ai  Tsimg,Chiaa*8 
greateBt  emperor,born  as  a  son  of  a  Shaael  official,win8 
his  Position  as  foimder  of  the  Tang  Dynasty  with  the  sword. 
He  re Stores  the  Kmpire  on  a  broader  and  grander  foundatio  n 
than  ever  before. China  becomes  exposed  to  foreign  oontaott 
to  foreign  influences;they  are  distinctly  visible  also  in 
the  bronze  works  of  this  time,in  hich  the  produotion  of 
ceremonial  bronzes  has  oeased» 

3ÜN(J  PEHIOD  (960-1279  A.D.)  :  Ceremonial  bronzes  appear 
again.  3ut  their  quality  and  artiatioal  perfection  is  not 
to  compare  to  that  of  their  splendid  predeeessors  two 
thousand  years  ago. 

MINa  DiNASTY  (1368-1644  A.D.):  Baroque  transforaatioa  of 
the  cla^-sic  foras  and  decorations  —  to  use  generally 
familiär  terms. 


■"i  n  f^    * 


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Uiw 

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n&': 

T^-eciia. 

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r\  -^  ^w 

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i 

vx-i.    Jiü^i:. 

noiii  tii 

• 

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OOMPOblTIüW, GAST, PATINA  OP  EARLY  CHINESE  BRONZE  VESSELS 

Prom  the  analyais  of  Yin(Shang)fragraent8  slur  is  learned  that 
the  used  material  shows  on  the  average  83  per  oent  oopper 
and  17  per  oent  tin.  In  addition  to  this  traces  of  silver, 
aÄtimony, magnesium  were  foand. 

In  the  oast  usually  the  "lost-way  (  oire  perdue  )  "  process 
is  followed."  This  means  first  naking  a  wax  model  of  the 
entire  objeot,inoluding  i^i  Ornaments  and  oovering  this  with 
a  liquid  clay  coating.  Iloles  were  mad^?  in  the  Clay  mold  so 
when  the  object  was  baked  the  heated  liquia  wax  oould  run 
out.  iifter  the  clay  model  was  empty  and  cold|the  molten 
m  tal  was  poured  in.  Wlien  thoroughly  hard,the  nould  was 
broken  and  the  bronze  was  ready,exoept  for  final  retouching. 
The  technique  of  the  Shang  netal  workers  was  so  perfeot, 
howeverfthat  actually  little  retouching  appear s  to  have 
been  needed"^  (D.Carter) 

The  color  of  the  bronze  patines  is  often  very  beautiful,de- 
pending  upon  the  oomposition  of  the  original  bronze, the 
ohemicals  and  the  degree  of  moisture  in  the  soll  in  which 
it  has  been  burie4,and  whioh  are  able  to  develop  the  highly 
estimated  a  z  u  r  i  t  e   (blue  basic  oarbonate  copper)  as 
well  ae  malachit  evgreen  basic  oarbonate  of  oopper). 
We  cannot  be  sure  '.*ther  the  bronzes  v;ere  ori^inally  oopper 
oolor,as  ortth  most  new  bronzes  or  wether  the  surface  was 
treatcd  to  produce  varioua  oolor  effects 

Host  bronzes  that  have  been  long  buried  are  not  very  at- 
tractive  when  exoavated,and  have  to  be  freed  from  disturbing 
inorustations  and  carefully  oleaned.To  what  extent  the 
bronzes  stiould  be  oleaned  is  a  point  of  oontroversy. 


'  ■  fWI  TT  '  '  '"  . 


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b.  Early  Chine ee  Bronze  Mirrora. 

whioh  ie  atteeted  also  by  iSeJJJy  ;vldenj;.      °''  °'  "^^^^ 
^J'u'f^i'"*^^«  ^^^«  °^  **ie  moBtly  round  metal  diak  ia  no 

iiSiasfinr?r?;r?ii^  JÜ^  ''""^^  ^•'  usJany'deloiltS  " 
Zzll^  !^  v^  ^  relief .  They  are  in  the  beginnlng  flat  and 
Ciii«??  beoome  in  the  course  of  time  heaJier  a?d  largS! 
Espeoially  oonsplcous  is  the  change  at  the  be^innini  of  tA« 

biofLr^n?^^  i'"":   '^*  °"^«'  'i«»  °^  tJe  reverfe^idf  ll       " 

i^nJ«i^%^  shallow  diak.  At  thls  time  the  knob  in  the 
wS?oS  «^,n^°  ^  hemiapherical  form  with  a  hollow.throu«h 
7oi  Li^^i**  passed  the  braided  cord  that  formed  the  handle 
for  holding  it  or  for  the  fastening  rtMÄxto  a  stand. 

orLm!n+'^.'?J°''  °^  **^  *^^''°'  ^^°^  was  not  an  incidental 
«S«  «w«^  rr  ^"I  *"  ^^'^  ^  purpoae.  While  the  ornament 

M^r»  ^^^*^^^f!  ^''^"'^  °^  *^«  «o*«^«!  period.the  forma, 
signs.syinbolios  beUng  to  catain  categorical  number  of 

n^'^l^i    li«terature  and  mythology  as  well  aa  to  their  astro- 
nomioal  syatem.  Even  the  round  form  is  su)posed  to  be  sybo- 
lioal.representiag  the  heaven.  Through  itthe  importanoe  of 
the  bronze  mirrors  was  greatly  increased  over  the  mere  fact 
being  used  as  looking-glaas  for  the  toilet. 

There  existed  the  religious-magical  belief  that  by  usin/? 
synbol*  represeating  the  Universe  or  parts  of  it  in  mini- 
ature.it  would  be  posBibl--  to  win  some  of  the  concentrated 
power  of  the  greater  Universe  in  order  to  give  strength 
and  prottotlon  against  deraons  or  evil  influencee  to  an 
individual.  Uaing  thie  conoeption  in  the  ornamentttion 
on   the  backe  of  the  mirrors, they  are  credited  with  all 
kind  of  raagical  power  as  magio  instrumenta  that  put  the 
cosmio  foroes  at  the  servioe  of  the  owner  and  they  were 
Bupposed  to  ward  off  evil  iaflueüces.  In  some  cases  they 
were  said  to  be  able  even  to  forcast  the  future.to  reflect 
the  interior  of  the  patient's  body, enabling  the  phyaioian 
to  diagnose  diseases. 

So  it  is  small  wonder  that  the  mirrors  were  used  in  fune- 
ral  ceremonie8,«iready  from  the  Chou  time  onwards  all  the 
way  down  to  the  Ming  until  glass  iiirrors  became  handy.They 
were  put  in  the  tomb  on  the  dead  person's  ehest  as  "  heart 
proteoting  iairror  "  or  added  as  a  symbol  of  light. 


y.^' 


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The  mirrore  are  adralred  for  their  technical  perfection 
in  alloy  and  caste.  Their  bronze  oompositlon  ia  nearly  of 
Zu     f.f^^.^'^'^^^   ®®  ^^®  bell-bronzes  used  in  Europe  duriag 
the  Middle  Ages.  They  oontqin  75-80  per  cent  of  copper. 
20^25  per  oent  of  tin  and  often  1.4  per  cent  of  lead. 
It  i8  evident  that  their  superior  workmanehip  was  reached 
oy  raeans  of  soft  stone  master-moulds  as  described  by 
Schyler  Camman  :  ••  The  emall^pointed  boesee.and  probably 
the  large  central  boes  as  well^were  apparently  drilled 
into  the  flat  stone, while  the  main  stright  lines  were 
gonged  out  in  ehallow  groves;  then  the  characters  and  in- 
tricate  figures  of  the  baokground  must  have  been  engraved 
with  a  Sharp  tool.  The  shape  of  the  characters, in  particular, 
unquestionably  indicates  cutting  in  -tone.  Probably  the 
stone  carving  then  served  as  a  master-mould  for  a  wax  model 
from  -hich  another  moulci  was  made  by  the  lost-.way(cire  perdue) 
proce88,for  certain  irreguliarities  in  the  inner  surface 
ßuggest  a  wax  rather  than  a  stone  contact  in  the  direct 
mould*  After  removal  from  the  mould,the  central  bo8s,grooves, 
and  rims  were  regulary  burnished. . . .  •• 

Among  the  patines  the  ao  oalle*  "hei  ch'i  ku  =  like  bleck 
lacquer"  is  especially  estimated,  According  to  W.P.Yetts 
the  quality  of  the  black  lacquer-like  surface  is  so  per- 
fect  and  uniform  that  It  could  not  be  accidental  and 
waa  probably  due  to  siliceous  .matter  mixed  with  layer  of 
the  mould  which  came  in  contact  with  molten  metal* 


I'* 


^^^jjmnf^. 


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er 

Priest, Alan 


BI3LI0(}RlPHy 
Ancient  Chinese  Bronze s 

Andersan, J.G,  ''The  (Joldsmith  in  Ancient  China"  Bulletin  7 

M.?.E.A., Stockholm 
Bochhofer,L.  "A  Short  hietory  of  Chine ee  Art*'  lf«w  York  1946 
Carter, Dagny  "if^our  thousand  years  of  Chinese  Art"*N.Y.  1946 
Preer  (Jallery  of  Art,A  descriptive  and  illustrative  catalo^^ue 

of  Chinese  Bronze s  «acquired  durin^^  the  adminis- 
tration  of  John  Eilerton  Lodge.  A.S.Wenley, 
Washin^^ton  D.C.  1946 
Peddersen,  Martin  **  Chine  s.rCunstge  werbe  "»Berlin  1939 
Kelley,G,P,and  Chen  Meng-chia  "Chinese  Bronze s  from  the 

Buokinjham  Collection".The  ^rt  Institute 
Chicago  1946 
Kümiiel, Otto, Grosse  "Ostasiatisches  Jer^t"  .Berlin  1925 
KüiiLnel,Otto  "Chinesische  Kunst". 200  Haupt  verke  der  Ausstellung 

der  Cxesellsohaft  fUr  o^siatische  Kunst  in  der 
Preussischen  Akademie  der  KLüiste, Berlin  1929« 
Chinese  Bells,Drun3,  lirrors"  Burli:i^t.Magaz»193ü 
"Chinese  Bronze s  of  the  Shang  throu^h  the  T'ang 
Dj'^nastyyintroduotion  to  the  exhibition  :letropo- 
litan  Museum. New  York  1958 
Priest, Alan  "Birds".June  1947  issue  of  Metropolitan  Uuseuin 

of  Art  Bulletin  (page  264) 
Karlgreen, Bernhard  "Yin  and  Chou  in  Chinese  Bronzes." 

lletin  of  the  Museum  of  ?ar  Kastern  Antiiyuit. 
^*  btoc.holm  1935/36 
fcrlgreen, Bernhard  "New  dtudies  on  Chinese  Bronze s"Bulletin 

No.9,etG  1937 
Karlgreen, Bernhard  "Huai  and  llan"  Bulletin  etG.No.l3.  1941 
Siren, Oswald  "History  of  Chinese  Art"  1948 
Swallow,R.W,  "Ancient  Chinese  Bronze  x:irrors".?eiping  1937 
Schuyler  Caminan  "TLV  Pattern  on  Cosmic  Mirror  of  tne  Han 

Dyna st y". Journal  of  the  American  üriental 
So-iety  Vol.63,Nr. 4f Oct .-l)ez.l948 
Schuyler  Camman  "Chinese  Idirrors  and  Chinese  Civilisation" 

Archeology  Autunin  1949  .Vol,2,No.3 
,catalogue  of  the  collection  ouoitomo 
Illustrated  catalogue  of  ancient  imperial 
Treasury,calle4  SHOöOIN.  Tokyo 
Umehara, oueji  "Shina  /Code  Seikwa  or  Selected  Helios  of  An- 
cient Chinese  ironzes  from  collection  in 
Kurop>  and  America ?^^art  II  •  1933 
Yetts,.t^ercival"The  xeorge  Kumorfopoulos  Collection.Vol.il. 

Bronzes, Bell s, Drums, Mirrors  et c . London, 1929 
Yett8,Peroival"Catalogue  of  the  Gull  Chinese  Bronzes", Lond. 1939 
Voretsoh      "Altchinesische  Bronzen"  1924 


'i% 


Sen-Oku  Sei-Shö 
Toyei  bhuko  . 


MüiMMtlilimMlilMMtliiii'   '  ^ 


..rj.JUHimitr- 


VUUJJJlitl 


IIA*«  LA*. 


11 


I 


CATALOGUE   OP   CHINESE  BRONZES 


!•    'vOvered  Vessel   for  fragant   wlae,(    Yu    )      H.    20   cm.;   8 


II 


Body  elliptical  section  with  coavex  sides  on  ^  shaliow 
spreading  foot,  -V'ithin  faiatly  fluted  bände  are  borders  • 
of  flat  eutjraved  Ornaments; 

a)  Aroond  the  body  drae-on-like  animala,perhaps  Karltjroen^s 
i:    "feathered  dra^on"^ broken  by  T'ao  t'ieh  aasks  in  higü 

I*   relief.  ' 

b)  Around  the  foot  the  two  lines  of  the  "  Hsien-wftn  " 
c  bow's  Gord  pattern, 

c)  Around  the  oover  six  drat^an-like  aalmala  placed  anti- 
>^       thetically  to  make  up  the  central  parts  of  four  t'ao 

I '   t  *ieh  maaks, 
The  main  ground  of  the  veasel  remains  piain» 

The  Cover  is  surnounted  by  a  fluted  knob-handle.  Loops 
on  both  sides  of  the  body  hold  the  swing-hrandle  in  the 
shape  of  a  twisted  rope  which  can  move  only  far  enoU(;^h  in 
each  direction  to  peruit  the  lid  to  be  easily  renoved. 

Insoriptions  of  pictographic  characters  inside  oa  the 
bottoms  of  body  and  cover^  in  the  body  set  into  a  car- 
touche.Both  ciee:)eAed  in  the  broaze. 

The  purpo^e  of  the  Container  haß  been  to  bring  the  wine 
to  the  sacrificial  cerenony, 

The  bronze  ia  strongly  covered  by  patination,green  over 
red  copper  oxide  (cuprite)  with  encrusted  malachite  de- 
i  posits# 

Yin  (Shang)   1766-xl22  B.C. 

'  Llt.:  Karlgreen  '•  fin  and  Chou  in  Chinese  Bronzes  " 

Exhibition:  1931/32  i>epßrtment  of  Far  Eastern  ..rt  of  the 

Museuris  of  BerlinCC^erinany) 
1939/41  Gremeente  :iuseum,aen  liaag  (Holland) 


■rfHlfffJfP 


•'-WU,...,..7 


^        "-^-g^MiAl^M 


S^iiliiiMMlMlllIP^  "WTIIIIIIIIilllllllllllllllllllllllllllllH^^^^         I 


ItTJItT^MiiilU;-- 


•;■,;! 


^11» 


'  ^*» 


m 


■i#p^ 


^^ 


»     -  ■  ,  ( 

1 

1 

i 

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: 

« 

1 

1 

1 

* .                                          '; 

. 

t 

1 

i         i 

1 

j 

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t 

♦ 

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1 

i 

1 

k 

i 

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-^^ 

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,!     j 


12 


'•   '^°°^  ''■^■'   foi-  «'.'■riflnl.l    ^-M-n    fn.    )   H.25.5  03.  ,10  1 

miaaie  and  below      -double  faofd'   t'«^  ,i^  K^'^'^'f"'-   ''"  t*"« 

?«K'"u'er„r"°  "°''"''  ""''••«"  ■"   -"^1— n",.h,  t„u„. 

The   form  of  the    cereraoaial  beaker  meetRttö    ,-,«  *<„   *, 
A   certain  amount  of  the   sacrifinf«?  «Jf  ae: tination. 

the   Yu   (cp.ao.l)   Into   the  Ku  Sr  ti     if®  '^Pared  from 
of  the  deoarted     'PHp   hJ,t     <      °'  toaeting  tte  the   spirits 

wine  when'?jrb;a]^er  waf  eii^/IHhe^??'^'''"^'  °f  ^"^^ 
Uviting  the    spirita  to   parUofpa?e!        ''^^^^"-'^*  uirectiona 

The   broiize   ehows  a   fi/ip  H;:jt''    r>»««.^        .».j 

oxide,   U.ht  depo^It'J"|/^^i,grS„S,*if  l?rSea':t.°°''" 

Yin   (Shang)   I766  -  1122  B.C. 

Llt.:    Karljreen   "   Yin  and   Ghou  in  Chinese  Bronze«" 

Künur.el   "Chinesische  Kunst",    iTMll^lTrll^.r 
,     Ausstellung  aer  Ses.f .octas.Kunst  in  der 
PlIlB^illl     ""^^   ^^^  Künste, Berlin  1929. 


Bxhibition: 


1929  Ausstellung  Chines.Ku.ast, veranstaltet 

B^J^?n^o;S•^•!^''^'^"  Akademie  der  Künste 
iq^i/?9  i   ^l^^'.  ^^^^^^&   ao.l7. 
iy51/52  Department  of  Par  Bastern  Art  of  the 

iQ^fl/.i    ^^^«'^f  °^  «"lin   (Gennany) 

ly .50/41   ^emeente  Museum, den  Haag   (Holland) 


•m^ 


^fK«%^..^,„,,,„ 


13 


i 


::l 


:;J 
im 


m 


•  M« 


tl|: 


i 


|if:^ 


."  ••»^^, 


TnnHIrlMMMM»!...,.,^. 


.>^" 


f/ 


3.  Trlpod  Llbation  Cup  (  Chüeh  ).   H.  21  cm,  |  Q  \ 


11 


Inverted  helmet  bhape  on  three  spear-head  epreading  feet; 
a  lateral  dragonhead  loop  handle  is  attached  to  the  body 
of  the  cup. 

Beeide  the  ohanucled  spout  two  posts  rise  well  above  the 
pointed  rim  topped  by  bell-shaped  finiale  to  facilitate 
the  removal  froa  the  fire  with  the  help  of  sticke. 

The  body  iß  encircled  by  the  ".Animal  triple  band"  (Karl^^reen) 
with  a  row  of  wingquills  at  the  top  and  an  aninal  eye. 

Two  inscriptions  of  archaio  ch:^racters,ofae  below  the  loop 
handle, one  belo^w  the  bell-ühaped  finial« 

This  bronze  llbation  beaker  was  used  in  a  pledge  to  the 
epirits«  /*fter  a  little  wine  was  poured  out<»rthe  spout, 
it  v;as  G€t  over  a  fire  and  the  content  b  evaporated« 
?inally  it  v/ae  removed  from  the  fire  by  grasping  its  two 
small  poüts  between  two^sticks  whereby  the  bell-^ihaped 
finiüls  helped  to  keep  the  stioks  in  place. 

Patination  of  the  bronze  in  purple  red  and  green  wixh 
encrusted  aalachite  depc^its. 

Yin  (Shang)   1766  -  1122  3.C. 

Lit.:   Karlgreen   "    Yin  and   Chou  in  Ghineee   Bronzes" 

Exhibition:    1931/32  Departmnet   of  ?ar  Eastern  Art   of  the 

Muaeuias  of  Berlin    (Grermany) 
1938/41   uemeente  :Äuseum,den  Haag   (Holland) 


iÜMiiWUiiiinnAÜi... 


:;?:t 


::.:'l 


r  t 


j.'.'t 


r 


■w«wir. 


14 


4.    Halberd      (   K'uwi 


L.20  om, I  7  3/4 


N 


Head  of  a  halberd  (Prenfh  "  ho-n  v   ^    ^ 

of  the  Ko  «  da5i;r!axe  and  «i^Jr^^"^'  ^  ^°^«^^<-'' 
The  "nei",a  klnd  of  h-an?!«^  Bhatted.   in  like  nanntr. 

"ei.  '""^  ^^-^1  incieion  bet-^een  dagcer  and 

The  aei   is  decoriited  with  thp   t'^o  +1.;    u 
with  Spiral.   Ornaments  in  'lat  reli^f^?  r,aBk,the   dag,,er 
culiar   shape  as  Rene  rrxou-,'4t   illil   ,n^, Z''}^':''^''  ^'"^  ^«- 
Bronzes  Chiaoi«e  ^^rohaioues"  h^^o^k    ^^""^^^^^on  des 

^e  dragons^ui  on     Pu^a'^L^^^o.^r^^-o^ie^'  ^.i^^^i^l^ 
Yln   (Shang)      1766  -  1122  B.C. 

Luj^,rfopoulos  colxec.ion.rome  I.pa^^e  63,plate 


Exhibition:    1931/Ü2  Departnent  of  >'ar  Bastern  Art  of  the 

Museuae  of  Berlin   (iJtraany)  ^ 

iQ^A  '^^"»«^^^^e  I'luseum, aen  iiaag   (Holland) 

Wuseufl  van  Aziati-che  Kunst, Amsterdam. 


1946 


niSiiSiiMi'mii'^'"" 


[;:::: 


\ 


:i| 


•\i 


:•! 


II 


'.  uhtii 


• 


^' 


15 


5.  Ceremonial  Jfood  Vessel  .    (Ghlu  or  Kuel) 
H.13  cm.;  5  1/4"  .   D.17  cm.;  6  3/4" 

YettB  mentlones  that  this  group  of  bronzes  for  offerixig 
cerealB  was  calle*  by  some  scholara   "  Kuei  "  ,an  equivaleat 
term,pronounced  like   "  Ghiu  "  in  ancient  times* 

Circular  form,reourved  sides  on  a  spreading  foot,wide  mouth. 

Arourid  the  rim  and  the  foot  on  a  diaper  of  epiral  filllng 
borders  of  diasolved  draoon  ornanents:  k   very  peouliar 
dra^on-lile  animal  v/ith  turned  head  and  vertical  friaged 
ötrokes^preHunbely  feathers  :  Karlercen's  ^  Fenthered  drarjon^\ 
The  Ornament  Ip  broken  by  t'ao  t'ieh  nasjjs  in  hierher  relie*. 

Two  vertical  dra^on-head  loop  handleb  with  downv/ard 
pendants  are  attached  to  the  body. 

This  bronze  seems 

for  the  3hlny  surf a _ .       ...       ^         .      ^' 

the  stroking  of  the  hands  of  ^enerations  of  discrininatmg 

coliHctors« 


to  h^ive  long  been  a  collector|s  fdece, 
'ace  of  deep  purple  Ti^n^   greerf/witness-^« 


Yin-Chou,  'iret  half  of  the  Western  Chou.  1122-947  B^C. 

Lit.:  Xarlgreen  "  Yin  and  Chou  in  Chinese  bronzes  ••. 

Exhibition:  1931/32  Departnent  of  ?ar  >:a3tern  Art  of  the 

itiuseuns  of  Berlin  (Oernan-) 
1938/41  j-eneente  MUseum, aen  Haag  (Holland) 


,  |1«;l<n       

""•'•VliiililtiiiniiM^'^' 


:\v.\i 


I  «  »  4  l>. 


» ■  '  ■ « 

iiiii 


i 


^if***l>|MB 


I 


•H 


illt 


1 


16 


6. 


T*ao  -   fleh  ManV. 
h.    9   om.  ;    3^  « 


The  wheel  of  oae   aide  ot  a  hopse's   snaffle-bite 
in  the  form  of  the   t'ao-t' iöh  aask. 

The  bronze    shows  a   aephrite  .^reen   patiaation  with  red 
spota  aud  raalachite  incruBtatioru 


nn-Chou,first   nalf  of  the   Western  Chou.    1122-J47  B. 


C 


Lit.:     Martin  ?eddersea   "Chinesiches  Kunst^jewerbe"   1  09 

.4bb,9ü,  Seite  105 

Exhibition:    1931/32  Depart.aeiit   of  ?ar  I-astern  Art  of 

the  iuuseums  of  B  rlin    (Jermaay) 
1938/41   Jemeente   .uU[.eum,dea  Haag   (Holland) 
1946  j.iuseum  vän  Aziatiscne  Kunst, ^asterdam 


fr 


tÜiJMtlniiiwtHilii.; 


•;;;n 

i ■ -  •»> 


M 


?( r 


:;::) 


;:;i 

'.:;: 


^A 


7. 


17 


Basln  for  Ritual  WashlnK  (  Hai 
D.    n.^   on.  I  6  1/3" 


I 


H.      4.5   cm.;   1   3/4"     . 

i 

Hooad  basin  on  ittlll  foot  vdth  recurved   sites  and 
projectiiiß  rim» 

Around  the   body  relief  banae  witn  two  t'ao   t'ieh 
mask  with  loope« 

The   inner  and   out  er    surface   of  the   oh  ein  hae  been 
gilt   and  decorated  with  engraved   oloud-aorolls. 

The   rllöi  bronoe   is    strongly  p^tinated  xn  green  and 

rusted  red« 

Han.    206   B.C. -220   A.D. 

Lit.:    W.Peroival   Yetts   "    -he   oatalo^ue   of   Jaor^e 

i.umori'opoulos   collectionyTone   I,A   7l(Plate  LI) 

Exhibition:    1929   Auotellung  chinesisclier  Kujist   in 

der  ?reUo3.Akadeiiie   der  Künste, Berlin 


19 


(aermanir)    .   Kataloc  Ho. 31.    111. p. 43* 
33/41   vl'jiah-ente   :Oascuiii,clen  rlaa^   (^oll.'^nd) 


) 


1..' *****!* 


■: 


|lM> 


:!l 


} 


i 


1^ 


i 


!;i 


i 


«  »■<•■— P^WW.    H-,y^  _  ^  . 


,^' 


8. 


18 


QereniQnial  Wlnc  Vcs^el   (   CMh^) 
K.    18.2   on. ;   7  1/3"     • 


The  pöblet 'b  mala  (irour.d  is  piain,  ornamented  only 
by  ineanß  of  the  IIöien-vv§n  =  bo^'^^'c  cord  pattern. 

Inside  9^  the  foot/in  elevated   oast/the  archaic 
character  for   father. 

The  bronoe   is  rioiay  patinated  in  red  and  green 
enliauoed  by  deposite  of  azurite. 

Han.    206  1.3.-220  A.J^. 

Exhibition    :    1938/41   -lemeente  Museum, den  Haag   (Holland) 


.i 


:*^ 


;;';;i 


iiMJiiiiti/i^riKii»'- 
1 


19 


I 


bi 


ViVA 


9. 


Ladle 


L.22  cm.  j  ai-  • 


[ 


The  ladle 'e  handle  with  the  crane's  head  hae  an 
elegax^t,  soft  shape,pre8Uiiiably  stinulated  by 
Helleuistic  influeuces. 

Bronze  with  green-blue  patination. 

Han.  206  3.0. -220  A.7). 

Ex  colleotion  Breuer* 

Lit.:   Icartin  Pedderaen   "CMnesiches  Kmnstgewerbe"      1939 

Seikte   114,i^bb.l06 

Exnibition:    1929  Aubsteliung  Chinesischer  Honst   in  der 

Preu3a..4kadeuie   der  -CUnste,3erlia(&ermany) 
Katalog  no.78«    -Abb. p,58 
1953/41   sjemeente   x-u^uöeum, den   ilaag   (Holland) 


.t 


m 


Hl 

i 

t 

l 


I  » 


r  1 


|{|>'« 


imnwttfMuuMttttvttMmrH» ' 


•  »I  t  n 

( "  "  1« 


11 


f—^^ 


y>'M 


<S   «aoH 


I      I 


' 


FH*«***»9rtmM»m, 


nttMtt.».^ . 


20 


10,     Reversible  Lajip  (lu  lu  t^riK-   "riir^^eä^   lamp) 


II 


L.      14  om* ;  5^ 

H.   13  cm.  ;5  1/8"  (when  open) 


A  rounded  oblong  brouze  bowl  with  a  hiriged  haif-oover 

which  turns  back  over  the  oorreeporiding  stationary 

Cover, thus  forraing  an  oil  cup. 

^then   the  hiii(j;ed  lulf-cover  iö  turned  up,it  stände  on 

the  foot  and  leg  of  a  goor?e,  showing  a  spike  r^nid, 

Around  the  spi^ce  one  end  of  the  ^Ick  was  coiled,while 

the  lighted  end  eKtended  beyond  the  edge  of  the  Short 

projected  guttcr. 

The  uptarnf^d  h^lf  of  the  cover  im«  repleni^^hed  wlth 

oil  fröre  the  reservoir  below,Hnd,when  it  vbs  cloeed, 

the  unused  oil  in  it  flo^bock  into  the  reservoir, 

Han  lamp  makerp  uped  the  ^oose's  foot  nnd  leg  not  in- 
ciäentally.  The  goose  wag  a  frHcred  bird  in  China  and 
eleo  in  India.  "  It  is  es^entially  a  eyrabol  of  spirit 
and  li£,ht  and  a  form  of  the  sun  bird.  "(Ananda  'Joo:nave«- 
wamy). 

i 
This  special  fom  of  a  folaing  lainp  was  used  in  China 
since  the  Chou  dyaasty(Allen  ill.ii;  and  is  a  very 
practical  Solution  of  a  portable  Light. 

Bronze  with  green  earthy  patination. 

Han   206  B.C. -220  A.D. 

Lit.:    Allen, Maud  Hex   •'Early  Chinece  Lasps"   in   **Oriental 
Art    "   J5pring  1950    (Vol. II. 4) 
?edder8en,i*.artin   "Chinesisches  Kunstgewerbe" 1 1939 

Abb.99,p.ll2 
Yetts   "The    cataloeiue   of  the   George  EujLorf opoulos 
coliectiou.1929  Tome   I,A   7l(plate  LI) 


JiAU. 


iLMUlrfÄiiMr*' 


*  • '  « 


21 


# 


r  Ttff 


«TA .  >4 


1  '  • 


i  »  J"  xJ. 


11. 


HariKln/^  Lamp 
H.l«  cm. ;5>" 


Here  the  reservoir  of  oil  is  formed  by  a  cylindrial 
vessel;  half  of  Its  oover  oould  be  turned  up  by 
means  of  a  hin^e  in  form  of  a  gooselihead;  the  upturn- 
able  part  is.  now  mi3sing,preauiaably  shaped  and  used 
as  described^no.lO« 

The  whole  broaze  body  is  oovered  by  jewel-like  crystals 
of  iialaohite^gr  en  basic  carbonate  of  oopper  built  ap 
by  eeoration  out  of  the  bronze  in  oonsequence  of  long 
time  stratifioatioii  in  particular  soil. 

Ilan   206  B.C.-22Ö  A.D. 


Lit.:  Japanese  exoavations  of  Chinese  toaibs  in 
Lo  tanß   (»<;orea) 
Voretsoh  "  Altohineßische  Bronzen"  Abb. 51 


"    \ 


A  > 


r    •• 


T^uri;  ^j:j  1. 


.t 


Mi;:;;;; 


■  ■■  't 
» .  I  * 

■■  ■  f 


i^liMI 


^'•'■^■'■•-"^i'!'.k.''f'^i^,.*--:>i\ 


•«1« 

I  •  it  I 

I '  *•• 

M  •  •• 


M 


«-''■• 


22 


12. 


Sokctecl   polo   rest   of  ohariot. 
L.23.5   cm. ;    9   1/4" 


This  inlald  ohariot  finial  is  formed  by  atrectan/jular 
soclcet  with  added  snake's  body,elonjated  upv/ard^ia  a 
beautlful  curve.and   endine;  in  a   smeeVie  head. 

^^hen  I  acqairea   it  from  Oiiina   in  1S29   the    jurpose   was 
not   ::uown.    '^Ve   had  to  f  iud'i  out  ffcß.  the  Po  K'u  T'u  lu 
(=the  hundred   AntiüUieö),the    S^^iifr  repertoire   of  the 
emperors  Hui-Tsun^(1101-2t>   >^.D.  )   collection  in  the 
H8Ü9n-ho-;.iiiace(published   1110  a.J).)  Tom  27,par:e   32: 
"   Ch'i   huan  kxuiß  k'o   i    jung  hen  linng 


Oh^e   cfi'i   t'o   y^Jlan  ye. 


=   loa   ciroular   oavity  oan  take   up  the    oroGS-jeaiü 
'iherefore   it   ia   called  :pole-rest   of  the   criariot, 

Anaeraon   calls  a   similar   pieoe   "pole  rnountin^"   and 
presiuaeB    'ita   purjjüse   as  ena  laounxing  for  tne   carrying 
pole   of  a    sedan   oiiaire   and  the   iike.*' 

I   believe  tiiat   the    socket   v^'as  fixed   on  the  horae's 
yoke    uid   that   the   pole  of  the   cliariot   re^ted  in  the 
graceful   bendlng  of  the    snake'a  neck. 

The    oronze    is   richly   :^doTned   by  ailver   inlay     v/ith 
ßpirala  of   slender   silver  tlireads   L-omewhat   obscöred 
by  patiiijtion  aiid   ciocrir^ioa, 

Han      206   B.C. -220   A.D. 

Llt.:    /inaersDüu  J.J.    "The   Goldsnith  in  Ancient    >)iina" 

Bulletin    /,Tne   .Auseuia  of   j'ar  Sastern 
Antiquiti?B,  'tookholn  1975. 

iüxhiüition:    li^29  Jepprtrüeat   of   .^ar  Ejatern  Art   of 

the   .Jubeums  of  liexlin   (J-ermany) 
1933/41   Jcneento  i!u<^9TLm,den   'iaa^sC 'Holland) 


r 


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23 


15.    Coigmiojürrorof  the  H«n  r. 

•L'J.a.iö  om, }   7.3" 

These  mlrrors  whloh  are  oiin«,i  k  * 

^rrors  are  by  the  cSneee  ifLJ^f^'^^«"  collectors  TLV 
name  of  the  maker  or  accnrnfr^f^^^y  dassifled  unaer  tL 
of  deooratioa  found^rthem'"^  '°  **^«  ^"Bcriptionr  fo^ 

ÄonSe;:Jir3rr:n'j:^^^^^^         ^'-ze  alrror-back 
perforated  aad  almoat  hemloAhf  .  ^®  °^"*er  rises  the 

brodd  frame  enoloslng  the  whnif  o  ^^^^^^-   Annexed  is  a 
alternate  twelve  saall  0^70«^ V^""^'*  ^^^^^   i«  ^hich 
and  the  "twelve  branßh«««  .  ^  bossea  or  nipaiear-iu" ) 
characters:  ra?,oxr?iä?V^Jrj^^«^  ^^^  '«üef  with''   ^ 
monkey  oook.dog:pi^:^^^''^"^''^^«SO". 8erpent,hor8e, «heep, 

the  twelve  -avlBions  of  the  »i  ?  °^'  °o™PUtatioa  by  cenJurv 
twelve  cyclical  anilJs.    ^°liPti°(orbit  and  aunf.the   ^' 

conlcal  bossea, eaoh  **atld  ^on  a  r^i^^^  ^«lie^.eight 
four  groupB  of  so-called  TLV  Jorms      ^^atrefoild.and 

ChLlÄa^So'Je'^'^  ^"^  ^^«^-^'-   '^-y  -long  to  the 

rgrl^fnl  ZX'?^:*!^;?  pe^olf  ol^tL^^^^^^'*  *^«^ 
The   oorainencemeat   of  Sprin«     V^lnti  7   ^®  ^^^^^ 

of   Hununer.    Summer  Solsti?!'   ThlnL'^'^^''°'''   ^^«  Coamenceineat 
iiutumnal  equinox.   The   Gnmml„«        oomoencement  of  Autumn. 

But  theyrmlänmL.'?^e  e^hr?:o'i1t°Uo"^f-   ^^^*«'  ^°l«*i°e. 
eight  pillara  ofthe  Universe  wMoJ   ^™*?J*«l8  ^nd  even  the 

Umehara  took  these   signs  merelv  aa  nart«  .-p  +^      - 

de  sign   (Wan  tzu  t 'ou)  wi%h«,,^^  as  parts  of  the   "meanderi  ip" 

Bishoi  White  waaofthr^??   special   significanoe.  ^ 

geometrical  a;Srea  oJ  LeSision  anf  **^^'^   ^^^'^^  represent 
old  idea  that  the  earth  !s  iJSare?  °°'^^«--ted  with  the 


<iiiiiin'i1iillli);jntiÜJl.:f»''»*** 


1 


l'ü^^ 


\ 


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m 


M 


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[.<] 


It 


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24 


Karlbeck  asciibed  to  theo  a  technlcal  orl^m 

Peroival  Yetts  stated  hla  hpHa^»  ♦k„*  *u 

detail  aad  to  ByrnboU^nhateiei  fSJ^fon'th''''"''^''*^^ 
on  tbe  dial,  «"aüever  runotion  they  served 

Recaatly  Sohuyler  Camman.the  ourator  of  the  Chin.«« 

"?Se%^:r::%o  live 't'.f  ie'nt'?arj:jt\\t  J^NÄrr^^tV^*^^'^ 

as  tht^.a<^dd?TM*'^,°^u*''^}  ^^''«'*'  '"'^=*  represent  China 
^^^  ?  +  ^^'^^S  ^ngdoni",while  the  area  around  it . exttndiiir 
off  into  the  four  direotions.representß  the  "?oui  Seas"  ^ 

th!  tV^   "Pour  Seas"  was  purely  figurative^and  referred  to 

GhiM  f^H^f^i^v^^^  *^^*  stretched  beyond  the  oonfines  of 
China,izih  bited  by  uncivilized  barbarians.good  aiid  evil 
spirita,and  wild  animala. .. 

^Jji^J^«  *ie^  £^iOt±OTi   of  the  Vs  was  apparently  to  mark 

off  the  bounuarles  of  the  four  quarters  of  the  v/orld.while 

the  spaoes  withia  the  Vs  merely  represented  the  nonlexistence 
ox  lana« • • 

In  s}iort,the  total  plane  of  the  mirror  gaves  the  impressioa 
that  someone  had  placed  a  ciroular  pi,the  jade  eablem  of 
heaven.in  top  of  a  Square  plane  og  the  Barth, like  the 
lln-poUame;board,and  then  out  off  the  projecting  cor- 
ners  of  the  latter, flush  with  the  curve  of  pi  .  .. 


»'i-mgaag 


MniiiiliUilllil, 


••) 


diu 


:^3 


''  m  lir 


iti 


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p^ 


,  \ 


i  f 


u 


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w «Anj 


25 


.••the  broad  band  whioh  outllnes  the  inner  Square  has 
the  four     T    «s  projeoting  from  it  in  the  four  Car- 
dinal directions....  The  explanatioa  for  these  T's  is 
provided  by  the  traditional  conoept  of  the  Pour  Gates  of 
the  Mlddle  Klngdom^mentioned  in  Chinese  olassical  lit- 
terature« 

The  invertes    1    •s  at  the  end  of  the  Pour  Seas  would 
appear  to  be  more  difficult  to  explain,  But  they,too,seem 
to  have  re.resented  barrierSfPerhaps  analogous  to  the 
gates  of  the  outer  enclosure  of  the  Han  plaoe  of  saorifioe,. 
all  bend  In  the  same  direction  around  the  mirror  they 
eerve  to  glve  the  pattern  as  a  whole  a  rotating  effect 
and  perhaps  they  had  the  added  function  of  presenting 
the  rotations  of  the  Pour  SeasonsjWhich  v^ere  closely 
associated  with  the  Pour  Directions*  •• 

The  next  enciroling  zone  oontains  the  dedicatory  inscription 
of  twenty  three  characters,naming  the  artisan  who  cast  the 
mirror, ending  with  the  aoolamation  of  the  father  for  whoee 
tomb  the  mirror  was  intended: 

•  You,oh  gBBtleman,are  worthy  of 

protection  by  the  (Heavenly)Official.  •• 

Of  like  width  is  the  next  zone,filled  with  the  oblique 
'•oomb-tooth"  pattern  and  on  this  abuts  the  beleved  edge 
of  the  mirror 's  thickened  rim, 

The   rim   is  decorated  in  two  ooncentric  belt  ornaments 
in  flat  relief  by  the  "pearl-line'*  and  the  "running(or 
drifting)  -  olouds  patterns. 
Here  our  mirror  shovvs  two  uncommon  pecularities: 

1.  In  the  olouds  are  foui|aninial8,ruAning  with  might  and 
main,  seeming  to  compete  with  the  speed  of  the  olouds. 

2.  Clouds  and  animals  spread  over  their  own  boundaries  in 
the  pearl  pattern, 

Three  of  the  four  animals  oan  be  distinguished: 

A  oh'ilin  (the  unicorn), eymbolio  of  illustrious  birth, 

a  hare  and  a  dragon»  The  fourth  is  obscured  by  patination 

and  accretion« 

Since  these  animals  are  figured  on  the  portion  of  the  miror 

that  represented  the  (rim  of)  the  sky,it  would  be  perhaps 

possible  to  infer  that  they  were  oelestial  animals, possibljr 

representing  oonstellations» 

Bronae  of  black  oolor  with  green  patination  and  acoretion. 
Especially  beautiful  at  the  refleotion  8ide  where  the  black 
beoomes  glossy  ''like  black  lacquer"  (hei  ch^i  ku)  with  some 
areas  of  cloudy  green. 


•  I  t4«»»inM«4 


i«Mi.li>aSxtttiim 


jlYi4j,'*niK 


Sil 


m^ 

•  i 


liMi 


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i  -Tl. 


hm 


t  iMT^       y       ' 


mt 


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4-  V    S '    **  '*f  "^ 


11  V 


1 1.  ♦  /v^'  »-^      A  r^;  «*i  >.• 


ju     •5- 


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<^.i^  ^  ^A.  '^'  j^  * '  > 


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S(i 


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Uli 


•xoaiiu  ©:.^ 

^    ..,.^   ^  ..    ..0  fcerf 

<i>  «•>«   ^.   r-J  •--  ;-,  ,.. 

f/  'V      f  1     .    *r.>     .»,*f-f     ' 

.^  ,       ^    +  .^. 

^jLVi 

0 


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JE '  ilO 


26 


Joerg  Trübner  brou^^ht  thie  iiiirror,amoiig  a  wonderful 

coliection  ot  Chou  lairrors/fÄ  hls  last   Journey  from 

China» 

In  his  '•Joerg  Trübner   zum  GredHOhtnis"   writes  Kümmel 

in  hls  preface(l930) : 

"  Den  Bronzen  gehoerte    seine  Liebe    den  groessten 

wissenschaftlichen  G^ewinn   stellt   aber  die    stolze   Reihe 
von  tSpiegeln  dar, die    säanatlich  das  hoechste  an  Chine- 
sisoher  Spie^jelicunst  geben, und  von  denen  reichlich  die 
hälfte  uns  neu  ist»    Hätte   Joerg  Trübner  nichts  beschert 
als  diese   einzi  ;arti(?;e    Samnlung,er  wilre   unaerer  Dank- 
barkeit gewiwS,'* 

Han   (206  B.C.-220  A.D.)   beginning  of  the   first   Century  A.D. 
probably  9-23  A.D. 

Iiit.:"Preer  aallery  of  -Arf^Vashin^s^on  D.C.1946 

Sohuyler   Canr^ian  '•TLV  pattern  on  Cosaiic  ..irror  of 

the  Han  Dynaety'*   Journal  of  the   ".American 
Oriental   L^ociety"  Vol. 68, n». 4  (Gct-Dez.+S) 
do.  '•Chinese   ."lirrors  and   Chinese  Civilisation" 

in   "Aroheology"   Autumn  1949.   Vol2,no.3 
Swallow,R.W.    "Ancient   Chinese  Bron*e  Mirrors?-?eipino  1937 
Yett8,?eroival.    "The   Gull  Chinese   Bronzes"   1939 

Exhibition:    1931  Department  of  ?ar  Eastern  Art   of 

the  Museums  of  Berlin   (Grermany) 
1938/41  Ceaeente  Iiluseuiii,den  Haag   (Holland) 


.ff 


m 


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f    t\i 


r 


27 


14. 


A  3even  Flf-nircs  Mt rrnr 
Dia.  14  om.  ;  ^y 


caetinf  if  reUe??"^'  ''''°""'  "'''^°'  ^^  >^eoorated  with 

Li/  ®4.  °°^^°«^*5i°  ^elt  Ornaments  Surround  the  central 
perforated  boi.s  for  the  cord.  ^cxiwi-e«x 

The  f  i  r  s  t  zone  contains  nine  corJ.oal  boeees  alter- 

f^l\'^t  'Vi   ^^i'^e/^ifid  -orms  correeponding  tonhe  nine 
fiftlds  of  heaven":  Sun,i.loon,Seven  Stars  of  the  Oreat 
Bear  Constellation. 

Ihl   ^®^^°  ""/   Zone  i 8  fllied  -vith  an  interlaced  line. 
"nL>,\  iv.""  <^,,3nd  the  f  i  f  t  h  zones  with  the  oblique 
oomb-tooth  pattera"  enoircle  the  f  o  u  r  t  h  ,  the  niain 

Ths  maln  zone  containa  seven  fi^urea  in  linear  relief  al- 

ternating  -.vith  seven  conical  bosses.eaoh  bosa  sittin/r 

upon  a  oircle  with  eight  ousps.  .      , 

Prom  the  figures  sijc  belong  to  the  zoJiac  anii»!«« 

Pra^onjruniiing  ^oat.a  oreöted  bird  n-ith  raised  wiivs, 

a  seooi«  dra,5on,the  win-ed  tiger  and  ^cieeling  -oat." 

The  seventh  figure  is  a  "vvinged  spirit  man",  aUnome-like 

raoe  of  beings,called  hsien,'.vho  people  the  Taoist  Otherworld. 

ihe  seven  oonical  boases  are  supposed  to  refer  to 

"the  aeven  lu:p.inaries"  or  "hulers  of  'JJijiea  and  ^eaaons"- 

bun,.;oon,i'ive  Planet s,"        - 

The  broad  rim  ia  sharply  set  up  against  the  deeoened 
raiddle  field.  It  is  filied  rvith  the  "  rollia  •  oioud  oattern" 
between  an  inner  "  saw-tooth  pattern"  and  an  outer  piain 
border, 

The  broaze  is  patinated  evenly  in  blaok, eo-oalled  "hei  chi 
Icu"  meaaing  the  material  is  like  blaok  lacquer,with  li^-ht 
traccß  of  aloudy  green. 

Han  (206  3.0.-220  A.D.)      Later  :-Iaii. 


Lit.:    Peroival    Yetts   ♦•   The   Gull  broazes"  no.29,plate   32. 


.•'M»" 


■:■:'! 


;■:.! 


I 


11 

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0 


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1 


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t; 


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10 


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28 


15. 


Tl^er-Cat^   Ordoa  Clothin^  Ornament. 
L#  5  om.  ;  2" 


Bronze  Ornament  in  the  f»ji«  oi|a  tiger-cat  intended  to 
De  rastencd  to  the  olothing  by  means  of  loops  on  the  back 

i^i.^f^""-^*"^}®  doubt,that  thp^  desi-n  combined  ornament. 
Utility  and  macjio,like  a  useful  charm  to  protect  the 
bearer  acjainst  evil  influences. 

Already  in  prehistorio  times  the  ti^-er  was  considered 
Baored,for  a  tiger  amulet  was  found  at  one  of  the 
prehistorio  sites.  Throughout  Chinese  history  tne  ti^er 
has  oeen  considered  an  auspicious  and  saored  animal, 
as  the  Chief  of  all  animals  ofi  earth  just  as  the  dragon 
became  the  Chief  of  all  animals  in  the  sky*  Even  today 
Chinese  children  wear  tiger  caps  in  orcier  to  protect 
them  against  evil  epirits. 


The  term  "  0  r  d  o  s  "  was  proposed  by  E.H.Minns  for 
these  relics  found  in  Sino  i-iongolian  borderland,e spe- 
cial ly  abundantly  in  the  desert  oounty  named  'Ord4s  ' 
in  Suijuan  across  the  great  wall  enclosed  in  the 
northwest  bend  of  the  Yellow  Hiver  (Huang-ho). 

Most  of  such  animal-style  Ornaments  are  attributed  to 
the  period  of  the  Han  Dynasty,a  time  when  the  Huns 
icept  great  armies  beyond  the  Chinese  f rentier, 

Bronze  thickly  covered  with  greenish  black  patina 
and  accretion, 

Han,  about  lOÜ  B.C. 

Lit.:    i^nderson, J.Gr.    "Selected  Ordos  Bronzes" 

Exhibition  1933  in  the  Museum  of  ?ar  Lastern 
J^ntiquities,  Stockholm  1935 


.;*TF»|^  ,,,^      .       , 


il^: 


1 


i'ü? 


•'Äj 


*■ 


/ 1 


28  a 


15   a. 


^   lfii.3   cm.  ;2.5/  1    H  ^ 


2ä£SjLCutin  t 


Bronze  Lion-Like  fi  — -.«^o/  i   « 

^^e  figure  is  cut  ±TT   °'°"°^^^   °^  ^^s  hanches  and   ^ 

The   bocv  lll  '^  °^  «^  «"•  '  ^-^ntication 

Z  :l'''^^y  omcu.3  to 'aZuH^'   ''  '''''^'  --^3 
0^  t.e   tan,  .33   sent   Previ  :;  .^^t^^"/'^"   "^^   ^^^^  ^^^^ 
^--e   ..u.  ,.een  an.  re.  pa,,  ^^^^^^^oation. 

«an»    about   2ü0    v.Ch.  '• 


'•? 


,  hJ. 


»f 


IjSff'iiirinM 


""""'*■'■■■■  liltii 


fl«t  4 


i-    J- 


Ti  r«  f>  n  " 


!        I 


( 


\         \ 


»• 


/ 


'  .* 


"^•;i.i7i(t.il 


J 


16. 


2? 


Large  Mirror  Wlth  Zodiaoal  Decor. 
Diam.  24  cm.  ;  g^»« 


The  knob  in  the  deepened  midale  field  of  the  round  bronze 
mirror  is  enolosed  by  a  Square.  The  Square 's  boundary  line 
is  deoorated  and  its  four  corners  filled  with  lion  laaske. 

?our  other  lion  masks  bite  into  the*"*Öorder  and  fill  four 
iaverted  V   shaped  aagles  —  the  TL  Liarks  of  the  Wim 
mirror  no*13  have  diaqpeared  —  dividing  the  rast  of  the 
middle  field  into  four  oomparteiaeats  eaoh  ocoupied  by  one 


a 
tf 


cred     animals 


0  X     c  a  r  d  i 


of  the     "  Pour   s 
nal     Points 

These  animals  re.^resent  the  four  Quadrant s  of  tlie  vault  of 
) eaven  : 

Th  "somber  "7arrior"(  artortoiae  and  a  serpent)  in  the  North 
The**  blue-green(azure)  Draßon  "  in  the  East 

veriaillion''Bird  "  in  the  oouth 


The" 
The" 


White  Ti^er  " 


*^ 


in  the  West 


V. 


Two  aso^nding  belts  with  the  "  saw-teeth  "  pattern  lead  to 

the  broad  rim  with  three  concentric  belt  ornanents  : 

On  the  narrow  or  inner  belt  an  inocription  of  forty  rhyming 

characters,  while  twelve  zodiaoal  aninials  foliow  eaoh  other 

round  the  middle  belt. 

.Hocordiiig  to  the  Chinese  Z  o  d  i  a  c  -  uif^erent  from  the 

European  -  there  are: 

l.rat.    2.bull.    3.ti^er.    4«hare.    ^.drß^on.    6.sriake« 

T.herse.   S.ram.    9.nionkey.    lü.cook.   ll.dog.   12.boar. 

The   ariiuiaie  are  placed   in   little   pnnels  betreea  paths  with 

flowcr  Ornaments  whioh  lead  to  the   out er  rin  with  spirale 

motlves. 

The  riyiiiinß  inscription  gave  creat  difficulties. 
The  firct  who    .^jucceeded  with  the   translation  v;as  Otto  Kümmel. 
-AoGording  to  him  and  translated  once  more  from  Oernan  into 
English  it   regds    • 

(The  iMirror   in;A-?ang     palace   (palace   of  the 

beautiful  re^-ion)   reflecti:  the  .A'all. 


tf 


(The  -lirror)  3  8  n 
hangs  in  the  palace. 
The  w  a  t  e  r  -  o 
illuininated  surfaoe. 
The     m  o  o  n     i   s     s 


S  h  o   u  (beacvolence  a id  lo^pvity) 

is  hidden  ?;ithin   uhe 
in  the   pitoher. 


he   s  t  n  u  t 


usoended 


4 

I 


30 


Yn^vy 


f 


'>        ,.r. 


V'      r" 


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U. 


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:,  .♦  . 


'!     r 


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« •'  •■ 


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.( 


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^^    ;ii.-vi  ...;    ''iv 


{  ... 


4 


All  formö  which  look  in  its  center  are  recorded  by  hiat 

The  fullmoon  -reverse  side  Is  like  the  empty  heaven« 

Hill     demoiis     dare  not  to   oome  forth* 

The  water-subetance  feels  humbled  by  the  work» 

Ab  good  ae  I  could  I  wrote  theee  jev.'el-li:^e  Square  cha- 

raoters  and  engraved  tnem  for  eternity  upon  the  ^jreen 

bronze«" 

Küminel  remarkslrightly  **   a  long  ooniinentary  is  neceasary  •• 
to  it» 

Light  bronze  with  lov-jly  patiriation  in  sinooth  s^een  with 
silvery  spots  (yin  k'Sng)  on  the  reverae.  'j^ht  face  side, 
pollshed  b     iiiercury,green  and  red  inorusted, 

Six  Dynasties  orLiu     Chao    (222-581  A.D.)      ^ 

Coiaiaentary. 

•*A-?ang-?9laoe'' :    Acoording  to  the  le   ^^nd  a  iiirror  hung  in 

thie  palace   bullt   by  Shih  Huarig-ti   212  3. C, which  reflec- 

ted  the   'V^alls"   of  the  p4»aoe   ladies  a.xäi  revealed  wether 

they  were  faithful  or  not* 

"SSn-Chou-.lirror»':    This  mirror  took  Its  nnrie  from  a  palace 

of  the    3hin  dynasty  in  the  third   Century  of  our  era..It 

was  hung   oonoeled  and  arranged   in    3uch  a  way  thit^the   faces 

of  thOBCfVvho   passed  by,were   refleoted  upon  its   sarface, 

although  they  were   uiioonscious   of  the   fact. 

I   remember   a    aimilar  'jrrangeaent   in  the   audience   ohamber 

of  the   AuLitrian    oalace    3choe.n  ^r^mn. 

»^^Vater-ohestnut":    The  middle  inotive   of   eoae    Chinese  nirrors 

is  thuü   oalledtperhaps^allision  to  the  rna^io  nirrors. 

»'iioon   ßU3pended   in  the   pitch":    ^erhaps  allusion  to   the«raa  :i^ 

cian  in  the  pitch"   a  kind  of  counterpart   of  the   rluropean 

»Man  in  the  moon'*    ,    who   jractioed  by  magic  all  heaven  s 

niraoles  into   his  lodging  -  a  jitoher.  ' 

"Hill  dexions  dare  not   oome  f  orth"  :    Acjording  to   old,also 

European  perception,the  niirror   in  which  they  have  to   show 

their  faceg  is  the  greatest  terror  for  evll  ghosts. 

"i?^our   saored  animals  of   cardinal  point":    /^ccording  to   Yetts, 
thero    is  no  evidenoe   about   trie   loor    tapernatural  animals 
to   prove   ttiax   tney  existed  ab  a   ey^bolic    i^oup   ^f-i:J;f^,  ^^^®^ 
about   the   third   Century  B.C.and  he  is  inclincd  t4  thlnx 
that  with   advance   of   rejearch  they  jaay   De   ioona   iess 
•Chinese'    than  is  t^eaexalLiBiaiiiiiija. 


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31 


I 


•fortoise  and   Scrpcnt**     -  ••Sombre   ^Tarrior'*: 

The   syabol  of  the   IJorth's  aeüotation  as   •sonbre  warrior' 

c«n,acoordi  lg  to   Alan  iglest, be   ex:>lf^ined  b^^  the  ambigai- 

ty  of  the   expreasion     *•   haüan  wu"      •    It  ir^ay  be   translated 

as   somber  warrior  or  also,accoräi:iß  to  the    'oolc  of  Rites, 

as  tortoiöe« 

Chinese  tradition  ascribes  to  the  tortoise  the   feiaale   sex 

only  aüd  e^lves  d^   t^  .-nate  the   serpent. 

to   the   expressioii   "    nsUan  wu   "   may  have  wota  later  the  ;aea- 

nirig  Ox   a    saeak  and  of   a   ayatioal   <jreation  l^orn  of  a 

eerpeat   father  a  id  a   tortoift^e  ;*oth€r .  ntanding  to^jether 

al.«o  for  the     Yln  Yang     prlnoipletth-^»  dualibtic  alteniation 

and  harnony  of  all  things« 

"The  Vermilliori  Bird"    :  .  , 

Tiie    ayrabül  oi'  the    oouxh,the  Vermixliou  3ird  also   i?'eng  Huang 
or  ^hoeulx,repre3entb  the   Yang  prin^iple  or   solar  e.^cfc.ice. 
It     prt  öide:- over  the    .  oath  and  is  the   Summer  5)ltloe,the 
clinax  of   Yang  po"/er«  ■ 

Thus  are   the   cola   and  the  darkaess  of  winter  l»rou,-ht 
together  with  the    syiabol«    )i*  fire   and   xiv^ht,  summe r 
aad  the   uoiith  .  ,      l'he  perf  ect   yin  yang. 


"   Zodiao   "    :   The   zodiao   or   circle   of  aulmals  :ieans  astrono« 
fiiical  an    '    iiua^iaary   uelt  in  tne  heaven^tne  pathb  of  the 
aoon  and  all  the   priaciple   planet s  änd,at  ixs  aiadle  linet 
tiiS  eciiptio  or   sun's  .ath." 

'xhe   Zoaiao  nas  tweive   aevisions  or   sign».   These   signe 
are  reckoned  froia  the   point   of  mtersection  of  eciiptio 
aud  equator.    i>esoribiag  our  niirror   I  gave   the  s  i^^ne  in 
the   OhirifcHe   astroaoiaical  oraer*    But   the  oraer  of  the 
mirror  it&elf  diifers;    here   follow  the  nu.  oera 
1, 12, 5, 10, 9, 0,7,0, 5, 4, 11, 2*  ^  ..    ^    .         .     v> 

The   iiuropean  or»  er  and  nanes  are    :   HaJi,3ull,Twin8,o»aD, 
-aion, Virgin,  Balance,  Scorpion,. Archer,  roat, 'Vater    ^earer, 

i?*ishea»    (V/ebster) 

The   ^'ar  Kaet   diviaes  the  day  iiOotwelve  double   houra 
usiiig  the  nuneö  of  the   zooiac   sijns  as  denotations; 
it   bcgins  vvith  tne   hour  of   tne   rat   i.e.    -leven  xo 
one   o 'olook.P.^i« 


•i 


'«iijjjiiiiir'*^ 


32 


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froj.  *5  ü.vi'^. 


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The  date.  ^  ^     t^   k-, 

The  opiniom  dif  f  er  to  ".-hich  period  the  mirror  should  be 

??29f  Kü.;rr.el  in  hie   "ChinB  -A^t"(p.52)d3ted   it   eeventh 

B^eoiSn  of  a  rather  rare  type  v:nich  is  aortly 
aSrlbu?ed  to  the    iui  period    (581-618).    Nearly 

?lentioal  is  the  nirror  of  V^  J^^^S'Y^;i^2S) 
(Tolaru    ;akea  Kokaa  ^.'^^^Ij^'^-y'^^o  1J2^  I.plate   26). 

The   -lore   8inple,but   in  eil  eeueattal  po  int  f.  cor- 

s-6^25?  ihr/e.oL%^^°;rorruro?-^ii.ia^ 

1335.   ?hf  international  Ex^dbition  .f  Ohinece  Art   in  London 
^       dBtee  the  niirror   in  its  catalogue    (   no.499    ) 

siv  J^masties  or    Liu  Ghao    (221->ol  A,i>.  / 
bix  L»ynaB^.xcö  ^*  »    .,      lateet   excavaticns  in 

I   prenui.ie   tht    resalts  ol    x.^e   ;^-'''*^'^*   ^    ..       .      ,^ 
Korea   induoed  .T.Yettb  to  aasicn  this  t,p  to    an 

eqrlier   period, 

Tn+o,.o-tUL"  to   rc-embtr  that  the   J-iu  Chao  iJynaety  waa  a 

the   inasination  of  European  ''^f  J^^^^  jf  t^bee^uent  Inva- 
They   preceded  and  in  aome  wa-s  inej)±Tea   .uoee.^e 
Bllne  «w*  of  the  Mon.:iOl  and  the  Manchu. 


Lit. 


*„r.^«„i,h    nnre-ice  "Chinese  CallibroP^y»-'''°«Hy  '*"*^ 
■■    'ff^JS-   '°3£er ^..Itr.,;.   ;ur  Km.t  und  ,..Uur..- 


f    Ancieiit   Jhinese    toh-^^^   '■--"•  ""--- -^  „+_  iia 
and   America"   Part.II  -Ancient  :.irrors^Pla^ 

Künael   " Chine s.lCunut"    20^  v^^Py^JJ-^J^st  m  der  Preus- 
der   i^eBellschBft  für  os*«^i«t^^°rrlir?^2oV  Plate  L.vXIX 
Birchen  Akademie  .i  er  -^^'^-^^J^^irJ^?;;:  Zeitschrift 
Küiaiael   Meue    Chinesische   VpleLel   ^OsXas.^exw 


lieu    "'olf'e  6ter    laiir 


o 


!^i'^.1930  pai5.170  ff. 


1929 


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33 

Kvuict  ujia  der  i^K^aemi» 
Kataloß  ^0.459  ^  Chinese  Art, 

1935   I^t^^f-^f  ^S;ä     of   *rt3!iondoa.Cat.ao.499 

1946  i.ais8tt3  van  AzlatlBon«  .Min.., 


I 


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34 

Spherliial  Box. 
H.  9.7  eil.  ;  3  T/S»* 


A  Bpherical  box  wtich  Is  deoorated  only  by  soae  clrcu- 
lar  llnes  and  oovered  by  a  lid  with  knob. 

It  Is  an  Uteneil  of  the  oult,a  medicine  box,attribute 
of  YaOfthe  medicative  Buddha. 

Black  sllver  bronze.  The  green  patination  oovers  the 
old  repait  too» 

T^ang  Dyiiasty  (618-90?  A.D.)   seventh-eighth  Century. 

Lit.rKünimel  '•Chinesische  Kunst"  200  Hauptwerke  der  Aus- 
stellung der  Gesellschaft  für  ostasiatische  Kunst 
in  d  er  Preussischen  Akademie  der  Ktlnste  Berlin. 
1929.  Plate  XCIII. 

Exhibition:  1929  Au.-stellung  Chine s. Kunst, veranstaltet 

von  ler  öe Seilschaft  für  ostasia tische 
Kunst  una  der  Akademie  der  Künste, 
Berlin.  Kat.no. 422. 
1938/41  (remeente  ilu8eum,den  Haag  (Holland) 

The  box  was  excavated  with  its  careful  repair;  a  sign 

how  much  my  predecessor,niore  than  thousand  years  ago, 

cared  for  this  plece  of  bronze. 

The  bronze  was  also  endeared  to  ne  through  its  perfect 

form, its  simple  beauty. 

I  am  sorry  to  say  that  after  the  :iazi  robbery  the  bronze 

returned  to  me  broken  to  pieces. 

Such  a  Short  time  in  barbarian  hands  was  enough  to  uestroy 
ix . 


I 


? 


r  .  .  ,  , 


>  < .  I 
■  <  ■  • 

,  •  »«^ 


■1i 


35 


-.0 


">, 


18. 


Kujidlk»  Bottle 
H.  25  cm.  ;  8  7/8  " 


The  Jcundlkä  bottle  for  Amrita  (»  nectar),!«  an  attribute 
of  the  -oddeBs  iCuan-yin  and  an  Utensil  of  her  .^riest. 
The  form  showe  Helienlstio  influence, 

Our  pieoe  is  very  aimilar  to  the  kundlKä  in  the  ool- 
^l  :t  \,       *^f  Japanese  Kraperor  'vhich  was  formerly 
in  the  Horyuji  teraple  near  Jara  ae  a  gift  from  a  Japa- 
nese cmprees  to  the  temple  in  the  year  736  A.iJ. 

Black  eilver  bronze  with  earthly  green  and  red  patination. 
T'ang  Dynasty  (618-907  A.D.)   ei^ht  Century. 

Lit.:  Künael,:Jro6se  "Octasiatieches  Jeräf  1925  plate  35 

KOimael  "Chine s. Kunst"  200  Hauptwerke  der  Auesteliun« 
aer  ^esollschaft  für  ostasiatif-che  Kunst  an 
der  Preussichen  ^ikademie  der  KUn st e, Berlin. 
1929.  Plate  ICH.  * 


Exhibition: 


1929  /msstellung  Chinesischer  Kunst, veranstal- 
tet von  der  xeselischaft  fdr  ostasiatischer 
KU. st  und  der  .Akademie  der  Künste,  Berlin. 
Cat.no. 423 

1938/41  iremeente  Museum, den  Haag  (Holland) 


•TW!!!^^?!7M7''nT»T«r.'«,i.t...,,......, 


•••«•..,  1  ,:;• 


-1 


^'M 


: 


'»»♦fHH. 


Jp. 


56 


19. 


Ladle  v/lth  Suok  Head» 
ZI. 99  cta. ;  13  " 


Tills  ladle  is  heavy  in  shapc  and  'veight, 

The  grlp  ends  in  a  duck  head  and  throat,ene:röved 
with  feather  ornament  while  thc  we^^  curved  haft 
and  ladle  show  leaves  as  Ornament  -  as  farTthe 
white-green  spotted  patination  permite. 

T'ang  Dynaßty  (  6.8  -907  A.V.) 
Ex  oollection  Breuer. 


Lit.:  KümiaeljAuotionskatalog  Breuer,fIo.364fAbb,pl. XXXVIII 
Exhibition:  1938/4-1  Oeneente  Museun,den  Haag  (Holland) 


:*^««i^* 


m 


;} 


» r  .M 


m»   <■   * 


■ü 


^ 


i^ 


■^' 


20^ 


5T 


Yessel  ?or  ^rltlng  Utensils, 

H.  7  om.5  3  " 
Dia  .10  oni*  j  4'' 


I 


Cylindrlcal  vessel  with  five  round  and  one  rectsn- 
^ular  opening«  oa   the  top  for  nestboxe e  of  whioh 
three  are  preserved.  The  rectanoular  opening  is  for 
the  ink  stone,!  am  sure. 

Gilt  bronze  with  green  and  blue  patination. 

Prof.KÜrcir.el  acquired  this  veseel  from  a  Sung  tomb 

in  Korea  1927. 

Sung  Di-nasty   (907-1280)   or  earlier. 


I . 


•  t  i 


■,  <  *- 


.  *.  -^ 


riät"^"  7^'; i ."TSaRBl '^^■:"--r^F-»:wT?" 


38 


1 

1IW 


'.1 

'.■  1 


1 

I 


5' 


».    ','    s.    •• 


/li- 


21/22 


H  35.5   cm, ;      14   w 


shaped  foot.    «"-^^ruction  reets  on  a  round  bell- 

Uli  Doraexfa  of  riat  ea-raved  apiral  ornameat. 
Bronze  with  clouüy  green  and  red  patination. 
Sung  (907-1280  A.D.)  or  earlier. 
These  two  candleeticks  belon-ed  to  a   "Vfu  Ein/." 


«»• .  % 


;i  T 


Lit. 


'  S'^dlkutschSri^«^*  über  archäologische  Arbeiten 
schalten  ?qof   PI*  ^^^^^i^^  Akadanie  der  Wissen- 
&cnaiten.l906.   Plat  V  ; »  Boshisatva  kneelin^' 
befoiB  Buddha  with  burning  oll  laap.  '^^^^'■'^'^^ 

-  i-resoot'Xurfan  eit:hth  Century. 


s 


»•■  «i» 


!'.^" 


\1  "'i' 


V  ^''  V 


%  #.i 


^'V'l  ^'x 


,1^.  ■ 


.'^r  ^^■'fl  lr<) 


I' 


lA  i 


X.  V 


:^ 


,  s,  \). 


'  f  ' 


^ -■■■--'-'■»''  ''''"Winn'-'-'iiiiäijiid. ,,ii 


T' 


3.:* 


;■;  i  ■  C^ 


^T 


■Va- 


-    -     lA  » 


Ol'    iiJ^'2: 


i-\     . 


■  '.r 


n 


.  { 


-r  .'^  '^ 


^ 


.^  .üv:^.^  : 


»  ,• 


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J   /"? 


»         »i.K»  i  » ■' 


i..... 


39 


23* 


ToJco.ReoeptaQle  for  the  Arrow-^Plaj^. 

H.59   Od.;    23.2« 


The  bronze  receptacle  is  composed  of  two  partsi 
The   socle   v^ith  four  foreicners,b3rbarlari8,apparerit 
priGoners  of  war,who   oarry  the  quadratlo  box  with 
fear  paaels,deoorated  by  out-out    ^wastica  Ornaments, 
The  top,    a   ooiunLa-Bhaped,hollow  crlinder  with  two 
S'iort   open  pipe8,adjoined   at  the  head  and  ornamerited 
by  out-oat  floral  desi^^ns.   The   cyllnder  itself  is 
coveredw^  flat  rellefs:    Waves  with  lotus  Tlowers, 
leavee  and   oloudes.    In   salient   relief  two   lizard- 
li>e   dröi^ona   (hydra)   are    added  to  the    6ides,the  iriaie 
crawling  upward8,the  female   downwards, 

The  purpose  of  this  veesel,the     arrow     -     play, 
is  icnov/n  fron  the   Shosoin,the  ancient   tr  asury  at  Jara, 
Japan, where   a   yar   is   oreserved  of  the  T'aiig  Dynasty 
in  which  still    stick  feathery  arrows  with  a   round  ball 
ixiötead   of  a    Sharp  point. 

-Besides  I   know  two   fi./arativc   representations  where 
the  form  of  the  veseel   ie   in  aocordanoe  with  our  own 
and  where   even  the   performanoe   of  the  play  can  be   seen: 

!•    On  a   coromandel   ecreen  in  the  Kijks  Museum  of  .Amster- 
dam, ladies  oircle  around   auch  a   receptacle  tryiag  to 
throw  arrows  throu^jh  theshort   open  pipes,v;hich  are   ad- *    " 
joined   at   the    head  of  the   cyllnder, 

2.    On  the   ^^reat   rnakinono    "^:prirlg   L'^ec^tival  on  the   YelloM 
River*'   in  the  iietropolitan  i^iui  eum,>iew   iork,^ent leinen  of 
"a   drinkin£;  party"   are   devot ed  to  the    same   sport, 

The   decorat ion  of  captives  of  war  on  our  vessel  may  be 
connected   with  the   re.:.e:abrauce   of  the   old   custom  to  jraiit 
arrov'  vases  as  military  distinctions,    Yet   it   is  a   long 
way  from  yerious  military  trainin^;^  to  a  mere   üastiue, 

Black  bronze* 

Hing  Dynasty   •    1363-1644  A.D. 

Lit.:    "Toyei   '>huko"    Illuetrated   catalOe^ue   of  ancieit   impe- 
rial trea8ury,calle4  ühosoin,    Vol.II.plates  74-75. 
""Cn^lng  ivling  Shang  :io"   =   :::priag   Festival  oh  the  Yellow 
River,    .'iing  makiiiono   of  a   Sung  Version  by  Chang  Ts% 
Tuan(ll20).    Metropolitan  .iuseum  of   Art,ilew  York, 
Bulletin  VI,6,:>(o,liO, June   1943. 


mm^mMmm*^  •ftaA**«^4f 


M  .«äi.4p;^ti»^^jTmtli 


iwi"wwwiwwt'iMwmw  «Hill  III m 


^^^^^g^ig;|i-;^=-'..i«SW»-ggH3S-,gI»^-e»g^« 


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>  f 


40 


24. 


Fiat  Drum  (T'ung  Ku) 

jJiaia.SO  cm*  ;19,6" 
H.   29*cm.  ;11.5'' 


The  form  of  the  broAze  drum  is  oircular:  A   hollo-'-  case 
with  bulging  Shoulders, open  at  the  bottom, covered  by 
a  flat  top. 

The  Oase  chowe  the  castus  seam  and  on  the  sides  four 
loopÄQ  for  Suspension  by  cords. 

Linar  Jeooratioas  fill  the  enciroling  rings, eadirxg  at 
the  bottom  in  ^reat  angle s  resetmoling  the  Konan  letter 

The  topidisplaying  in  the  center  a  tv;elve  pointed,high 
reliefed  star,i8  deoorated  with  twelve  enciroling  rings, 
iilled  with  Ornaments  in  low  relief :  oigns  r^  senbling 
the  Honan  letter  T,wave8,nipples, parallel  lines, Spiral 
eleraeatö,a  id  in  the  broadeat  part  signs  of  which  the 
principal  parts  resemble   Streaming  peiaants. 

These  last  signs  belang  to  an  ornarient  ^vhich  in  the 
course  of  time  beoa«ne  unintelligible  to  the  workmen. 
They  led  at  list  to  the  conjlusion  that  also  these 
brouze  drums  belong  to  the  oult  of  the  anoestors« 
Heger  su^^^eeted  that  they  might  have  represented  ori^'i- 
nally  the  head  finery  of  a  rauslcian  or  dancer. 
In  i) 'on^sonC  Yünnam)  newly  aiscovered  drurn  fraginents,aow 
in  the  iritish  Museum,  show  them  as  hu^;e  feather  head- 
dresses  of  men  in  long  orowed  shi.  s,each  in  the  attitude 
of  managing  a  paddle. 

Goloubew  has  argued  from  the   resent  practice  of  the 
Daya-cs  in  Jorneo  that  these  ships  are  for  the  transport 
of  the  souls  cf  the  dead  to  the  Jsland  of  Paradise. 
V-e   concludes  that  these  druins  are  intimately  corm  cted 
with  the  eilt  of  the  dead  and  points  out  that  offerings 
to  the  dead  are  plaoed  in  these  drums  by  the  ilaren  of 
i^urnia  • 

Oereful  studies  have  been  inade  on  th#s«  kind  of  druns. 
All  agree  that  they  are  c.iaracteriL^tic  products  of  the 
Shan  tribes  between  South- Ve st ern  China,  3urma  and  even 
farther  in  the  Polynesien  Islands. 

All  agree  that  in  the   ecoratio.i  many  allen  i.e.Unohinese 
elements  exist.  i^or  instance  the  star  in  the  center  is  an 
otherwLse  in  Jhina  unknown  pattern  and  inay  result  from 
astrononiical  studies  in  aeighbouri  i(i  India. 


k .  I 


iii  MAil  M  M  H  ■  i  ÜÜmUIII^'  :* 


41 


L 


,-  -  i 


%^S:^' 


«'•:.. 


.A  ■'  J  -  X 


.  ^-^ 


-   •  V 


r  > 


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u 


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'.M. 


(.   ^, 


>  ■     •  t  r 


i  - 


-l 


.;  '  < 


« 


The  tradltion  whlch  relatee  that  such  drums  made  a  part 
of  gerieral  Ghu-ko  Lian'ö  booty  (oalle«  acoordingly  Chu-ko 
Ku)  oontalns  a  certaln  quantura  truth.  The  j;eneral  made 
an  cxpedition  a.jalnst  the,till  then  imoonqu€red,bouthern 
tribes  ( miaut zetLoloSfbhan)  in  225  A.D. 

But  at  the  same  time  it  is  knovm  that  some  rums  were  maie 
inChina  and  more  ar  leßs  modified  fron  the  orit;inal  modelß. 

At  all  events  the  view  that  most  of  the  drums  go  back 
to  the  Man  period  is  untcnable  and  it  ie  very  difficult 
to  ^ive  even  an  approximate  date. 

—  ...  M, 

Bronze  with  cloüded  green  patination.    . 

bouth  China, Shan  tribes.   First  milennium  A.D. 

Lit.«  De  Groot  "üie  antiken  3ronzepauken  im  Ostindischen 

'    ...      Archipel  und  auf  dem  j'e&tland  öUdostaBiens. 

1901   " 
(Jray.Basil  "Ohiiia  or  ]J'ong-son"  Oriental  ;;rt,II,3a950 
Heger  "Alte  Jronzetro^eln  aus  Slidostasien  19^2 
MOnsterberg  "Chinesische  Kundge schichte"  1:^1^. 
•  Voretsch  ".^Itohiuesische  bronzen"  1924. 


^  .vt 


^  . 


........ -.-.finHTfffl^fTSWW . ,. 


,M«-«'.«i»«-*JJ 


,'/' 


.#r^' 


mi.::,'u,tuM-:'.imi';*;»;';';>f>tt 


[V.W.Ii 


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i 


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i    n.^ 


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O'.,. 


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w 


|!!!li4:i;... -;i:.:-i:. 


42 


CK11W5JB     OLOISOKHK     t]HA!ffiL 
?ou-lan  Chlen     «     ayÄautin«  Inoruated  ^^ork 

k  A«w  developnieat   in  metal  mMmifaoture   oa.Ti#  with  tn« 
latrociuotiou  of  oloi.^oaad  en»^:Bel# 

Althouijh  very  yoim,^  In  yeere  oompsred  ^ith  the  lopoelng 
«ntl^julty  of  Ohln*»9e  ceremoul«!  broAZßs, Chinese  cloiao  in^ 
•liQr««o  wlth  the  l«tter  tne    eame  unuertalAty  ao  to  it» 
orltiiua  aad  the  aame   carioua  laok  of  priiaitiveat 

It   waa  Cfilled  in  China   •*   i^o(u)-(lin)lan  »•• 
The    •lan*    ie  a  dlal^jutio   tr^^nöfornatlon  from    *lln*aid 
the  whole   word    'fo-lia*   the  tranaf i*vjur»ition  oi  the   vJr^alfc' 
woyd    •poliii*('n'oAt/)   ^Q  ^yaantiaum  was  oalled  In  the 

alvldle  e^jea« 

la  Jyaantinum  ololsoaa^  -~the  word   lo  derived  from  the 

Pranoh  word   cloißon*cell-~  v/h©  ^>roduoed.    It  niay    late  baok 

ao  far    iß^tha  tl.ue  of  Ju8tiaian,t*^e  ;.aet--.oman  Ki;ip*ror(527-565)» 

K-^aiupli  i:,  of  tli«  «l(i:th  centuxj'  horeT«»  :'ire  oartaln« 

It  Iß  no  doubt  tijjt  hetween  Bj^antlÄUin-Kaat  Koma  and  0hl. .a 

there  was  4i  direot  tr  :fflCt;)robably  n^  dl^jtfifd   r,y  tha  Arabs* 

Thiö  "oul'i  explain  that   cloiiio.ui^  ia  also  calied 

*'Ta-6hlh-yao"  =  Arabian  kiln« 

TÄerefore  It   is  ^^ibaoiux^iy  po^aible   \h^\  the  teohniqua 

of  the    'yÄa.itlne   oioiscn.i^  enaincl  wae  introduoed   into 

Chl/oa&f  the    first  tima  aurln^j  the  T'an^  p«riod(6l.i*906) 

whloa  reoeived   oo  ruaay  incitations  fron  tha  <6st# 

P^*rhap8"^ti»  th«  rlddle   of  the    airror  ^Ith  the   oloisonn* 
oaok  in  tne    Jhoöoln  oould  be   öolved  of  ^vnloh  l.«?  certaln 
thut  the   nirror  »vae  left   by  the  hnp<^ror  t;hoiau  of  Japan 
( 724-743 )'\ith   ßo  mariy  other  treaBurea     troA  the    ^hlneae 
T^an^  period   to  the   nudiiia  of  Hara* 
Oraaru  :ieigai   and  :datano   -är.aku  in  the   "'^e'^ord  of  tha 
liÄparial  2re3öury  Shoöoin"   renark  ri,;htXy  th'it  thcre  iö 
"no  parallel   ex^mple  eitner  anong  tha    inoient  mirrora  ot 
:hlaa  or  a.io;i-r  our  o>m  ixlrTor3  of  l^t»  r  jro  iaotio.i*'« 
aut  their   su,je-tion  thot  the  nirror  ie   ••probable  i\  prodaot 
of  the  anoiant  ar^a  of  Jn^v.ti''     la  wltho  it  tne  lichtest 
proof  ndix  very  luiprobnbly*    /orntdeßic^n.ooior  oowe  ,^ond 
Mioh  mora  to  the   atyie  of    3hina#  ^.    ^^      i 

At   all  evüüxs  xniß  uniqua   pi.^oe    aade  na  kno^a  an  artlr.tlcai 
parfact  iadui^ry  w^»ioh  i)ac3n:e  for^jotten  in  tiie  hietory 
of  Ohliia  for   ceiituries« 


'^"«HMIW 


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A    Li 


47. 


•<\-     ■ 


45 


Under  the  Mongols  the  clolponn^  enamel  Is  introduced  into 
China  from  the  West  oaoe   more,  It  ia  eaia  that  the  flrst 

/?oS^^n5^^®  ^®®^  "^*^''  ^"  ^^-^^  durlng  the  Yuan  Dynasty 
^1280— 1368  A.D» ) 

This'easely  imae^inable  when  ohe  learns  for  instanoe  from 
frlar  Guillaume  de  Hubrouok's  memoirs  that  in  1231  he  was 
actonlehed  to  find  ajnong  many  foreign  artieaus  hie  com- 
patriot  "  maitre  v^uillauine  BoaGher,orfSvre  Parieiaii.qui 
avait  demeure  8ur  le  ^rand  Pont  h  j'axis   "  as  a  golda^iith 
at  the  brilliant  oourt  of  the  ^ji'cat  ..ublai  Khan  at 
Karakorum  and  when  one  remembers  that  at  Linoges  the 
Romane sque  enamel  art-^iolsorm^  aa  well  ae  champlev^- 
flourlehed  since  the  twelfth  ceB-cury, 

These  artisans  will  of  course  follow  the  brilliant  oourt 
to  Peking  when  Kubl^.i  iOian  usurps  xhe  dra^on  throne  and 
foonds  the  fixan   Dynasty«  ' 

3eside  thls  possibility  it  is  absolutely  siiure  that 
mohaJüedaa  inhabitants  ot   the  province  Yünnam  foanaed  at 
x^eking  in  the  fourteenth  or  fifteenth  Century  Workshops 
where  they  began  to  produce  tnis  cloiso.xne  eaan-el  vnioh 
bright  colors  raust  nave  appealed  to  the  rather  unaopais- 
tioatea,  showy  taste  of  tne  Irlongols.  It  is  perhaps  this 
beginaing  which  adds  tne  denotation   '•  Kuei  kuo  yao  " 
=  i^evil's  Land  kiln  to  tne  others  mentioned  aoove, 

Jlevertheleas  the  Vist  najority  of  the  stock  of   extent 
exaTiples  belonje  defiuitely  to  the  severiteeuth  and 
eighteenth  C]ieturie8,to  the  late  Mlng  and  the  early 
Ch'ing  Dynaety  (K'ang-hsi, Oh'ien-lung)  which  c:^me  to  Eurooe 
and  to  the  United  3tates  after  the  sack  of  the  8uraiier 
Pölace  at  Peking  in  1560.  I  have  to  .-aention  only  the 
Chinese  Tiuseuiü  of  the  palace  ^t   j^^ontainebleau  near  Paris 
(Franoe), 

The  enamel  of  the  Ming  D^Tiaaty,  ypeaking  ^eaerally^is 
charaoterised  by  a  boldness  of  aesign,breadth  of  treat- 
ment  wnile  the  technique  is  not  by  any  means  perfecta 
The  polish  is  dull  and  the  surface  of  the  enamel  shows 
nunerous  un-anted  holes  and  pittinge. 

In  the  Oh'ing  Dybaety  tne  teohnical  finish  is  improved 
in  every  detail.  The  tone  of  the  color  is  much  brir^hter, 
the  polish  brilliant, but  in  the  whole  the  ena:-el  works 
have  for  nie  considerable  lesB  aesthetic  ap.^eal* 


.1*1 


:";•: 


Ei  <4«| 
I«M«. 


[•«il 


l    i.< 


'^      iS.tm  '- 


.•<o*   w>i:TXy 


\  • 


4.  •  ' ' 


'•  >»<■ . 


'^' 


'3!>  ••;  j  .>      j 


^ . 


» ' .' 


'-» 


-..ii, 


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X  \ 


.{f.: 


K'. 


H  ^O 


•  > 


^y  J. 


-'J '  .' 


r  .'■ 


^>L' 


.1  J 


•"  •^>.) 


4  1. 


iv 


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ri>v.. 


-1    % 


»-    .     .•! 


.'  '!.J   >  t*  •    O 


.« 


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.in:J 


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r  •  w ' 


I . 


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Ci 


.^■'    /1.1 


i/.  ■f-j'-    ^J,-,     l-^j,  X   ■ 


V.'  'S 


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-     iv 


44 


The  deeorlptlon     of     methods  used  at 
ByÄantlÄum  are    so   eimilar  to  those   of  the  Chinese  that 
they  '  upport  the  belief , expressed  above,that  the  art 
of   ololsoiin^  enamel  was  brou^jjht   to   China  from  the  West« 

A   pleoe   of  inetal,in   China   raostly  bronze   or  brasSf 
Is  hammered  out   in  the   det^^ired   shape,leavlng  a    smooth 
surfaceiupon  whloh  the   ciealj^  is  oarefully  traoed  with 
a   flne   brush*    Then  follow  the   applicatlon  of  a  thin 
flattened  wire   ribbon  of   coppert silver   or  gold,fastened 
e^^ewiae   to   the   vace  by  a   unlque   procees  of   solderlng, 
Hövlnt:  retard   to    all  intricaeiea  of  the   dejoration,the 
wire   parcels  out   the   field  i.ito    so   :nany  cella  or   cloison- 
nes  as  there   are   colors.    Witn  the   wire   complcted,tne   oells 
are   filled  with  powciered   eii^imel(gl8Es)Tri0isteried  into  a 
puste  v.'hich  is   applied  wlth  the    aid  of  a   bamboo  brush* 
/\fter  the   oolored   pastes  become   dry  the  object   is  baked 
by  laeauB  of  a   charooal   fire,usu»3lly  in  an  open   courtyard, 
Protect  cd  only  by  an  ir4n  uexwork   cover.    A   auaber  of  ;ien 
with  faas  regulate   the   fire» 

Several  applications  of   the   colored  paste   and  repeated 
baking  Mre     leoe    sary.    Then  the  exitire    surface   is   oarefully 
rubbed  down  with  pumice    stouei^  until  tne    surface   is 
eno  ;th  a.id   the  desi^^n  is  well   defined.    ifter   a   final  po- 
lishing  and   cieanin^  very  often  the   cop  )er  at   the   1001; 
and   Ups  of  the  vase  ae  well  the  free   ed^e  of  the   laetal 
bandSfWhich  run  over  the    r.urface  of  the  pieoe,are   gilaed. 


Lit*:   Bushell, Stephan   "Chinese   Art"   Vol«2. London  1924 


Coniiaentary: 

"polin"    :    The    stran^je  fact   tnet  the   accusative   of 

tne  GrreeJc  word   poliß  was  used  to   denote 
the   "capital"   Byzantlnum  in  the  aiddle 
a^e«  was  explairied   to   ue  with  tne   abore- 
viation  of  the   phra^e    ":  il<- t^ ti7 'TTöX/k* 
m  towards  the   capital. 

!?rom  the    same   phrase   the  Tarka  will   ..erive 
"Is-tani-bul"   when  they  had   oonquered  byzan-^ 

tinum  in  14b'3. 
"examples  of  the   ei.^hth  oentury?:    e.^^Heliquary  of  the 

True   Oros3(6taarothek)   at   the  .uetropolilHn 
Muäeum  in  N.Y.dated  Bycantinuni  3-9   Century^ 
x>robably  brouc3ht  to  Italy  by  a   ^rusaüer ; 
once   owned  by  Pope    Itinocance  IVC1245-l^r?b) 
who   r;aye   the   relic   in  it   to  the   church  of 
Lavagna( Italy) 


1,  .  ^^iMHIIIIH>||IHntTwiWitW^ 


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25. 


TWj^  piah.    Cloigoniid  oa  brasse 

Dia, 28  ca. ;   11" 


Colander  shape  with  straieht  rovmded  sides  and  wlde 
flanged  rlm  with  flat  base. 

Decorated  on  the  base  with  Phoenix  and  floral  designs 
on  the  sidee  v/ith  running  horses.  in  polyc.-jrome 
enamels  apon  a  ^roen  ^round. 

The  style  of  the  deeign  io  simple  and  broad. 

The  executLn  without  the  technical  fxnish  of  the 

later  periods» 

Ming.  1':J63-1644  A'P' 


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46 


!!•   ANCIENT    CHINKSE   SCÜLPTUHES  • 


Some  not es  on  early  Chinese  Buddhist  Sculptures, 


221  A.D*  the  Han  Dynasty  flnally  oollapeed. 
Barbarlan  ohleftalne^often  Iseues  of  marlages  with 
Chinese  prlnceö8eB,olalmed  to  be  helra  to  the  fallen 
throne» 

Pour  hundred  yeare  of  ^;ar  atrocltles  aad  confualon 
followed.  In  the  mldst  of  oruel  Invasion, a  new  rell^lon 
oonquered  the  Chinese  world« 

The  worship  of  a  p  mtheon  of  mostly  deetructlve  and 
fearsom  natural  powere  and  the  oult  of  the  anccstors 
were  unable  to  furnlsh  to  the  worrled  mlnd  of  the 
people  the  consolatlon  whloh  the  new  reli^ion, 
Buddhl  sm,  offered, 

Buddha  is  born  about  560  B.C. and  dled  about  477  B.C. 

Buddhlam  Is  reoorted  In  China  already  In  the  flrst 

Century  A.D.  Bat  it  iisa   not  before  the  flfth  Century 

A.D.    that  It  swept  the  country. 

It  Is  not  wlthout  Irony  that  the  bringer  of  thls 

centlest  of  rellglons  were  the  ^«arllke  and  cruel 

T'opa  trlbes  from  Lake  Baikal  In  Slberla  who  took 

the  lead  and  enteit^lnto  ::hlnese  hlstory  as  the 

North     Wel     Dynasty  (386-554  A.D.)  ^vho 

ßet  up  Buddhism  as  thelr   state  rellt^lou. 

The   '/eis  becaiie  ardent  Buddhlsts  and  brou^ht  to   China 

the   art  that   had  to    serve   the  new  divlnity  in   stone 

carvln^a  as  well  as  in  gilt  bronze    etatuettes-     .... 

Prom  the  «Ifth  ceutury  untll  the   fourtheenth  an 

enormous  amount  of  the   country 's  crentlye   genlus 

will  be  aevoted  to  glorlfy  the  new  creed. 

S  iu   aX  the  Weis  be^an  to  build  natural  ra.iotuarxes 

filled  with  buüdhiötic  inasee  out   out  «^  * *^«^'°°^-^, 

The     c  avee     of     Y'ün-Kang   .aituated  uear 

thPir  caoital  T'a-T'ung-l''u(i'rov.Shan8i),   offered 

a   soft   sädstoie  v,hich  facilitated  the  ^ork.   There       . 

thp  work  wlli   ended   about    495   A.D.  /n  ^««a 

The   capitäiwas  traiisfered  father  South  to  ^-oy^4^iioa^) 
He?e  ?he  caves  of     L  u  n  g  -  M  g  n   ^=^1^«  ^^f  ^^],f  ^* 
thrDossibility  to  oontinue   in  haraer  grey  to  black 
liLs?one  aad  black  narble  the   pious  work.    carried  on 
latlltll  eißht   Century  by  the   6ui  and  l-autj  dynasties. 


!  1 


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47 


Many  divergent  influenoes  contributed  to  the  so-called 
North- V/ei  style, 

The  invaders  brou^^ht  Indian(Gandhara)  aiid  Ceatral  Aaiatio 
(Kucha)  influenoesjthey  brought  soulptural  gift  aad  metal« 
lurgio  akill. 

But  as  often  before  and  afterward s:  The  Chinese  onited 
all  that  with  their  own  traditionifine  technique  and 
refineraent  and  as  reeult  an  Individual  Chinese  Buddhistic 
aoulpture  of  their  own  bioBsomed« 

The  Chinese  altered  the  forme  a.;oording  to  theil?  oxm 
Ideals»  "o  mention  only  soine  alterations:  The  fat  round 
headSfthe  broad  Shoulders  disappeared.  Lon^j  and  slim 
heads  blender  Shoulders  aade  their  appearance.  The 
transparent  jarment  ol:ianged  to  robes  which  let  tne  body 
disaopear.  As  in  other  'archaic'  souptures,the  fi^ures 
obey*the  law  of  frontality.    (  f   26  u.27.  28  ) 

Alan  Priest  is  ri^sht  when  he  oalls  the  term  'archaic* 
misapplied  to  this  style, although  he  consent e  that 
there  are  tr :it8,truly  archaic  in  enrly  ^rreek  Goulptures. 
I  have  only  to  refer  to  this  niystic  ec-itallif  amile  of 

the  Wei*  ^ 

Intere stilig  also  ^Uan  jriest's  sugtiestions  about  the 

origin  of  this  peculiar  style: 

'•  The  iconography  of  the  early  Vei  temples  obviouiy 

oane  from  India  and  from  the  off  shots  at  least  of  the 

aandhetran  school,but  tho  style  na  it  appears  at  Yün  Kang 

is  far  cry  fron  the  irandh-ran  Rtyle. 

The  route  of  the  early  Indian  influeace  at  'fün  Kaag 

I  believe  to  have  been  across  Türke stan.  In  style  the 

Central  Asian  soulptures  a  id  wall  paintings  are  a 

mixture   of  Jandharan^^raeco  Roman, Per siau  aud  local 

Ornaments, and  the  last  of  then,ce:)ecially  the  wall 

paintings  from  the  temples  of  the  ilyzil  oa:' 

"Budahiotische  3pätaritike  ia  rlittelasien" ) 

the  most  brilliant  things  ever  created. 

If  these  thin^s  indeed  date  no  earlier  than  tne  sixtn 

Century, one  can  only  gue:  s  at  the  missing  links  between 

Jandhara  and  Yün  y:ang,which  caur.ed  so  con.plete  ^n  art 

to  appear  so  suc&nly  at  such  a  reitiote  distance  from  i-.s 

oarent  stem»  ,       . 

It  has  be-n  su-^e^ted  that  the  iconography  was  ^rans- 
ported  by  means  of  manuscripts  which  were  ^^ea  as  jlans 
by  the  scuiptorES  of  the  caves.  The  linear  quaiity  oi 
Wei  sculptxire  seems  to  encouraoe  this  tneory. 


is 
ra 


(-i^e 

k  aiaong 


Goq 


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II 


M  ' 


Acoording  to   Sirerx,aboat  the  middle   of  the   sixth  Century 
new  waves  of  i^ofth  Iiidian  influeuoes  beco  le  visible. 
(   Käst   7/ei   ^34-!:>50  A.D.    ^  29;    3ui   537-613  A.h.        30,31) 
The     S  u  i     form  a  tiny  but  lovely  introduction  to 
the   Stridor  of  T'ang.   That  for  the    Short   period  of 
the   Sui  Dynasty  we  have    euch  a   large  number  of   eurvi- 
ving  examplestls  explained  by  the  nearly  incredible 
zeal  with  '  hioh  the   first   emperor  of   Öui  patronized 
Budahism,    It   is   aaid  that  he   ordered  nearly  four 
thousand  new  teiiipleß^over  a   huiidred  thousand  new 
Images  and  the   restoration  of    some  niliion  and  a 
hülf  imageß.      Besides  already  fron  the    Six  Dy>aas.tie8 
on  famoua  temples  kept    Stocks  of  gilt   bronze   iniaoca 
on  hand  to  be  b^ought   as   üouvenir8,or  dedicated  by 
pilgrlxas« 

In  the  middle   of  the   seventh  Century, in  the   reigns 
of  the     T'ang     Dynasty     (613-906  A.i;,) 
ChineEe   ßoulpture  v/ill  reach  ite  zenith  or,to  use 
a   generally  famiHar  terra, it^   dasei cal   stage    (/    33 )• 


f^  * 


BIBLI05RAPHY 


t'    '. 


BacJ*f er, Ludwig   "A    ehort   history  of   Chinese   Art'^   1946 
Carter, Dajny   "?our  thousaäa  years  of   Chinese  Art"   1943 
Priest,  Alan   "Chinese    ..culptures  in  t-ie   Metropolit  an  Museum? 
Sir^Kn,Oowald"Chinese   sculptures  from  t.:e   fifth  to   the 

fourteenth  Century'*  1925 


.'i  . 


■L  t 


Af  *■ 


U.   f       .  '  A' 


I   *  "  ^ 


^     \ 


t^  '0:^ 


■:'    '/..^' 


itC  .C. 


-«>* 


>>d 


n 


•f  i,,,,.,ii 


w  X. 


.i*f   . 


49 


«••M 


,:a 


i,  t* 


li 


.  i- 


m 


26/27. 


•  <- 


f- 


» j 


'ij 


f 


,  ,-'^:'-^::;':  ' 


1 


TwQ  Bodhlsattva  Heada» 
H.12  cm,;  4.i2»' 


The  headQ,endo»?ed  with  a  particular  charm,  show  a 
certain  influence  of  the  Gandhararx  and  Ilathura 
School  of  NtW.Indian  KOulpture,thoußh  In  lo  stroag 
degree.  The  eyee  are  treated  as  elits^the  aouth 
fixed  in  a  amile  singulary  suji:3cytlve  of  certain 
Greek  types* 

Thb  decisive  artistic  traits  are  pure  Chinese, as 
the  Wei  Tartars  were  fanatio  absorbers  of  Chinese 
modele,  The  relation  to  the  occidental  Romaiiic  art 
is  striking* 

The  Bodhisattva  heads  \7ere  taken  by  a  Jerman  collector 
in  one  of  the  teapie-oaves  of  Ytin-kang  at  T'a  Tang-fu 
in  Shansi#  They  belon^^ed  very  probably  to  a  jroup  v/ith 
Buddha  before  his  Knlightenment, sitting  under  the 
Bo-tree  in  meditation.  It  seems  even  now  possible  to 
determiae  to  whioh  cave  both  aid  belon^, 

Grey  sandstone  with  reat  of  oolor. 

Morth  /ei  .(336-534  A.D.)  .\boat  48Ü  A.D. YOn-kanc  caves. 

Exhibition:  1929  Ausstellung  Chinesische  Kunst, veran- 
staltet von  der  reseilscfiaft  für  ost- 
asiati-che  Kunst  und   er  ii'reussi sehen  ^ 
Akademie  der  .:.laste,i3erlin.Cat.no.  233/9 
1931  Deprt.Tient  of  Par  Enstern  ^rt  of  the 

Museums  of  Berlin  ( lerniany) 
1935  International  Exhibition  of  Ohinese  Art, 
Royal  Acade'iy  of  Art s, London  (Knc^land) 
'  I930/4I  Gemeente  ]Iuseum,Qen  Haag  (J'ollanf) 


Lit; 


Künniel   "Ohinesisohe  Kunst", 2üO  haupt  «erice 
der  .'iusbtellung  uer  Gesellschaft 
für  ostaLiatibohe  ivunst  iu  der  x^reus- 
bischen    \:cadeaie  der  Kiirißte,  Berlin. 
1929.  Plate  LXV 


-— ■"»•»<?-!■  -•' 


■/ 


■  «'4  M 


■.'.;t 

'•'4 

:;j 

'•:t 


.  u 


j    ai 


•.;0^v 


:l.tl   .';» 


^i. 


J 


fl 


II 


50 


Keldemelster   ••L'expoßition  ä©   l*Art   Ghirioiße   a 

Berlin*'   Oatette  des  Beaux  Arts, 
p. 250/51     1930    : 
L'öpoque  des  Wel  du  Nord(3ö6-534)e8t   Ohara et eris^^, 
ßurtout  h  la  fin  du  V.    et   au  d4but  du  VI,    eifecle, 
par  l'appar -tion  de  la   sculpture  buddhique   chinoise 
archalque.    La  repr^sentation  de  la  divlait^  boub 
la  forme  humalne   eBt,ici,la   i3roblfeme  principal 
que   se  posc   l'art, 

Lee  monument 8  les  plus   importants  de  l'^poque   se 
trouvent   aana  le   temple   souterrain  de    fun  i(.aat<,f 
dane  la  province  de   ühaiisi*    II  est  dommage  au'oa 
n'ait   pu  raoatrer  unse   dep   statunttes  caracteristiques 
de  Maitreya,dans  le  genre  de   oelle  qae  possÄde     le 
Kusee   CerausM.    öeules^de   petites  tStes  de   Bodhisattva, 
exquise  dans  leu*   Charme  auet^re  et  qui  appartiemient 
&laoolleotio/i     Ginsberg     de 
Berlin,    eormeit  uiie  iaee  de   cet   art."  „ 

Cohn  "Skulpturen  aus  YUn-kang  und  vom  ^  ^^^''^^^Z^\7\  a^ 
üstas.  Zeit  Schrift, Neue   ^^olee,9ter  JahrgU933n44 
In  der   AcilUiev  Ostasiatifcchen  j^IunstsaroluA^   •••• 
sind  als  Leihgabe   der     3  a  m  m  1  u  n  g     Herb  er  t 
Ginsberg     zvei  Koepfchen  aus  Xün-Kaiig  aus^^e- 

Mit  Bu'dh^'ale  öodhisattva  unter  dem  ^o-öaum  vor 
BCiiier  -lirleuchtuna  in  Meditation  aoeoen  die   oeiüen 
Koepfe  der   ^ianmlung  ilinsberg  in  Verbindung  zu 
bringen   sein.    Ja, vielleicht  kaiin  man  aie   beider. 
K^opfchen  für  di^  beiden   Figuren  «^Jf .  °«^f  ^^^J^ 
HoPhle  in  Anspruch  nehmen   (jJaido    jekKitsu  Taiicwan, 
iokji  1925,?afel  56)    mch  die   Bruonsteilen.Jroessen- 
verhältnisse    scheinen  zu   stiaaen.  „bri  en 

Wenn  in  diesen   Werken  die  btren^e  <iff  .^f :;i5j^f  ^ 
unverkennbaren  «ord-Wei-ötiles  zu  Zierli.hKeit 

und  Liebreiz    jemilaert  efscheint,so  i.t  das  aas 
^om  v/n-nv  hpraua  zu  verstehen, in  dem  exn  tjewis^er 
tusdruci  durchbricht, wie  aus   den  kleinen  Dimenaxonen. 
Pif  A^beitS  aus  Yün:<8ng(SH_m8i)reichen  «»  "-«^i^.  ^^«^ 
zurück }Me  Hoehlen  entE^tanden  zuineist  ^^^.'^tlJtlllT 
Slfte   ^.P8  f^lnften  Jahrhunderte, in  der  Blütezeit  .er 
dei  N-ora^Vei-Syaaety.    In    Wn-kang  stoseen  wxr  zwei- 
ffllof  auf^nor^.e.tinii3Che(.sndhara)u.nd   -entral^ 

asiatische   :.;inflür,se,.ber   es  .i^tein^^^^^^ 

3Ci\auutigfWeaa  man   sie   jnau   ^ciu. 
stellt. 


^vsv^T^^V^yfTrTirrTm^ftfSBSI^-^ 


rdi>:i9m 


f 

t 


Im 

*  •  •  « 


h 


<  i:*  V  v' 


;•« 


!*■ 


•>: 


'  _  >  * 


'  < 


*  1 


/•  ♦/ 


i'l; 


I 


J 


51 


••Dean  die  Haupt zü(ie  der  okulpturen  uad  insbe  sonder s 
die  künstlerisch  entscheidenden  Züge  koennen  nur 
rein  chinesisch  genannt  werden, sie  haben  wohl  ihres- 
gleichen in  Lung-m8n  und  anderen  Stellen  in  China 
um  die  Wende  des  sechsten  Jahrhunderts, aber  nir^enas 
sonst«  Und  diese  Kunst, der  ^'/estlich  romanischen  la 
ihrer  geistigen  und  formalen  struktur  merkwürdig 
verwandt, inuss  zu.   uer  nicht  eben  ^erin^en  Zahl 
künstlerischer  Grroistaten  Chinas  ^ereci-inet  werden.*' 

Ashton,Leie3h  "Chinese  Art", London  1935 

Chavanne  "ilission  aroh^olOt^ique  aaas  la  Chine  septentrional" 

Paris  1909,plate  105-160 
(Haaer,ix^urt  in  "Chinesische  Kunstgeschichte" (Springer) 

S. 25, Abb. 23 
Sir^n  "Chinese  Soulpture"  London  1925.  Piatos  17-66 


J 


■in  uiiiui. 


'^rtitoÄ' 


m 


•••ti 


%,       t 


•i.- 


ikt 


V 


».•^     «  •  s-     • 


4  '   V 


f     ifÜf' 


'•ii.i;i 


52 


28. 


Standing  Bodhlsatva  wlth  Two   Adorlrifc  Monks 

H.13   cm.;   T" 


Bodhlsatva  («  Knowledge  essentiallty )  is  a  being, 
Bature   to  become   a   duddlia» 

Developed  fro'Ji  the  le\^:;end  of  the  historic  Buadha, 
who  was  a  prlnoe,a  Bodhidatva  is  nostly  lepresen- 
ted  by  a    aiandlng  young  man  in  royal  attlre# 

Thus  our  Bodhlsatva  wears  a  long,on  both  sides 

projectlng,    vestiaent  wlth   long  sleeve3,elaborate 

jewela  and  a    pecullai^  f oriuf.d  crown. 

He    ötanda  on  a   lotuö  thalanus   supported   by  a  lierced 

bracket   and   holds  hie  hands  In  the   Abhaya-iaddra    , 

the  geeture   of   oonsoll.xg:   Don't  be   afrald, 

Behlnd   hls  head  a  heart-shaped  aiandorla  wlth  lloicing 

flames  In  rellef. 

In  front   of  the  3odhiiatva,on  the  bracket   iteelf, 
two  Buddhist   ifionkB   (eaoh  h,1.5")    In   adorlng  attltude, 
perhaps   Sudaha's  d.sciples  A  Nan(    nnanaa    )   and 
Mo   Ho   Ghla(    ivlahSkasyapa    ). 

(illt  bronze   v/ith  epots  of  green  patlnatlon. 

North  Wel    ('536-!;34  A.D.)    ^'econd  quarter  of  the   sixth     ct. 

Sxhlbition:    1929   i^us^t eilung  Chinesischer  r:u.ist,\reran- 

ctaltet  von  aer    ieaellschaft   f ir   jot- 
aniati acher  Kunst   unci  der  .'^kjdemle  der 
KUnste •'Berlin,        Katalog  no.2D4 
1931  Deps^rtaent   oi    ?ar  :ia3tern  ;^rt  of  tlie 
Museung  of  Borlln   (C^ernany) 
'      '  1933/41    >emeente     :aöeun,aen  ^^aag   (Holland) 


Lit*    :    KUimnel    "Die   Aufstellung  tfer   ^3aa\lung  Perzynskl 

im  Berliner  /.unst^^ewerbe  .viuseaiii,    Ost-  ^ 
asiat, Zeitschrift   11,461    (1913/14; 
airajiel   "  Chine  oi  sehe  ..unst"    Zweihunuert   ilaupt'-'/erke 
der   ;»ubbteliun^-  aer   vr.O..'vin  aer   -^'^euco. 
Akademie  der   .^jiiiatet^^eriin.    Plate  ^-^'-^^^ 
Shlna    Ujutüuöhl   Cnosohen,  :'okyo(191.>)-^late   ^^f/J^^ 
fairen   "Chinese   Sculpture% London  1929   Plate   31^a 


li 


?y''[ 


•''^iteilM^tliiii^'**' '^' 


?»•; 


•» . 


t^r< 


•  :fJttl 


53 


29* 


Va.1rapaal# 
H.52  cm.  {20P 


High  relief  figure  of     one     of     thc     temple 

guardlans« 

They  mostly  appear  es  a  pair  at  the  eatranoe  of  the 

caves  of  the  rook-out  temple St 

Gtriking  in  our  figure  is  the  energetic  expression 
of  the  face, the  poise  aiid  the  verve  in  the  moveiuejat . 
A  particula^  formed  cap  covere  the  head,a  s^.ort  laaatle 
both  Shoulders  •  The  undergarment  falls  in  beautiful 
pleats  and  is  bound  over  the  hips. 
The  left  hand  is  raised  to  the  breast. in  the  rii:,ht 
hand  a  hint  of  the  Vajira(thunderbolt). 

Kümmel  describes  his  significance:  ^ 

«  Vajrapani,Indra,alß  der  Donuerkeilträger.der  Vertei- 
did;er  aer  buddhistischen  Welt  d^jen  die  Dämonen, 
spaltet  sich  im  noerdliohen  Buddhismus  in  verschie- 
dene Formen.  ^  /  va_    u. 
Kr  verdoppelt  sich  zu  Chin-kang-shön Übersetzung 
von  Vajrapani),die  in  iestalt  von  stark  bewerten 
niesen  mit  dem  Donnerkeil  in  der  Hand  vor  allem 
die  Tempeltore  bewa^-hen  und  in  der  japanischen 
Form  der  .^^io  (JSn-wang)  am  besten  bekamt  sind. 
Er  vervierfacht  sich  zu  den  Wächtern  der  vier 
Himmelsrichtungen, die  meiit  in  ruhiger  Haltung   . 
als  gewappnete  Ritter  auf  einem  boesen  Jamon 
stehend  dargestellt  werden."      -  -^  - 

The  Limestone, out  loose  from  the  rock  as  the  reverse 
proveü,ha8  ßained  a  beautiful  tawny  oatina. 

East-Wei  (434-550  A.D.)   about  550  A.D. 

Ex  collection  Breuer. 


Exhibition: 


'.I ' 


tt  *■ 


u 


1926  Pepartmeat  of  Far  Easterh  Art  of 
the  Museums  of  Berlin(ü-ermany; 

1929  Aufstellung  Chinesischer  Kunst, veran- 
staltet von  der  See. für  ostas.Aunst 
un  der  Preuss. Akademie  der  Künste 
Bt^rlin  ((Je.many)   Cat.No.245  .,   ., 

1938/41  Jejaeente  .Museum, den  Haag^iollana; 

1946  Museum  van  Aziatische  Kuast.Amsteraara. 


P 


:i. 


'/ 


M 

'.;;;'l 


54 


lo 


Llt#:   Cohn   ••Ausstellung  der  üamralung  Dr.A.Breuer  in  der 

Ostasiatisohen  Kun8tabteilunß"«0aßta8.iieit- 
80hrift(The   Far  East)   1926  Bd.l3tl92/3.   pl.20« 
Kümael   "Chine siscne  Kunst"    ,  Z^'eihundert   Hauptwerke 
der  Aubsteliung  der  vreselischaft  fdr  oötasi- 
atieche  Kunst   in  der  Preussischen  Akademie 
der  Künste, Berlin.   Plate  LXXVIII 
Sir^n»« Chinese   öoulpture", London  1925.   Plate  24-fi,293 
Visser^iuedeeling  van  het  Museum  van  Aziatisohe     Kunst 
Amaterdam. "    In    •Phoenix 'No. 5, 1946, p.  29 

BXCERPTS 


w  i, 


£1^: 


¥    I 


V 

•V 


'  V  C'   * 


X\-. 


Cohn, O.Z. 1926, tom  13,page  192/3: 

••Für  die  auf  Tafel  20a  abgebildete  Steinskulptur 
durfte  eine  re  ht  ^euaue  Jatjerung  moe.^lich  sein. 
Kein  Oebiet  der  chinesisohen  Kunst  ist  uns  ja 
bekannter  als  die  frühe  buddhiatisohe  Plastik, 
dargestellt  ist  zweifellos  ein  sogenannter  Tempel- 
hüter,wie  sie, meistens  zu  z^"eien,an  den  Eingängen 
zu  Hoehlen  und  auf  Stelen  vorkomnien.  ^ 

Wenn  er  in  Tracht  und  Auffassung  von  den  in  der 
I^ang  Zeit  üblichen, bekannteren  Typen  abweicht, 
so  löt  er  aber  für  eine  Gruppe  von  Werken  charak- 
teristisch, die  in  der  Zeit  vor  und  u  m  die 
Sui-Dyna st y( 589-618)  zugeschrieben  werden  müssen. 
Hier  findet  sich  des  oefteren  dieselbe  Kopfbedeckung, 
und  auch  die  eigentümliche  Koerperbehandlung 
sehen  wir  jer-ade  bei  Verken  der  Sui  Zeit  etwa  aus 
der  Provinz  Chih-li. 

Das  Stück  der  Breuer sehen  Sammlung  hebt  sich  durch  . 
die  Energie  des  Ge Sichtsausdruckes  und  durch  den 
Elan  der  Bewegung  von  dem  Gross  der  so  oft  nur 
handwerklichen  Skulpturen  dieser  Perioae  glücklich 


ab« 


N 


Küm-nel,  Prefaoe  to  the  catalo^jue  of  the  "Sannlung  Dr.A, 

Breuer,  Berlin, Ostasiatische  Kunst"  CaBsirer,rfa.bing 

12. und  13.i':ai  1929<  ^      ^  .  ,.  ^^ 

"Unter  den  Skulpturen  ist  vor  allem  der  merkv^rdlöe, 
Boweit  ioh  sehe,  einzigartige  Tempel^vächter  zu  nen^ 
neu,  der,  in  3bereinstiia.iung  mit  öir&i,der  Zeit  um 
550  zueCfc schrieben  wird. 
Vi8ser,H.E.  "Med.v.h.M.v.Az.Kunaf'in  Phoenix  no.3,1946,p. 29: 


i\ 


•i 


*^,9 


Wß 


^£^.X^i    A.    'fX-^i. 


'm 


.ä^MMawMM 


.**r" 


:*^*«^i«iö« 


^' 


55 


IV.VA 

( -  . ,  , 
■ ' '    i 


\        .-V      •  - 


-•   t 


.-.      lirj^O     j..'^.    , 


't    r.     V 


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ry   ..•*/.-     Pi 


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•r». 


.:i*»^^ 


Vi8eer,H*E,"Med.v.h*Mu8*v.Az,KuAst"   in  PnOKaX,no.5f  1946,p*29 
•^v^nigen  tijd  geleden  heeft  het  Museum  eene 
Delangrijke   collectie   Ohineesche   en  Indische 
kunet     in     bruikelen     ontvan^en  ait 
de     omvangrijke     verzameling 
van  dr.H  erbert     Sinsbergte   Zeist» 
Tot  de  fraaiste   stukken  behooren  de  h  i  e  r  ;     i   j 
af^-ebeelde     Chineeeohe      steehsculp- 
t  u  u  r   ••♦chineeeohe  Bronzen, bronzen  figuren 
uit   het  groote   gebied  van  India* • • 
Voor  heden  bepalen  wij  ons  tot  een  körte  bespreking 
van  de  gere ^roduceerde  figuur. 
Deze   aanwinet-in-bruikelen  is  bijzonder  welkom 
omdat    het  Museum  nog  geen  voorbeld  van  beeldhouw- 
kunst   in   eteen  uit   de   eeuw,die  aan  den  beroemden 
T*ang  tijd  vooraf  ^ing,bezat, 
Deze  TemBpelwachter  dateert  n.l.uit  de   zesde  eeuw^ 

Of  het   beeld  tot  het  bejin  der  Sui  pf^rio  e  mag  worden 
gerekend,is  noeiiik  vaet  te    stellen,   ^^r /-^'i  1 U am  Co hn 
heeft   in  de    "Ostacdatißche   Zeitschrift", 3/4  1926 
een  beschouv/ing  aan  gewijd,en  wel  naar  aanleidmg 
van  te   tentoonstelling  der  coli. dr.A. Breuer  in  ac 
OBtasiatieche  Kunstsainrolung  aer  Berlijn^che  musea. 
Het    stuk  behoorde  n^l^vroe^er  tot  ^^^ze  bekende 
verzameling,waaruit   ons  Uuseum  ver^chillen  stuicken 

ver^'^orven  heeft»  ••  .      r>^     '  ^4- 

Ha  ver^elijlcin^  met   eenigen  platen  in  Sirens  groot 
werk  over  Ghineesche  plastielc'coint  John  tot  de 
concluBie,  lat  onze  te3«pelwachter  tot  de^/^;^^ 
voor  en  oastreeks  de   Sul  dynastie  gere^end    noet 

TpTe^ote   C^ineesor.  Teatoonsteilln,  te  B^^^^^^^^ 


nog  ale  bezit  van  dr. Breuer  tentoonüesteld  wordt  het 

11^   (No.243)   als  vol.it  oedateerd;'.ach  Sirin 

wahreoheinlich  Ost-Wei   (b54-b50;. 

Kort  na  Kenoende  tentconstellinö  ^verde  de   collectie 

Scuer  bi1   Casairer-IIelbing  te  BerlÄin  ^eveild. 

!ls  UO.240  !^eregi3t«erd,wodt  thans  als  dateering 

"um  550"  aana^even. 

M«n  ziet  uit  een  eu  auaer.dat  het  niet  altijd  zoo 

feSaSfliS  is  een  -^rlc  der  ^^f^^^'''' 

op  een  ticatal  jaren  »^auwkeurig  te  dateeren. 

Laten  wij  er  ons  mee  *«7«J:?.f  J^i^^ead^  euf 
iets  voor  of  in  de  tweede  helft  der  zesde  euw 

te  plaatsen. 


»^-'■'•'"■■■■'niti 


•1M< 


U    ,  W      •.— 


•  », 


^   tf^r^    '1 


iiw  ♦ . . 


♦  -• ..       -*  ^.. 


/v  r 


-> 


.  A  •  i: 


1'.. 


i*« 


;    I 


K? 


■n 


V. 


/  r 


«  ^  t  «      ^ 


»   41  r* 


I     ; 


1 


Tni#HW>^ 


nri. 


56 


Welke  b  e  t  e  ek  e  n  i   s  nu  heeft  de   zesde  eeuw 
in  de   OAtwikkelin£  der    "liineerche   plastiek,raeer 
in  het  b4jzonder  der  Boeddhistische  plastiek? 
Het  kan  kort  ci:«foriiiuleerd  worden; 
In  dit  tijfeverloop  beleeft  laea  deontwik- 
k  e  1  i  n  g     van  den     strengen     etijl. 
die   ZOO  karakteriLtiek  is  voor   jaren  voor  500 
tot  oiüBtreks  530   ,   v  i  a  k  a  n  s  t  w^rtoe  o  n  z  e 
tempelwachter     behort,n  aar     de 
nog  wel   eterk  geßtyleerde,mar  toch  reeds  t.o*v. 
de   groep  van  voor  500  -  omstr,    530     v  e  e  1 
minder     streng     aandoende 
plastische  kunst  der   Sui     periode. 
Deze     prächtige     plastiek  vormt 
weer  ^ea     duidelijken     overgang 
naar  het   omvangrijke   coiaplex  van  de  plastiek 
der  Tang  periode 

Tot  de   fraaiBte  detail s  van   dezen  Tempelwachter 
behooren  vorzeker   het  niodel(5  van  den  kop  en  de 
ploienbehandlang  van  het  .je^^aad.    Ue  geheele  fi.^uiir 
is  iets  5edron^en,een  inaruk  die  ver;tÄrkt  wordt 
door  den  laag  aangebrachten  gordel. 

De   kalksteen  heeft   een  f jLaie,lichtbruine  patina 
aangenoiiL'nen. . .        De   achterkaat   van  net    staik  wijst 
er  op,dat  äet  uit   een  rotewand  ftehaKt   is  en 
der  halve  den  toe^^ang  tot  tdt  ruimte  van  een 
BoeddhistiöChe   rotetempelcoiüplex  be\^dakte# 


tt 


•  •  • 


...  »***•>, ,(, 


ä-'^'' 


i 


^,*H^i»l;, 


'aiff 


ü» 


» 


i 


;i 


...Ä,» 


I 


57 


30. 


Bodhlsatva  Tl--T8an^. 
H*18  cm. ;  J.J^ 


The  gilt  bronze  ficure  of  the  Bodhlsatva  is  to  be 
Imagined  as  an  attendaut  of  a  dedioatory  group,li.-ce 
the  altarpieoe  frora  the  Tuan  ?ang  col^^eotioiiinow  in 
the  ivtußeom  of  ?ine  Arte  in  Bo8ton(Maas)dated  593  A.D. 

In  Chinese  Buddhism  the  Bodhieatva  Ti-Tsang  ranks 
next  to  Kwan-yin  ^vlth  ^hom  he  is  often  oonneoted, 
Both  are  savioure  from  Hell,both  a.^ree  in  preaohing 
repentance  as  the  way  to  salvation, 

Ti-Tsang's  boundless  oompaesion  tries  to  save  nankind 
from  all  sufferings  and  to  lead  to  a  general  conversion. 

With  the  briiliant  luHtre  of  iiis  "precious  pearl**  he 
penetrates  and  iliuminates  the  i)ark  Palace^chanjing 
Hell  into  Paradifse.  On  the  evening  of  his  birthday 
the  festival  of  the  dead,the  Dllambana, oojies  to  au 
end.Hell  is  closed^vowe  are  made  to  assist  and  save 
all  lonely  couls  for  whoin  no  relatives  care. 

Ti-Tgang  is  either  represented  as  3  Bodhlsatva  with 
a  crov/n  on  his  head  or  as  a  priest. 

In  our  Gase  he  is  in  the  shape  of  a  priest  v/ith  shaven 
head  and  sacerootal  robe ;  he  Stands  upon  a  anall  lotus 
pedestal,  With  the  right  hand  he  holde  upwards  the 
"preoiouB  pearl",the  Jewel,while  the  left  hand  poiiits 
downward  in  varada  mudra.  The  flaming  manaorla  is 
fixed  directly  on  his  Shoulders  ;  it  is  an  open  circle 
bordpred  with  licking  flaines,the  lassest  just  above 
his  head« 

This  gilt  bronze  ima^^^e  is  typi'-al  for  the  short  phase 
of  extrene  elei:,ance  through  whioh  Budahist  öcuipture 
passed  ander  the  short-lived  Sai  Dynasty  ,which  has 
often  provoked  a  comparison  with  the  bsauties  of  the 
European  »iothik» 

öui  (581-618  A.J).)   Seventh  Century. 

Exhlbition:  1931  Depart.of  Par  Eastern  i^rt  of  the  Museoms 

of  Berlln(Jerinany) 
1958/41  Gemeente  i«IUBeujn,aen  flaag  (Holland) 
Lit.  :  M.W.de  Visser"The  Bodhlsatva  Ti-Tsaxig(Jiz3r)  in 

China  and  Japan"  üBtas.Zeitsc^irift  Bd. II  &  III 
(1915/14  cfc  1914/15)  ;  chapter  V  "History  of 
the  Ti*t£ang  oult  in  China  at  the  time  of 
the  Sui  Dynasty"(II,297) 


•    tik- 

■•.'AI 


The  famous  poet  Li  POfOne  of  the  "Eight  IminortnlG  of 
the  Wineoup",who  lived  at  the  time  of  the  T*ang  Dyiisty, 
in  the  eighth  Century  praleed  Ti-Tsang  in  a  poen 
quoted  in  a  Buddhist  work:  ''^e  read  there; 

"Li  ?oh  made  the  following  praise  -^-r 

of  Ti-Tsang  P'u-sah. 

The  original  heart  is  like  the  empty  space 
It  is  pure,it  is  nothing. 

If  one  burns  lewdne88,anger  and  foolishness 
It  iß  fully  enlightened  and  appears  ae  a  Buddha. 
That  Ti-Tsang »8  holy  effigy,painted  in  five  colors, 
Gives  insight  in  the  truth  is  not  a  false  tradition, 
It  wipes  away  likc  snow  all  diseases, 
And  aakes  the  soul  bri^^ht  like  the  pure,  cool  i^^ky. 
Praising  this  sea  of  virtous  actions, 
For  ever  I  proolaiLi  this  to  far  »^enerations*" 
(  de  Visser  O.Z.II,299) 


53 


31 


Bodiiisattva  Head. 
H.3,5  cm.  ;1.5'' 


The  little  head  b  loogs  to  the  ^^^^  ^raceful  worke 

of  Chine Be  oculpture.  The  snildfis  :ive3  the  earthiy 

refleotion  of  the  cnlightement. 

The  oombination  of  Btrength  of  form  with  tue  liv£ 

moSellines  directs  to  the  second  half  of  the  bi.th 

o«Atury# 

High  relief  in  yeliov;  uiarble,broken  out  probably 

from  a  votive  etele. 

Sui    (531-G13  A.J.)      iibout   600  A.K. 


^. "  i 


Exhibitlon:    19^41  ''eme 


ente  iTUiseum.den  Haas( Holland) 


\  • 


,     I 


£  J 


al-^r 


Hn 


■pp 


.'^Wi 


*j 


f\¥§ 


B 


h9R 


M 


i'i 


i::! 


i    i 


,  1.1    /      i!4 


.«-'*<'^^^^^!!tT?'^l!fiH'f^ 


. iXlti 


I 


59 


52. 


StaadlnR  Fi^^ure  of  Buddha 
H.22   cm.  ;    BaO»* 


The  gilt  bronze   Ima^e    Stands  upon  a  lotus  thalamus 

whloh  restß  ori  a)^  octaxio^jal  base. 

A   broad   oalm  face   with  a  rapt  expresc^ion  below  the 

Usnisa,eloa(;atQd  eax  lobea« 

The   cloak   in  elaborate   ooncentric  folds, joined   with 

thebody  to   a  harrionious  unit* 

The  hands  in  Abhaya  and  Vara  iiCldra  bestow  upon  the 

worshipper   fearleaanes  and  blessing. 

The   effect   of  the  Indian  sculpture   of  the  Mathura 
and   (Jupta    tnOhool   ie   olearly  notioeable. 

Oilt  bronze   ötrongly  inorusted  with  green  putination. 

Korea   ,    Early  T'ang  period,aboat   700  A.D. 
Ex  collection  Breuer» 

Exhibition:    193ö/U  Jeneente  .uuseuin,den   ;ia&g(Holiand) 
Lit. -'KttirLmel   "Die   Sajumlung  :r, A .Breuer, Ootas .Kunst" 

No.252. 


L_ 


I  Ms,  #  J     /  .-•  «.I 


■»-X^ef; 


t.j':. 


.^" 


!'!'l'!}!  HrrTTT-TTTtTHT , . ... . 


60 


33. 


Buddha  He ad» 
H.18  om. ;7"    « 


Excellent   example   of  the   Buddha    3hape  of  the  high 

T'antj  periodi 

Monimeatal  fonnß,yet  ^^hioh  priös  eoftly  fron  one 
to   the   other;    the  Ups  füll, the   eyes  nlmond-ßhaped 
curv-^^d  b»  low  the   rai^hty  round  aroh  of  the  eye- 
aockcts  under  the  hxi^h  artificial   ooiffure» 

Iligh  relief  froia  the   rock-cut  temples  in  the 
South  cave   of  Lun^-id§xi,i?roviuGe   lloaan.    Goudition 
of  the   reverse   ,>roveö  that  the  head   nas  been 
broken  out   of  the  rockt 

(jrey-blaok  Lime-stone* 

T'angC 618-906)  About   7üC  a.^. 


Exhibition: 


l')31  Department   of  i?ar  Elstern  Art  of 

the  .uuseume  of  Berlin   (Geim^ny) 
1953/41   vre^eeate  !:ueeum,den  Haag   (Holland; 
1946  Museum  van  .Aziatii?che  Kurist,  Am  .terdam. 


...  ^ 


•  tu 

Hl 


61 


34. 


Sittlng  Lioa 
H,15  cm. ;5.12" 


The  lion  is  sitting  on  a  base.the  powerful  head 
and  neck  thrown  baok,the  mouth  open,the   ehest 
bultjingjWleverly  contra sted  wlth  a  supple  and 

elifthtl^   curvec  body. 

The    sense   of  latent   power  is  vividly  aohieved, 
iubt   as  much  as  In  the  laxGe     guardian 
1  1  o  n  B     ut  the  tcafcs  cf  the  al^^y  or  at 
the  gates  of  the  teraples. 

Since  lions  v;  re  unkAovrn  in  China  the   sculptors 
had  to  rely  on  representations  the>  hau  oome  to 
know  fron  Western  i.tjia  and  which  they  suoceeded 
to  fuse  into   pomethlng  unmistakdü-y  Chinese. 
The    sculptural  qunlity  of  the   T'ang   aninal 
conception  coaes  out  very   stron^ly  in  splte 
of  the    enall  din-^nsion. 

Yellow  jaarble. 
T'ang   (613-906  A.D.) 

Exhibition:    lOH  Department  «^  -';:^^(tf  Sermanyf 

the   i>iU2eunis  of  Berlin   Urermany> 
1933/41   ^eaeente  liusciua.den  HaagtHollana; 


:»: 


1 

■;'.l 


i:;;;! 


i- 


f 


^ 


l 


fe 


62 


^^^'    ANGIENT  CHIWESE  CARVTTJf;?.  in  JAm.   A-JT^  Tvnpv 


35. 


Qeremonlal  Jade  Hatchet. 


,-V  .        .     ,        -i         ■ 

This  emUlea  of  huaan  author  ty  is  oarved  out 

J^  t        ^  1  '^  °.   ^   ^     lephrite      7>aterial 
which  v/ae  found   in  the  neighbourhood  of  the 
G  ho  u     oapltal  H8i-an-fu  in  oheasi  as  well 

in  bhonsi»  >  ..    .... 

This  material  ";as  regarded  ae  a  unioue.conae-   ' 
crated  subf:taace  and  adapted  to  ritual  purposea. 

Wm»  reotanöular  blaae  of  the  hatchet  ie  pierced 
to  faßten  it  to  the  «Irale.  It  Is  used  cereaonial- 
iy  m  Baorifioes  aad  worn  at  court  functions. 

J  a  de  (ya)  of  greenii,h,^rey,blück  aiid  brownieh 
hue.  ihe  hue  is  rathpr  dull  in  compariEon  with 
tiM   briiiht  translucent.raoLtly  green,  stone, -hich 
wa»  imported  not  before  the  thirteeath  Century 
from  Eastern  Vurkistan, Yarkandjfrora  the  ^aikal 
bea  and  frora  Burma , 

C  h  0  u   (1122-25'j  B.O.) 

Exhibition:   1938/41  (^emeente  i.iUceum,den  Haag( Holland) 

Llt.:    Collis,iiiäurice    ^'i^he  first   holy  one^ilew   /ork  1943 

Henne.  sey,"Jna   Pope    '*Jades"   in  Chinese   >irt, London   55, 


Ui 


%    ^ 


\ 


^  Exoerpte 

The   great   Confuciue     (the  Latin  reudering 
of  the    Chinese  K^ung  Fu-tzu  =        stör  TOzng  of  the 
Jesuit 8   "Oonfucius  Sinariiri  Philosojhu^"   Paris  1637) 
v^'ho   llved   550-479  B.C.    at   the   end   of  the   Chou 
Dynasty  when  the  old    Fooiety  of  China  was  disinte- 
grating,epitoi:ilzed  the   jade  thus; 

"It   is  not   beoause    JBde  is  rare   thnt   it   ib   so  highly 
valued.It^^^s  becaut:e,ever   since   the  old   üaySfWise 
Tien  h^v^Vin   jade   all  the  differeat  virtues, 
It   is   80ft,sniooth  and   8hining,liK:e  kindnesö; 
it   is  herd,fine   and   streng, like   inteiiigence; 
its  ed.-^es    Sharp, bat   do  not   cut,like   justice; 


it   han^a  do 


to  the  ^roundjlike  ha.^ility; 


.i>i<<i>>4->- 


■v-i 


I     •     i 


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63 


when   Struck  it   e^ives  a   clear,  einging  sound,lik€  nusic; 

the    stains  in  it,"'hlch  sre  not   hidden  and  whioh 

add  to  to  Its  beauty,are  lik=?     truthfulness; 

ite  brlghtnesB  ie  like     heaven 

whlle   ito  fima  aubßtanoe,born  of  the  mountains 

and  the  watora  is  like     earth. 

The    Book  of  Poetry   says: 

Wheu   I   tliink  of  a    jvise  man, he   eeüna  liko   jade» 

That   is  why  wise  men  love   jade« 


I« 


Una  Pope   aenaessey  "Jade": 

"Jade... the   pureat  and  most  divine   of  natural  treasures 
to  be  the  vehicle   of   ooirüiiunicatlon  ^^dth  the  unseen 
pover  of  the  unive-. rße,it     r^s  adoptea  too   as  the 
eiüblem  of  human  authority  and  the  prophylactio 
a^ainat   disriarraony. . .  • 

To  Ohineae  sensibilities  which  are  in  coae  res 
fint;r  than  oar  own,jade  has  tv;o  qualitiee  that 
Bhould  not  naturally  jttribate  to  it,a  tactile 
value  and  an  auditive  value« 

Not   only  di.i   the   handling  of  Jade   engender   suavity 
and   Gomposure, Dut     tinkling     pendents 
for     the     ^jirdie     aad  the  head  vvoula  by 
tho   nagio  their  nusic  generateä,keep  depravity 
from  the  heart." 


»ects 
we 


For  the  imported  jades  the  merchants  foond  terms 

fuil  of  phantaey:  . 

fei-tsui  ,  kingf  isher-feather  creen   ,hUB-h8ua-tai-tsai, 
lüoee  enta^led  in  snow  ,  white  jade  ^'Ith  z^eea   veins.... 

The  supornatural  is  preserved  ^Iso  in  the  term  '  j  a  d  e  •• 
It  ia  darived  from  the  ^panish  "piedra  de  i  j  a  d  a"  a 
otone  of  the  flank  or  aide»  In  figurative  aenoe:  pain  in 
the  fi ld0| einoe  the  stonc  ie  being  supposed  to  oure  this 
pain  (Webster).  Thua  the  relief  in  the  ^ti'ioaöy   of  oontaot 
with  jade  aa  a  rernedy  for  internal  oomplalnts  ia  evidenoed 
in  ita  nane#  Jeyond  it  reachaa  the  belief  that  jade  pos- 
oe  eed  the  property  of  precerving  the  flesh  of  the  body 
and  preventi/ig  deoay* 


i-^rs---'*-**«,*»-,* 


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<  I*  M 

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64 


36. 


Ivory   31/^net;Linn 
JL .  u  eilt . 


The  form  of  the  llon,to  be   oorrect  of  the  Po ( »Buddha ) 
l^og,i8  convention.-li3ed  and  ad.^pted  to  the   oval  form 
of  this  pieoe  of    ivory;   the  ball  in  the   liori's  mouth 
ie  tne    "jewel    (chee)", symbol  of  purit;* 
Uader  the  ba^e   ^euply  carved  the   geal-charaoters* 

Ivory  with  old  patination 

.uiiig   (1363-1644  A.s).)     Seventeenth  Century, 

Ejc  oollectiou   Breuer.  •  .  ^v 


* , 


Lit.    :   Kitiiuel  und  Crosse    ''Ostasiatisohes  aer'4t'*  192t? 
i^late   37.  w    v 

Exhibition:   1929  -Au^-^tellung  Chinesisoher  Kunst,       " 

veranstaltet  von  der  ^es.f .ostas.Kunst 
und   der  Preuss..**lad8nie  der  iCünste, Berlin. 
Kat.no. 669 
1938/41    ienoente  Mu3eum,den  Haag   (Holland) 


»■> 


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65 


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IUI. 


ANGI>:NT   C^I^resK   CIEHA:a03. 


Some  not  es  on  early  CoineBe  Ceramics, 


Pottery  raaking  in  China  h^B  an  imparalliled  oontinous 
hi Story  of  five  thausand  years* 

Prof  »Ander  öon*  8  excavation^:  in  Ilonan  and  Kansu  were 
the   first  to    show  funeral  pottery  painted  ?/ith  v/eil 
developed   geoiiietricül  and   spiral  decorations^from 
the   Btone   ages. 

From  these   prehißtorio,neolitio  bo^l^  of  loess   soil 
aad   clay  to  tne  ivory-oolored   ceramio  of  the   Shang(Yin) 
(1766-1122  B*C.  ),diooovered   in  .Aayan2,iB  a  £^reat   step. 
Besides  broken  pieces  only  two   oomplete  vessels  have 
been  found.The  one   in  the   Freer   j-allery  of  .^rt   in 
'7ashiU:i:ton  D.O,    shov/s  isair/ed  desii^^ns^identioal  with 
thoi:e   Oii  bronzes  of  the   aarae  period. 

To  tlie   funeral  pottery  belong  most  of  the   gla^ied 
veajsels  of  the     K  a  n     ü  y  n  a   s  t  y  (205  B.C. -221  A.V.) 
formed  afxer  bronze  modele.   Their   ieaf  green  lead  glaze 
±3  often  dibsolvt.d   into   irriaLscejit   silver  pf  peculiar 
beauty   (/'  37).     .     .     .  ,. 

WitA^T'a  ng     Dynasty  (618-906  A/i*).  )bejins  the 
stru^^le  for  perfection.     'my  foreiji  influences  are 
reGO(jaisable,nellenistic  and  othero,both  in  forma 
and  ^It^z^e:   -lIuc  proportions  a:id  beautiful   linesj 
poxCellaneous  v/are   and  even  purc;elainir(.    33,40) 
"   l'he   dhineue  tii.mselveü  do  not  trouble  to  mai^e  a 
dic;tixiction  between  porcelain  and   stoneware.    If 
the  wäre  is   compact  and  hard   a:id  rin^^s  with  ausical 
note  when   ütruc;k,it   iL   cla^sed  by  them  as  porcelain, 
even  though  the  body  be  dark-ciored  and  opaqucand 
of  a  type  've    s^iould  re,:ard  as   stoneware. ''(^^obson) 
The  -Word   porcelain     ,        derived  iro.Ti  the   i^atm 
porceila(a   oowrie    sheli),iö  in  use   at  leaßt   since  the 
da 


days  of  Marco   Polo  wro  visited  Chiaa  in  the  thirteenth 
Century,    our  defuiitioa    'white  transiiiceat  n.iterial 
is  far   Htrioter  than  that  of  the  Ciiinese  äquivalent     T 

To  the   ceraudcs  belong  elöo  tht se   oharaing  terra  cotta 
statuettes  of  -o-jen, -a -.ufaotured  for  funeral  purpoaes. 
Ihey  reflect  reaiisticly  the  daily  life  of  the  period 
like  the  sr^ceful  Tana^ra  figurinea  of  the  Ureece  of 
the  fourth  oe.itury  B.C.found  in  great  numbers  m  the 
tombee  at  Ta-iat.ra  in  Boeotia.   (   #  39) 


z  'u 


II 


.  SÄWa«««»': 


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66 


The   S  u  n  g  e  r  a  (960-1279  A.L.)  signif  ki  the  zenith 

of  perfection  and  beauty  In  early  oeramics. 

The  Chinese  kilns  begin  to  turn  out  magic  resulte.  Some 

Sung  kilns,no  doubt,are  oontinu^itlons  of  T'ang  e stabil sments. 

The  great  advance  durlng  the  Sung  dynasty  ^^ae  assiated 

considerably  by  Imperial  patronage,  ßut  that  did  not 

mean  oonflnement  fo*  the  use  of  the  court  only. 

Por  Instance  the  simple  utlllty  veKüels,found  at 

Küluhsie  n,Ä  city  inundated  durlng  the  Sung  era 

by  the  Yellow  Rlver(ll08  A«3).),8how  a  vory  fine 

quallty   (   #  41). 

In  Chine oe  desoriptlom  of  Sung_ceraiiilosLare  alwaya; 

among  the   flrst  mentionedsTtTie   producta  of  the 

T  i  n  g     kiln8(yao),situat  d  In  Tlngohou  south  of 

Peking«     fhlte  belag  the  color  of  mourning,all  China 

aervlces  were   ohanged   to  these   ivory-white   ceraialcs 

when  the  court  v/ent   into  mournlng,    Althou^h    >nly 

poroellaneouSfthey  appear  almost   translucent» 

The   rlm  of  these   exijulsltes     Tlng-yao     bowls 

and   plates   (   f*^  42,43    )   were  often  l^ft  unglazed  to 

be  covered  with  a  metal  oollar.   The  aecoratlon,mo8tly 

floral  motlves    aometlmes  enrlched  by  the  mandarln 

ducks,emblem  of   oonublal  blla3,or  the   phoenlx,  emblera 

of  the   empres8,^'^as   oarved  ijiylfe  artlst 's  hand  unaer 

the   ^^laze  on  the  porcelaln  clay. 

Hobson  remarks    :    ^   Good    specimen  of  the   ivory  white 

wäre  with  bold   free-hand   carvlng  are   ainong  the 
most   beautlful  v/orks  of  art   of  the   Sung   ootter." 

Qulte  dlfferentfheavy  In  pottery  and  glaze^are  the 
brown-black     Ch'len-yao     bowls   (   ^    44   ). 
They  are   destlned  to  £  erve   the  ncw  custoin  of  tea 
drlnklng*    The  priest   of  the   Ch'an   Bect(   in  Japan  later 
Zen    )   Introduoed  lt,in  orKder  to  keep  awake  auring 
long  hours   of  medtation. 

Aßcetlc   simpllclty  as    •ell'^^aeetetio   subtlety,the 
philoBOphy  of  the   Sung  tea  drinker, waa  oonferred 
upon  the   tea-bowl  maker   ^t   Ghlen-uing  ?u  in  Fukien. 
These  bowls  are   in  a   certaln   sense   simple  with  thelr 
thlck  materlal   whlch  preserves  their  coolnesa  in  spite 
of  hot   content 8, whlle   e.^.    fur-llke  markings  in  a 
lighter   shade  on  the  darker  baokground,proauced  vvlt4 
all  the    sicill  of  the   xpert   potter, aid  thls  aesthetxc 
subtlety  whloh  should  please  even  the   severest   connoisseur. 


il 


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67 


'■Vhen  latpr  tea  drlnking  bacaae  faehionable  the  glaze 
was  excellently  suited  for  games  in  ^loh  the  pereon^ 
won.^-hose  bowl  dried  up  last, the  dark  color  maKing  It 
eaey  for  the  Judge  to  arbitrato. 

The  era  of  the  Yuan  D  y  n  a  s  t  y  C1280-1568  A.D.). 
founded  by  the  oonqueriag  Mongole  under  Kublai  Khan 
oan  be  regarded, relativ  to  the  oeramic  art.as  a 
Prolongation  of  the  üung  period. 

As  80on  as  the  Chinese  Empire  ^^^l%^''lYl%^\  H^l^"" 

§rcrsrrÄ!?a^^ 

o+  4-h*.  v«n^tÄe  river  wine  not  only  imperial  paxroaage 
?Jt  wlJ  bf  d^veloped  to  China 's  «'«-*«*  ^f^^f^f^J^ft 
center.when  1369  the  old  kilns  are  replaced  jy  *J«/i"* 
Imperial  porcelain  factory. 

•Vi*lt  a  new  epoch  begins  in  Ghina'a  nost  ancient  art. 
ihlte  t?anslucent  wäre, the  real  POf^°«l^>^  «^^"°  '° 
Wettern  Standard, becomes  the  prevailin^  Ji^^is.where 
In  ßpite  of  the  Jounds  at  ^f  2^^^^ ^Jf.i^^^^ve  been 
white  porcelain  fragments  of  ^  ang  o^ioin  ^gfi^itively 

^"f  tl^^'i^lr^r  iSiS  tVlTe   thaV?3rfe\u3ntities  of  real 

ror!riairwere^pr?duced  during  ^f  -^ing  P-  o^-^^^  ^^^,,,3,,, 

The  hillB  which  Surround  Ching-t8-^.nen  xumj. 

Chief  materialf  :       -',^^A     ir  a  o  1  i  n  ,from  the 

A  very  pure  white  °l«.j;' ^fi^'J^ere  it  was  foind"  (Webster) 

Chinese   "kaoling^ni^h  *^^ ■'■■'•' ^2   ^^  ^  t  b  e  ,from 

and  the  feldspatic  ^'to'^e,   P  e  -  x  u  _   ^^  (Webster)  in 

"theChinese  pai-tun-tzu=  ^^,^i*«  ^ji^ref^?  the  factory. 
which  form  the  raaterial  "«^/^^^Hi^sh  of  the  wäre. 
Hobson  compares  them  to  bone  and  fiesn  o        ^^^ 

The  infueible  kaolin  «>^«"1^^  *^tXh  liquefies  at  a 

plasttioity  '.hile  the  Pe*^;^J«^'^^f  °J  the  porcelain  body 
Sigh  ten^erature.confer.  not  only  to^the^P^^  ^^^^  ^^^^^ 

its  tranc-parency  bat  suppiies 

with  a  little  lime.     ...  pi.^orial  decoration 

Prom  the  dif f  er-  nt  ways  used  JJJ^^J^^^f  ^ention  only  the 
of  the  -Mte  porcelain  Jo^^J^/^^^^iied  before  the  glaze  is 
unaerglaze  colore  v.-hich  «^«  P^f  J^^ ,  disyosal  only  two 
added.  The  iling  PotJCer^iv^je  at   tem.erature  neededV 
oolors  which  0«^  stand  the  hi^htem    ^^^^^^^^^   biue 
the  glaae:  oobalt  and  copper  oxyae 
and  red. 


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68 


phase  begins:   Ii:ie  universal  deroand  for 

NVIDIA  »M^  «rU<<4'AM 


With  it   a  rxew 

poroelain  in     ••blue     and     white"  with  its 

olimax  in  the  Hing  period  during  the  rei^s  of 

Hsuan  T8(l426-35)  and  Ch'8n^-Hua( 1465-87), the  blue 

and  white  and  underglaze  red  reoeiving  special  mention(f^  47) 

In  the  early  pieces  the  natural  cobalt  hae  a  greyish  tinge* 
It  will  he  improvcd  by  Import  of  superior  material  from  the 
Near  East,probably  ?ersia,the  so-called  "Mohanedan  Blue»* 
(Hui  Ch'ing);  but  these  supplies  were  not  only  costly  but^^<> 
irregulär  and  lacklng  entirely  at  tines, 
The  freshness  and  spontaneity  of  the  deeigns  in  the 
early  I4Lng  picturial  por  .elains  be^^ins  to  disappesr  at 
a  later  atage  ^fi^i^n   the  process  of  manufacture  becomes 
more  and  more  systeiaatized* 

In  the  :iing  period  also  the  fine  white  and  highly 
vitrified  porcelain  of  T  8  -  h  u  a  in  the  .)rovince  of 
P  u  k  i  e  n   startedi  the  body  and  the  luscious  milk^or 
02BQe=white  glaze  merge  insensibily  into  each  other. 
The  decoration  is  formed  by  moulding,application  of 
reliefs.  (  #46  )•  The  European  trcidera  at  Amoy  brought 
this  porcelain  to  Europe  v'here  it  became  knovm  as 
blanc  de  Gliine". 


ti 


The     Ch'ing    Bynasty  (1644-1912)  of  the 
l.anchu  ''^as  estahlished  flrst  in  lianchuria  with  ^-^i^kden  as 
capital.    When  the  last  lliug  emperor  killeü  hiraselfjthe 
I.IanchU8  moved   aouth  and  placed  one   of  their  own  prtees 
on  the  vaoant  throne  in  Peking.  ,  -,     j  »  4.k„ 

The    Start  of  the  new  dy  lasty  was  not  favorable  for  the 
cero--ßic  industry.    In  a  rebellion    ißamst  the  Manchu 
the  Imperial  dactory  at  Ghing-t8-Ohln  was  destroyed;the 
effort  to  aove  the  faotory  to  Peking  failed. 
But  the  brilliant  and  able  personalities  «^J*^«   f  5'°^5^ 
emT)eror  and  hls  grandson.knom  as     K'ang  H8iU662-l^^^; 
and     Ch'ien  Langtl736-95^      stimlated  al.o  ^^^«   «^^«f  ° 
arts  to  new  nrosperity.    In  1630  the  Imperial  factory  at 
Ching-tS-Ch8n  '."BS  rebuilt   and  put  unüer  excellent 

n^farSek  of  Ch'ing  porcel.in  «--^if^^^^Sf  J^^f  J^^** 
■Pnr  blue    and  white  wäre.   The  nature   cobalt  blue  oi   the 
I-Lf  Si  «a  attSines  by  experimentations  the    aoet  p^rfect 
bluS?  "We   Sear  nothiag  of  the  iBportation  of  blue  at 
this  time, but  ^-e   are  told  that  the  native   cobal-t  mmeral 


X 


% 


.  .ȆS^IH 


"ttl 


I  . 

j  1  n.  I 


u  '■:} 


m 


■'  "f 


69 


was  refined  aad  purified  by  elaborate  processes  and 
that  the  differcnt  grade s  of  blue  were  obtaiued  by  mixing 
the  refined  and  the  unreflned  cobalt  in  varying  pro- 
portions.  "(i^obson) 

Perfect  workmanship  replace^  the  verre  {r-   48,49  )• 
Each  pieoe  paüsea  through  many  hands^mata  one  painter 
outlines  the  de8i[^n3,another  pute  in  the  fillings: 
Perfection  instead  of  ori^inality  leads  quitc  naturally 
to  standaraized  modele  and  ende  in  lifeless  repetition. 


BI3LI05K-4PHY 


\ii 


t:i 


f'i^ 


m 


V  ..« 


iJ 


I  ♦ 


«a 


:^  . 


«  .: 


^'  n 


J 


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'i  •  V   *.••■*< 


•^^•il^^  \     :f 


u 


yi 


IV 


w*- 


i.» 


I  , 


t^■! 


K     ^ 


f-i 


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<  , 


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r.: 


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..t 

i'  j 

.  * 

► 

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f ' , 

1. -^  i-.' 

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>  ■-  '  t 

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k. 

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• 

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f 

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■» 

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C  :.  •^.  4.- 


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,t 


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>  ■.. 


Ilii 


5      »•  <*  'V 


Carter  "Four  tnousand  years  of  Chinese  Art"  1948 
Kobson  "Guide  to  the  pottery  of  the  i?*ar  Saat"  1924 
Ilobson  "The  potter 's  Art"  1935 
Schmidt "Chine sieche  Keramik"  1924 
Ziioiiermaan  "  Chines.lcches  Porzellan  "  1913 


'%t 


*  i.i ' 


>  '  ^  . 


70 


l'.'.VA 

iv.-:A 


— ^  j  u      -1 


I 


^  t^  ^»e^A 


r 


li'A 


HATALOaUE  0?  CHINESE  OERAMICS 


37. 


Jar  on  3ear  Pect, 
H,14  cm. }  5.0" 


The  round  jar  »deslgned  after  a  tronze  aodel, 

is  oarried  by  three  squatting  bears. 

ThlB  aniaal  was  dfavorite  Alth  Han  potteriei 

It  was  thought  to  be  a  pov/erful  tonb  gujtsdian 

ynd  evidently  condidered  the  oaryatid  of  tne 

perlod» 

The  iar  beloiigs  to  the  m  o  r  t  u  a  r  y  p  o  t  t  e  r 

of  middlehard  grey-red  earthenware.  The  glaze  is 

lead-8ilicate,colored  ?;ith  oxia  of  copper, 

resulting  in  a  fine  leaf-green.  Due  to  long 

burial  in  the  earth,the  soft  lead  gl^.ze  is 

aissolved  into  layers  of  silver  iriaesceat 

of  peculiar  beauty. 

One  bear  foot  is  missing« 

Han  (206  B.C. -220  A.O. ) 


Lauf  er   ••   Chinese  Pottery  in  the   Han  Dynasty 


II 


Lit. 

...i^ition:   1939  ^-^rsiSf^^^ .efoTseÄ 

für  ostasiatische  Kunst  i»nd  der 
Preuasisohen  Akademie  der  Kl^ste, 

Berlin.  Katalog  no.Ul  rPoilaid). 

1938/41  aem.  ente  -duseam.den  riaag  CRolland;. 


I 


^m 


"  — -»•■»»'TT- 


»sHitHt- 


t;!::i 


;;:i 


i   l 


I 


. 


58. 


•   ♦  «v 


71 

Covered  Graln  Jar 
1U22   cia*{   8.11" 


•  ♦ 


V  .♦ 


The  jar  is  finely  proportioned  and  covered  by 
a  lid  with  knob, 

The  hard  white  wäre  is  made  on  wheel  aad  covered 
Wth  a  thin,pale,atrav^colored  ^laae,miauteiy 

crackled. 

T'ang  (613-906  A.D.) 


SxhiWtion  ;  1331  Deixrtr.ent  of  J-^^'^f^J^^S^i^,  °3 

the  Museums  of  3er im  v^eriaa^iy^/ 

1938/41  Gemec 


nte  Liuseun, den  üaagCHolland j 


a*. 


I* 


'jL,    .  •'      ■.'"     i, 


:  it 


f  i 


^\  «  /-  (1   ♦  I 


-i 


r/ 


«4Mi 


^.♦f^' 


■f*"?!- 


Um 

*•  «1 

[liij' 

11*4 

Mt  4t 


ii 


I 


/  Kr 


f^PPin 


^^fSSKßtK^- 


72 


39. 


H.17  cm. jl.il" 


A    sittifig  t5irl,KlÖfeliieaäv/«drtl|  the   typical  T'ang 
head-dress  leHi  dowi^presaes  her  left   band  aj^ainst 
her  boüom  with  a    stro:.g  expression  and   bearing 
of  mo Urning. 

This  un:;laced  terracotty       tomb     figure 
was  LI  ade   f'^r  funer  al  parpo.se  b  with  the  läea   that 
the    3pirit   of  the  deed  folloved  the  pursaite  v/hich 
had  engaged  him  in  life, 

Terraoottaiof^reddish  olay  vdth  oome  traoeb  of  pigment. 

T'aag   (613-906  A*3.) 

Lit.-  Siren, Oswald  "I^ie  Gtilentv.dcklong  der  ^hine- 

siLchen  vJrabfiguren"  Jahrbuch  der  -iener 
Freunde  Asiatischer  Kunst,  1930/51 

Exhibition:  1931  Department  of  >^ar  Bastern  irt  of 

the  i^lueeums  of  ßerlin(>/ernany; 
1938/41  Jemeente  Mubeunijden  HaagC Holland; 


*' 


mrmmPTfftssssfS^ffmm 


fV 


'W««p«i. 


\' 


'^' 


t 


>         1 


>> 


*       J      .: 


h:- 


■"i^n»» 


75 


40. 


Mclon-f:har'ed  r)Ot» 
H.H. 5   OQ.  }   4.0" 


for  liquid  clay  -  and  ooyered  'vith  a  JJ^"^^^^^'^; J^ 
eome  dlataiioe  Short  of  the  baW««. 

Late  T'ang   (613-906)   or  Early  Sung   (960-1279). 
>4bout   900  A.D. 

1938/41   r,emeente  Museun.aea  Haag  ^Ho.laaa; 


»♦ 


:jr.:;  ■•-•:■••••♦>'•  »»«>>»>»«». 


"^»fe»«**»^ 


W^mw: 


»••«'I 

1 1  * « * 


<  •  t 


•v    r    'i 


...  T 


/IX 


74 


41. 


Dian.    21    on.  ;      3.5    '• 
H*  9   cm.;      3.10" 


The  deep  bowl  on  a   Bhort   foot   is  of  hard,buff-t;rey, 
porcellarieouB  wäre;    it  hr^s  a   coating  of  white    slip 
oovered  with  a   creü_^*-tiiited  ^laze,  clooely  crackled 
in  "o'otrioh-ego»'    etyle. 

The   {jlaze   ends  in  a   wary  line  some   distance   snort 
of  the  baae.    '♦oxjur-iaaxics"  ixiside  the  bowl   bhow 
thJt  the  bov/1  has   oeen  lired  upsiae  do.m;   they 
are  the    scars  left  on  the  base   of  the  wäre    oy  the 
pointed    Supports  on  whioh  it  rested  in  the  kiln. 

i/uoh  of  this  kind  of  wäre  ^^s  exoavated   in  Southern 
ühili  Yfhere  the  to^m  OHU-LU  was  ciestroyed  by  inÄun- 

dation  in  1108.  . .    ^    .    4.     44. 

The  Word  R3r&^  behind   Chü-lu  mee   s  district   city, 
distinct   fron  departnental   ("chou")   and   prefectural 
("fu")   Gity. (Hobson) 

Karly  Sung   .    About  lOUO  A*D, 

Lit.:    :{ob^jon"^;uide   to  tl^e   Pottery  aud  2orcelain  of 

the  i*'ar  Bast"   1924  ^         i 

Yetts   "The   catalogue   of  the  George  Kumorgopoulos 
collection"   1929.   vol*6,pl.23 

Exhibition:    1931  :^ep?rt   eat   of   l^ar  f^f  ^^J^;^*   ?^ 

the  IIUGeuTdS  of  3orlin   tv^er.ia.'iy; 
1938/41   ^Jeineente  Uu3eun,den  naa^^HoIlana; 


>« 


.-..^j.  _  >^^  ;:■!?«♦*»*•»**  ■ 


»  ♦  «jwt ;  XrtKtttttftTT  • 


.V.l 


:i 


4   . 


J^ 


■^.' 


75 


42.  ?ai(v/hite;   TIak   Cnrvcd   Conical  Bowl, 

Diöm.23.5   oin,    ;     9.5" 


k  cleep  bowl  of  corxÄlcal  form  on  a   short  foot, 
The  l:>ody  oloöely  grained,'"hite  a:id  porcellaneoust 
The   e^laze   hya  the   oolor   and  texture*  of  a  warm 
ivory     white  \7ith  "gunmy  drops"  on  the 
exterior,also   oalle*   "tear  drops'*   and  regaräcd 
as  evldenoe  of  genulneneas  by  Chinese   collectors* 
The  foot   iö  gl-^red^not   the  mouth  rim, -livin^j  the 
impresrion  of  hnvin^?ired  upside   do^ra. 
The  raw  edge  of  the  aouth  rim  is   conoe-äled  by  a 
metal   oollar* 

The   interior K^sTlecorated  by  a   design  before  the 
bov/1   ^^as  glazed  and   baked  in  the   iciln. 
It  ie       0  a  r  V  e  d     on  the   porcelain  clay  with 
the  bold  free-hand   h«Äi   of  a  na  et  er  in  tne   best 
Cung  st  y  1  e  : 

Two  mandarin  duks   (Yuan  yang),embleni  of 
coiTubial  blisS|Swim  among  rushes  ^/hile 
the   water  is  depicted  with  oombed  waves. 

The   exhibition  of  Chinese  Art  1:^29  in  Berlin  ö^ve 

the  pobsibility  for   scicfciny  and   oomparison  with 

three   other  l^ai  Ting  bowls  oi  sirailar  quality 

ana  deooration, 

These  belonged  to  the   oollections  of 

iAixaorfoooulos,Tiondon( Katalog  no»594) 

KoeohiAn, Paria  (Katalog  no.593) 

Steiner, Berlin      ,        i/Catalog  no.596)  . 

Our  bowl  (Katalog  ho« 59!?) 

with  the  fainous  ?-iULiorfopoulos  bowl  a 

portions  and   is  doubtleasly  oarved  by  the  same 

hand,to^ioh  Reideneiater  acoribea  also  the 

Koechlin  bowl   (see  below)    .    It   was  formerly  in 

the   collect ion  of  the  archeologist   V^'u  Ta   Ohen 

in  Sooohow. 


x 


corresponas 
so  in  oro- 


3aaß  (960-1279  ^^.d/)  Factory  of  Ting  Chou  in  Chihli. 


^' . 


'? 


*^*y^' 


/ 


■  1» 
>  • 


mi 


'■i\  .i.'.-Vli 


•flHP' 


76 


l»hlbltion:   lü20  /iui]:;itellu;ig  Chiacöl&cher  Konstf 

Vfrran  italtftt  von    ler  CJesellechaft 
für  oetaaiatlüche  Kunst  ua.    der 
PreusöJtehen  Akodemie  der  KUnstet 
Berlin.   Katalog  no.595 

1931    )epairtT?ie.at  of  .^ar  >:aatera  Art  of 
the     Uöeume  of  iierlin(  rerniaiiy) 

lf58/41   ^ew^nte  24ueeura,dt;n  HaagCiiolland) 


Litt 


11 


i 


■>k 


Ift 


;lob  on  **'ruide   to  the   pottery  and  porcelaln 

of  the  Far  East,    1924 
Hoböon  ••The  potter 's  arf*   1335 
i<eiden»'ieter   ^'L* Exposition  de  l'Art   Chi-iois 

a  Berlin  1929   "  in  CJa^etxe  des 
ieaux-^rte  p«254 
Yetta     **'Ch#^    oatalo/r^ie   of  the   C^eorje   .-j^orfopju^ 
loe   oolif*otion"  vol.6|i)l?5 


Bxoerpts; 

Ho^HOn  im  /:uiie  *0ood   apecimt  n  of  the  ivory  white 

wäre  with  bold  free-haad  oarviag 
are  «iiiong  the  nost  beautifiil  works 
of  art  of  the   Sua^j  potter" 
Heid'^m^ietrr  in    'azette  d.B.A«: 

•<L'4tuae  minutieuee  et  la  ooapariGoa  dce 
objete  expos^o  noue  a.;  >reiment   aurai  que 
la  tradttlon  ohinoiBe,qui  fixe  l'orii;ine 
de  types  diiterrriaöe  ^      «s  fiteliera  ddter- 
nln43,;ie  doit    pao  itre  mirje  en  doute# 
Je  n'ai   qu*S   laeutiomir^r  let3  rares  coupec 
du  ty::>e     t  1  n  ß     qai  jorterxt  ua  c.  icor 
rrav4  d*oien  et  doh.  vajuest 
jju^tre   :>i>0ps   rjont  reimiea  ioi  provenan, 
entre   autreöjdee  oolleotions  K  o  e   o  n  1 
et     Jinsbers.    A   leur  exanen^per- 
somie  ne  peut   douter  qu%^l-eL   :iip.;artieRiit 


i  n 


au  aÄne   rtteIiür,ri:io:i  ^r^ 


rtiste*'' 


froa  th06e   lour   üowls,oa(je  UJiited    at  the  exhir.Uion  in 

^  '      '        and   t^aria 


.>ff^; 


..•.Bm»«**>«-aA*ft,«  , 


I 


!■ 


.M....«j,..,,*ui-»".:^!t;tnnprrnTmTr: 


,t^ 


'^nmmm^Mm 


.ftiüh': 


•  IM* 


«•  •• 
•  ••» 
•4  »ä 


.r 


ifi 


•y 


^ 


■';,       /*•  ktJ^ 


Ä  -      '  / 


«       'S    . 


r  -i  ^ 


•  t. 


i«   < 


-•r 


n  X 


'^  ^ 


77 


43 


The  djah,tdi^ied  by  a   short  footVwlth  a  hi^h  rim, 
io  of     p  riect   circulrir  form  ^nci  of  ^lelicate   color. 

The  body,b  r  o  w  a  i   s  h     porcellaneous  iicird  wäre, 
is  covered,exGept   on  the  top  of  the  rim  and  the 
foot,v;ith  an  ivory  white  colored  t^laze. 

The  interior  decor,phoenix  flyin^;  over  '^^aveSjiöstan 
oarved  on  the   poroel-iin  clay  before  th.e  glaze, 
nevertheleas  nearly  ''-orn  out  by  use   and  heavy 
oraokles.   On  the  outer  rim  a  pattern  of  vertioal 
lines  ie  recoGiiisable« 

Sung   (960-1279   A.D.)   Ting  Chou  in  Ghihli. 

Exhibition:    1929  Ausstell'ong  Chinesischer  Kunst, 

veranütaltiBt  von  cer  Oesellöchaft 
für  ostaüiatitrche  Ilunst  und  der 
Preussißchen  Alademie  ö,ex  Künste^ 
Berlin.  Hat .no. 608 
1933/41   Jencente  :i-Uteud,den  liaag(Holland) 


i  > 


\ 


«« 1  *  •!  *•»«&«, 


:ii:«4!}SH}"»4!m1.4|W«1ICJ1: 


•■r»HU,»u;Hii^MÜ' 


V.]'.',t 


i  « 


I 


N 


A         r-  A^ 


<    ' 


.1 


t  / 


J 


*■( 


i>  1 1 


i 


;/" 


73. 


A^, 


Ohlen  ^are.Oonlcal  Tea  Bowl,    (  Tenrioku  ) 
Diama2.5g».;   4.15" 


The  ooriioal  bowl  is  of  liard  blackish  pottery  with 
a  thiok  blue-blnok  glaze   ::l2Baked  with  .golden  browA 
in  fine   lihes  like   "  hare's  für   '*• 
Base   and  mouth  renained  un^jlaaed    ;   the  rim  is  pro- 
teoted  by  a   silver   oollar. 

These  bowls  v/ere   populär  in  the  tea-testixig  compe- 
titiona  of  the   Sung  jynasty,  v.here  the  po^vdered  tea 
sacceeded  the  cake  tea  of  the  T'ang*   '/hile  the   oake 
tea   was  boiled,the  ;;;ireen.  leaves  of  the   ahrub  ?/ere 
^round  to  Tine  po'vder  in  a   snall   stone  üdll  and  the 
preparation  v;as  vvhipped  in  not   'vater  by  a  delicate 
whisk  made  of  s.Ait  baraboo^ 

In  Japan  the  masters  of  the  tra-ceremony  have  al- 
v;ays  deli(shted  in  the  Chien  yao  bo\vJ.s.   Their  thiok 
naterial  made  thein   cool  to  hold  andf)*l)laok  glaze 
showed  MX)  the  leost   trace  of  the   green  tea. 
It   iö   Said  that  Buddhist  monks  from  the  Ch'an 
nonastery  on  T'ien-mu  bhan,in  Ghekiang,introduced 
the   Chien  yao  into   J^pan  and  that  the   -lesignation 
as   "teiiL-ioku"   is   derived  from  ühis  ori^jin. 

Sung   (960-12/9   A*I).)   Chien-ua:i^  ?u  in  ?ukien. 

Exhibition-    1929   Aui-steiluas  Chinea.iCun8t,verQ'ist-^l- 

tet  von   der  Gresellechaft   f.lr  ostas. 
Kunst  und  d  er   i^reussischün   nkadenie 
der  Aiinate, Berlin.   Katalog  no.!p39 
i.'eoartiient  of  i^'ar  .Lastern  Art  of 
the  Wu^eums  of  Berlin   (Gernany) 
1933/41   "rejieente  .:useuii,den  .^iaagtHolland; 

Lit.    •    hobson'Vruide   to  the   pottery  of  t-e   rar  ::.ast»' 
Mobson''   The   potter 's  ;\rt    " 
ükakuro  Kakuzo    ''The  book  of  tea. 


1331 


m 


Ml»« 
I«'«' 


f.: 


H 


\  l 


et 


V. 


i  1 J. 


-<  .r 


■-CT&nr.-^^^-- 


■"fk  A  ^^«*-  '^*' 


•  "X 


.- 


45. 


79 


Small  Vase  with  Long  Heok. 
iI.18  cm,  {  7.2 


«f 


Middlehard  grey-red  wäre  vdth  a  leaf-green  glaze 

whioh,due  to  burial  in  the  earthihas  become  silver 

Iriidescent. 

The  decoration,moulded  in  low  relief,prune  twigs 

and  Volute  Ornaments  is  yellow  colored;  so  is 

the  rlm, 

Ming.  1368-1644  A,:), 


<;.  ■- 


.  *,' 


Exhibition:   1929  Ausstellung::   ChineBischer  Kunst, 

veranstaltet  von  der  G-e Seilschaft 
für  ostasiatische  Kunst  und  der 

i:.  /   ,i-  Preussischen  .Akademie  der  Klinstet 

Berlin.     Katalo^^  no.676 
1933/41   G^emeente  ivlui:eum, den  ]iaag(Holland) 


)!' 


'i 


■ä'*'" 


irf^ 


i""'f 


•  <#  ■ 

i I  • <  •  <| 


•  •  » 

■ . . .  , 

«.''1 


•  .II 


i 


\  r- 


;—  -j 


46. 


80 


Sourd-Ghaped  Poroelaln  Bottle> 
H.24  om. ;  9.5" 


The  body  of  the  vase  is  of  fiae  graia,unctous  and 
very  white*  The  glaze  is  thick  and  solid. 
The  deooration  is  painted  in  underglaze  Imperial 
b  l  u  e  and  copper  red.  '*whiich  was 
at  its  best  at  this  time.  "(Hobson) 

The  style  of  the  decorat ion  is  fresh  and  spontaneous. 
Below:  Two  Phoenix  (f§ng  huang),the  emblem  of  the 
empress|between  cloud  and  fire  Ornaments. 
Above:  tSpibols  of  good  luck  and  fire  Ornaments. 
On  the  bottom  the  reign  mark  of  Oh* Sag  Hua. 

Ming,Ch*«ng  Hua  1465  -  1487. 

Exhibition  :  1958/41  Gremeente  :/TUseiuii,den  Haag  (Holland) 

Lit.  :  Hobson  ?The  pottei^s  kxV   1955 

"  The  reicn  of  Ch'«ng  Hua  (1465-87)  and 
before  the  reign  pf  j^süan  T8(l426-55) 
were  regarded  as  one''' the  classic  r 
periods  in  the  ceramiciL  of  this  aynas- 
ty.  The  blue  and  white  and  underglaze 
red  are  specially  mentioned." 


IP 


'*.-« 


\\ 


iTTsiuirir 


msmm 


i^^^yTTBWS^SS^^^rTT^?!!!!!.— IZ-Z? 


1 


81 


I  1: 


t 


;i'-^'.f, 


<"%i.  ,'• 


**  't »» 


.  »x,.r  J'J»; 


iv.O/:^/'f  ti  •';•• 


•  V 


47. 


Small  grill -tfahaped  Vas^,» 


Porcellaneous  wäre  with  soft  looking,cre9my-white 
glazefiainutely  crackled.    At   the   rim  a  lizzard 
and  a  beetleoire  applicated  in  hi^h  relief. 

Body  and   glaze  merge  in3ensibl|r  into  eaoh  other, 
having  a   charm  ofttl*fr  own,    3o-calle*  "3  1  a  n  o 
deChine"* 

Ming       1368-1640   •    TS-hua    ,    province   of    «^^ikien. 

Llt*:    Hobson   "   The   potter 's  .Art    "    1935 

.  .    Schmidt, Robert    "Chinesische   Xeramik"  Tafel  82  f 


N) 


Ali 


?*»^»»-'»TjIIKJ; 


t.    ^-j.*-(|  t  ii  fciftu^Aiii  ?ii »-    ..'.-..1'  :.*. .  %.•>.'  tJ 


l^mmmmm»*: 


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48. 


82 


Porcelaln  Jar, 
H.27,3  ora. ;11" 


The  body  of  the  big  jar  is  of  white  material 
with  a  pure  limpid  ^^-lazei  the  oombined  effect  ßhowe 
a  white  whioh  Hobson  oompares  with  "  well-set  curda". 
On  this  baokgroimd  the  decoration  of  )eonies  v/ith 
their  leaves  is  masterfully  distributed  in  b  1  u  e 
which  biends  harmoniously  with  the  white, 

This  b  1  u  e  , which  varies  from  a  deep  saphire  to 
a  pale  blue,receives  life  and  movement  from  its 
graded  waehes. 

The  spontaneousness  of  the  Ming  painter  ia  super- 
seded  by  perfect  workmanahip.  ,;; 

The  rim  is  protected  by  a  copper  collar# 
Carved  teak  wood  cover  and  stand« 

Ch'ing  Dynasty,  K'ang  Hsi  (1662-1722  A.D.) 

Lit,  :  Hobson  "Guide  to  the  pottery  and  porcelain 
•^  •       ■  of  the  ?ar  Ea st "  1924 
Hobson  "Potter 's  Art"  1955 


iii 


ii 


m. 


II 


.>r;';;;':;.;;-^Tr 


>* 


iHMTHT^ 


tjil!  LilHiitWV;!fffg!^?ffllPII 


:!"• 


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et 


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*'■     I    f 


49* 


85 


Small  Poroelain  3qw1> 

Diam*17.4   c  :.  ;7.2" 
H,        4  GH.       ;1.8" 


Ihe  porcelain  niaterial,glaze   and  decoration  of 
exqulfite  finish, 

Inside  the  bottom  a  big  imperial  five-cla^ved  dragon 
en  face  in     iron-red     on  imder^laze     b  1  u  e 
waves;      white     are  the  break s  as  welln^the  ^^Ide 
rin,,undeoorated  except'a   small  blue  double  line. 
Out  aide,  in  the    eaine   color  90heme,ten  small  dragons 
in  Profile,    in  different   shapee  and  movement s  on 
wave  s • 

TJnder  the  bottom  the    seal  mark  of  the  rei^n  of 
Ch'ien   Lung# 

Ch^ing  Dynasty,    Ch'ien  Lung  (   1736-95  A.i)J 

Exhibition:    1938/41   (Jeiaeente  liluseum, den  Haag   (Holland) 

Lit.:    Hobson   •'Guide  to  the   Pottery  and  Porcelain 

of  the   r'aT  Köst"   1929   .* 
"  The  long  and  prosperous  reijn  of 
ChUen  Lung  was  the  last  of  the  ^reat 
periods  of  Chinese   ceramic  history* 
The   celebratcd  T'ang   fing  was  now 
appointed  to  the   suprene   control  of 
the   Imperial  factory;   a:id   during  hie 
rule,which  ended  in  1749, the  King- 
techen  potters  touched  the   zenith  of 
their    Bkill»'(  lobson) 
Schmidt, Robert    »«Ohinesische  Keramik"   1924 

Tafel  126  d 


'j 


f 


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84 


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50. 


Sraell  Vaee   -vlth   Inn^r   r^>r>L^, 
lj.18   cm,  ;    4,15" 


ihe  glaze   of  the  poroelaln  vase  is  so-oalled 

?  i  *  i/u*     •*  '     L  u  n  e   %    a  pale  blue 
Bhadc  which  waa  obtained  by  laixing  cobalt  with 
the  white  feldspatic  glaze. 
Uiider  the  foot  the  reign  laark  of  Gh'ia  Ohing. 

Ch'ing  Dynasty,Ch'ia   Chiag   (1796-Id2ti  A.D.)  * 

Exhibition:    1953/41  ^>emeeate  MUreiun.den  'laag(Holland) 
Lit.  :    Hobson        '•  The   Chia  Ch'iag  period  is  from  the 
-   ,  oeramio  poiit  of  view  a  Prolongation 

of  the  Ch'ien  Lang." 


r. 


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51* 


Poroelaln  Plate  l^ecorated  in  Bl^ack  and   G^old. 

Diam*23.5;   S»* 


The  ,:oroelain  plate  belonged  to  a  table  servioe  which 
was  ordered  In  the  seventeenth  or  ei^hteenth  Century 
in  China  for  European  use.  White  porcelain  from 
Ching-tg  Chin  ic  decorat  cd  after  a  European  en^ravin^j, 
a  foreign  merchant  brought  to  Canton, so* well  or  so 
curiously  as  the  Chinese  copist  understood  the  matter* 

The  black  lines  of  the  European  en^rraving  are  ^^iven 
dili-ently.&<Ä»|«^ö^t|iese^  black  lines  this  kind  of 
porcelain  is' callea/^*^2;wärte  Kunst", while  the  general 
term  is    "Chine  de  Commandc". 

Our  plate  shows  insidc  Its  bottom  a  mythological 
8Cene,probably  one  of  Jove's  love  affairs.  His  eagle 
and  two  oupids  are  preseit^a  peaoock  too.  There  are 
8o:ie  misunderstandings  in  trie  reproduction  of  the 
surroundin^s.  -i  ^old  ornanented  edge  ieads  to  the 
broad  rim  with  interlaoed  band-ornaments  in  black 
and{^old. 

Porcelain  from  Chin^tftChSn, the  decor-^tion  probably  Canton, 
Seveiiteenth  -  ei^hteenth  century# 

Exhibition:  1933/41  ^'te  leente  :.Iuseuia,den  ;aag(Holland) 

Lit»:  Hobson"^>uide  to  the  ;orcelain  and  potters  of 

the  ?ar  East" 
Schmidt, Robert"  Ciiines. Keramik  "  Tafel  132 
Zimr.iermaiin, Ernst  "Chinesisches  Porzellan"  Tafel  107 

Pro  Memoria     ' 

This  plate  belonged  to  the  famous  Chine  de  Comi-nande 
Gollection  of  ivirs.Sphie  EltzbaGher,-A.asterdam. vUie 
built  up  lifijr  voiui.iinous  collection  oy     urchases  in 
the  I^ether lande.  Therefore  we  can  presume  that  also 
this  plate  was  made  i»««^rd4a:g  to  order  of  tne  -)utch 
East  India  Company, founced  by  Pierter'z  Coen  in  1602. 
4fter  the  death  of  .nrs.r)ophie  Eltzbacher  in  1900  the 
whole  collect  ion,exce?t  a  few  pieces,w8ß  ?;iven  by 
Mre. Hedwig  Lachmann-Kitzbacher, Berlin, to  the  Kunstge- 
werbe Museum, in  memory  of  her  late  mother.  Thus  tne 
collection  was  in  the  Sc;hloss  iiU6eujn,when  we  left 
(Jermany.  If  the  collection  has  not  survived  the  bom- 
bardement  of  the  becond  Vorld  vVar,this  plate  at  least 
will  keep  the  memory  of  her  collection  for  Xher 
desoendents. 


4l 


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.i.. 


86 


7.    ANCISIT   CHIITISE  PAINTTIG. 


52. 


BirdB  and  ij'lowers 
Kakemono  on  darkened  Silk  in  brooade  moonting. 
102  X  49  cm,;  4.0.3  x  19*5" 


A  great   f  a  1  c  o  n  cowers  on   fie  broad  stem  of  a 

pine  tree;  on  the  brandes  above  him  a  pair  of  amaller 

blrds;  on  the  .^round  beiow  a  phesant   among 

soiae  shrubs.  One  of  the  ahruba  with  olive  leaves, 

soarlett  b  u  d  s  aad  b  1  o  s  s  o  m  s,another  with 

Biaall  white  f  1  o  w  e  r  s  . 

On  the  rißht  aide  dedioatory  inscription  of  thirty  one 

characters. 

Yuan  (Mon^^ol)  Dyaasty  1260-1568 

Prom  Daizen,Kioto 

Lit.:  Laurence  Binyon  "Painting  and  Gallisraphy"     ■ 

p  6  "  In  1260  the  Itioiigols  beoame  masters  or  ühina.. 
Painting  oontinued  the  'j\xn^   tradition,\vith 
a  oertain  dif xerenoe, . . 

The  life  of  aninials,birds  and  flowcre  beoomes 
a  far  more  sigaificant  motive  than  with  ua, 
?lowers  espeoially;for  all  Chinese  nave 
a  revereatial  paösion  for  flowers.  In 
oainting  they  are  asually  associated  witn 
birds.as  if  songs  and  movement s  of  the 
btrdB  lent  an  elequenoe  to  the  silenoe 
of  the  flowers." 


" 


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87 


VI.  ANCIENI  OHINESE  LAO^UKR 


53.  Rectangular  Box  ^or  Incense  with  Paiated  Decoration. 

H.  ft  cm. ;  l.S" 

ö.  6  X  6  om. ;  2.6  x  2.6" 

The  foundation  of  the  lacquer  w4rk  is  wood. 

The  decorat ion  (hua  oh'i)  is  a  paiated  upri^jht  soarlet 

oelestial  five-clawed  dra^on  in  profile  amidst  clouds 

and  li£;htenin2  Ornaments. 

The  favotirite  three  color  scheiae  of  the  Ilin^;  is  used: 

Soarlet, o^^en  and  bro^^ni  oa   black  ground. 

3oth  parts  of  the  box  are  franed  with  lead. 

Ming(l368  -  1644)   Sixteenth  Century. 

Ex  collections  Prof .Crrobse,  Br.-^. Breuer. 

Exhlbitions:1929  Ausstellung  Chinesischer  Kunst  veran- 

v'r:taltet  von  der  leselischaft  für  ost- 
asiatische KiJinst  und  der  Preusüi sehen 
Akademie  der  Kllnste, Berlin. Ivat.No. 772. 

1935/36  Royal  .^cadenie  of  -Arts, London. In- 
ternational Kxhibition  of  Chinese  Arts. 

1933/41  Oe-:ieente  i'useuin,den  Haag  (Holland) 

Lit.  :"Trani:-actions  of  the  Japan  Society  of  London? 
Vol.XII,Plate  IX 
Leight  Ashton"  Sculpture  and  Lacquer  **  1935  : 

"Lacquer  is  one  of  the  oldest  arts  in 
China. The  foundation  of  the  niateriai 
is  the  natural  guin  of  the  Ch'i  shu 
tree.The  gura  iB  dried  form  is  crushed 
and  strained  throue;h  cloth  to  refiae 
it,is  next  colored  to  the  varioua 
tints  required  ana  then  ready  for  use. 
The  Chief  oolors  are:scarlet,yeilow, 
blac'<,  oro '/n,ali30  green... 
v;ith  the  materals  thus  )bt2ip.ed  the 
lacquerer  paint  on  hie  coats  over  a 
foundation^ of  wood,metal  or  paper  mS»he 
in  suocesive  layer8,never  lese  than 
three, allowing  eaoh  coat  to  dry  before 
the  next  is  applied. Tlie  objeot  is  then 
ready  for  deooration. . . 
The  Chief  ce.iter  of  painted  lacquer 
was  Ghia-haing  fu  in  the  province  of 
Chekiang. 


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88 


late'^ar^^^  ^^  ^^^^  ^""^  produced  at  a   comparitively 

^part  from  the   early  fragnents,found  by  Aurel   Stein 
in  Central  AbIq  on  the  old  "üilk-traoks"   ,   a  few 
pieces  of  T'ang  time3,part   of  emperor  Shomu's  gift. 
exist  in  the   ^iDüo-in  at  Ilara. 

The  nomade  tribee  of  China »a  western  bordere  in 
Chinese-Türke  st an  brou^ht  induatrial  art  of  oarpet- 
weaving  alrendy  fron  Central   Asia.   Besides, Tarne rlan 
settlea  Persian  oarpet-weavere  at   Sanarkand  aboat  1406. 

Nevertheless  the   Chinese  carpet   develops  a   style  of 
its  own,prinary  in  its  prinoipal  oentres  of  oroduction 
at   Yarkand  and  Kaahjar,later,when  the   carpet-weaving 
industry  ie  greatly  promoted  by  the   emperors  X'ang  hsi 
(1662-1722)   and   Ch'ien  rang(l736-1796)   in  the   province 
lichantung  and  in  -:'eking.Here  the   propor, piain  Chinese 
patterns   develop  whioh  differ  greatly  froni  the  Turkestan 
designst  - 

Both  have  in  ooimr.on  principal  feature8,aiverc;ing  fron 
the  carpet  ^:  of  the  Ilearer  East*      uch  laore  loosely  knit- 
ting,cutting  of  the   pile  to  offset   the  an^julBrity  of  the 
decign;   different   color   8ohemes,yellow  and  blue  being 
the   predoninant    sha^es. 

The   piain  Chinese  patterne  trace  back  to  the  very  aiicient 
art   of   silk  -  -reavingj^vhich  brou^ht  in  the   antiqj.ity  the 
naue    "beres"   to  the   Chinese. 

The   traditionil  une   of   '^ooepted  inoti^ffs  form  the  basis 
of  nany  a  pattern,    J^loral   and   animal  patterns  — 
pruriusppeony,  ohrysaatheiauni,lotU8(f  iowers  of  t:ie  lour 
dra^^on,  Phoenix, dog  of   Po  —   ?lay  a  gre^it  role, 
8o  do  the   "Thunderpitt^rn'SI»ei  wen  or  Chinese  Meander, 
the   6wastika,aere    arabol  for  ijood  lack  only  in  diverse 
badd-combinations;   as  well   pattern   ayiaoolisixici  olouds 
and  water,iioiitui.i^  and  fire;    alüo   the    ^'vic^ht  Trigranö'» 
(Pa  kua),the   "Twelve   Ornaments, the "Äight  Buddliist 
embleias«  "* 


.  ■ « 

% 

^•1 


seasd^ns) ; 


Bibliography: 


ElR«nu.:iEwiminTT 


A8ht0:i   "Chirxeae  Art"   1335 
nacicaaoK   "Der  J.^aesisoiie  '^epplch^  1921 
.lüisteroerg  " Jliiuea.KttJistgesoMcate     .^.xI.lJJ.*: 
Toyei   ohuko.Iiiust.C  ^talo^ue  of  jiioient 

imperial  treasury,oalle« 

biioßoin.vol  II 

"Seres"  :The  aatlve  name  of  t-e  natural   silk  fibre  '''^'^, 
••s6U"..-'rora  this  üri,-in  fora  the  «Jreek  the  word 
"3er",for  t'ie  woven  artiole   aericon,"hioh  aeones 
in  Latin  «ericum.Khen  un  er  the  Han  |^«Jwee^^^^.  ^„ 
114  B.C. tili  127  A.D. Caravans  on  the"silic  traoKs 
oarry   silk  frora  China  to  the  Persian  s\xU  for 
the   luxuriouB  Horaans. 


fl 


»» 


;;;::i 


':::i! 


1.(1 


8  9 


/ 


•t^  <^- 


*  V  4 


'Hwn 


54. 


Shantung  Wpol  Rg^ 
200  X  256  cm. ;   79  x  101. 1»' 


In  the  mlddle  of  the  crearay  ground  a  circular  medaillon 
in  blue  and  yellov;.  In  it  the  lionlike  shaped  '•»o  -  Dogs". 
These  dogs  (?o  is  the  Chinese  term  for  Buddha)  ^uard 
budhistio  sanotuariea^the  male  carryin^  the  ball-shaped 
ohu  (a  jewel),the  symbol  of  purity. 

Over  the  rest  of  the  creamy  surfaoe  are  gracefully  scat- 
tered  some  prunus  tvags  in  orange, yellow  and  bro^^m,while 
the  four  corners  are  filied  v/ith  scrolled  stenes  with 
peonieSfthe  '*iau  dan  hua*',  symbol  of  wealth  ind  esteem, 
beiu^  simaltaneously  oae   of  the  four  season*s  fiowera  ' 

The  borders  are  dark:  Chinese  Meander  or  Thunder  pattern 
in  blue,yellow,brov/n  on  orange  ground,  suÄrounded  by 
a  dark  blue  c^round  ^vith  peonies  and  tendril  pattern. 

About  1750  (OhUen  Lung).  Province  ohantung. 

Lit.:  Holt  "Rugs  oricntal  and  oociaental  antiqae  and 

moaern"  Chicago  19Ü8 

Exhibition:  1929  Ausstellung  Chinesischer  Kunst 

veran.vtaltet  von  der  Gesellschaft 
für  ostasiatiscne*  Kunst  und 
der  i^xademie  cier  Künste, Berlin 
Katalog  no.ll22 


^ , 


•^» 


^^Ai«l^'..,- 


90 


«tt  t 

M  -A 


I 


1      .   r 


S  I  A  .       \. 


r  ■"  f  .  r 


\ 
J 


D 


X        t  ■'  v'  Ö  ^' 


:  »i  Li. 


I;:i 


55* 


Cninese-Turkestan  vVool  R\Xf{ 
265  X  120  ci:.,i  104aOx47.5" 


Ploral  an  ^  geometric  pattern  on  deep  ruby-colored 
ground* 

Principal  ffiatures  are  the  three  circular  medaillons 
in  tiie  oentre  part  -.^ith  cloud  and  floral  motives  on 
blue  ground.  The  "revexsea  line"  in  black  Tills  the 
four  cornerß» 

On  the  borders  tendril-work  oh  blue,flower  rosettes 
on  ruby  and  the  "swastika-band-ornament"  callei 
^   wan  dsi  bu  daw  tou  =  ^ood  luck  v:ithout  end."  on 
yellow  ground. 

Yarkand  ,  East  Chinese  '^urke&tan,  Vest  China* 
Nineteenth  Century. 

Lit.:  Bushell  "Chine  £6  .^rt"  vol. II  (1910) 

Hackmack"  i)er  Jhinesische  'icppich^*(l921) 
iSinsterberg" Chinesische  Kunstgeschichte"  Ed,IlCl312) 


56. 


ChineBe->?urkestan  Wool  Rüg 
220  X  115   cm. |36.14  x  45*4" 


The  backgound  of  the  niddlefield  is  nearly  turquoise 
wherebey  the  Chance  of  shades  aads  to  the  peouliar 
charm.  In  it  a  pomegranate  trce.the  s^Tubol  of  f-rti- 
lity.mryeITowl^ii^j{S;.  out  of  a  aniall  vase;  l}f ^"^^S^^ 
horizontioally  and  symiietrically  arran^ed,fill  t;ie 
ground;  the  leaves  and  fruit s  ^i^e,in  epite  of  styli- 
ainp'.clearly  recognisable.  ,.    ,^  .•    u 

lio  borders  eaolose  the  ru^;,   Hoth   In  lidiit   reudish 
ahades.tne  iruier  T^-ith  ilor-jl  ornar.ent;s,tne  outer 
with  the   "s'vasitira-band-onnneaf   in  uromi^h  .lute. 


Kashj^ar    ,    K«st   CMneee  Turkestan/Test   Oliina. 


About   1300. 


■  r.t 


;il!f!li,qg?-'..iiii!",|"i,!iw 


■  4  »I 

l'.'.VA 


h:  >' 


■  tii« 


t 


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o 


i:-.;! 


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M 


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JHkdLa:de.:n 


j 


t>      ♦ 


h 


">     4 


91 


57. 


Aroade  Praver  Rus 
180  X  78  om. ;  70.14  x  50.11 


The  whole  sarface  of  this  rue  with  a  tile-red  backjound 
ie  divided  into  six  prayer  niclles.building  together  the 
a  r  c  a  d  «  "  • 


n 


Bach  niohe  ia  decorated  with  the  pomec^ranate  tree,  a 
very  ancient  oriental  eymbol  oi  fertility:  Üut  of  a 
vaBe  '^rows  a  etalk  vith  a  blo&som  ou  the  top  ana  tT/igs 
arran?ed  synuuetrically  vdth  more  or  lese  styled  leavea 
and  flowerß  in  two  ahedee  of  blue  and  a  little  white. 
The  Bame  two  shades  of  blue  are  ueeu  for  the  iraming 
of  the  niches  and  the  bact^oond  of  the  boraera  with 
their  flo'ver  motives  in  tile-reü, 
Pine  wo Ol  with  a  silky  lustre. 
Kashgar.gast  Ghinpse  TurV:estan,V.'ebt  China 
Ilineteenth  Century. 

These  rurs  are  also  called  "Saaarkand  prayer  rugs" 
a?ter  ?hf  more  central  situated  old  ana  ^amous 
capital  of  Turkestan.  They  were  used  by  the  ':;Ojamedan 
Population  for  cor.non  pravers.directinö  tne  gable  exaa 
of  the  nichc  to  the  -'-aBt  (r.eccaj.  ^ 

Here  the  oom.eotion  with  ^J^^J^J^f  ^.'.«J^f  J^or  wMch 
The  deEi.;n  rosenblee  the  Moudjar  H^^l  ^^   ,,o.t 

of  the  niches  reauin  unfülea  enc  aiiif-^ 
of  their  backt^round 


iit. 


Pediersen  "Chinesische     KunstgeEicrdchte"   ill.193 


B    ■  ^:4 


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ftlMklftftAAAjift, 


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9.2 


B.   JAPAN 


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VIII    Sword--aearIvlasters 


The  swor^.-gear  is  not  forged  by  the  blade-smith 
who  s  OGoapation  had  an  almost  religious  character; 
particular  schools  of  artists  in  metal  wroaght  them. 

The  Japanese  distinguish  between  decoration-ornaments 
on  the  sword  and  the  decorated  parts  of  the  sword  -dlt, 
To  the  first  belong  the  sword-knive  (  k  o  d  z  u  k  a  ), 
the  s^ord  needle  (kogai ), which  found  their  places  on 
both  sides  of  the  scaboard^and  .the  small  Ornaments  on 
both  sides  of  the  hilt  (menuki); 
To  the  latter  the  guard(tsuba)  ,pomiiiel(fuGhi )  and 
hilt-f errule (kashira )  • 

The   Goto   school  is  considered  as  the  classical 

sohool  of  ohiseled  sword  gear. 

It  was  founded  by  the  samurai  Goto  ivlasoku(l459-1512) 

who  was  born  in  the  provinoe  i.'-ino  and  lived  at  the 

luxurious  court  of  the  Ashikaga  Shoguns,  Kis  artist 

name  is  Yujo. 

During  four  centuries  (1460-1856) , in  sixteen  generations, 

the  G-oto  school, will  preserve  raore  or  less  its  style 

and  will  work  nearlv  exclusively  for  princes,the  great 

feudal  lords(daimio')  and  their  foliowers  the  samurai, 

the  gentry.  ^       _. 

Yiio  is  the  first  master  who  decorated  sword  gear  with 
T^liefs.  The  fourth  aoto  master,  Goto  J^oyo 
>litsuige  1550-1620)  is  said  to  been  the  first  to  use 
h^oman  figures  for  his  decoration,using  silver  for 
faces  and  hands,while  from  the  fifth  master, Goto 
Tokuju  (Mitsutsuge  1549-1651 ), the  first  kodzuka 
with  the  Short  steel  blade  have  originated. 

As  ground  metal  the  Goto  masters  used  principally 
s  h  a  k  u  d  0  ,an  alloy  formed  of  a  basis  of  copper 
with  varying  admixtures  of  silver  and  gold. 
They  decorated  tne  grained   surface 
(n  a  n  a  k  o)  in  relief  either  of  gold  or  in  partly 
goldplated  shakudo . 

Prom  the  first  tili  to  the  tenth  the  master  of  the 
Goto  school  lived  in  Kyoto.  The  tenth, Renjo(+  1709), 
became  appointed  to  the  splendid  court  of  the  Toku- 
gawa  Shoguns  at  Yedo, 


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95 


Vorks  of  the  Joto  masters  for  other  puri>08e8  iiian 
aword-gear  aro  very  rare«   I  oaly  know  of  the  t^^raaps 
of  slldlrig  doors(hiklte)  in  form  of  h.aaij:ing  bamboo 
vases  with  Iflttüös  flo^"»er  deooratlonütfurnlfihcA  for 
tht  pleaßure    s^at  of  the  prlnoe  ivatsura  of  /laoho 
near    liotOfaad  the  aacjikaXushiinail  heaaB,used  to 
ooaceil  the  nails  v^hich  join  temple-oolu.m  and 
ceilln3-beaa#    In  the  flrsttenple  Higaehi  Hongwanjl, 
whioh  ^^8  bullt  on  or  er  of  }Iideyoshl,they  were  iu 
the  form    >f  f lo^ting  tennina» 

The  few  kodssukas  here  desorlbed  are  the  rest  of  a 
nall  colleotlon  bulltTin  To>io  1903. 
for  the  liitroduction  Into  this  braxioh  of  Japanese 
art  I  an  iadebted  to  my  frlont  (Justav  Jaooby  and 
Paul  VautierfWho  o\med  o  le  of  the^^  -"^9,?*  Importaat 
oollectione  of   sword-.  aar.    It  waB'^'iJeV^/ho  introauoed 
me  to  tiie  expert  and  aealer  Aniia  in  l'okio  and  ^^ave 
xe  valuable  actvice» 


IAt#:    Ausstellung  Japaniccher  r.lein:<uiiQt,3aaalung 

iJuGtav  Jaooby,  ^CuiiQtßewerbe  :4uoeuj7i  ßerltn  1908 
Aue  Stellung  Japanlo':her    '.mstwerke,3a:!i.aanä 
:i08l(S, Berlin  1909 

'•Japanische     tichbl  Itter"  und   Schwertsieraten', 
Sarmlung  freor;-    Oedert    ^sohi-ei'oendes  Verzeichnis 
von  Paul  Vautler.     larause^e  ;eben  von  ot1.o  Küünel» 
'^t-!rlin  1916 


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53/59 


94 


Two  Hail-Oonoealer   In  Th*.   Shape  of  Floatirifi 
""  Tenniaa. 


L.    45   cm. j  17.22" 
H.   11   om. I     6.11" 


46  cm. j  18.1" 
19  cm.;     7.8" 


the  drumstioks  in  both  handTs. 

Both  fl^urirxes  were  fixed  to  the  ^^^^^'^''"fJ'Jil.^ 
üoxn  iio^ij."^  .'onev/anii  to   conceal  the  nalis 

the  teiaple   Hlfc,ashl   -iOngY/auj-"-     "      .,.        -^  „„ 
iSch  joined  teiaple-colioim  and   ceiling-toeam. 

("  Kugikakußhi   ")  .      u  ,  ,^« 

Copper  .round  Plated  .ith  sold   silver  -^  shakudo. 

The  trifold  P«**«''r^'^  in«  ?he   silv°r  S  represent 
Streaming  gowns  -d  ri-onB.the   3U-|,,,3,,,,3,feet. 
the   uncovered  upper   P"^ » 

a.id  the   Bhakudo  the  ^^a^^'  vracelets  as  well  es  for 

Lhakudo  is  U8ed  ^^'^^^  ^^^.^f^  ^e  layed  ou  the  ^old  as 
t.e  ^lo--/-S: loJ  ieside:  en^ravin.a  and  trexlis 
deooratioii  lor  xne  t-u"!!. 
pattern  in  blaok  enamel. 

Attributed  to  Goto  Kojo.   1530-162Ü 
Exhibition:   1312 


1935 


14-^-,.  natfl^^iati Jacher  Xunst" 
"t-r.:i^altft"irde?^roeWionen  .^ 

lemie   der  K^  in  st  e  zu  Berlin. 
Katalog  110 '280/ 281  Jaoan" 

"Ausstellung  Kunst   des  alten  ^apa 
Basel, -bewerbe  r.useujii.-at.no.i:> 


Otto  Kün..el  f  °^«,^fi,:Sj:riiirauj^rthrfeS' 
of  the    seveiiteenth  Century, ux   o 

Higaehi  ^io^fi'""^^-i^>"%aied  now  more   ...recisely  that 
T  believe   it   can  oe    bayea  iio«  .,chool,is 

öoto  iojo,the  foarth  ''^^^^«^°J.*  1550-10 20  fit  into 

the   artiet.  Not  -^j!^^J^^  fir.t  Hi^.shi  ^ongf^^^ 

:fKroro(?iniched  I602).al-  tj     Sntroned.characteri.- 
and   silver   for  face  and  har»  ar 
tic  for  this  master. 


fMHnnlBKfmllllh.. 


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95 


Saall  woader  that  the  rrotomaster  yielded  to   suchen 
imcoDUtioa  task.    It   whb  the   onuiipotent  TalkoCgreat 
counselor)   Hldeyoshir (1512-1598 ),lover  of   Bumtuous 
deooration,ira:mseTT'^ho  oraered  the  traasfer   of  the 
headquarters  of  the  western  branch  of  the   Hougwanji 
sect   to  Kioto   and  was  in  consenince   Interested  in 
the  erection  ofa  temple  building  which  met   hiß  taste, 
still  to  be    Seen  in  the  .Aain  Hall   of  the  Nishi   - 
Hongwanji,erccted  at  Kioto   in  1591* 
The   Iiigashi  -   iiongwanji  temple  v;as  only  finished 
after  ^lisdeyoshi 's  death,when  leysau  To^u^jawa,         ^ 
Hideyoahi's  ^reateat   ceneral,had    aacceeded   m  naking 
Japan  his  ov/a. 

In  1788  a   fire   destroyed  the  tenple.   A-nong  the   few 
thin:^s  rescued  these   tea^ins  were    saved   and   oane 
into'"poös*ßn  of  the  counts  Otani,high  priest e  of  the 

Hondo   sect«  .  ^^^ 

"/hen  on  July  5,1909  the   Otani   possessions  were    fcoia 
by  auotion   I  was  able  to   get   the  tenains. 


KUinnel   "Kun 


;t   Chinas,  Japans, "Coreas"   Handbuch  der /<^'>- 


,:J'' 


»Kunst   Chinas,  Japans, '.oreas  ^  ^"^"!;^:;^^^. 
WiüBea3chaften,1929    .    (111.154, P.172J 


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^0*  Kodzuka 

A  golden  rake  in  relief  besidc  a  tombstone  with  jold 
insoription  on  grained  Shakudo  groixnd.  Frame  hal' ^^old 
half  shakudo. 
The  reverse  half  gold  plated,half  even  shakudo. 

(roto  Master, eighteenth  Century. 


61. 


Kodzuka 


Two  monks  with  rosaries  in  their  hands  approach  timidly 

an  oni  whOfdis-^uised  as  a  samurai,is  coing  to  strike 

the  great  temple-bell  ?7ith  t:ie  haminer. 

Relief  in  ^^old, silver, shakudo  with  inlayin^  and  engra- 

ving  von  grained  shakudo  .jround.  G-old  frame» 

Reverse  shibuishi  v,dth  signature. 

Goto  Master, eighteenth  Century. 


62. 


Kodzuka 


Saigyo   Hoshi    (prince   Sato  Hioye  Norikiyo   1115-1138; 
as  pilt:;rim   Stands  lost   in  viening  trie    »^^uji-yaaa. 
The   faruous   oontour   of  the  mountain  ie  engraved  on 
even   shakudo  i::round,the  pi?  t3'rim,the  lotus,the 
cloud-band   are   inlaid   in  gold  and   silver. 

Provinue  Ka^a,eii;hteenth  Century. 


63. 


Kodzulca 


A   hare  sitting  between  grasirce^  looks  at  the  moon, 

whJLch  is  half  covered  by  clouds. 

Ground  material  is  iron,the  hr^.re  gold  relief, the 

moon  and  grasaes  silver. 

The  reverse  is  gilued  and  aecoryted  oy  fine  shruDs 

in  engraving.  Signaturen  i^atsushita  Yoshiro 

Provinoe  Kaga,  seventeenth  Century. 

64. \   •  Kodzuka 

An  ape  purouir^  wich  its  eyes  a  f^^f  ^;^^y- .^.^  ... 
Oround  material  iron,the  ape  relief  m   bhakuao,w..e 

drigon-t^y  gold  inlaying. 
Provinoe  Kaga, eighteenth  oeiitury. 


m 


I  im 


>.^.,  ;j(a(SffWWpi^*iWW'.'iiiffHliMH-.J 


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97 


65,  Kodzuka 

A   cherry-blossom  (eyrabol  of   sacrifioing  one's  life) 
twig  iß  inlaid  on  even  shakudo  in  gold  and   silver. 
The  top  of  the  kolzuka  is  fraaied  in  £old,tiie  bottom 
in  silver. 
Provinoe  Kaga,eighteenth  oentury. 


66. 


K.od  zuka 


Tiger  in  rain.  Relief  and  gold  inlaying  oa  iron. 
Signatare :  Suzuki  Kasugasu. 

ldit»,eighteenth  Century 


a  'i,  '"  r 


67,  '  '■    •'  '    '       Kodzuka  ' 
Cherry-trfje  branohe  in  relief  on  iron  sround, 
enriched  by  blossoma  in  silver  and  gold. 
öignatuxe . 
Mlto,eighteenth  Century 


S;>t"o?  Sf  of  the  province  Eaga  are  renom  in  the 

ergL%^it  Ä^^  Hin. 

S  nfc'a'liranf -fistfc:     y     erfect^^ 

ly  even   shakudo, metal.tinted  in     anycolor.^         ^^^^ 

Since  the   artloving  «^aisiioß  of  Ka^a  invixea  ^^^^^ 

to  time  tue  most  important  ^^asters  oi   ti^e  j 

to  thcir  oourt.raany  works  exeouted  by  tneir  p  p 

sho'«  the   Gloto    style. 

*i'to:  i.  ,-p  nnw^r^al  axid  artloving  priaces 

nineteenth  Century. 


«^•»»••«4Mat.ii>k**  feA*«*««>a.*^ft«r4kk 


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II   Ancierxt  JAVAIT-RSE  POTTERY  . 
Some  notes  on  pottery  used  in  the  Cha-no-yu 

al^ays  translated  with     TEA     CBRi-MONY. 

In  Japan  the  potter 's  art  <i«^«l°?tJ,^^3^JJ,*^iJ^:J^g   " 
Century  and  it^cane  at  the  «am«  time  |«  *J«  ^^^^^^^ 

of  the  Chinese  J^^|4|^^«3J:j!^^f;omeLn?^ 

The  chien  yao  bowls  from  the  -^S^time.the  so-called 
ten  So  2  u     (see   oat.no. 44, page  78),were  hi-hly 
estimated  as     c  h  a  w  a  n  .      , 

The  potter  Toshiro  lef-^^^f^??''  "''°''  °'  - 

joarney  to   China  m  ^223  toi||/.  ^^^  Chinese 

ün  hia  return  to  Japan  J^f^^JfVrT    3  a  r  a 

material,making  little  ^^^|i*^Jo,,^,the  faious 
v,ith  flowins  gla.es  ^^o>aambe^^ro,^^  ^ 

"kara     mono       i.e.   ^^  ^^  .  j^^^  ^^^^  province 

of  famouB  pottera. 

«+^-ih«tPd  to  the  rapid  progress  of  the 
Three  events  oontributea  \q 

Jaijanese  tea  oeraaics.      o-oular  tea-oeremony  by 
First  the  Constitution  of^seoular^^^^  ^^  the  shogun'-a 
Ashikaga  Yoshiaasa  after  hl.  aou       ji^kakuji  or 
Junity  »  in  l^'^^'^^,^?i^^^Se  with  his  favorites  Soaai 
silver  P^iVillon  a^/ifj;.  elevated  the  tea  ceremony 
and  Shuko  he  /«°:5Jjf  'f iftle  first  tiny  tea-room 
to  the  rank  of  a  fine  «^^^J^^^^  ^ith  the  canon  prea- 
(cha-8hitsu)  built  i^^°-°^^\^  the  proper  size  for 
crihing  four  and  a  half  ^^^s 

Sc»!  :  Hld.yoshi  B  fS^r,i°S/ioiean  potters  w.r, 

in  th€  ^/ake  of  ^^°^^°  '  .^   various  parts  of  Japan 
Sou^ht  baok.who  settled  ^^^^fW   /k  i  o  t  o  and 
atsatsuma.la'^a^ 
K  a  r  a  t  c  u. 


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.    .    -,     1^    B    1    »     ^ 


99 


Third  5  '  the   Convention  •)f  the  diverse   schools  of 
tea-drinking     whioh  Hideyoshi  calied  together  in  1594 
at  hlB  palao«  of  FuBhimi,   Here  one  of  the  greatest 
tea-master  3en-o-H  i  k  y  u     oollated,purified  and 
codified  the  tea-ceremony. 

He  tookJTfHe^BimpIicitylvijil  and  raised  it  to  a  oanon 
of  taste.  The  v^Drship  of  simplicity  ai^d^of  the 
antique  in  objects  of  art,tor,ether  withiotservanoe 
of  an  elaborate  oode  of  etiquette  are  the  doctrine 
and  discipline  of  the  tea-ceremony, which  has  aever 
varied   einoe. 

The  Japanese  potters  did  not  wrk  in  great  organised  _ 
oentres  like  those  of  Ching-tS-ChSn.   Uaually  one  or 
two  potters  run  sraall  wor<  shopa.    Henoe  the  S^eat 
variety  of  the  ware,henoe  the  individuality  of  every 

T^r Japanese  tea-maeters   (   c  h  a  j  i  n  =  tea  man  ) 

lent  their  inspiratiou  to  the  =^^'^^^«°^^«  °^  *^J  ^he 
Utensils  used  in  the  tea-ceremony.   The  beauty  of  the  , 
Ss^ä  o«amics  depends  nostly  on  the  «f  «^f^^^  .^^ 
•xTireaaed  in  form  and  ijlase.  The  tjreat  manipulatea 
sSu  iB  of?en  ma.ked  Ih^  roughnesB.   One  or  more 

llowing  glazea  oover  the  '■^«^«•^^^/f^f ^^3^'"''^°^' 
and  ending  abruptly  before  reaohing  ^^«^^^J;        g^^pja,, 

At  *«e  first  Sl^;«  *^«rtf e  riSt  .t^entlvl  mLd 
^'f^"iLr?he'noble«t  pjeceltäiiated  creationa.belon- 
will  find  the  "?''i®^7,+?f^ni    ■hlGh  h^ve  be^jn  exeouted 
ging  to  the  ™°^*  ^«|^^^,^'ii,  t^°Secomes  understandable 
äarthrrapaSesi^i'^alCr/aoh  pieoes  to   eword  blade 

The'^lateem  in  Vihich  t^^^«  ^«ffo^eJ^art-appJecJation 
the  difxerence  of  Japanese  and  foreign  an, 


Siee  not  ^±ve  the  füll   sense. 


The 


flu  of  a   piece  depends 
di^s'not  give  the  ^^H^f'^f 'thrvork  of  art  itself. 
not  only  upon  the  ^^^-'i^^y.  °^  ^^ical  eveats  which  it 
ED.ential  for  it  are  ^^«;^^Jf ^gch  it  wae  treated. 
lived  to   see   and  the  ^l'^'H"^  l'    ^f  great  importance 
Henoe  the  acoessories  also  are  u  ^&^  ^^^  brocade  b 

and 

to'th;"c;ior-of  the  üla^e;  tj«  -^  ^';-,;-f  the  piece. 
old  piain  wooden  boxes  fittea  to 


•«fft^ 

xM 

m^ 

/. 

1 

1  1 


^"^ 


"  1  ■  ■  Tfl«. 


„*^m«i^;4;utwi^^' 


l  "Ol 

•  ••l 


ll 


i.v; 


^^ 


rort 


ir.  -^ 


:< 


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rt  u  ) 


t  L 

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A     >     %Jf    .^ 


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-^•- 

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4..  I3<    ^4    t  . 


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li 


100 


By  an  Inscription  in  some  historical  calligraphy  on  th« 
piain  boXy auoh  a  piece   skyrockets  to  prioe  ideas  unin- 
telligible  to  the  foreign  collector.    If  the  Inscription 
18  added  by  a  famous  Ghajln  like  Hlkyu  or  ünshu     the 
plece  beoomea  a   •'melbutau",    preclous  beyond  mea8ure,the 
valuatlon  phantastlo  and  Its  posse^ion  makes  a  Japanese 

houae  famous. 

I   had  once  the  opportunity  of  seeing  such  a  Meibuteu  Chalre. 
It  was  riecessary  to  open  a  whole   series  of  boxes,one 
withln  anothertbefore  reachlng  the    •  shrine'it seif , the 
Silken  wrapoing  in     hose   soft  folds  lay  — one   small  ohaire* 
(cp.Küiaiiielj'iroöse^Ostaaiatisoiies  'lerät"ili.par;e   38). 
It   looked  veryTiike  the    3eto  bunrin  of  my  o^m  (no.69). 
But   I  was  told  that  this  holy  of  holies  "-^as  a  Toshiro 
Karamono.the   inscription  on  one  box  by  the  grectt  Hiiciu's 
own  hand« 

■  ,  * 

I  learned  to  love  these  old  tea-caddies  and  tea  bowls 
at  my  friend  Paul  Vautier  collection's  in  Tokio  1908. 
3)e*=iring  to  take  a  few  good  examples  v^ith  me,ßOOi  also 
in^the  Japanese  sense,I  purchased  the  pi6ceß,described 
on  the  foilowing  pa^es,from  the  expert  D  a  i  s  e  n 
in  Tokio  and  from  Vautier  ioiiaöelf  ,who  gave  me  his 

?hxou^h  Paizen  I  had  the  Chance  to  ^««o'^^acqualnted 
with  the  tea-oerenony  practically.  Iheoretically  I  toew   ^_ 
the  orinciples  ulready  from  ükakuxa  -«kuzo'e  "Book  of  Tea. 
I  had  read  it  before  leavlng  for  Japan,  a   better  intro- 
JuSlorcaniot  be  found.  .Voove  all:  It  stre.Bes  how 
ceremony  and  arts  are  born  in  the  spnere  Ox  the  7.   , 
3  u  d  d  h  i  e  ni.i  • 
"^^n"   derived  from  the  word  "Ch«  an  ".Chinese  translation 

Sihe  lalscrirword  "i>y--%---i^e  »^f  i^^.^J^'ie'.ched. 
of  the  six  ways  throußh  whdch  Buadhahood  •:^y  J«  ^^^°f  ^■ 

The  monks  of  the  southern  .en  ^^^^»J^^^J-^J^thc  f^ge  - 

KS?r^^ef  Siri^JicS  ^lialirfe?Soped  into  the 
It  was  xne  ^®"  -^•^^'^^;:  .   ^.u^  -^ifteer.th  Century. 
Tea-cerenony  of  Jopan  in  the  xiixeeuuu       j 


Z  e  n 


.^' 


'^m'^ 


m 


m 


ii 

i 


^9f%lK^. 


4  J^^ 


t.  ^ 


l     ^ 


Ff,^ 


P^l. 


X^'ä.- 


*  l.     V 


•«  .     i^- 


f  »\' 


i*",      j'  r       .'^  f. 


r  ii'iS  . 


*•.      -     iHm  m 


i  i 


J-i 


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i. 


2  SSV    :yr    .^Yi.r      C 


♦  - . 


^1>^J\- 


.  .    h- 


^ '. 


'  ■    *^    •    f.    A 


.i.*./.1 


^  - 


•     ... 


.1       « 


'»!»       t     rfi»'        «•  < 


^c    J J    iji  »«'y    .c>'.^' 


«  1 1  •'  4-  t* 


)     i) 


.    yM 


-i  i 


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:  , 


'    '    V  t  >    ^ 


'i^ 


>•  i-'  !^ 


101 

1  «an't  do  \>«ttcr  than  to  quote  llteralLy  Okaicuro  Kakuzo 

in  the  f Ol lowing  poragraphs: 

••  T«aism  f  a  a  oult  fouaded  on  the  adoratioa  of  tha 

baautlful  among  the    sordid  facta  of  every  day  «xistenoe. 
It  inouloataa  parlty  and  harmony^tha  mytary  of 
mutual  oliarltyfthe  romaatioism  of  the   sooial  order. 
It  ia  esiaatlally  a  worsnip  of  the  Imperfect,as  It  Is 
an  attampt  to  accomplish  soraetliing  posßible   in  thia 
Impoecible  thing  wc  know  ao  life# 

Tha  Ptiiloaophy  of  Tea  ia  not  pure  sesthctiolsm  in  the 
ordiuary  aoceptance  of  the  teriii,for  it  e/preasaa 
oonjoiutly  ^ith  etliics  axxci  religion  cur  (i.atJapaneae) 
point  of  viaHw  about  aa*i  and  natura» 
It  ia  hygianoffor  it  enforoae  olaanlineiiü,it  is 
aoonoDio,.or  it   shows  ooafort  in  airipiioity  rather 
tiian  in  tn«   ooiapiex  and  oostly;   it  is  aoral  gaoaetry 
in  afl  mxoh  as  it  acfin^^a  our  sence  of  .)roportion 
-CO  the  uni Verse:    It   representa  the  true   spirit  of 
Kaatern  deriocraoy  by  maktn^j  n\i  its  vo^ariaa 
aristocrat^B  m  taste." 

*   It   ia  in  the  Japanese  toi-cereniony  that  we   aee  the 
oulraination  of  tea  iueais.   'i^ea  became  laore  ^f^^^n 
idealization  of  the  forn  of  driA/cinö*   it  la  a  religion 
^.i"*  4: 0  4»  flT"toflife«  j 

The  b-ver^-»  ^rew  to  be  an  exouse  for  the  parity  aad 

the    -uect  joined  to  prociuce  for  tnat  oooa&ion  the 
atmost  beatituue  oi  the  aufttlaae. 

The  tea-rooi  -vjs  *m  oasie  in  the  areary  «^»e^«  «f.  ^„ 
ex!.tef.ce%eary  traveilers  oould  neet  ^o  driox  xrom 

the  oo..:.on  a  riag  of  «^*-^»^'f  «^n*  «aL  woven  uboS 
wae  aa  iuprovieed  draiaa  -.noiie  Pio *««»•'  *°^«^  ''"^'"^ 
tue  tea, the  flowers  and  ttie   ^jaintiag. 


,»t  .  ÖSiSr  trSlrturrtn«  tone  o."  tn.  roon.^ot  . 

A   8\ibtle   pniloöophy  lay  behlnd  it  an. 
'raoisa  in  dia^^ße* 


*  I  «  • 


:,;i 


-♦♦'-■(»♦ii.. 


»■.«.»•n  ....  I 


irt 


i   ^-   ^ 


^       t         «4 


V    .V         X    , 


■^   •  •    A 


fc-      * 


■•( 


,1 


■^    r?  ;! 


V  , 


V   ^ 


^1 


: .  ^  ■' 


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.'.*•' 


V.A  '.  •. 


J    i. 


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II  > 


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r'-T 


1^ 


V  7 


.   f. 


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f-,        4. 


^;;  ^;^  .;  «'ä'X«  s,^  --ra*; 


■^^  ;^ . 


A»^. 


0^ 


fS 


«1  SV.      * 


^  ^ 


102 

Finally  it  is  necessary  to  know  thc  iieaning  of  the 

technioal  term  "   Itokiri   "• 

Ito   is  a  thread,kiri  =   cut,toge-ther  it  raeans   ''Thread  Mark'*. 

These  marks,oonoentrio  lines  uxiaex  the  "ba8e,origixiate 

when  the   pottery  with  a  piece  of   string  or  wire  is  out 

from  ite  bed  on  the  wheel. 

They  trend  .    . 

a)  as  a  rule  from  ri^sht  to  left:    ilon-itokiri 

b)  sometime  from  left  to  ri<.:ht  :  Kara-iiioiio=.Corean  pieoe. 
which  is  the  result  of  the  loxHeJOt  praotice  of  tarniag 
the  v/heel  with  the  left  fo  t.  .4.-4-1 

c)  sometinesJalTTT^srricp^acentric   oirc^^^  a^^v^tA 

d)  sonetime.  ooaceitric   oircles  of  -reater  aisxancerUza-itoklrl. 
It  means  Whirlpool  and  is  used  mostly  on  big  jars. 

These  markö  are  very  carefally  executed  on  tne  l)est 
pieces  and  the  J8paneße,deG0ribing  these  potteries, 
never  fordet  to  mention  them. 


Biblio^^raj^. 


4herr*Lllly  "Y^^mato,der   ^Jendungs-laube  des  Japanieoheu 
L>^f  j     Volkes"  1^'36 

(Ju-tav  Jacoby.    L^&b 
Kiimiael      ">'u.istgevrerbe  in  Japan^^  1^11 
KdiTnel,  'rosse    '   Oötasiaxisches  vrerdt      13^^ 


(I .. 


s . 


, » 


.  ■  c 

*  t 


,...1 


j  1! 


•  ■*•■ 


f 

i 
f 

i 


t 


■>  ■'<    •> 


JJ.«      4,- 


.i     k* 


,~-J        c 


*  »• 


I  * 


!   » 


''»r 


I 


*.-   '  > 


»> 


*?^i 


^    ->i 


103 


a«  Pottery  used  in  the  Cha  •  no  -  yu  . 

68.  Chat  subot  Big  Jar  for  Iea->Leaves  yrtth   wo  öden  oover. 

H.18  om. j  7  " 

Red  brown  wäre  with  three  loops*  Dark  brown  glaze  with 
metailic  Bpeoks  aud  flecked  yellovdsh  run.ain£  drops. 
Uzu  itokiri. 

Scto  before  1650.   voutnern  iIondo,Pro¥ihoe  Cwari. 

Exhibition:  1935  Sewerbe  /luseuui  Basel  "Kunst  des  alten 

Japans."  Kat.no. 4-06  (S'^itzerland) 
1933/4-1  Creme ente  Museum, den  Haag  (Holland} 

69»  Ohaire,r>mall  #ar  for  ^owdered  $ea* 

H.  6  om;2.2" 

Very  thin  wäre   of   apherioal  form,  so-oalled   "Bunrin" 
=   appleform.    L^elioate    surfaoe.    Bro^vn  underrsand  upper 
gla*ze,the  latter  -Ith  a  very  light  purple  ^^iimmer. 
Careful  ivara-iaono-itOKiri. 
Ivory  oover, old  brooade  bag  and  bo3^. 

Seto  before  1750. 

Exhibition:    1935   Oenperbe  Museum,Bagel(3vdtzerland) 

.4Uöt3tell<3.^aaGt  des  alten  Japans.ivat.no. 401 
193öAi  C-eneeute  -.useum, den   ■laagCiloliand) 

70.    Chaire.cTar  for     'o-vdered  i^ea. 

...  H.IO  c;q.  ;4" 

Reddish  wäre   of   atrai-ht,  üiia  cyiir^drioal  fora.   Blaok-bro^ffn 

Carefull  ".on-itokiri. Ivory  oover, old   örocaae  ^ag  and  box. 

Seto. 

Exhibition:    1955   iJcvverbe  ilur:e-ai-i, JaselUwitzerland)    "  konst 

des  alten  Japans"  X.at.no.AO^ 
1953/41  Je-icente  MuseuE.den  iJaag   U^oiiana; 


r 

r^ 

f 

f 

1 

i 

i 

f 

Ji 

'■'_'' 

f'" 

'*Htfir»*'  «U-H^i   .     '  ;  ''"' 


'I 


fl» 


■'X 

...»Tt.i,, 

•■'"■'  t- 7t, ,„, 


^ 


i.  u 


yPR 


"••tu 


1    t 

ii 


il 


iii{ 


x\ 


'1 


It 


0  } 


■•-*•• 


ta 


':<:%'). 


n 


vr.i  ^-f. 


Mi.«wsy 


•  ;  t: 


A  f^  1 


•  •'•  » 


S  K  r 


71  • 


104 

'  '  "■    ■■•i^*«» 

H,7    O-Ti.  ;    2,10" 


Form   "Daikai".   Ked-browu  wäre  with  dark  and  llpht 
brown  glaze.  ^ 

Hon-itoiciri. 

Ivory  oover,old  trooade   öagaud  hox. 

Seto 

Ex   colleotion  Vautier* 


d  Tea 


72#         .  ■.    Cheirg.Jir  for  to'vdere 

1  .  K*    Ö    QPA.;    3.3" 

Bellled  form  rith  tied  rieck  and  tv/o  loopo, 
Heddish  brown  wäre  with  coffe  brown, iüetallic  glaze. 
Hon-Itokiri    •Ivor^   cover,old  broaade  bag  and  box. 

Takatorit Island  of  Kiushiu,province  Chikuzen 


73. 


t ."' 


Chaire.Jar  lor  3owdered  Tea. 

II.lÜ  cn.  i   ;.li)" 


,<  ', 


Straj^,  olim,  cyllndrlcal  f  orni, 

(irey  brov^n  wäre   with  thin  blank  aud  a  thick  grey  slaze. 

The   grey  glcse   is  cnding  in  a  drop  oa  the  black,  sniivel- 

led  iato  di;'tict   f'ilobales  which  are  coipcired  to 

"  Dragon-8:vaie6"   {ja  kateu), 

Hon-Itokiri. 

Ivory  Cover, old  brocade   lats  ^^^  box. 

SatGU!na,princedon  in  the    aoathcrn  part  of  the  ieland 
of  Klushiu. 

Exhibilion*    1^35    lew-rirbe  kIuseuI^,BaBel(^>wit3eriand) 

"Kunst  des  alten  J-pans"  Kat.no. 435) 
1933/41    ^em^ente    iuüeum, den  Haag  (Holland) 


m 


i 


-/t^^--- 


''^'mm 


r 

w 


^i 


II- 


::i 


II 


106 


Conmentary. 

The  iJutch  in  Japan« 

When  in  the   first  decacie  of  the   neveriteenth  oentury, 
to  bring  the    oountry  lasting  peaoe,the  Gatholic  mis« 
sionaries  ^^^ere  dri'^ren  out  and  Christanity  extirpated, 
Dutoh     merohanta     nanaged  to  gain  favor 
with  the   po^^erful  ToJ^Ui^av/a  offering  to  the   shogun 
the  benifits  of  foreign  trade  w  i  t  h  o  u  t     the 
drawbaoks  of  a  forei^i  relii:ion» 

Indeed  the  7mtch  traders  o^ved  much  of  the   s  i  n  s  u  1 
toleraticn     that  tney  cane  to  enjoy,tae  part 
they  played  in  the  anaihilation  ofthe     Christians 
of   ohinabara  in  bombiUr;;  the   Kara  Castle  i^ebraary-Maroh 
1653.    (Gp.p.47,54/^b    "Ne-;  I^a^vn  in  Japan''  by  Everett 
J,3rie53S,^ew  York  1343), 


a  r 


The  jjutch  trader 
for  more  than  tvo 
oonditions« 
The  Jutch  factory 
of  the  harboi^r  of 
foreühore«    '  o 


reoeived  a  commerolal  monopoly 
oenturiesjbut  ander  humilaxing 


'*=9C   situated  at  Deshiina,then  an  islet 
^.   i]a.5asaki,^imt  nov  absorbea  in  the 
-:t  h<^pDened  that  Ua^esakl  beoarne  tue  only 
Dlaoe' where   any  co.iraunication  \«^xth  the  outer  -/orld 
Sasper^^tted^he  .^utcäf'ffie   sole  ^^^^f  f  fn^L^oanese 
the  "Lrope   of  the  seventeenth  Century  ^^Jf  Jf  ^^J^^*^^""- 
The   Jutoh   co-:i.^rce  too  was  restricted  !'^,-^^.^^^;^^i^ 
lirnits^y^^  '^utoh  interfer-noe  in  the   atyle  ^^^^^^J^^^^J^^ 
deooration  i3  beyond  question.   ^^^^Z  PJ^^^     orci.lly 
ted   by  them  and    bomc   are  aioo  nanufactured    .jeci:^liy 
to  their  order   for  that   purpoöe. 


^^w,^   -h.rm   H   v^vi   rt   i^  =   '-  to  bake''   and  laeans  the  pro- 
th«  name  of  «  to..n,;>rovluoe  or  an  artist  3  i^ulj. 


.■i 


I 


^.fW.» 


T?T*"'*"^"TffYf""'*^'""  '■»■■'»■ 


■miiiii. 


h::;4 


.1  .» 


i'-'.'.} 


.1 


'^ 


♦  ' 


fcjüii 


it 


<. 


I    0   ? 


♦^     ♦  V. 


I 


t 


;/"•>■.:     ':. 


«r     ■».', 


J.J 


V 


.     JA. 


K 


« ^ 


i    V. 


-"ta':> 


/.  / 


-•   xi^ 


'.  'T 


i 

■  t 


'Wftt^. 


74. 


105 


b.    .'^ottery  for  every  day  use. 

Koro.inoense  vase  of  enameled  earthenwara , 

H.5.5  on. ;  2.2" 


Cyllndrioal  forn*   rTreyiBh  boay  -dth  crackled  yellowed 
glaze  deoorated  Tvith  faketchy  landöCf^pe  destgns   in  blue, 
gTf^.riifßOld   enamel   coIoä 

Kioto,  style  of  h'inoei       about  1700 

Ninsei  'van  a  famous  pott- r  ^7ho   chose  his  artist  naiae 
after  the  temple   of  Ninwa;ii,close  by  his  native  village. 
Hc   Ib  the  pupil  of  5ohaka,niaster  of  tea-c€renionieB,and 
famouß  at   being^ble   to   evoke   stimulatin-3  nsture  impres- 
eions  with  a  fev;  strokes  of  his  brush. 
With  his    iecoration  he  etarted  a  national   style  of 
decoratioa  v;liich  beaaae  typical  of  Japanese  pot'ucry. 


75. 


\.i 


kr. 


Box    Vith  Lid  of  painted  earthenwarei 

Diam.    11.5  cn.  ;   4.10'; 


U. 


10.    um.    ;   3.12" 


»  • 


Gray  wäre  of  epherical  fori-i  'sith  s  thin  crea-ny  glaze 
miimtely  orada.ed,yaij:ited  in  ülue  e.ianel  color.   In  the 
"ülue  ti-TOund  foli&fje  and  blosson  orjiaierits,boruered  by 
Spiral  bands,are   Epared. 

Spiral  bands   too  border  the  circular  a^aalllon  on  the 
top  of  the  lid  with  the  half-fi5üxe  of  a  1)  u  t  c  h  m  a  n 
in  the   oostuiae  of  the   eeveixteenth  oentury.   and  with  the 
Roman  letters   "10  5 
These  lett 
Dutoh  ha 

in  the    

Sraall  Sunda  italan'.a  of  1602. 

It   seerae  orobable  that  the  bo.  was  ^-^^f  Jf^f  ^^X* 
of  ?he   snall  kilna  axou.-.a  "a^iasaki  whereto  tne  ^uuoh 
has  access  rro.^heir  fac^ory^at  .eshina.  ,.  ^^^  ^^^^ 

firSvixis,Bince  the  coi)iöt  3ven  trisd  to  i.-io 

liues  of  the  oridiJ^al  ea^röVln^. 

«  ,4      - -H    (<?)     Varlv  ei'hteenth  cenoury. 

Hagasaki-yaici   \")»   K-arxy  ej.^»i 

Ex  oolleotion  Paul  Vautier, Tokio 


en- 


■  kn,  «••••. •.».>.nr;nr 


u 


,1 


1 1 1 ', 


107 


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MtXn 


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y  r.  ^  -.   n  V 


I  ANCIENT   JAPANESE  LAOqUER 

Our   oollectlon  of  Japanesa  laoquer  work  gave  a  fairly 
well   eurvey  contairiing  e^  foturty  pieoes.   To  be  robbed 
of  our  twelve  No  masks  fiBom  the  Meida  oollectlon  as 
well<iof  our  inros  mostly  of  the  Vautier  collect ion^ 
I   eepeoially  resent*   Thie  noble  pieoe,described  below, 
Is  the  only  remainder* 


76, 


Koro.Incense  Vase» 
H.7  cm.;    2.12" 


Cylindrical  form.    3-old  lacqaer  decoration  on  wood 

foundatlon:   Dark     n  a   s  h  1  j  i   («pear)  ^round,so  oalled 

because  the  gold,powdered  0V:3r  the   olaok  lacquer   surface   , 

resembles  the    skin  of  the  Japanese  pear. 

Design  in  gold   laoquer,   m  a  k  1  -  e   ,lit  erally  »'powdered 

ploture"    :    Inhiramaklje  i.e.flat  lacquer  fishlng 

boats  on   small  wavcs  at  the  s  höre, where  fishing-nets  are 

huAg  up;    two  round  medaillons  with  buddhistic   symbols,  ^ 

the      swa    stica     and  tnc     p  a  g  o  d  a   . 

In     takaraakije     i.e.relief  lacquer  aad 

kirigane     i.e.    inlaying  of  gold  foils,   the   shore 

iteelf  with  ro  ks  ana  a  tree, 

The   interior  of  the  koro  is  protocted  y^-ainst  the  heat 

of  the  burning  incense. 

Ashikaga   period    (1336-1365)     Sixteenth  oeutury. 

^Lit.'-    Jacoby   '»Die  Lackarbeiten^im  Katalog     er  Sammlung 

lÄosl^, Berlin  1909 
KU  "ine  1   "kunstge-^erbe  in  Japan"   1911 


t 


-.i .  1 


Conunentary 


s  .  a  B  t  1  0  a   (Japanese  mnjl)  is  ä""«'»/"'; 

hooked-orose-foriB  from  *"«  ^°°„„   .l^o.g  are  doubtful. 
of  fire  driliing  or  fron  J-^;j^;JJ°^^  J^uw  India  by 
It   iB  proved  by  the   latest  «f^^f-^^^^^  \^^  i^dus  civili- 

J. Marshall  in  ^'o^^^^^°:i^r+M /dia-ram  v,as  there  before 
8ation".rx>adon  1952)  t hat  thisdia.r^  ^ 

3,000  B.C.    i.e.   one  t^ousand  years  beror  ^^.^^ 

lAvaded   India.    It  has  oeen  tr.ced  bacK^^  ^^^^^^^^  ^^^^ 

gammadion  in  Troas  «"^^^^'33^°  Jestward  to  Jccland, 
and  18   supposed  to  have  pabac 
eaatward  to  China, Tibet, Japan. 


?s?a?¥S8B!iHH!lR 


1 


I 
11 


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tC  tv 


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\  .--,, .      •>   t     '   >'    ^  ^-   ^'    • '   *■'   *"     ■  ' 
'     .  c. .  :       <?    u  Ci   :     j-    1    ^    :• 


^     i.t    Alvi 


^  r  ., 


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ni 


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^    B  Ä    1   t  »   n   if 


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•  9. 


■••#i^: 


108 


Proni  the   swastikon  sprang  laany  decorative  patterns  as  for 
instanoe  the   Chinese   8wa8ti2a-band-ornaiiient,Galle4  wan  dsl 
bu  daw  tou  a  good  luck  wlthout  end* 

Por  this  mystio  diagram  many  explanations  have  been  given. 
On  our  koro  it  means,I  am  sure,  symbol  of  Budahist  eeoterics« 
Genera lly  it   was   considered  ae  symbol  of  luck.On  the  heart 
of  Buddha, painted  or  inlald  in  gold,it  means  love  and  con- 
iidcration  evtn  for  the  love  st   oreature,in  the  Hitler-Grermany 
race  hatred, Jew-baiting* 

Rouasel-Le   gives  further  explanations  in  "Typische  Bildwerke 
der  buddhistischen  Tempel  in  China»*    (Sinika,VI,6,p.286) : 
•'  Dieses  Symbol, das  aus  der  vor^^e schichtlichen  Zeit  längst 
vergangner  Rassen   stainrat  -wie  die   Ausgrabungen  lehren- 
hat im  Laufe  der   Zeit  mancherlei  neue  Auslegung  erfahren. 
So    sieht  man  in  ihm  ein  Symbol  der  Drehung  des  Weltgesetzes 
und   der  Y;andelwelt,bei   entge^en^e letzter  Drehung, der  Er- 
ic e  surig* 

In  China  wird  es  meist   als  Zeichen  der  Zahl  10,000  d.h. 
unzählig  aufgefasst.   iis  soll  dann, unter  anderem, auch  auf 
unzählige    'Äonen, ri cht i^-^er  gesagt, auf  das  Ewige  deuten, 
das   sich  in  Buddhas  ^eist   oder  Herz  -  beides  ein  .vort 
in  China  -  offenbart  .Dauer  die  i\nbringung  des  Zeichens 
auf  der     rust  Buddhas  in  Herzhoehe. 

Das  Swastik  Kreuz  als  Symbol  des  ewigen  Weltgesetzes(dharma} 
un;  der  I^redigt  oder  Lehre  von  ihm,  ja  der  Buddhistischen 
Religion  überhaupt    (was  alles  dharma  heissen  kann)   ist   zum 
Zeichen     des     Buddhismus     g< 
den  älteren  Dreizack  verdrängt." 


s     rreworden  und  hat 


I 


syaibol 


of  the 


P  a  K  0  d  a   (from  Taaü  pagavadi):   ^nother 

BuJdhiat  dootrine.   These  towerlike   Btoried   structures  - 

Statute"  -  are  als»  of  Inaian  orif^in.    But  *^«y.^«^^i°^*J.tJ 
to  absolute   Chinese  form,xaken  over  in  the  typical  Buadhist 

tem^ll  arcöitecture  of  ^^Pf '^^-J-^^f^fonff  he' h;avene 

Eaoh  of  its   stories  raust  be  *^°^^^*   °J,  ^^^°^!u° 

while  the   Square  ^ase  is  a   «f  ^«J^^^^^f  ^^'3^*117  round, 

In  India  the  uppcr  part   of  th  f '^°;^^^^^!„''         ^ 

but  m  China  the   Square   shape  is  "^o^«  f^^^r^^l^eauentlv  a 

Throu^h  the   Center  of  the  ^^^^Jil^f.^j^r.i^posrbuf  is 

maat  or  axis  nhich   serves  ^^^  f  fjj^^^^^-^gpfje  euds  usually 

l^Tl^C  fr  ?L^K/1^iei:Sa;oifeii  the  purit.  of 

the   law  of  the  Enliehtened  one. 


{  , 


'''4 


T.   , 


1' 


....•.,,,.,,»,„,,,,,.,_..,_  . 


^fiff 


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1 1 .  (  „ 

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♦.•     * 


»1 


XI 


109 


AHCIENI  JAPANESE  NET ZUKE 


The  netzuke  (ne=root,tzuke=hang)  is  a  button  with  the 
purpose  to  keep  the  inro  or  tobacco  pouoh  in  the  girdle 
and  to  oounterpoise  it.  The  Japanese  soulptor  raised 
this  practioal  problem  into  the  artistio  sphere  giving 
this  buttom  the  form  of  an  often  very  complioated  and 
agitated  oarving  which  nestled  softly  to  the  hand  and 
gowi. 

In  such  a  manner  the  netzuke  belong  to  the  Japanese 
Utensils  and  apoear  in  Kümnel's  "Oatasiatisches 
ßerät",  illustrated  vdth  sample s  from  my  carefully 
seleoted  oolleotion, which  was  assembled  dithctly  from 
old  oolleotions  in  Japan  of  1908,  Hence  the  unusual 
high  quality« 

Now  only  the  describing  oataloguelwith  183  numbers  and 
172  photographs  remains  and  one  solitary  piece  which 
ie  described  belowj  everything  eise  was  stolen. 


77* 


Grasing  Hör  ae 
H.6   cm. I    2.6" 


Ivory  oarving  which  adapte  the  figure  of  a  grasing 
horse  to  its  purpose  by  conventionalising  it  to  a 
firm  contur.   On  the  back  holes  for  pulling  through 
a  cord« 

Tokugawa  period.   Kighteenth  Century. 

Lit .•   Kümmel    "  Ostasiatisches  Gerät"  mit  Einführung 

von  Grosse. Bruno  Cassirer, Berlin  1925. 
See  frontispiece  and  page  126. 
Graf   '•Japanisches  Gespensterbuch"   see  page  12, b2. 

VYhihltlnn«    19*59   ''Netzuke  uit  de   collectie  Ginsberg"        .  ,  ,,      ^. 
i^xhibitlon.   ly^y  Kimetzaal  Tikotin,Nas3auplain,Den  Haag  (Ho  11  and) 


I    .►.      j   v 


(,  ».. 


4i 


»<T.V;S'-  'M! 


.*^' 


i:;:;i 


m 


:;5J 

•  ••• 


•1*4 


'  *•» 


::;5 


I  #  » 

!J: 
litt' 

1(1  •( 


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i  'i' 


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f         *r^V    ^ 


-I 


a.    ^ 


:  .t: 


«...     • 


.  i.    : 


mnn'U^rrfmH. 


XIII 


111 


Ancient  Japanese  Color  Prlnts 


In  the  obituary  of  Raymond  Koechlin,the  famous  collector, 
Kümmel  CO. Z. 1931, p. 205  ff)  reports  that  Koechlin  told  him 
onoe  of  having  been  fetched  in  1890  to  the  Ecole  des  Beaux 
Arte  in  ?ari8,where  Bing  had  arranged  an  exioibition  of 
Japanese  oolor  printB,ödding:  "  Oe  fut  le  coup  ae  foudre.. 
de  oe  jour  date  ma  vie  du  oollectionneur. " 
I  mention  t^iis^beoauBe  this  episode  is  inuch  like  mj   own, 
only  ten  years  later* 

It  was  about  1900  that  Japanese  color  prints  av/akened  my 
deaire  to  collect  art  of  the  j'ar  East.  A   few  years  l^ter  I 
was  if^lad  to  collect  in  Japan  326  prints, v/hich  QQVe   a  (r;ood 
survey  of  thic  art  from  the  micuile  of  the  seventeenth  tili 
to  the  bet;inAing  of  the  nineteenth  Century, and  pleuty  of 
incitations  besides,  Every  ^jhase  of  Japanese  life  is  illus- 
trated  in  thses  prints, Y/hereby  beautiful  women,actor8, 
famous  landsccipes  play  an  important  part»  Characteriatic 
the  Japanese  denomination:  "ukioy<5"  =  passing  world  ptoturi, 

As  the  last  peculiar  creation  of  the  artistic  oolor  print 
the   surimono  appears  ia  the  eighteenth  Century. 
It  Combines  a  picture  v/ith  a  poen, relative  to  it.  It  is 
ordered  for  special  ocoasions,to  be  distributed  among  friends 
on  xlew  Year  Day^on  birthdays,^7edding8,as  invitations  eto. 
As  the  surimono  ^^'^s  print  cd  but  in  siaall  edition  and  was  of 
Miall  Biae,the  cost  was  not  of  such  importance  and  thcrefore 
special  care  could  be  given  to  paper,colors  and  teclmical 
luxuries.  »^hile  the  intended  effect  of  the  color  print  is 
normally  reached  with  seven  to  ten  oolor-plates,for  the 
surimono  tweuty  to  thirty  are  used,often  applying  gold, 
silver  and  blindpres^ure  profusely. 

Only  a  few  of  my  prints  remained  which  a  re  described  here. 
But  from  this  part  of  cur  coiiectiou  there  exist  exceilent 

monuments  of  remembrance :  a-,^^^  n   +o 

l.The  catalogue  of  the  exhibition  ^^usstellung  Alter  Osta- 
siatischer Kunst, ver^instaltet  von  der  üicademie  der  Kdnste 
zu  Berlin  1912  -  where  a  selection  from  cur  collection 
together  with  selections  from  the  famous  colletions 
Jaec-cel,Mosl^,Oeder,otrauss-.Nlegbaur  represented  the 

Suo^tafeln, ausgewählt, eingeleitet  unab^ 
Julius  Kurth.Joseph  Altman  Verlag,Berlin  1924   which 
glves  still  :iore  eviaencc.  ^^ovin^  fac- 

To  this  publication  I  gave  P^^^^^^^Jjj/'J.tce^t^^^ 

similiea  of  prints  out  ^^  -[^^^f  ^3^^^,^^^!^^    orLinal 
were  reproduced  in  the  orii^mai  sizie,wiwii 


in 


1 


.-.^i-ST- 


110 


m 

'Hl 


•  *•» 


'> 


r       i, 


/  -l.  , 


»  .^      ,v 


«t 


CO 


1"    '    ' 


,-  >. 


.     -:-:^i 


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..     I  •*       -  ri 


.  r  -Tf 


:k 


r-; 


i 


*  .1 


Vi 


': ' .  ] 


III. 


ANGIENT  JAPANESE  PAINTINQ, 


^M.h^t!^^''^  Portrait, deecribed  below,i3  the  only  palnting, 
v/hich  by  Chance  was  öaved. 

Loet  iE   "The  goddesa  Beriten   (Saresvati)   %o  Buddhtitic   cult 
palnting  of  Kamakura's  fourteenth  Century, in  r«d  and  gold 
rornif^rly  in  the  Hayashi   collection,lopt   '"^he  '^e^  Harvest" 
by  Jwaea  ilatahei   (1573-.1650)  whcfs  o^ur  led  to  the   laasters 
of  the  u]<ioye(pa8siag  world  picture). 

Lost  our  jold-grouiided  byobus  v;ith  Kano  Mitsonobu'g(l600  crj 
sno^caped   pines,the   ^diding  doors  of  the   chi^aidaiia  wtth 
the    curysantenum  braAch,lo-t  oor  pair  of  apes  by  Kori  Sosen 

(1747-1327) to  meution  bat    some   charatteristic   sample s 

of  our   colleotion* 

78.  Portrait  of  a  "^3^rior. 

kakeinono 
120  X  55   cm.;    47.2  x  21.10" 

Soroll  paintiii^  in  color  on  f::oft,darkened-5rey  paper» 
Üittirig  on  tne   niatt  in   solenin^ujrinoved  po£e,the   oeremonial 
portr -dt   of  a   Samurai  -dth  thin  beard  at  lips,cheek  aiid  chin, 
offers  a  firm  oontur. 

The  bearded   {^entleman  has  an  jiriGtocxatic  face. The    cut   of  hi 
eye B, the    swing  of  hin  noöe-ridge|the   snapc   of  nis  sa*  jnouth, 
given  rith  h  few  axro-ies, ciiaracterise  ti-ie  man  v;ho  vas  iden- 
tified  in  Jrir)an,-^here   I  bour^ht  this  painting,Q8     M  a  3  a  - 
R  h  i   5  e     k\i   SU  n  0  k  i   .    He  feil, Ji^^nt lug  fcr  tiie  emperor 
in  the  battle  of  liinato.^av/a  l>36,9t   a  tiae,v;hen  it  was  without 
pro3peotB  to  fih'ht  for    uhfe  Jiiiae.    xn  Ijji  the  rule  of  the 
Mikaao  had   t^een  rerotored,but  for  a   öhort  time  only. The  rebel- 
lion  of  Takauji     a   b  h  i  k  a  g  a   ana  the  batüle  of  idnatogawa 
broutiht   forth  ag?iin  the   Shojiinate,at  this  tine  of  the  Ashikaga 
family  whioh  becapie  predoiuina  .t. 

i  The    ^anurai   i^  eouipned  with  the   conioal  bl3ok  cap  of  his 
ran3c,-hite   robe/oreast-^^r-nor  and  tash-s  for  the  thights.       , 
ün  liis   leit    cide  two    crvoris,on  his  back  the  bi3  bow  and 
arrows  in  the  invisibl-  quiver.   The   fan  of  co^iana  rests 
clOBed  in  his  ri^ht  hHnd,oovered  with  the  archer^s  ^love   . 

Ihe   kökenono  has  been  daiaa.red.   Old  repair. 

Aöhikaga  period   (1153-1565) 


3 


\m 


iit' 


Oj 


1   e 


A^....;..:!!ü'.',H'wwgBqBS!güRi- 


,**^rt)».Ju„.,.„,4.;iiit 


I  t  •  '  •  H 

[""1 


:::•! 


1     '  >  ■      .  -  ■  ^- 


>J 


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h:i 


,#«i 


79* 


112 


colors  arid  even  the  the  old-a^e  traces«  There  are 
€arly  prints  of  Torii  II  Kiyoina3u(l679)  in  Iloso-e 
Urushl-e,Beni-e  and  with  gold  powder.   There  are 
ßoiac   of  Toshusai  Sharaku's  actors  half-len£,^th 
Portrait s  oif  mika  {.round   (l794-)ias  wellö^one  of 
Li  ehe  sei  Naj^ayoshi 's  silver  {jround  prints,  the 
ßirl,who  tith  snowDvered  umbrelia  leans  oon  a  male 
servant   in  a  red   coat   vhile  heavy  snow  is  fallias* 
Bat  there    are   also  the  most   famous  printe  out   of 
KateUBhika  Hokusai's   (1760-1349)    "Thirty  six  views  of 
?u3i"    Serie, the  "Great  v;ave  of  Kanagawa  inlet"  and 
"The   Fuji   of  Jaifu  Kwai sei". 


Rekisentai  ^'Ari »    Audience  vdth  the  l^yrees. 
12ü  X  57  oa.  ;   47.4  x  14.9" 


1 


■Hi 


in  the  imperial  p=.villon  the  eapress,  vearing  ^;^«  ?f  «„^i^g^^t, 

the  metal-decorated  >).lu3trade,two  raaids  of     «itmg  wi 

fans  i^,^^«^^*^-^tL'''at'eativfl4y  at  the  little  procession 
They  all  are  loo^.cxuo  "^^ lly^Zllae  wall.covered  oy  tiles 

aM  bordered  vdth  co'üferous  trees.  ^ 

-„■i«n  attft'ided  bv  two  isaids  of  nonor, 
In  front  of  the  P^o^f s«^°^'^f  ^„^3  °^ent  black  court  ^own 
the  prince   8^'ep8,at^ired  in  a  ttansparent  ^^ 

with  the   oeremouial  ^f^^^^^^J^^^rcarries  the  katana(=lon6 
corte«e:   A  littel   ^^^*f,^'^.^-^/^.taudaS   oearer.courtiere. 
swordT.laiaies  xn  v.-aitiuc..   ^   .^^of  ghoes.an  obi  of  ^'Hocade, 
Partly  they  carry  tjifts     -;  ^f.^^^^J^^^y  the  ox-drem  palan^uin 
a  big  saria*at-box,partly  the     accomp     .     ^^^  p^i^nquin  will 

with  two  toiß/f,:\^;iJ°es<    wiUdescend  to  pay  her  respect 
be   lifted  aud  the  prince s..  ^/ii- 

to  the  empress.  ^  ,3_i  to^ether 

Serie  of  five  P^^f/'/'^f^^J  ^xaied. 

mounted  on  Japanese   silk  and  ^^^^^^  ^^^^^  ^^^ 

j.pan  about  ^^^'^^^l^^'^^^lo^XoeT^  new  typ  of  womaA 
aristooratic  Hosoda  Usln.^^o      ^^^^^^^_^^^ 

beauty   with  ex       ^^Y^^«^-  kno\m.  ^   , 

Very  few  prints  of  nim  ««  .^^°/^     .  ^^^^  j^^,,,,,^  color  prints' 
Kxhibition:   1939  Haarlem  u^oUand) 


1  i 


I 


b><; 


:> 


n 


!►'    i 


^^-, 


S  *r    4  -'  ^  ■   U/i. 


-i.»r^ 


113 


80. 


Ku))o  Shumman : Chine  ae  PoeVess. 
16  X  19.5  cm. ;   6.5  x  7.9" 


The  artist  copied  for  this  surimono     an  old  Chine  s« 

album-leaf  painting  ol"  great  deliGacy,giving  even  the 

daraatjed  ^dges. 

The  pocWess  is  sittiag  in  the  garden  beside  an  old  trunk 

out   of  Wiiich  fresh  twigs  wtth  oherry  blossom  fiower.   Her 

beautiful  faceiabsorbed  in  thoughts.rests  on  her  hand 

holdln^  the  brushj   her  arm  leans  on  the  ston«  table  where 

the  ixik   stoue   is  ready  to  eaabla  her,to  .^ive  vicible 

e--i)ret;sion  of  her  verses  on  the  petal  in  her  left  hand, 

A   poeia,relating  the  result  of  her  thoaiihts,in  the  right  corner. 

Signa ture. 


81, 


Kubo   ^;ha.-"jian:The  Tea-House  Jirl. 
9  X  22  021. }   3.9  X  3  " 


Thlß     surimono     repre  genta  a  tea-house  girl  who  in 
Her  uplifted  hand  carries  a  red  laok   stand  ",itn  a   silver 
Cover ed  bowl.   The  black  obi  showe  in  ^old  the  pattern  of 

coniferous  twi^s. 

Two   poems  fill  the  back  ground  .     Signatare. 

iLobo   ühumaan,  1785-135 6, i£  oonsidered  w  the  clasaical 
maeter  of  the   surLnono. 


32. 


•.»t.n«tkP.  ilQVu.ai:lVo  Jiadjes^n  the_i.a.raen  l-erraoe . 
27,5  X  13,5  C31. ;  10.13  x  5.6  " 


>     ^^<      o-rin.  ono     Bliding-wallE  with  peper  filling, 
On  thib   B  u  r  i  n.  0  n  o   J;^^";     -  ^.      terrace  on  the   aide, 

«irr  i^  S'-^^t^tr'ilv;'  cÄ  furnisJ  the  back  ground. 
*hile  byobus  with  oilvei    oi-oaub  ^  +       q^  which  are 

A^alnst  them  a  table  «J^^'  ^^^^^^i^^JfLoc'de.a  red  laoquer 

a  pack  of  booka  ^a.^ped  in  ^reen-goia  ^         j^'j.gather. 

box  ana  a  white  -^orcelam  vase  >^ith  a  P««^^.^^  ^,,^,,         dies 

In  the  fore^rounu   two   i-'^^/^'^^J^paper   sheets  and  to  fold 

in  tl;eir  coi^*^^«'^f,,f  fL«°iittirs«ip.  or  palanquin.perhaps 

snali  things  which  loo^  liKe  ^Y^ ^     japqneBe  -All  Soul  Da^j, 

the    "boatB  of  the  f^l"'"4Jt.th  'onth!?o  float  dov^  the  river. 

th«   fifteeth  aa;,   ot  the    *''*-""  ^^^^e 

On  the   left   aide  the  poem.      bi^nature. 


*i! 


?  ! 


»*»  •      1 


Itf^' 


#^ #v  5   *   r  ,r  t. 


...^ 


'   i 


'♦•»tr 
■»  1 1 1 » 

•  II  V«J 


I     '"l 


1 1  •  * 


E 


1  »i 


.1 


i 


i 
^ 


'■"  I 


''T*'??^', 


M 


■t' 


,ie 


f- 


r 


umt  £lo 


.•  n 


>■' 


.1 


pii 


114 


83* 


Uoya  Hokkei!?u.1iYa:aa. 

18  X  20  om. ;   7  X  8" 


This   surimono     ^^ives  a  color  dream  around  this 
famous  mountain,   The  Fuji-jana  rises  out  of  the  mist  in 
blind  pressure  and  silver.    In  blu«  tints  a  chain  of  mountains 
"before   himmln  the  fore^^roond  a  small  mountain  meadow 
in   soft  green  with  ooriiferous  trees  in  bronzc  color. 
Clouds  in  gold  terninate  the   color- symphony  of  v;hich  I 
havc  mentioned  oniy  aome  eiaineut  tintst 
Poem  in  the  right  oorner» 
Si^natxire- //ith  red   seal   characters. 

Katucika  Ilokusai   (1750  -1349)     and     Uoya  HokkeK  1730-185 4) 
are  Icnovmi  to  excell  in  sariiuonos. 


II 


<*s 


.  . . »  - 


.  J» 


*        ,  > 


y 


V 


rTurzrn 


u.-^^'*!*»»^ 


'n 


ü 


(*c 'I-l-'-  ^  _  i 


f-  -.    *':.  1 


•'•'■•it«4«Art  al«!  *  I  Z 


H 


115 
0*  I  x^  D  I  A 


Borne  aotes  about  Buddha  and  his  representation. 

n?S.Srf  a?^DÄt^^^^'^^'^^         Contents  of  the  buddhiati 
iioeraxure  are  partially  of  symbolio   significanEe. 

The     S  1  d  d  h  a  r  t 


0 


mo?.'n  r  ^J^^®  Of     b  a  k  y  a     from  Kapilavaeta  in  the  Hi~ 
mala/a  territory  of  sepal.   .ccording  to  the  legend  he  resigned 

b^KXAMüNI     a  herinit  of  the   bakya  race  or     G-  A   U  T  A  M  A, 
the  asoetio,who  lived  in  tae   ßolitude  until  he  -ron  the  vcnow- 
ledge  of  truth  for  the  reaemption  of  earthly  suurferlns.growing 
to     B  U  D  D  U  A  =  the  ENLIi^H^LNi^D. 
He   died  about   477  B.C.  (acaoraing  to  Max  Mueller), 

In  the  first   cejttury  after  his  death  he  aiid  his  doctrine  are 
reyreaented  by  symbola  only,above  all  by  the  wheel   (eansorit: 
0  a  k  r  a    )•   i3uddhism  was, aß  long  as  the  doctrine  remained 
pure,a  philo so phy  not  a  religion, 

327  B.C. Alexander  fne  'Grreat  jtnvaded  India;  he  laarched  over  the 
Kabul  pase  into  i^'orth  V/est  India;   after  hib  death  323  B.C. his 
einpire   ia  divided  aiao:ig  iüs  ä^'i^^^ls  (^iadoones). 
In   2bt>  B.C. the  ^joveruor  of  3aGtria,Diodotos,nakes  iiimself  in- 
dependent,    The   araeoo-Bachtrian  kingdom  origin'^tes,extendlng 
its  r\ilc   to  xMorth  West  India, including  the  landscape  a  a  n  - 
d  h  a  r  a   ,then  inhabitated  by  ladian  races^now  Ai^^hanistan. 
v/hen  Budahism  entere  Uandhara  in  the   tinie  of  Diodotos,the 
doctrine  laeets  with  a     Hellenietic  ouiture,a  hybria,coaposed 

S^lSSJltJf  aifif  SMil?rJI.>.r.ts  to  t.e  Bud.Mstlo  »orld 


e- 


3    C 


n  t  a  t  i  o  n 


BuIdMstic^iSc^rlne'with  tHe'sun  hero     Hello  « J^P^o  1  1  o. 


chan.-tes  to  a   religion.the  tirst  oue  of 


world-wide  importance. 


'♦I 


as 
y  be 
of  arranging  a  knot 

out  of  a  mi sunder- 


of  hair  on  tiie  cro".^  of  *-^«^f  ^J^/^Jg  i^to  a  protuberauce. 


uii^i^*'' 


II* 'f 
<■*♦ 


•  •«« 

•  < 


hüll 


.:;:3 


••• 


♦ 


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^   A 


V 


*\   * 


x... 


.-..-     t'.M  •  *  '   "^i^-       '        -  "  -^     ^^•    '■     '"-'•' 

'                                    ^      »^         >.                                                                                                          r..     ^ 

-    J    .. 

i.  vvu.    ,  V  iriO                          •     VC      i..-^^/.. 

.^i.  »'5  :     .^  '. 

« 

..._.•.     :■••■.         .-.       J  '.i  -      V                        .  •    '   .-j' 

<•        .          /      .     .'. 

4*      .y- 

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t 

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'                     '         ,,(  ::  ^^    ViOus.^ ::  l:   •. ;: 

'^TIm'- 

«        "  •       ■  -    i'./    A  <'-«.■  ^                  •     • 

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• 

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-   i.                                              '"    ^ 

,                                   ;      J           .1 V    i                O' 

\:yr      j. 

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V.  i      ,,      .^''J .  :  l^itJr.i      .  »    C  1    ' 

.   f   ^1  :^ 

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/ 
'  i 

f-          ,  .  'i.^  1  ''J  J  ■'  ,^'    ^  ,  >'^. '     ■-• 

..      '■  i:      .    ^1-  "^     rt              ;.  .^  f        •,  ^  •■'    .. 

1                    ■.«»,.,                               ,. 

'  "^      V    r>l                           ;r   •.. -^ 

:•     ^-i            :.                   a.        •  .    ::.j 

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<»                           A                                      *«     •'      i: 

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i 

1   •            -    •   '            -«  :       , 

l'    r>      1     .f    - 

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^.    '-''''        ..         ^          ^-.l  }'^r   0  ic 

■^  tut-   '^' 

»                .                                                                                    1              • 

^    :           ^       \'''   .'■            .  {  '.n  j     . ! 

.  *  •.         ji.  V    ^ 

»^   . 

•                                                                                                                    m 
•                                                                         < 

'    r  ■  ■ 

V        M 

- 

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•.  ^  .  ..  .    "  '  -  >i:..i.  r,v   rr»; 

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.      -   I    ^    0"              -              -^^ 

'•  ii     ■ 

il  I 


Tit 


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<.  •  »»•         »      ' 


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U6 


onangea  to  a  hora-like  point,rieing  upwards  like  a 
elabor^t!  ^ffll  ^'^^'^f^  l^ter  becomes  aore  and  more 

5.  r**-'-®  *^^®  "^^^'3  ^)etween  the  eyebrows,  a  third  eve. 
which  "Bhiain^  lik.  silver  or  anow^  e^x^bU  luadta  t7  * 
illumiaate  the   Jniveree. 

The   ^^Elongsted  Ear    Lobes''   »pulled  dov/n  by  the  vA^ht  of 
the  royal  Ornaments, rhich  Siddharta  later  took  cff,beoome 
an  attribute  or  bea^uty  es  v/ell  as  a   symbol  of  Buddha »s 
world-wide  listening  syinpathy, 

These  body  features,forined  already  in  Oandhara,renalned 
prinoipally  unohan^ed  throu^-h  the  whole  buadhistio  world, 
whlle  the  transformation  of  the  helieni^tic  typ  to  the 
Indian  physiocnony  triBuee  by  degrees,    xt  diriers  greatly 
iu  the  difiererit  radiations  of  Buadiusm  to  oouth  and  Farther 
India,to   Indonesia  and  the  j?'ar  üIr  st  (China,  Japan),   lo  the 
i'ar  2äet  the  re:rreseutation  of  i^uddha   comes  partly  direot 
froni  Inaia,partly  frow  Central  .'\sia(Turkestan), 
Helatively  "oesw   the  s  tyle  of  »fandhara   iß  upheld  in  Japan; 
the  treatnent  of  dra.jery,the  i^nrow  of  the  pleato  is  almost 
Oreoian;   the  robe  ie  so    set  as  to   ghov;  the  contour  of  the 
body,foldj  followinc-  the  linee  of  the  limbes  in  a  natural 
and*  iinconatrained  vvay.   This  iö  attributed  to  the  inported 
statues  fron  -vorea   einoe  the  sixth  Century  A^D.  ,executed 
there  by  artiats  v/ho   caifie  fron  Central  ^isia.  ^ 

In  the  beginning  China  foliov;ed  tue  Granahara  influenae  too, 
■ßut   in  the   oourae  of  time  developed  succesfully  a  style  of 
her  ov/n.    The   lanaisti^;  fi^jures  only  preserve  tJ^e  Indian  type   , 
Coming  from  Nepal  aoro3s  Tibet. 

Likewise  moict  of  the  g 
BodhisatvaSfthe  "  u  u  d 
to  be  found  in  v}aMhara. 
haiids  3'iows  the  gyrnbolio 
of  a  soene  from  Buddha 's 
or  they  embody  a  oertai  i 
''':)hariiiacakra  madra"* 


\f  Buddha   a.id  the 


e   s  t  u  r  e   s     o:^ 
ras'*    (iixaraly  8ejl),are  already 
.10 st   strongly  the  attitude  of  the 
■neanin(ä.   They  al'vays   -:ive  a  hint 
legend-life,of  a  oertain  aotion; 
State, a  reli'^ious  oonoept^on; 
.ture  of   tiurnin^^  the  wheel  o"  dootrine. 
The   nanas  are  icepx  lu  ixont  of  th-:  brest   so  that  tlie  fin^er 
tips  oontactjthe  palm  of  the  ri-ht  han^  is  tur.ied  out^vard, 
the  palm  of  1 1«   left  hand  inward. 


r«  o.' 


jMJ^icg«LHljJJlBU.-Llll— 


«■ 


t  *  t 


tri<l^! 


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-.      f    -f 


} 


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♦  k    •«      *^  »       '  /              ^    . 

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t 

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117 


"  BhÜmispara  müdra  "^    :   the  geeture  of  touchiag  tlic   earth 

or   calling  the  earth  as  witneas  (in  the  dispute  with  Mara» 

the   demon  of  evil).   The  hand,palia  on\vard,hangs  down, 

••  Vera  rnftdra   '*    :   the  ge sture  01  blesaing.The  hmd  palm  outward,'*«^''^^^- 

^   Abhaya  müdra   *'    :  tne  geature  of  consoiing,of  feariesneas. 

The  hand  is  lifted  in  teaohing. 

••  Dyana  mMra   *•    :   the  ^esture  ox'  rneaitaiiion.   Both  handa  lie  , 

on  aaoh  other  in  his  lap.  \'^ 


BODHISATVA(a  Knowledge  e8oe'itiality)arc  beinss,iiiature  to 
beooiie  Buddha,   The    )rit;inal  type  is  3  young  man  royally 
attired,decxed  v/ith  braoeletB,necxlets,bre3t-chains,develo- 
pcd  fron  the   legend  of  the  historic  Buddha,. 7ho  came,a8  we 
learn,from  a  princely  house. 

^ccordiilg  to  tKc   ine.ii^otion  of  the  northprn  ßu^idhist  eyery 
••   MÄllU;>IBÜi)ljHA   "   i.e.a  Buddha  in  hur^an   ahape  nas  a  inyetic^ 
inage.   This  ina^^e  is  to  be  f ound  in  an  ^^^^^^^f  y/^^^fj^?^^^ 
t^rraces  which  coriesi.ona  with  the  iour  ^r&üeß  ol   refleotion 

Of  e'^ation  out  of  the  ^^^-^-^^ ^^^^^'^'l^^^ 
buacina  has  his  Dyanibudiha   (?ischel-Luders   :     bein  verlclar- 

^«4-^«n-no-i    cifs^    o -oduced  by  e:aanatlon, 

spirltuai    so-M^-^'^'-^^y^  ):^    >.  --->  >  v^vIpp-  dep-r^es  rcsult: 

Fron  this  ^^^,^^>^^^t^  !j;'  t,i^Jha  ol  iSeaGura^)le   spleador. 
Dyaiübociiisatva:   .valo.-citcsvara  er  .au^apanl. 

ManueibiMdha :    ^^""^^r^'^f^':!:,^^-^  still  3odhisatva,will 
In  the  futiire  a^e  i.Ax^i^.r,iA,ax  pr.oe.iu 

becoue  i.lanusibuddha. 


ar 


1925 


Lit, : 


..iam,Leoiili«rd  "f  f  ;;^^^l^gf  Lf  iu^hlsmus'  ..eip.ig  1900 
Jrünwfedel,.Mbert       r^J^i^^tio  art  in  Inaia".   Translated, 
Gr;inwc-dei,  Albert   "  -^^^^'!\^:^°/eniaräed  by  .-.cßargess, 


u»  ' 


revisvd 
London  1901 


* 


l    jL 


.f  • 


.' f 


M«! 


-«»' 


i!t 


l»-?-«^. 


"tnjtttflli 


.aassjastsa^ 


I,,»- 


I 


i 


i  ' 


,  V--    c_ 


i 


'•Ou.-.r    > 


ll 


< 


"'% 


•  1<>i>:  '^  • 


;  t/  " 


.    iiC 


I 


■I 


Ci   -i.i5 


^00 


K  .     Hztil 


f  *  r-a    »  ^ 


Wir- 


i 


J 


i 


f>ii 


N 


118 


84 


2Ji^^i^ii-Ji£34^rom_Hadda. 
8  cm.;   5.2" 


I'p^^  l'rj^^ort°KX?-3^^..J,^^:  t.e  sun.,..  n  e  1  i  o 
Prototype  for  the  Buddha  JS^?'''!''^  "^^   '^««'^  ^s  a 

certaia  tracec  of  transiti^n  +^+2:^4^^  ^"^  ^P^*«  ^^ 


s   • 


Stucco. 


Kadda,    ?oarth  Century  A.D. 

Ju^^f^^^f^^^^!^^.  ^^^:*^^  ^f  ^alabad   in  Afghanistan 


the   froQtier  of  the  North-^est  irovin 


n 


ear 


^^^  f.  V^nisha,the   protuberance  of  Ms  sxrull.explai- 

ned^e  tne  bump  of  inteiU^ence,waE   .reserved  fere  as        " 
a  relic  in  a  richly  decorated  and  carefully  ^uarded  vihSra. 

The  head  was  purchased  fro:n  the  YoelkerkiLUe  i^useoa. Berlin, 
übt-iliins  der    Uiati^.hen  SamLilu^i^enCilrnst  TalascI^at). 


Ut. 


Bachhof  er   "Zur  Plastik  von  Hadda^  0.  Z.n.Ii^. 7.  Jahg. I93I 

Cohn,  /illiam  in  Tne  Crif^ntal   .rt, Vol.I,io.l  1943 

".AlthoU(3h  the    gmall   sculpturos  fro^  Hadda  have 

,:\       much  in  Coronen  with  Jandhnra  and  pernulated 
v.dth  weatcrn  cl3:Ti£nts,the^-  form  a^class  of 
their  o^7n,diEtin niished  by  fresiineGc  of  invcntion 
and  artistic   spirit,   iilany  of  them  ar.tioipate 
Ina  miraculous  wav  the  whole  lat^,r  develooment 
of  Western  .^rt.'* 

Jodard   "J*:xposition  des  r-eoentes  d^couvertes  et  des 

r^cents  tr:;vaux  aroh-^olosiii^ec  en  .Afghanistan. 

Hus^e    ruin:et,l'324 
Haokin   ''Les  Pouill^s  d<»  la  d^lö^ation  archeologique 
ä  Hadda".   ^evue  des  Arts  .nsiatiques.   V,2. 


«H. 


}    f 


•  Mit 


:;:;! 


...... 


t     f 


•. 


n 


i 


I 


I    ; 


.  )•:.  4 


»i-- 


•  V  i  :^. 


n  ! 


.    ,  ,  .  . 


f^ 


Oi.;  . 


»f 


I 


V       -  .     ' 


r         i    t 


-      f 


.ir       • 


fc. 


hl 


.:; 


u 


öt). 


119 

11  cn, j   4,5" 


S:tiuct?y°flinäjr^*^^  ''  dlB.olved;   the  features  are 

+?!h+r^^i"''  V'-  h^  c'^ansed  to  füll  resigning  lips, 
tlghtly  elosed.   The  eyes  loo  c  doA-nwards.the  for-  if 
the  eyeball  protudes  ander  the  eyelid.  'fhe  ears 
ienghtened  aocording  to  the  oanon, 

The  hair,8urrounded  by  a  bandli>e  line,is  tracnforaed 
in  a  Cluster  of  locke,  conoeiling  tne  protuberaiice  of 
the    SKull  topped  by  the   "rasai"    (flame)   In  the   sißple 
form  of  a  cone, 

Br  0  n  z  e     with  tsreen  patiaation. 

K  h  m  e  r     i^rt,Ca:aodia   (3o  th  East  Parther  India) 
IX  -  XIII   Century  A.Li. 


Conraentary. 

The    people  of  the  iüimer  replaced  the   people  at  the 

lower  idenam  and  l<iekang.in  the  ninth  Century  A.D. 

I\n  empire  orijiaated   which  included  the   ^jouth  part 

of  the   present    oiam.    i'he  i'Ümer  e::ibraced  Iiidian  calture, 

in  the   middie  of  the    tenth  Century  foonded  the   oapital 

Angkor     Thom     and,aear  ^,in  t::c  eleventh  Century 

the   tenple  ofAngkorVat. 

Long  fi^htß  vlth  the    people  of  Tai,wno,c:i!aiiö  from  the 

south  of  Cfiina,presi-ed  laore   and  mor*j   to  the   oouth; 

The   empire  of   r^hmer  v/ill  at   l^^ot   succumb  to  them,  oecome 

a   part   of   the   kingdom  of   3iam,the    ^^ianieGe   people   a 

"croes-breed  of  Tai  and  Khmcr"    (nei.^e    xelderj. 


-.■   ^■■^ 


n 


\ 


'Mi* 


'*4 

M't't 


:::•! 


¥\ 


K- 


V,    J ,  x 


r»w 


»    V 


•«  •.    i  ' 


fr 


y  y 


i.  ' 


ii 


-'  ',       i 


.>  z 


•     4    •.y 


120 


86« 


Buddha  Head  ymm   sjj^, 
la.cm. ;   7.2" 


Pull  face  nlth  a  long  pointed  nose.   The   «yes  look 
do'vnwarrls.   The  curvatures  of  the  eyeballs  protru'e 
diBtinctly  unaer  the   eyelids.   The  eyebrows  join  the 
forehead  wxthout  hardn-es  as  a  li-htly  elevated  roll 
«eneath  the  füll  lips  a  round! sh  chin.   The  ears  of 
atereoty  ,e  length. 

i^ach  carly  hill  of  the  olaster  of  lock;s,-"hiQh  reach 
,  f ar  down  the  forehead,is  of  big  scale.   The  ras'ai, 
,  the  ilsjae , ri sing  out  of  the  top  of  the  usnisha,the 
protuberaxice  of  skull, is  disjointed. 

Bronze     with  green  patination. 


3 


i  a  m  ,    art  of  the  Ayathai  empire(13^;0-1750  A.D.) 


Indian  art   fiows  fron  East  I/idia  to  the   :''arthcr  India 

into  the  preseut  Horth  Siam^habitated  sinoe  times  of 

cid  by  the   oeople  of  Tai-cnan. 

First   Lüiited   by  the  ki^i^^cio^l  of   bukothai-Savankolok, 

it   iß  — accordiri^  to  Voretsch —  reaerved  to  the   ^^'orth 

to   create  the      **riatioiial   ülaraese  art''. 

Kowever,xhe  present   '.Uanieße   peopic   7;ill  ori^'iaate  only 

after  tne  Khmftx  öuccunoed  to  the  Tai  and, uaitiag, create 

this  hybrid  race. 


Lit.  :   E.A. Voretsch 
Üetaüiatisohc 


M 


ber  .iltbuddhistische  Kunst  in  Siam'^ 
eitschrift  1916-13.  V,l  und  VI,1 


baijWUllBüL'ffff 


•****«».<*  iM-it^htLI£n^.* 


^mm 


»■tS«i»fftU. 


121 


f 


4      ^ 


.   i 


.0 


rr 


a:^  U- 


*^f 

t 


.t.  V     J^- 


"  t 


r  o  X 


CT 


;♦.       I.- 


i   ■ 


."    ? 


V4 


87. 


Nat  Deva  from  Burma. 
59  cm.;   Ib. 3" 


rlght 

aide.  4.  4.  i 

Vestnient  and  jewelry  siiow  th«     court     attire 
of  the  thirteenth  Century, cuatomary  for  diviae  aa  weil 
demoatc  bein^ö  to    vhich  the  Mat  Ucva  belong. 

On  the  forehcad  the  urna     The  eyebrows  in  a  lightly 
elevated  roll  over  loa^  dra-ra  eyet:  whioh  look  domv-ards 
unde      half   closed  lids;    at«t,;iht  noee   aoove  tirea  ixps. 
The   hair  is  coapletely  covered  by  a  JIM  of  -'^«^f  * 
'vhich  Imitate 3  in  a  baroque  way  -iuddha   ^  clubter  oi 
locks  with  the  to.ping  rasmi.    .^ested  to  this  helmet 
i°   a   head-baad  with  lonß  wiage-like   Ornaments  which 
surrou^a  the  ears.frame  the  face  aad  Jf  f^^^^JJ J^,,^. 
smalier  winß-lixe  Ornaments  fixed  tn  to  the   Shoulders. 

The  Upper  part  of  the  body  is  coverea  by  3-Ptuous 
jewelry  only:   P'^J^f  ^^^^^"^^^^.^S^d  neXarms  a..d  ankles  - 
ri^Lraif  llthir.eir"L  "r.own  whioh  encloees  tha 
fbdonä'tLSly  is  covered  with  preoioua  stou  .. 
The  fidure  .robabiy  -l^'V^ed  to  .  c.roup..a.^^^  ^^  ^^ 
the  icnees  and   sr-all  d<..aa^c   o^-t.-.^ 

altar  aud  the  rape  done   by  .oroe.  ^^^^hend 

Bronze     ,ilaed. oartly  darkeaed,at  tne  back  freshend 

7'.  r  .  a   .NW  .arther  India.    ITth  -  IBth  ce.tury. 
.orn^^rly  in  the   colletion  of  '.alter  Heynel.'uaich. 

v^v^   41  Ge^e'nte  r.'.useum, aen  IlagueC Holland) 
Bxhibitxon:    1.3c3-U  ^^-^^  ..u.-io  sen  Ku.st  des 

.,t.:.cher.a..n".enxen^-^-,j|^3gs". 

'•^'eisÜf  al/^     '^«-  Buddhismus 
...y     -Hat  Jeva  sind  -«^^^f  ij'-.'^andelte  aestalten 

Bis  -^^r  Oder  .inaer  ^^^.^^^^,,^,  i^^^^^, 


U 


als  w( 


•  »•••tu  k« 


■«*"*?wmin»m, 


;;; 


k 


v 


O  "5  •*  <.! 


J.i 


/  i .  i    t 


ri 


:!'>. 


tf  f 


--*-^' 


0\'^ 


i. 


-.1^ 


:„>•       I  «, ',. 


i 


;i  ''    •- 


i?     il 


r      "^ 


1 1  "   '    '  f        '  ■  • 


•) 


122 


Id. 2  cra.  ;7.1** 


thrioe   bent;   attitude  on  a  iotus  p^deptal. 

Arourxd  hips  and  ti.:h*8  the  long  shava-like   uppergarnent 
i    /      !^  ^^  thi-  manner  of  a   scarf  in  which  the   sacred 
cord   lyajnopavita),runriin^  from  the  left   Shoulder, 
ucatleö  wnile  the   euds  in  -jleats  hang  deeply  down  in 
front  and  at  thr   aide. 

The  features  are   pure   fllndu.   l'he  lo  g  hair  is  dressed 
nißh,  oounaEot  to,:ether  to  a  crowning  knot  in  Hcllenistic 
manaer.    In  front  of  the  knot  a   band  holds  a  diadeiii,richly 
adorned  and  with  Anithaba  .-^ucdha^P's   spiritual   father,in 
the   Center.    n>avy  enr-penciants  in  the   elon::?^ted  ear-iobi, 
a  necklacejarn  claps  aad  braceiets  co:apiete  the  adorniaent, 

It   iE  to   be   assumed  that   the   left   haad  ori;,inally  held 
a   lo'i,^--stem:.ied   Iotus;   the  rij^ht  hand  in  '*vara  mMra", 
the   o^Gture  of  bleesing, 

The   baüksiae   \vith  heck. 


Bronze     with  green  and  blue   patination  shov;s  rest 
of  formier  {^ilding  which  accratuated  the  veiv  fine  work. 

North  India   ,    llth  -  12th  Century. 

Kxhibitioas:    1933-41  uemeente  ilueeum, den  ITaag( Holland) 

1946         I'Iuseun  van  i^ziatisohe  Kuiißt,i\riStcrdam 

Coirjnentary. 

Pi^DMAPAlU  may  be   absooiated  ae  well  to  Avaloicitesvara 
(=rhe  who  looks  fron  a\iove)  as  to  Vajrapani( cp.no. 29) 
This  .-^odhisatva   repreeents  the  most  inportBnt  figure 

in  the  Pantheon  of   ':ibet.  .^    :,  ^^u  „ 

Th'    l^orthern  Church,the  Lamaisin, has  n^te  all  Buddhas 
and   Jodhisatvas  to    ;ods,who  are  to  be  aaorated,    xt  is 
from  hiri  especiaily  that    jeople   inplore  help  i-^  all  . 

nceds.    To   hin  they  dircct  the  :Knov.7i  evocation  ("iiantras" ) : 

"om  -ini  kdma  Kum,Lo!^«  =  The  Jewel   in  the  i.otus...ol 
The   3odhisatva   Padnapaiii  nas  alv'ays  proauced  new  represen- 
tations     Hia  four-armed  fotn  i..  always  incarnated  m  the 
headol  the   laLi Stic   cHBrch,in  tl.e  rulin,,  Daiai  Lana. 

T-j-f.    TÄrtn    Qrri    Adam  "Bu  dha   otatuen  1925 
'"•   AlS^rf'rSdel  •'..yt  hole  sie  ^es  BuddMonus  in  Tioet 

und  der    .onjolei"  lyuu 
A'bert  Grllnwedel(J.Barces)"Buddhi3t  Art  in  ludia"   1901 


g^^ 


ü 


l. 


\ 


:  % 


f-7>t 


'/■ 


/*?f 


/ 


w 


123 


89. 


f.: 


.1 


.     .  A      1 


.%rV\ 


i 


Dftkini  »a-ro 


Th*   Pii  ^  bodv  vdth  small  firm  breaets 
Lamaißtio  goddcss.   The   sli-  ^^^^  ^'''^.^^  ^^  >rirdlc,ann 

^J^:^^^^^  SuU.!5.rU.  Kai.   «win^s 

Killed  denons  ^^^  °f.ft  rai^es"  drinkiag  cup.cut  from 

Oval  pedestal  wx.h  lotus  o  aocordiug  to  th« 

B  r  0  n  2  e.   The  ^^^/^i^lt^.k.  probable  that 
the  lidiire   onderwent  a  great  ix 
H  <,  p  a  1   ,    sixteeatli  oeatury. 


JuU. 


II 


..    1  ,-i^  des  Huddhisnus  in  l'ibet 

^uMier    -antra    'Ottheit  Mxa^  -      ^.    ^^^  ^^^ 
?iaf  berdi'»  er^i^l  "'^ir.eif.rin  oder  vieU«icf 
«  "^^   •'•Srr4rrdex^v:5;avar..dist,   sie  xst 

SchutzgoetUn  der       ,otiz,üass  dxe_epa  ^^gitea. 

latere.saat  ist  a       ^^^,^^^^,^  .attia 
für  aic   liUvaruj. 


// 


I 


►  »'H  • 


■^1 


tL^ 


;  tl'T 


t  m-t*  ^  *••.»■* 


■■•',!5-'l*''i'**^'*** 


124 


90, 


Buddhist   Priest 's  Bell. 


iUlC  cm*  ;   5  5/<3 


;l 


m  ■ 


li  t 


'» -. 


1. 


Ä     ^.     -     "t    c. 


t- 


1    n  Q   « 


1^    ./iM'i" 


«»' 


r.'U 


1 


•li*      '  «.'f  V 


Th^   hpaidle  of  the  ciroular  bell  is  in  the  shape  of  a 
vSira   (thunderbolt)   ,the  reii.:ioas  sceptcr  u3C5d  by  tho 
Buddhi.^t  priest  to  Gymbolize  the  irristib.^  f'^^^uf 
pray^r,n^ditr,tio'i  and  incaatgtion.    varnauated  is  the 
handle   by  -a  Naäa,a  kind  og  v/^ter-dra-on.      . 
Where  the   handle  and  the  body  of  the  Vll  Dom  two 
bands  of  delioate  foliai^e  deoi^i  adorn  tne  round* 
ClappeT   inside. 


Bronze 


smooth  sreen  ^vith  inorustations. 
.lilendra  period,late   ei^hth  to  early  ninth  Century, 


ThI  Ln^as  ^ouaa  near  tne   sx^^^^^  l^"]  " 

v/hich  was  erectea  in  the    .ailenara  er<i   ki 


The 


M 


«^ 


■  ♦». 
...» 

l-.i 

M 


1^ 


II  * 


.  rrKJtWWt* 


/ 


•)•■ 


■  '  t 

■  <  * 


.vi 


( 


•  •      • 


j    : 


*•(..  i  .  -  ^  * 


.  ^    '    -     .  V' J     « 


4^ 


1    . 


D. 


125 


IE  AR     EAST 


91. 


XV.        AHaiMit     BROHZK.CKRitMIO.IVORY  CAHVINS, 


Wattr  BovtI. 


Biam.    30  cra. }  12" 
H*        26  ora. ;  10" 


The  big  tronae  vesisel  is  of  spherioal  fora,the  Wide  opeaing 
«noircled  by  a  aaali  protruding  rim  wiiich  broadens  into 

two  opposite  handle 3,  v^o»-^ 

The  bo'iy  and  rim  are  filled  with  en-raved  and  enbossed 
ciecorationa.Ihe  mi.  die   part  of  the  reeurved  Sites  13 

filled  '7-ith  arcedea  in  which  are  depxoted  le.'.ends  or 
ie^iern  ÄsLin  the  raan.ier  of  early  mi.iatures.    Above 
and  be^ovJ.oetween  interlaoed  patteran,run  x  r  i  e   z  e   s 

rXSt  V^pr,iSr.a'lr:ra%h°o?h,r  Ij  round  „edaUlon= 

wlth  sittlnä  angels  or  a"il»l?;  fi„,„r3,ea=h  handle 

ir^  Jusl;:d°rrr; L;  "S.dalUon'wiih°H,.r;.  chax=ct«= 

:f  äiLfqu,  firou,>d  ».tSer-n  fl,htine  anl=al,. 

with  green  pa^ination. 

Scljuk  XIII  Century. (?) 


B 

A 


r  o  n  3  e 
s  i  a     i^  i 


n  0  T 


Comaeiitary. 
Seither  the  Oriental  Seninary,B-rlinU^^^^  ^^^         ,3^ 

the  J-'if  ,;^;«^.J^f  ^iiy  w«e  able  to  translate  the  .lebraw 
^SSp?  ofs^nro^nS^-opean  lan.ua,e  ^^^^^3. 

Th?y  «Cr^e.that  the   i'^"^f,i::^t  ^h.t  the  bovrl  is  at  least 
Sterated  into  H«'°'««  ^^^i^'^^^^aoly  manufacturea  in  Asia 
five  hundred  year.  cid  and  pr 

Corpakso.  .ith  a  snallcr  but  '^^^^ i^n  paxt 

Il.iiew    forK,i.lay  ^^»^''^^L^,,.-.  the  baiae  kind  of  ^'Q-™",^"- 
Hebrew  charaotora   md  ^ 

sr.5."»"~>'""  ■■""■ " 


'.::.i 


m 


mtätm 


l\ 


•  X? 


,     i'^ll 


i.»    ?. 


r> 


'    t 


<^  , « 


l     -   ' 


126 


92. 


Earthen---are  Plate. 

'"'''*"■      '"  — ~-— —  'I      Uli      •        laMSH«» 

3)i.32  cm.;   12. 5" 


Brown  wäre  v/ith  yelloish- white  glaze  vvidely  craokeled. 
i)ecoration  in  the   so-calle4    MohaüTedan  undcr- 
glaze  b  1  u  e    :   In  the  centre  a  hare,  carnations  and 
leaves;   around  the  riia  inscriptioa  in  Persian  letters. 

The   blue   colür,the   so-calied  MohaSedan  31ue,wa8  much 
valued  and  iinportecl  by  the  Ghinese  iDotters  in  the 
IlBüan-T8|period   (1426-55)  and  in  the  reigns  of  Gh«ng  T% 
and  Ohia  Ohing  in  the   sixteenth  Century. 

?  e  r   8  i  a     i  i:}ixtecnth  Century, 

Exhibition:   1953/41  :>emeente  Museum, den  Haag  (Holland) 


■•*)»**- 


93. 


j'ayence  Tile 
19.5  X  19.5  cm. 


^  ^ 


tf 


The  tile  has  the  fora  of  an  octagonal  star  and  is  filled 

^i?h  "arabesque-.aacordias  to  ■'^^^'''l'//^rlnilllil  ■ 

-   ekirid  of  ornamentation  consMiu^  of  a  ^antastic    ^^._ 

Sterlaciag  pattern  of  ^^o^f  ^^^^^^^Ü  °^  ^"^'*' 

often  with  fiöures  of  -aan  or  aniaals. 

„^   n  n  1  i    ht  relief  f i  uratie  decoration 
öa  the  white  '^^o'^-^^^^^^^^^^J^g*«  and  clossoms  in  the 
surrounded  by  ornameutal  ^.jljj^^rev.yellov;  etc. 
email  colors  oi  ^f  <=J|^i'''^!!;e' Va  r  y    or    Maris 
Strc'S'i'lT;   la  t':  foufce  syinoolL  aniaals: 

s!  nis     a  co..ectio.  with  ^.e  oriental  oeo     of ^^^^ 
l  Tnil  M  I  l  K  S   .who  ^^^^rle^Uon  a.d  deii- 

through  a  pane  of  oia^s 
P  e  r   3  i  a   /.ieventeenth  Century. 


(raiie) 


i 


I 


fW». 


•■«Ml 


^•!^ 


•H» 


r:s! 


trimmtm?»- 


ttttmm**"^"'"^ 


-■-    i<>-«<«il 


i 


^'>  ^ 


lo 


t  -*•  - 


J  _t 


u  1  5  1 


•     1 


il  I 


:i 


'  J  ■  ly 


;»r»j  ^• 

t 

T ••  >M  ■ 

7^      *^*^ 

n^j 

'\ 


M 
0 


127 


94. 


Ivory  Handle, 
H.12,3  om;4.15*' 


Fiat  relief  carviag  diviciee  the   curved   surfaoe  of  the 
dagger-handle     throefold.   Great  figurabVe- 
dccoration  fill  the  miaale    )art,enolosed  above  and 
below  by  ornamental  borders.   Lon^  use  has  softly  ground 
off  the   surface   so  that  from  the  human  faoes  the  out- 
^lines  only  remain  reco^nisable. 

The   side  which  I  oonslder  as  the  front  view  shov?s  a 
king  in  medieval, formal  attire  with  crown  standing 
ander  a  canopy.  ;    .  ,t^, 

Arabian  iascriptions  on  the  borders  above  and  below 
the  king  run   : 

NASHUM  NUN   ALLAHI     =      HKLP  BY  OOD 
WA  FAT  HUi^  KARIBUNI     =     And  Viotory  Near. 
The  figure  as  well  as  the  Arabian  letters  are  raised 
from  a  baokgound  of  foliage. 

I  surmise  that  the  other  side  presents  the  same  person 
in  informal  attire  to^ether  with  his  wife  or  mistress. 
The  king's  ri^ht  arm  ie  foudly  put  around  the  neok  of 
the  lady  and  we  would  probably  believe  seeing  a  oo^^Pl« 
of  the  Prench  Gothic  world  if  it  wcre  not  for  the  lady 
trouj3cr8,showing  ander  the  long  garment,ivhich  direct 
our  thoa^^hts  to  the  Near  Is-ist.  ^.n.^ 

This  side  without   inscription.The  borders  are  filled 
only  with  a  kind  of  cloud  orn-im-nt* 

Thia  handle   is  all  which  remained  from  ^  dag^er  I  boucht 
were   stolen.  ^ 


s 


A  r  m  e  n  i  a 


fifteenth  Century* 


,,  .  •ctü.d  bv  Prof  Mittwooh,Berlin,that  the 
It   has   ^"^^f  ^3"^^^L!^^  ^nd  executed 

ivory  carving  is  oi  iJi^^^^-^'^ 

for  Aiiraenia. 


I 


^•^l 


ritmntMiomit 


•yU^ 


ininMffuu 


tTtTPft"*^*"*******  * 


iiit»*»*rT»'» 


m 

«4  f  * 

iiü 

■■  *.» 

■Ktt 

»Kl 

"«■ 
■  <•» 

■«■••. 

\m 


IM 

■  ■♦• 


u 


n 


bnh"' 


•r 


r.> 


fjO„ 


,^4     1%^  *  -< i     : 


r»-; 


•  i 


A    k' 


^  \\ 


f  > 


}. 

> 


I  ..      .4 


r    :o 


t 


r. 


XV: 


*l    .  .  . 


4.W  J. 


|ii 


128 


XVI 


ANCIKIIT   OHIENTAL  RUGS. 


a  n  c  1  e  n  t  all 


Pollowing  the  European  uoe  I  call 

rugs  ori,^inating  before  1800. 

Perhaps  it  would  be  best  to  call  a  n  t  i  q  u  e  only 

those  rugs  where  the  ooonection  of  production  and 

drav/ing  be  longa  undouÄtly  to  the  sixteenth  and  eeventeenth 

oe.itury. 

But  the  habit  in  U.S.A.is  different.  liere  the  trade  oalls 

"antique"  every  rüg  'vhich  is  at  least  one  hunared  years 

old. 

Rugs  orombly  ori>-inated  "/ith  shepherd  tribes  in  the  dim 

dawn  of  civlLization,   The  magnificerit  rugs  macle  by  Baby- 

loai'jns.Assyrians  3nd  Egyptians  have  loag  siace  disappeared. 

Howcver  the  fragsent  of  a  rug.woven  in  Kgypt  about  40ö  A,ü. 

nov?  in  the  lietropolitan  Museum, :iew  York, and  surely  one 

of  the  oldect  pieoea  in  exi^:tence,p^oveE  that  this  rüg 

-;as  wovea  by  methods  still  in  use  by  ^oäexa  cxaitnen, 

Li^cewiae  old   syrabols  live  on:  The  warp  as  the  i>^;;"^*a^J;« 

fo^ces  0^  the  worl;',the  weft  as  the  transient  af^^air  «^ 

ma^   "elievin^  that  colors  exert  influe.ces  on  the  numan 

?f^;  P^ih   color  has  Ita  om  8i*nificanoe:  Thus  means 

Yellow  the  earth  'hich  is  con.Lred  ^^  ^^«/'^«f  iJ^^^re    ' 
-hItP  the  nietal.wniondoairiates  the  wood  and  Red, the  fire, 
Chioh'ie Stroms  it.    Vhile  Blaok  synboli.es   -ater.whxcn 
ov  rcoiTiee  t^ie  fire« 

There   are  two  orinoipal  techniques  for  mal<»j  rugs   : 
Tapestry  ^eaving  and  Ij'^f  ^^--^f '.^^     ^^^ave:  The  weft 'is    ' 
The  oUest  «ethod  xs  ^^f^^^^^,^'ot  the  pattern 
„oven  bj.k  and  ^«^*^^^^jJf  ;ay  the  whole  faoric  beoo:aes 
in  various  ^^'^^^^'l'^l^ll  lo  aic.callei  in  the  Near 
Jas^"  ^fLir-rpoeeibly'Serfved  x4o.  the  landscape        , 

äJäiraf^-ilin-^^  !^tilf  ?ofaf  in%reTaufars!oril^ed 
the  teohnique  used  btill  toaay  i  ^^  ^,^^^  ^^^^^^ 

n^^lAAKir   (cp.below  ^0-99).   ^^J^  Jorming  tne  pattern. 
is  sevm  30lidly  ««JJf^^^JiJ'^a  iilim.  Hut  perhaps  one 
The  ef -ect  is  somethiag  U^e  a  ^^.^^oidery. 

could  better  say  i.  is  "°^^  ^  ^^^  ,,,^  ,, 

The     knotted     rüg  on -inated  f rom  ^^  ^^^^^^3 

afrength.ning  the  floorcover     .orms^P^^^ 


■M 
k 


•  i\  » 


ia#' 


.•i.*mi»immi 


•<♦! 


129 


These  kaotted  rugs  will  find  the  greatest  circulation« 
The  fineriess  of  the  weave  is  estimated  by  the  number  of 


;n} 

i  ■ « «t 

■  'V 

» •*< 
•  • «[« 

Mit 
tili 
'  •  Ml 

;;} 

<•!• 

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)  ••• 

1 

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knots  to  tn .   Square  incn.    -"or  metanoe  xne  lanu 
Ardabil  car:.)et  in  the  Voctoria  and  Aloert  •  ueeua  _. 
London  aumbers  52,500,000  knote  on  61.5  q:n. 

By  the  sixteenth  Century  the     z  e  n  i  t  h    of  the  art 
of  rug-weaving  will  bu  reached  in     Per  a  1  a  in  the 
reign  of  the   Safavid  Dyaasty  ( 1502-1736 ) , e special iy 
during  the  reign  of  Shah  Abbas  (1537-162^). 
The   ('eometric  design  with  kafio  charaaters  of  the  , 
14th  and  l^th  centviry  disapi-earsi   Arabesque s.this  Kina 
of  ornaaentation  co  .süting  of  a  fantaatic  interlacing 
pattern  of  flo^er.foliace  or  fruit, often  with  ±iö»ires 
of  men  and  animals  (WüDester),floral  sorolls.variouB 
Chinese  raotivs  amoug  then  dracons  ana  waaoering  oloj^ 
barvda  orevail.   I  knew  that  the  cloud  band  is  of  uhineoe 
S?fiiA-  ho'veve;  the   stnte.ent  of  the  ^^f  JJf|,^f,/'"^- 
+  nH'.p'opn  lejüiohkunde  page  39  that  it  oriüi-'^ally 
nrpie  itB  t^ie  "holiy  sponge", calied  tschi  and  syabolizi-^g 
?^S!?itrin^/ch  ne W^^ 

Srrfon::ntfonäi;rdrthreutL?sU.»ent  of  the  arabeaquea 
leads  to  ^eoxetrio  fiüiires.  ^ 

f  ornlöi^Sdlr-s  on  of  ^^^^^"^^  .ovea  in  the 
are  very  ^\-  l^^'^l'^  ^.J^^,.  them  are  the     "  p  r  a  y  e  r 
villa^es.   Best    cnov/n  •^;'<'*2t'v  vPlated  in  design  but  woven 
r  u  6  8  ".  'i'lxey  are  «^^^f  y  ^^,f,Jf  g  West    'uiatolia 

at  bifferent  c.uters  m  ^^ ./^ XcJS>l^ ^^  -«di^« 
at  .dela8,.ihiordCB,..-uia  ,   xn  ^ast  .^na  0  .^^ 

They  wBue     oven  very  probaoly  :^%^^ ^^  m  1455)   . 

(Constanti^opU.-'as  ««^^^^f  ^.,^  tenoe  '.vhich  can  bedated, 

but  to.lay  few  pieces  «^^^J-^.^'JeJtury.in  coasequeuce  of 

,arlier  t  en  th%«^^;!f/^'^f  ufe?  Srtia  in  his  "Ilistory 

beine  articles  of  ^^"^  ^f  1300»   shows  in  figure  540 
of  ctrpets  orien  alj  ^^ore^lBO^^  of  tKe  aohaaeaan 


a 


•  carpcts  orienTiaj.   ;'^t  ^h«   .i-^te  1110  of  t'.e  aonaaea 
Ladik  p.ayer  ru^  «ith  the  date^lll  ,^^^^^ 


calendar.    '^^^ ^ ^X^^^^^^^^^'\^^T^ 
He-ira(?liü^t  o^  *''®  ^       VTi:»  norrerponds  to  1753  ^*^* 
r^f  rf^ne^Ohristian^era  Uiujorr  ^P^^^  ^^  ^^^^  ^^^^ 

and  I  do  not  un.  ersx  .- 

1699-  .,,,s"  ow  f  eir  ori,-in  to  1^'^«/^^*,°^/Sy  the 

-LlJSf  tS  ^:??orUily  nve^  Pray^^ 

^°'«^  ^a'tJ -^thef  a?tortS  death  of  Mahaaet( 569-632 
fith'principal/°g-    ,   „^,,,ed  resoul  Allaht"  ^ 

"^Lre'f/-i  aoJiut   .>od  1   ^aho.et  is  .      P 


J 


■  i<^«*«<4** 


lililü 


HMMIMIII 


130 


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Vi.  ^J 


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u 

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r  ^ 


'j 


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.i     . 

I 


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V  *..♦  *. . .      lt.- 


,.  -i,^ ' 


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».» 


c;  •-  ^ 


r    »^ 


r  f 


-^n  f  * 


^  -'  -  •  ,* 


•     • 


I>urinß  the  prayer  the  eyes  have  to  be  turned  to  the  "Kebla" 
or^oint  of  thf  heaven  in  the  dixection  of  Mecca,indicated 
internally  in  ever^y  mosque  by  a  niche  "   AI  Mehrab  "   ,   ex- 
ternally  bv  the  positiona  of  the  rainarets  (from  Arabian 
ipanarat  =  ilghthouse).   Therefore  every  prayer  rüg  has  a 
de  -ir-n  "/hioh  preaents  this  niche.  Ähile  in  use  for  P^^y^^S 
the  p.able-end  of  the  niche  hast  to  point  in  this  presoribed 

direotion»  ^  ,   +4m-o 

Th«  believer  steps  on  +he  broad  end.  He  repea-fes  aeveral  times 
laudatary  ejacvaations*     "God  is  grsat.aod  is  Poweriul!   5od 
ia  all  por/erfui!    "     Hov;i.ag  to  the  angels  (ninictering  spirita) 
to  the  ri."ht   gnd  left,he  props  on  his  arnis  and  finaliy 
touches  thfc  earth  (i.e. the  ru^;)  ".Ith  his  head. 

The  Caucasian  rugs  are  not  tc  be  "^^^^^«^.Vf^Sd^^^eoLSio^^'* 
BrilUant  in  colors,  strohig  contraots,  sii^plif ied  ^eo^etrlo 

fUs  acoording  to  acieace.bascd  on  bixa.  and^.^ 
"^foi^-r'oL'rslitrs^firs'^oSltS^riouo  .t^         Between 

They  look  likc    ^^^^^^^^^'^  SntSes  of   sinUe  parts  of 
the  desi^n* 

The  Tur^osa^  ^^^^^^^^l^l  ^S^S^'T^^  red. 
^Jiaall     eometrxc  patterna  appear  Ol  constantly.these 

,,in.e  all  ^^^*  f^^^^f  ^^a^fof  the  furnishing.   Although 
SSdMy  :Svcn'thf ^eafand  tear  is  eepecially  hard. 

Kxecept^he  .ur.onan  rugs,.here  the  trad^ 
has  not   uhanged  ^adicailj  ovtr  a  j;^^^       pattorn  cro^s 
oroducts  3how  the   ««f  .^f^J"-;.?!;  tt  i..at,BO  that  tne  deeper 
stiff  f3;id  beüomea  ^if^^^^^^-^^^^^^L:  nas   ^'oeu  lost  as  well 
Safing  of  -f  y/,^,nrtr?hraiy;er  of  the  tine  being. 
to  the  carpet  weaver  aa  to   u  ,,.   ^. 


1 


t';| 


ii:; 


i:i| 


^:i 


vi 


^F«*4»««44Aa^4 


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I. 


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m 


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M 


.l.UULi..iU.:Mr-    .-»4«»^.... 11. 


131 


f  f 


It   is   sad  to   learn  that  the   second  v/orld  war  has  destroyed 
Bome  of  the  f inest  collectioas  of  early  rugs  in  exißtence: 
The   oollection  of  t  e  "Kaiser  Friedrich  ^iuseuia"   in  Berlin, 
most   cleverly  brou^ht  together  by  Wilhelm  Bode   searching 
old   Spanieh  and  italian  churches  at  a  time  wiien  the  general 
interest  ^"as   still  lacking,oiiared  in  the   safe-deposits  of 
the  ncw  •'Reichebank"    it  Berlin.  The   colleotion  in  Hunioh  , 
mostly  from  the  posse^sion  of  the  former  reigning  family 
v/ittelßbach,was  wantonly  destroyed  by  the  Nazis  before 
ttm  surrender  to  the  allies» 

i^ll  the  nore  v/e  have  to  be  thaiikful  that  antio  rugs  er 
every  kina  have  found  their  way  to  the  I^'ew  World  and  to 
BBfety.   New  York  ^iletropolitan  Atz  Museum' ö  oollection  of 
orieatal  ruga  dives  an  extraordinary  ooportimity  to  ^et       ,  .^ , 
an  idea  of  those  nasterworks  of     "  o  o  u  r  t     r  u  g  s     , 
even  of  the  füll  fres^uiess  of  their  ^^^^^^^Tl^^^^^ 
T   n^^f^d  onlv  mention  the   "emDeror's  carpet"  from  oaöJie 
LhoenbÄ  near  ?ienna,the^'animal  carpet"  irom  the   shrine 
o?  ?haik^fi  at  Ardabil  and  one  of  the  last  acquiratxon, 
tiie    "   Anhalt   carpet   "•  4.  „.Ar^^^    «nrt   px^laias  also 

it8  pe.'fect   conditio-!.   It  'vas  ^robably  Hiade  d^^ring       ^^^_ 

reign  of  Shah  '^^«Sric^shars  al^'  'ibrls  betv^een  1524  and 
factury  of  ^J«  Jf  ?f  ^^g-^^'^Stoooesession  of  the  sultan 
1|?55.    ?ron  Persia  ^^  ^I^I^I^'I^'a  the  Turkish  arniy,perhap8 
in  Conetautinopel  aad  «coompanied  the  ^^33  to,be  used 

the   bultan  ni:r.seif  ,to  the   o^e^e  o.  ^^^^  driven 

ia  ^reat  affairs  of  sx^te  JJ^y-^f  ^Je  -Xurkish  booty  to 
back.the   carpet  ««me.ae  a  part  01  ^^    .^^^^  ^^ 

the  duke  of  -^^^^^l?'   f  ^Itl  ilis  rediBOOvered  by  Chance 


London' s  ex-ilt'J-i'-i-O'i   't       ,^^.^  „o  or,+^f•  tu.te 
}5ut  likewi  e  the 
prayer    ru 


s. 


impler  kind  of  ^!,^iJ\f  ff 'American  mseuniB 
g  s,   are  represented  ^^^^^«^-Jf  ^hem  used 
utity  and  ^ariety.   I  Baw  m^  y 

io  ^nU'-v  en'old  'A^ncrican  ^^^^l^.  ^Kemto  the^mblio 
cities  took   n.ins  to  °oll«°\"^J.^ir.e^he  rieh  Anierican 
ii  the  uost  i'r-Pree^ive  ;^«>   'ent^^  brou^ht  the.e  pieces 
iJrcliants  of  ^^^f/^g'^^f'^r  their'     ■eautiful  homes.^^nostly 
Ji^ln'iLr.?yle"vScrare%tili  no.  re.reeeatative  for 

their^'homly  charm. 


\    ^ 


Uli 


i:. 


>      » 


■1  '"'lüBfi^tä 


.mmmt 


•'mn;:; 


.   c. 


K 


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!l5; 

m 

in 

ii; 


1'  ii 


1,1 


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^V 


.    i.   V     -!, 


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A.  > 


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^  •*- 


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;^    '  **     ^    in  M»    »^l    h. 


-.    i' 


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1     i-t:. 


'  I 


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t      k  ^. 


*»     -T     /T 


«'» 


immnriuriiiii 


lUlIÜl!"'- 


132 


The  modeiit  c^^rpctsfof  daiiy  use  of  the  eiishteenth  Century 
I  am  going  to  epeak  about  below,have  still  preserved  at 
least  one  quality  in  oonunon  with  the  classic  iiasterworks: 
The  harnonic  effect  of  their  colors.  In  spite  of  irianifold 
coloriag  and  vivid  contrasts,they  are  alv;ay  restful  to  the 
aenses,attribute  alv/ays  and  esseatially  to  the  harmony  of 
the  roora  they  adorn« 

Time  and  the  fading  colors  do  not  effect  their  beauty, since 
the  predordnant   colors,   red,yello?/tblue     fade 
least  aad  the  traditionel,  öejiaible,  tastful  use  of  the 
organically  dyed  material  renains. 

\nth  the  use  of  the  anilin  colors, inrented  in  1359, this 
harmonizing  of  colors  xill  becin  to  fall. 

In  the  following  I  have   classified  the  rugs  into  four 

grOUpS     :  _  M    r^iz     r^ 

1,  ^^urkish-.Anatolian        f  9b-97 

2.  Gaucasiaii  v   9B-99 

3.  Persian  '    f,     100 

4,  Turkoinan(noTaades)  -n  101-102 


Li+.-  ^lartia.J^.H.    "   A  ilistorj  of  Oriental  Carpets  before  1800" 

V        .       nr-l^ti    •'■^andouoh  der  orientalischen  Teopic- 

,..  Institute  if  ^^^3^^^^^r^^^^^y 
Bulletin  of  t.e  ^^^^^^^1^"^^^^^ ^^^^''^ 


.11 


I*  *1 

•  *  •] 


;« 


VI 


•  vWWft? 


^i4mtttf«^*Mi.4aKi*^v,4i4*^«^^ 


tmtr?t»Hmr«"fiif:smj2*Hw«>»  f- 


m 
m 

PI 
[«Ml 


4». 


In 


$i 


<fl^a>  it> 


^.1^ 


I*      ••    • 


r, 


X*  -     ..^JH^i^ 


■    fei 


.* 


Ii:i!.  ;.I;M; 


'  •  <  1 . »  .  r .  irr 


95* 


133 

Prayer  Hug  (I4el3sj 
125  X  94  cm,    ;    49.3  x  37   " 


The  ffround  of  the   prayer-uiche   1b  red,   A  mosque   lamp 

in  yellow  harie^s  down  into  the  aiche#      ^^, 

The  columns  whicn  support  the  gable-end/ the  gable-field 

itseljf/'blae  and  yellow, 

öiaall  enolosuLj  on  creamy^broad  bord'3r8  on  brown  s^o^^d 

with  floral  forins  in  different   oolors, 

Uuch  worn  and  torn, 

Aeia    'lnor,Turkey-Anatolia,Mela8,     Ki^hteenth  oentory. 


96. 


Prayer  Ru^  (Ladik) 
200  X  111:)  ca.;  7ö.l2  x  45" 


i)istinct  division  in  three   parte:   The  principal,the  niche 
in  the  middle,dark  rieh  red, the  foot-part  on  white, the 
gable-p^iirt   on  greeu  ^-round.  ^  .    .  ^.      v.  -,  ^ 

Below  a  kind  of  gable-staire  a  ^u»  to  remind  tne  believers 
of  the  v/ashings  ordered  by  the  Kor.mitiny  lie,ht-liK:e 

poiats  on  both  sides.  ^  ^  ..      ^.  ^,^«« 

On  the  wnite  ^rouna  below  three   bat t lerne ut-li:<e  fieiures 
and  five  tulips  on  lonn  st*ces,on  the  green  ground 
above  two^ö^s  and  floral  formB,anong  them  two  pal:aettes. 

S  ?hf  bordirrnor;!  P,«ern3  to^ethcr  .1«  the  oloud-ban. 

motive. 

In  ^ood  repair. 

A8ia  .dnor,Tur  ey-.aatelia.Ladik.  -.igheeath  Century.  ^^ 

•■.4.   o^+in  "A  historv  of  orieiital  carpets  before  1809" 

^'fu!559.^adK  about  1700  in  the  mosque  .la-al-din 

^eu'eStu;r  ^   Orendi  -landbuch  der  orient.Teppichkunde" 
colored  plate  III  ^nd  111.59. 


I'  *| 


4  ■  •■ 

*  *  *m 


•  »••I 


rt;; 


lä«4«U,iHI 


HHMMMt  ' '''  ''limiiiiiiiiiiiiiir'' ^i......::;.!:u;;.::.  . . , . 


if^iiitit 


W\ 


.v?<i 


»•>  •• 


'  o:;    i  i 


97. 


134 


Prayer  Htt|g  (iCula) 


Color  haraony  of  blae  and  yellow^disbandtuc  of  the 
borders  in  3tripes,are   characteristic  for  this  Icind 
of  carjet.   But  also  the   yeliow  t  r  e  e  -  ornament 
in  the  the  deep  blue   ^rourid  of  the  prayer-niche, 
reoreseuting  the   "Tree   of  Life"   v/hioh  iirom  in  the 
midat  of  the  Garden  of  Eden,eating  of  v/hich  gives 
eternal  life» 

Blue  is  the  color  of  mournia^j  in  the  Near  Käst; 
thie  kind  of  rüg  serves  as  a  funeral  oarpet,f iröX 

and  firully  it   is  used   by  the  re.atives  to  prayo" 
near  the  tomostoae. 

Aßia  t'lnor,?urkey-Anatolia,i:ula.   Zi.hteenth  ceatury. 


Neuöebaucr 


Ä  Orendi   "llandbuch  der  oreintalischen 
Teppichkunae"   cclor  plate  V  ana  111. bi 


t'.:i 


X  r'.t^d-L>  'jlx 


r 


\ 


\-  »  '    1 


.bi 


.  •■  i 


•        ':.*■         '■ 


:,  'j 


\"i 


••••I 


...  I 


!l 


I 


4«M|U<MMm**.*^ 


i  liiUfcm  I  I  faiftiuXi^ia— ^^^fca 


.iiiiiiiamm 


i_LMi±i4fcS-i  *±  ti 


'■  ■ "«« 


i* 


!ln 


i'i»" 


Vi 


Ü) 


b 


»!!: 


155 


98; 


310  X  13b   ou. ;   122.5  x  53.2" 


The  back^round  of  the  prlxioipal  mi  die  part   ie  red, 
ol^the  borders  yellow,white  und  i;.roYTi.   CJeometric 
iio,.ives  m  ./ello\\'  aad  white  with  brom  aad  a  fe\7 
lijht  blue   ßhape  the  ornaaentation. 

bouth  Caucaßue  ciietrict  af  Sohirwan.   Bi>5hteenth  oentory 

Neujebauer    :  Orendi   "i^andbuch  der  orientalischen 

Teppichkunde"     ill.37   (p.l48) 


99. 


Oaucasian  Ku/-^>    (^Sumakh) 
270  X   220  ou. ;   106.10  x  36.14" 


This  carpet   ib  woven  in  the  tapestry  iuaniier  I  mentioned 
in  the  introauction   (p.l28). 

The   principal   colorc  are   red, blue   in  two   &nades,yellow 
aiid  A^rcen.    The  ornaineiitatioii  is  ^^eoiaetric. 

The  raiodle   field  ^Tound  is  red,but   two  polygons  in 
deep  blue  ^ive  predo:.iinarit   efrect   and  divide  it 
into  t^"0  enual  parts.    '/ith  great  ingenuity  a  nulti- 
plicity  of  "st'irs  and  polyi^ons  in  di.f^^erent   shape, 
Bize  a^id  coloring  are  dispersed  over  the  '.vhole   surface 

Thr.e   boraers  er.close  the  rüg.   The  niddle  on  yellow  "' 
ground  vdth  patternc    vhich  looks   like  the   side   strokee 
of  the   Latin  H  united  by  the  i^atin  cross,separated 
from  each  orher   by  a  de  sign  which  reserables  the  :<oiaan 
fascee.    Jn  both  sniall   sides  a  border  is  added  with 
hooks  rumaing  on. 

Oaucaaus.aistrict  of  Sclürwan.     T:ighteeAth  Century. 
AccorHinc  to  the   "üaudbuch  der  orient'al.x'Gppic:ikuride" 
P.72  the  desi.Mation  "   •3umakh  "  ia  aarived  from  the 
Hebraic  nomination  of  the  capitnl  of  the  Gauoasiaa 
provirice    ichirwan. 

The  no.98  and  99  rmre  bought  at  Tiflia  in  1909. 


ri 


t:] 


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^i$*M»*»»j<. 


^  ■>-*^* **f"t  fit iftl •■■■■!  *•■■■■■*■■  1 1» 


100. 


156 

Perslan  Ru^;  (Karada/^h) 
375  X  165  om. J147.14  x  64.15" 


The  backgounu   of  the   long  rojtangular  mi-lale  field  is 
dark  blue,of  the  twosmall  bordera  yeilow  aid  of  the 
broad  border  between  them  red.   All  are  filled  ••vith  flo-ral 
Ornaments  in  reci.blue  auü  yellow. 

North  Persia.provinüe   Haerbeidschan.lJistrict  Karadagh. 

i'-.igriteynth  Century. 

Heugebauer  and  Orendi"  iaadbuoh  der  orientqli sehen  Teppich- 


Kunue 


ili.    ill  and  112 


101  and  102 


Vwft  VftVrRturkonan  P.up.s 

155  X  -^7  cm.;   bl.l  x  ^4.4" 
151  X  d5  cm. 5  53. i  X  53. B" 

T-1— e  -u.-s  are  in  the  trade  nostly  called  "  iHikharas  ". 
T^rJo^l^^has  a   Bllky  lustre.   On  the  ^-^1^%^'^^^' 
«5-111    -eon-tric  patterns  in  deep  dark-blue  and  yeliow, 
oalled'^by  the  ■x^eic.ceturl.oman  tribes   "flyinä  eagles". 

rpHn  Tpi'VGtu-co-ins  nrc  'vanuerins  tribes   (nonades)    in 
S^tr^r^siä   in  '^u-kectan  between  the   Gaspian  Sea  and 
Pnihnri  'Tho-'  are  lent  dwellers  and  these  rugs  integral 
^rif  0^  Th^ir     urnishin,;  th^^ 

?^rtrfcer'oi"ext'reSlli;  h^rfwear  and  tear  are  vieib.e. 
The  date  of  eeaving  ia  very  difficult  to  ^^^^^^^^ 
trauitioael  u.ttern  does  not  ^"^J^^.^  the  ru^s 

,eu.ebauer  aud  Orendi" Handbuch  der  orient..e.pioh.unde" 


Oettin,jen 


2,5ÜÜ  -  3i500  knots  on  10  j  cic.-. 


.^PIMn^mpii 


ii,Vit 


'1 


€ 


5.'! 
v.i 


y.'i 


V.'.\ 

Hl: 

itt  • 

»    ■  ■ 


t'  i 


mm       •'—• ■ 


^rfvWw  ■  •'•##  ■ 


f 


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u 


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I 


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^n-  -    ^ 


;5Uü«MMtiMÜwiiiiii'i!i« 


^iiti1MnimLt^....^...:i„..:i'  "■■'niimmmu 


««.■■■'■■  i' :  i'i'MutiMaatKtiiiiMm 


..:::::::::!:•:•  ::::'iii^.ii':  ;^^■l:. HM!.,  t^UlMMMMJ«^. ;,.::: 


It" 


137 


xvn 


E. 


P  A   C  I   ?  I   0 


ANCIKNT  HKW   7.y.AT.AgT^ 


!;:| 


103* 


Ceremonial  J^xg. 
i*33  cia. ;  13" 


implenie.it  in  the  aricestral  ritual. 

It   has  t.iö  for^i  of   stroke-weapon;   on  the   ströme   side 

the  v;hale  boae  is  flattened  to  a   siiarx)  edge. 

ine  grip  io  placed  weil  iDalanced  between  a  dra-on's 

head  at  tne  end  of  the  handle  and  the  inonster  wliich 

aeeras  to  crcep  ^loii^  the  uppcr  rim* 

3oth  fi,-ureG  are  decorated  in  the  typical  M  a  o  r  i 

fashdon  v/ith  deeply  out  orasmentsjthe  eyes  inlaid 

with  iaot:T.er-of-pearl. 

iielow  th  nead  a  hole  as  if  for  laiitening  to  the 

Sirdle* 


New  Zealand    (Australia)     before  1642. 

Ma^ori  art   oefore  V.urooean  era   i«e •before  the  discovery 
by  T^diöEian  in  1642» 


Lit«:    üahier  d'^rt    .   1929  2/3   (.waiis/iivril)  i?'ig«14 


ii^ 


r,:- 
n 


öuüä::':"  -  •  •  -^ 


>  I  »t  '  f  *  t*l I 


r 


«.;:;i:u,:;l;i:;::„..  '  ■  '?.tt«H....:.:..,:;:.':::  •, ,  ,ii,>Muyttiittiiit>iiitiiiM^i:>.:^^..,...;. 


Itl    trtlJMtüfM 


1i'r'Mifit*>fctt*«<l*IM»i>*»^t 


—      ( 


•^    4  . 


P. 


138 


E  G   Y  P  T 


104 


Cat  and  Kittens. 
H.  9  cm.;  8.3" 


Frontal  s^oup  of  nother-cat  and  two  kittens, 
Simplified  contour  in  typical  Egyptian  manner  witiiout 
oraitting  characteristic  traits  of  the  animal. 

.    ..^_  ...  ..1  Oblation  to  the  cat-headed  goddess 

^  t  3  t  e  t  ,  orotectress  of  love  afiairs  and  of  the 

art  of  the  teilet, v;ho se  temple  has  been  at  B  u  b  a  s  t  i  s 

Va  eaatern  Delta  of  the  llile  where  thxs  image  has 

been  found. 

Bronze  with  dark  green  patina  on  green  marble  sockle. 


_.  _  y  -v.J. 


S  g  y  p  t  ,  nOO  - 

^,  kx^^a-j-  ,  -^^r.+inn   nf  the  Roval  Lluseum, Berlin 

Acquirefi/froSi  t  .ection  or  ^ne  ^"^  „  director 

No:2600     väth  Tninistrial  permission.Uetter  oi   aire 

Schäfer  of  mar oh  11,1922) 


i 


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iii;;««-:'* 


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e\i.\l.^Q'^   fAM\L.y  coLLCcT^ou 


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g:,|W+  Wily  (^M 


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k0 


HMRBEHT   CrlNGB^ItG:      Rr^iAIMS   OF   A   COLLRCTION 


P  R  E  P  A  C  F, 


fp 


The  one  hundred  and  throe  objects  described  ia  this  cataio^oie 
are  the  remains  of  a  collection  which  numbered  eight  hundred 
and  thirty-six  pieces  in  1923  and  was  bullt  up  in  nearly  fifty 
years, 

When  in  July  I938  upon  a  summons  from  the  Gestapo  we  decided  to  leave 
oex\feouBB  In.  äBerlin,  wBtwere  granted  permanent  iesidence  irilHolland  and 
the  collection  was  accepted  as  loan  in  the  Gemeente  Kuseum,  Den  Haag. 

HTt^v   the  German  , Invasion  of  Holland  in  I94O  we  had  to  give  up  cur  home 
in  Den  Haag  and  move  further  to  the  interior,  to  Zeist,  where  about  two 
years  later  we  decided  to  go  "Underground".  After  liberation  in  1945 
we  found  out  that  the  Germans  had  also  plundered  the  museums.  Thanks 
to  the  tireless  search  of  Dutch  friends  amd  the  assistance  of  the 
Dutch  Kunstsichtingskammer  the  pieces  here  catalogued  were  found  on 
an  attic  in  a  Nazi  residence  at  the  bordertown  of  Velp  -  the 
private  booty  reserved  by  an  individual  with  some  taste  for  the  Far  East* 

Most  of  the  objects  of  the  collection,  i.e.  its  foundation,  had  been 
brought  home  from  trips  to  the  Par  and  Near  East  in  I907/8,  with 
additions  through  the  years  by  purchases  from  experts  like  Edgar 
Worch,  Joerg  Truebner,  Prof.  Kümmel,  as  well  as  from  collections,  to 
mention  only  Dr.  A.  Breuer  and  the  Counts  Meida  and  Otani  of  Japan. 
Thus  it  was  possible  to  build  a  small  but  adequate  survey  of  some 
branches  of  Far  Eastem  art  in  which  I  had  become  interested  already 
at  the  end  of  the  last  Century. 

The  hospitable  house  of  the  Japanese  consul  in  Berlin,  Gustav  Jacot^, 
with  his  famous  collection  of  Japanese  art  -  later  the  pride  of  the 
"Ostasiatische  Kunstabteilun^  der  Berliner  Museen"  -  was  a  natural 
Center  where  it  was  possible  to  become  acquainted  with,  to  see,  and 
to  feel  the  essence  of  the  Par  Festem  Art,  as  well  as  to  meet 
scholars,  artists,  connoisseurs,  and  collectors.  -  Here  I  laid  the 
foundation  to  my  knowled^e  v/hich  enabled  me  to  collect  genuine  works 
of  art  on  my  travels  and  thus  I  entered  a  circle  which  provided 
constant  Stimulation,  a^nd  pleasure. 

I  became  a  member  of  the  Expert  Commission  of  the  Department  of  Eastem 

Art  of  .the  State  Museum,  Berlin  (1924-1958)  and  a  co-founder  as  well  as 

a  member  of  the  boafd  of  directors  of  the  "Gesellschaft  fuer  Ostasiatische 

Kunst  (GOK/  Berlin  (1926-1938).  WWII  put  an  end  to  it  all  ~  as  well  as  to 

my  collection.  Kevertheless,  with  the  help  of  the  wonderful  New  York 
Public  Library  I  have  tried  in  this  catalogue  to  give  some  meaning  to 
its  remains. 

However,  some  of  our  lost  works  of  art  will  be  remembered  through 
publications  and  catalogues  of  exhibitions  in  which  they  have  been  shown: 


f 


< 


1912   "Ausstellung  alter  ostasiatischer  Kunst" 
Akademie  der  Kuenste,  Berlin  . 

1929   "Ausstellung"  Chinesischer  Kunst"  veranstaltet  von  der 
Gesellschaft  fuer  Ostasiatische  Kungs  (g.ü.K.)  und 
der  Preussischen  Akademie  der  Kuenste,  Berlin. 

1954   "Sechs  Jahrhunderte  Toepferkunst  " 
Akademie  der  Kuenste,  Berlin. 

1935   'International  Exhibition  of  Chinese  Art" 
Royal  Academy  of  Arts,  London 

1935   "Ausstellung  der  Kunst  des  alten  Japans" 
Kunstgewerbe  Museum,  Basel 

1939  Netsuke  uit  de  collectie  G." 
Kunstzaal  Tikotin,  Den  Haag 

1940  "Bruikleen  G,  van  Oost-Aziatische  Kunst" 
Gemeente  Museum,  Ben  Haag 

1946   "Bruikleen  Herbert  Gineberg,  Zeist" 

Museum  van  Asiatische  Kunst,  Amsterdam 

1950   "The  Art  of  Greater  India" 

Los  Angeles  County  Museum,  Los  Angeles,  Cal. 


i 


Forest  Hills,  L.I.,  N.Y. 
1951 


•^1 


• 


ttmmmmmmimimiimmi 


C  o  nj 


Ot.  C-%^yOtr 


JL^ 


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JU- 


\/  0       V^t^^C^-i/v^     .^^L^  (>-*u3 


Vt/. 


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,v^ 


^-^-o 


to     >Cf'./2t^ 


tö     >^r^4*,   ^Z 


->-^ 


^o 


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^-'*->- 


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{ 


THt.  RJEMAINS   OF    OUR   COLLECTION 


Herbert   Ginsöerg  Gilbert 


i  ■. 


» 


■    iiilillWWIlIpWIllfPIfffffWWII 


lanmi  IM  I  kitfMtmmitatmwti 


\ 


I 


m 


I 

Ancient 

II 

Ancient 

III 

Ancient 

IV 

Ancient 

V 

Ancient 

VI 

Ancient 

VII 

Ancient 

CONTENTS 

A.   CHINA 

Chinese  Bronzes 
no8.1-25 

Chinese  Sculptures 
no 3. 26-34 
Chinese  Carvings 
nos. 35-36 
Chinese  Ceramics 
nos. 37-51 
Chinese  Paintings 

no,  52 

Chinese  Lacquer 

no«  53 

Chinese  Rugs 
no3,54-57 


1 

12-47 

48 
51-63 

G4-66 

67 
72-87 

38 

89 
90 
91-93 


i 


B.  JAPAN 

VIII  Japanese  Sword-Gear  Masters 

nos. 58-67 

IX  Ancient  Japanese  Pottery 

nos. 68-75 

X  Ancient  Japanese  Lacquer 

no.  76 

XI  Ancient  Japanese  Netzuke 

no.  77 

XII  Ancient  Japanese  Painting 

no,78 

XIII  Ancient   Japanese  Color  Prints 

nos. 79-83 


94 
96-99 

100 
105-108 

109-110 

111 

112 

113-116 


••tl 


C.    INDIA 


XIV   Ancient  Indian  Art 

nos. 84-90 


117 
120-126 


'   1 


D.  NEAR  EAST 

XV  Ancient  Bronze,  Ceramic,  Ivory 

nos. 91-94 

XVI  Ancient  Oriental  Rugs 

nos. 95-102 


127-129 

130 
135-138 


I 


S.      PACIFIC 


XVII     Ancient  New  Zealand 

no.l03 


139 


1 


»^^^^^^■  mM4 * .  i  -g  'Jtt»: 


»*«»Y*-*yf--   T^-i'    *■* 


■  iiiiliiiii  iiri    ri 


^'! 


.  '  '  » 


.  * 


. .  j 


.. ..  ^   '  r^  ^ 


I 


i 


.' 


11  = 


F  R  £  F  A  C  E  . 

The  one  hundred  p.nd  three  objeots  dcscribtd  in  this 

catalogue  are  only  rcmnants  of  a  collection  '»'[•'ic^. 

numbered  eight  hundred  and  thrity-six  pieces  in  1923 

and  was  built  up  in  nearly  fifty  years. 

In  1942.  during  the  German  occuptition  of  the  Nether lands, 

our  pro^erty  was  stolen  by  the  notorious  "SS"  and  only 

a  few  pieoes  could  be  regained. 

Whlle  the  men  fled  the  Canadian  Shells,  thes«  piecas 

remained  bohind  in  the  «ttic  of  the  house  where  the 

"SS"  had  had  thoir  last  quarters. 

Most  of  the  objects  of  our  collection  had  been  brought 

home  from  travels  to  the  Par  and  Noar  Last.  However. 

there  were  additions.  We  bought  from  ^f  ^Jj^Jf  "'/,,ii 
such  as  Edgar  Worch,  Jörg  Trübner,  ^^^^ •^"""%^'  "  "^J^ 
as  from  reknown  coUections,  to  mention  only  the  counts 

Maida  and  Otaai,  and  Dr. A.Breuer. 

In  this  way  we  succeeded  in  building  up  a  small  but 
idequate  survey  of  some  branches  of  F?-r  Lastern  Art 
in  Jhich  I  had  become  interestod  already  ^t  the  end 
of  the  last  Century.  The  hospitable  house  of  the 
?Lane9e  consul  Gustav  Jacoby  with  his  famous  collection 
o?'5apanes  Tt,  later  the  pride  of  the  "Ostasxatisohe 
Kun Stabteilung  der  Berliner  Museen",  furnished  the 
IZulTllJZl   whero  it  was  po.sible  to  J-/-  ^J^  ^^^^ 
with  to  See  and  to  feel  the  essence  of  the  Par  Elstern 
Irt.'as  well  as  to  meet  scholaxs,  artists,  connoisseurs, 

rere^S'irir";  foundation  to  ^  ^^l^^^^ ^^l^'' 
Tel     e  1  i:ri::e:n"''a:d  its  Keeper.  Otto  Kümmel  and 

'"''T  ^;s^^rtSrii:u':f%r::n°Airanf  ;d:i:oi 

;rthr::l:er:urinTd?:n  and  Par  Eastern  Art  at  Oxford. 

?-  '   -U^:Lu:r1%::a:rf  memb:r^"ire'-xpert 
C^:::-  rsi^n'^f  "   ElsLrn  Arfs  Department  at  the  täte 
Museum.  Berlin"  ^924-1938)  and  a   -found  r  as  wel^^^^^^^^^ 
a  member  of  the  board  of  the  ^irectors  oi 
für  Ostasiatische  Kunst",  Berlin  ( 1926-1938 J. 


% 


M« 


n 


I 


.i.Hutttm 


■UM^kMMHWMt 


••     I 


» 


s> 


i  l 


I 


I 


II 


H 


As  a  result  of  World  War  II  the  Bstasiatische  Kunst- 
abtöilung  dor  Berliner  Museen  as  well  as  the  Gesellschaft 
für  ostasiatische  Kunst  cjeased  to  exist.   But  our 
"building'»  too  is  destroyed,  sincc  the  greater  part  of 
our  colloction  has  disappeared.  Chinese  and  Japanese 
paintings,  as  well  as  the  lacquers,  have  almost  completely 
vanished.  Our  Japanese  No  masks ,  netzuke  and  color 
prints  seem  lost  for  ever, 

Using  the  wonderful  opportunity  which  New  York's 
libraries  offered  me,  I  have  nevertheless  triöd  in 
this  catalogue  to  give  some  meaning  to  the  remains. 

Tho  memorr  of  some  of  our  lost  works  of  art  is 
proserved  in  some  publications  and  in  some  oatalogues 
of  those  exhibitions  where  parts  of  our  collection 
have  beön  shown. 
I  mention; 

»»Ausstellung  alter  ostasiatischer  Kunst", 
Berlin,  Akademie  der  Künste 
»'Ausstellung  Chinesischer  Kunst"  veranstaltet 
von  der  Gesellschaft  für  ostasiatische  Kunst 
und  der  Preussischen  Akademie  der  Künste.  Berlin 
"Sechs  Jahrtausende  Töpferkunst",  Akademie  der 

Künste,  Berlin 
"International  Exhibition  of  Chinese  Art  , 
Royal  Acadeny  of  Arts,  London  (England; 

^^Ausstellung  der  Kunst  ^^\^}1^''^^''^^IIa 

Kunstgewerbe  Museum,  Basel  (Switzerland) 
-Netzuke  uit  de  coUectie  G.",  Kunstzaal 

Tikotin,  Den  Haag  (Holland)  ^^ 

'»Bruikleon  G  van  Oost-Aziatische  Kunst  , 

Gemeente  Museum,  Den  Haag  (Holland) 
"Bruikleen  Herbert  Ginsberg,  Zeist  ,       ..^^.\ 

Museum  van  Aziatische  Kunst,  Amsterdam  (Holland) 
•»The  Art  of  Greater  India" ,    ...^^^.  x 

Los  Angeles  County  Museum  (California;. 


Forest  Hills,   L.I.  N.Y. 

1951 


1912 
1929 

1934 

1935 

1935 

1939 

1940 

1946 

1950 


i'A 


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I 


I 


'i  ' 


-'••^''liiiHii 


mitmmtmimmmmmim 


\ . 


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,  »' 


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MI 
I 


A.   CH  I  N  A 

I.   Al^CIEM  CHIMi^Si^  BRONZr.^ 

Some  njtes  on  early  Chinese  bronzes. 
a,   Vessels  -  Utensils 

• 

The  ancient  Chinese  ceremonial  bronze  vessels,  recovered 
from  tombs  or  unearthed  when  building  roads,  attain  the 
highest  artistic  perfection  and  belcng  to  the  works  of 
craft  which  secored  world  value  to  Chinese  Art;  they  are 
unique  in  the  art  history  of  the  world, 

They  are  monumental  in  the  very  sense  of  the  word,  (Webster; 
*'of  the  nature  of  a  movement;  hence  massive,  laating,  im- 
pressive/*)  they  speak  their  own  language  olearly  and 
mighty,  they  teil  of  the  religion  and  beliefs  that  inspired 
them. 

Nature  herseif  oared  af f ectionately  for  these  works  of  men. 
Peculiarity  In  the  composition  of  the  bronzes  as  well  as 
in  the  Chinese  earth  which  preserved  these  treasures  so 
long  a  time,  enriched  them  with  a  patination  not  known  to 
any  other  bronze  art  in  the  world. 

The  transition  from  prehistoric  times  to  history  begins 
when  the  H  SI  A  (2205-1766  B.C.)  are  succeeded  by  the 
S  H  A  N  G,  also  oalled  Y  I  N  (1766-1122  B.C.).  "  The 
Shang  (Yin)  moved  their  capitala  five  times.  Their  oapital 
An-yang  near  Hsiao-t'un  on  the  Huan  river  in  Honam  has  been 
excavated  in  1929.  Since  then  practically  all  our  ooncep- 
tions  öoncerning  the  dating  of  early  bronies  have  changed. 

The  excavated  bronzes  of  the  Shang  people  show  so  advanced 
a  metal  art  that  we  have  ti  take  for  granted  that  centuries 
of  art  tradition  must  have  preceded  such  perfection.   Or  as 
Karlgreen  puts  it:'»Our  material  proved  that  the  first  great 
classioal  art  in  China  was  mature,  finished,  ready  in  all 
Details  and  in  all  Infinitive  varieties  already  in  Yin  time, 
and  there  was  but  little  to  add  in  early  Chou  time."  The 
vessels  Bhow  great  variety  of  form,  size,  decoration.  There 
are  large  rectangular  vessel«,  completely  covered  with  ela- 
borate  Ornaments,  with  f langes  and  bold  relief,  flamboyant 
of  a  oertain  barbarous  beauty. 


fe 


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.: 


iiinfutat^tMttttmmmmttitmmtfä 


ämmmukmmmämltttliillk 


L|l.,J 


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And  there  are  vessels,  simple  severe  in  structure,  with  a 
quiet  nobility  in  line,  the  decor  restricted  to  small  frie- 
zes  around  enhancing  the  beauty  of  a  piain  smooth  surface. 
To  quote  Karlgreen  again:"Decoration  of  the  body  of  the 
vessels  ranges  from  extreme  simplicity  to  overloaded  rich- 
ness.  We  have  entirely  piain  body;  non  the  less  far  from 
'primitive',  on  the  contrary  very  elegant." 

Or  Priest:  "From  the  beginning  the  tendency  wasto  elabo- 
rate  the  complicated  conventionalized  and  symbolic  designs 
until  the  objects  were  completely  co/ered  with  a  deeply 
cut  and  brillantly  executad  pattern  in  a  style  that  bears 
a  remarkable  likeness  to  that  of  the  temples  of  Central 
America." 

There  is  ample  evidence  that  e.g.  the  magnificent  pieces  of 
sumptuous  appearamce  füll  of  accuüulated  power  and  comprös- 
sed  energy,  which  John  Ellerton  Lodge  acquired  for  the  neariy 
incomparable  Preer  Collection  in  Washington,  originated  in 
the  same  epoch  as  the  vessels  of  simple  beauty  which  are 
described  on  the  following  pages. 

Although  little  is  known  about  the  ceremonial  of  the  ance- 
stral  cult,  it  is  undisputed  that  the  vessals  wero  used  for 
food  and  drink  offerings. 

For  wine  libations  three  most  appreciated  bronze  types 
were  employed:   Tu,  Ku,  Chüeh  . 

The  millet  wine  was  brought  to  the  cerd^ony  in  the  covered 
Container  called  "Yu". 

To  toast  the  spirits  of  the  departed  a  certain  afllount  of 
the  sacrificial  wine  was  poured  from  the  "Yu"  into  the  "Ku" 
which  was  then  swung  in  the  different  directions,whereby 
the  high  rim  prevented  Spilling  of  the  wine. 
To  give  pledgo  t'^  the  spirits,  wine  was  poured  into  the 
tripod  libation  cup,  called  "Chüeh".  A  little  of  the  con- 
tent was  poured  out  of  the  spout  onto  the  earth;  the  rest 
had  to  evaporate  into  the  sky,  while  the  vessel  was  set  over 
a  fire. 

In  the  following  description  I  was  guided  by  the  funda- 
mental studies  of  Karlgreen  already  quoted. 
Karlgreen  divides  the  early  bronzes  into  four  epochs: 


I 


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1.  YIN    ("mua^s    the    same   as  Shang  ")  1766-1122  B.C. 

2.  YIN-CHOU   '=   "first   half  of  Westen.  Chou")    112E-   947  B.C. 

{"means  that  thb  Chou  time  art 
was  Stil:  esscntially  the  same 
art  of  the  Chin  with  but  small 
Innovations.") 

?.  MIDDLi,  CHOU  ^'*^"  ^!^  ^•^• 

4.  HUAl      (=  late  Chou)  ''''^O"  2^5  B.C. 

Likewise  I  followed  Karlgreen  in  his  attempt  to  explain 
the  ornamentation. 

The  ORNAJltNTATlON  is  combined  with  the  purpose  of  the  ves- 
sel:  Ancestral  cult  i.e.  to  appease,  to  runder  fevorable 
the  ancestral  spirits  who  might  be  able  to  avert  disaster, 
bring  good  luck  also  to  natural  phenoma  like  rain  and 
harvest. 

Karlgreen' s  appendage  is  important:  "The  cult  of  the  dead  .r. 
ancient  China  was  above  all  a  fecundity  cult  intended  to 
insure  resurrection,  vitality  and  propagation  of  the  family 
line.  If  this  is  the  reason  for  its  intimate  lonnection 
with  the  fertility  cult,  the  cult  of  the  soil  --  a  highly 
natural,  primitive  logic  as  shown  by  parallels  axl  over  thö 
World  —   then  it  is  reasonable  to  expect  that  the  decora- 
tions  on  the  bronzes  used  in  the  ancestral  cult  should  have 
a  votive  signif icance," 

Therefore  the  decorations  of  the  bronzes  are  symbolic  Orna- 
ments, mostly  zoomorphic  figures  set  on  a  spiral  groundwork. 

I  can  here  enter  only  into  some  of  these  forms. 

1   SPIRAL  FILLING,  the  so-calied  "Thunder  pattern  (Lei-wen)" 
also  callid  meander  or  fret  pattern. 
KarlKreen  prefers   "  to  combine  the  whole  series  under  the 
s'^iirname  of  -spirals-  and  rejects  the  designation  above 
as  a  "somewhat  risky  Sung-time  speculation  .        ^^^.ona- 
Confronted  with  Karlgreen' s  ^^^>-'°rUy  I  mention  the  exp.ana 
tion  of  Adolf  Harnack,  given  in  h^\"™t  CHINc.r.  l>^P^T 
with  some  doubt.   Harnack  derives  the  lei-wen  ^^om  the  oldest 
hieroßlyphic  form  of  thund^r  1  changed  from  round  to  square 
5o?m   (2)  and  combined  in  a  double  pi«ture  for  decoratxve 
purpose   (3) 


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However  we  must  keep  in  mind  that  the  Spiral  is  a  viidely 
spread  symbol  of  the  sun  among  peoples  who  were  more  or 
less  oontemporaries  of  the  Shang,   I  need  only  refer  to 
Marshall' 3  excarvations  in  India  (Uohenjo-Daro  3250-2750  B.C.) 
and  the  finds  in  Denmark  and  Sweden. 

Since  sun  and  rain  with  occasional  thunderstorm  are  essen- 
tial  for  the  agricultare  n  the  whole  irorld,  1  prefer  to 
believe  that  the  spiral  is  x.ot  only  an  artistic  preference, 
but  was  also  used  by  the  early  Chinese  as  a  magic  expedient. 
The  same  opinion  seems  to  be  expressed  in  the  denotation 
"meanderthunder"  I  found  used  by  Alan  Priest. 

2.   ZOOMORPHIC  FIGüRi-S 

The  use  of  more  or  less  fabulous  beings  mostly  zoomorphic 
in  form  is  no  doubt  partly  symbolic  of  the  animistic  reli- 
gion  of  the  time.  By  being  used  as  ornaments  they  become 
appeased;  they  invoke  the  potency  of  animal  spirits.  What 
animals  are  represented  is  often  a  moot  point. 

For  esoteric  purposes  "double  faced"  animals  are  used  a 
peculiarity  whereby  one  and  the  same  ornament  in  a  combina- 
tion  with  a  second  of  the  same  or  other  kind  shows  a  second 
face. 

a.   The  T'AO  -  T' lEH  =  The  voracious  glutton. 

The  name  was  used  by  the  scholar  Lü  Pa-wei  not  earlier  than 
232  B  C   and  is  taken  from  the  ancient  texts  as  one  ot  ihe 
four  nonsters  mentioned  in  connection  with  the  legendary 
emeror  Shun.  It  became  an  accomodating  term  in  whose  shei- 
ter  the  most  diverse  elements  have  been  merged. 
Or  as  Karlgreen  puts  it:  "The  T'ao-t'xeh  ^-^^^" .  ^^^  J^^^^' 
finitive  series  of  varieties  from  the  most  rea.istic  ani- 
mal» s  head  to  the  most  conventional  ^^ff /^^f  ^; J"^^';f ' 
30  dissolved  .nto  geometrical  designs  that  only  the  symme- 
trically  plac^d  eyes  can  help  us  detect  it,     ,    .    , 
ilan  Priest  calls  it  "the  magnificant  rebus"  and  tries  to 
find  the  Solution  of  the  rebus  writmg: 

"Jsn't  it  the  important  thing  that  m  the  symbolism  of  the 
ea'!y  Chinese  a  Last  and  a  Bird  played  a  great  part?   Does 

r;'atter  much  which  b.rd,  which  ^-^J^^^^^^^J^J^r 
graphers  bicker  and  wrangle  over  the  bull  f^^^^'^^^  ^^ 
figer  and  water  buffalo,  the  pheasant  and  the  owl  most  of 
thprnfirsist  in  iijnoring  the  answer  to  the  magnifioant 
rSs'of  he  r  ai'?'ieh!  that  interlockiug  oomposite  of  bird 
and  bealt  which  is  the  ;ymbol  of  one  fundamental  precepts 


5:: 


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of  Chinese  thinking  -  the  balanced  dualism  of  yin  and  yang, 
of  darknoss  and  light,  of  moon  and  sun,  of  female  and  male/' 
...  "Creel,  in  the  Birth  of  China,  demonstrated  most  of  the 
elements  of  this  rebus.  He  pointed  out  -  and  no  one  has  con- 
tradicted  him  -  that  if  you  bisect  the  mask  of  the  front  fa- 
cing  monster,  you  will  find,  that  the  two  halves  of  the  design 
may  be  read  as  profile  pictures  of  beast  facing  beast  nose  to 
nose.  He  also  demonstrated  that  the  same  profile  may  be  read 
backwards,  in  which  case  the  hindquarters  of  the  beast  become 
a  bird  facing  in  the  other  direotion,  Only  one  thing  remained: 
Tr  demonstratö  that  the  bird,  füll  fact,  with  wings  outspread, 
is  an  integral  part  of  the  front  facing  mask.   This  was  most 
ably  done  in  the  November  1938  issue  cf   the  Metropolitan 
Museum  of  Art  Bulletin..." 

For  the  rest  I  agree  with  Dagny  Carter:  "The  name  of  the 
monster  mask  does  not  really  matter;  what  does  matter  is  the 
fact  that  it  constantly  reappears  in  the  designs.  Sometimes 
the  entire  ornamentation  of  a  bronze  conslsts  of  two  or  three 
t'ao-t'ieh  heads  placed  in  marked  relief  on  a  >ackground  of 
fine  spirals  or  meander  figures.  Or  it  may  be  ono  or  two 
realistic  heads  placed  in  a  circular  band..." 
These  just  mentioned  "realistic  heads"  look  mostly  like 
bulls'  heads.  So  I  do  not  wonder  at  the  further  Suggestion 
of  a  Chinese  scholar  to  take  the  t'ao-t'ieh  as  a  Symbol  for 
the  bull,  all  over  the  world  the  symbol  of  power  and  male 

fertility.  ,  .    „  .  . 

The  newest  thesis  belongs  to  Oswald  Siren  who  explains  that 
the  meaning  of  the  t'ao-t»ieh  depends  upon  its  combination 
with  other  Symbols"  and  he  mentions  as  especialxy  significant 
in  such  combination  the  dragon  and  the  cicada. 

b.   The  CICADA  pattern  (Ch'an-w6n) 

Small  jade  objects  in  form  of  the  cioada  have  been  used  from 
early  times  to  be  placed  on  the  tongue  of  the  dead. 
Since  the  cicada  is  an  hibernating  insect  that  comes  to  Ute 
in  spring  again,  the  use  of  the  c.cada  in  connection  with 
the  ancestral  cult  as  symbol  of  resurrection  needs  no  further 
explanation.  Nevertheless  it  seems  worthwhile  to  mention 
Ka?lgreen's  thesis  that  the  shrill  notes  of  the  male  cicada, 
if  produced  by  thousands,  likens  the  whistle  of  the  wind 
and  might  easily  become  connected  in  the  feelmgs  of  the 
ancient  with  the  voice  of  ghosts. 


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AKIMAL  TKIPU  BA^D 


Karlgreen  uses  this  denotation  to  denominate  a  most  curious 
decürative  element:  A  liand  in  three  horizontal  sections 
which  upon  cltse  examination  turiU  out  to  be  an  extremely 
disaoived  animal  shape;  in  some  of  its  best  variants  a  row 
of  wingquills  at  the  top  and  an  animal  eye  are  distinctly 
recognizable, 

TIN  -  CHOU  period  (  1122-947  B.C.)  :  The  Yin  tradition 
in  Bronze  production  is  oontinued  witk  relatively  few 

öhanges. 

MIDDLE  CHOU  period  (  964-770  B.C.  )  :  Distinctive  new  ele- 
menta  come  to  the  fore.  Spiral  and  meander  backgrounds 
cpme  almost  to  an  end,  relief  is  less  clearly  cut  and  the 
forms  of  the  vessels  tend  to  be  heavier.   When  in  770  B.C. 
the  capital  is  moved  from  Hao  to  Loyang,  from  Shensi  to 
Honam,  the  art  of  bronze  making  deteriorates ,  the  traditional 
decorations  become  overloaded  and  baroque. 
The  then  following  centuries  of  strife  end,  when  general 
Lien  Pung  founds  the  HAN  DYNALIY  in  203  B.C. 
The  dominating  tendency  in  bronze  art  now  becomes  cf  in- 
creasing  simplicity.  Heavy  reliefs  of  conventionalized  ani- 
mal forms  disappear,  refinement  with  prefect  proportions 
remain,  and  the  inlaying  of  precious  metals  on  bronze  wms 
a  peculiar  appeal,  even  in  the  ornamentations  of  the  acces- 
sories  of  warriors»  chariots.  With  the  warrior  in  füll 
regalia  on  it,  it  must  have  been  a  resplendend  sight, -when 
Chinese  armies  were  sent  t-»  spread  the  power  of  the  Chinese 
emperor  into  North,  South«  and  far  inte  the  West,  to  protect 
also  the  Caravans  along  the  so-called  "silk-road"  aoross 
Asia  on  the  route  to  the  Roman  Empire. 

But  it  did  not  last.  Internal  strife  broke  the  Empire,  ^n 
PPI  A  T)        the  Han  Dvnasty  ended. 

llX  mlksTui   (  222-589  A.D.  )  follow,  a  term  which  because 
of  xfs  ooivenxent  .implicity.  has  cc:.e  to  be  appUed  ocsely 
to  the  period  bet^eeu  Hai;ä  and  Sui  and  -^ich  refers  to  .he 
dynast.es  which  have  their  capxtals  or  the  5ite  o.  the  pre 
sent  Kanking;  but  polit.oal  '^haos  in  Chxnareign.Th.  North 

is  in  the  har.d  of  invaders,  I  -^'^IVirT  nrN^ST^'s  f386  - 
i'opa  tribes,  which  are  known  as  the  WEI  DYNAiii£,S  (386 
ssn  k  n  )   with  their  capital  tat-ongfu.  ,  .   ,   -, 

U?  DrJiiT  (  589-610  a!d.)  :  A  dynasty  of  ^n^;^   J^" 
dor:  xt  15  saxd  that  in  tuese  ^aii  ty  j^  , 

dynasty  is  wantmg  in  miiitary  si.röiigt.i 


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Hill 


TANG  DYNASTY  (618-906  A.D.):  T'ang  T'ai  Tsung,  China' s 
greatest  emperor,  born  as  a  3on  of  a  Shansi  official,  wins 
his  Position  as  founder  of  the  Tang  Dynasty  with  the  sword. 
He  restores  the  empire  on  a  broader  and  grander  foundation 
than  ever  before.  China  becomes  exposed  to  foreign  contact, 
to  foreign  influences;  they  arc  distinctly  visible  also  in 
the  bronze  works  of  this  tiae,  in  which  thö  prodaction  of 
ceremonial  bronzes  has  ceasod. 

SUNG  PERIOD  (960-1279  A.D.):  Ceremonial  bronzes  appear 
again.  But  tbeir  quality  and  artistical  perfection  is  not 
to  be  compared  to  that  of  their  splendid  predecessors  two 

thousand  years  aga.  -    4,  ■    * 

MINGDYNASTY  (1368-1644  A.D.)  :  Baroque  transformation  or 
the  classic  forms  and  decorations  -  to  use  generally  fami- 
liär terms. 

COMPOSITION,  GAST,  PATINA  OF  MRIX   CHINtSt,  BRONZt  VESStLS 

The  analysls  of  Yin  (Shang)  fragments  shows  that  the  used 
material  contained  on  the  average  83  per  cent  copper  and 
17  per  c.nt  tin.  In  addition  to  this  traces  of  silver, 
antimony,  magnesium  were  fcund,  ^^^^pec 

In  the  cast  usually  the  "lost-way  (cxre  perdue)  f ^«^^ 
is  followed."  This  .eans  first  making  a  wax  "»^J^;;  °^.  ^,f  ^.  ,.„ 
entiB  object,  including  its  Ornaments  and  covering  this  w.tn 
a  1  quid  da;  coating.  Holes  were  made  in  the  clay  mold   so 
^h  n%he  ob/ect  .as  baked  the  heated  ^;,<l"^?/^y /^^Jf 
out.  After  the  clay  model  was  empty  and  ^/^f ■ /^^^T^^^"^^ 
.etal  was  pourod  in.  When  thoroughly  ^^rd   th  mou^d  was 
b-oken  and  the  bronze  vjas  ready,  exiept  for  f.nal  je-ou.ning. 
krtoc^ique  of  the  Shang  :etal  workers  was  so  Perfect 
Jowever  that  actually  littlo  retouching  appears  to  Lavo 

?re%oror1';-tleiro;::\atines  is  often  very  beautiful   de- 

e^di^g^apon  the  co^positionof  the  original  br.nz.^the^ 
Chemicals  and  ^he  degroe  of  mo.s  ur   n  the       ^^^^  ^^^^^^ 
it  has  been  buried  ani  which  are  ^b  ^^^^^^^^^  ^^^^^^^ 

estimated  ^  ^  ^  ^  ?;  ^  !  ^  f^^een  basic  carbonate  copper). 
r''  "  ^""b^  urewLhr  the  bronzes  were  origmally  copper 
llliris  lleZl:llllon^es      er  whether  the  surface  was 
treat;d  to  produce  various  color  effects. 
Most  bronzes  that  have  ^e.n  b.ri.d  for  a  l-g  tj.e  are^not 

very  attractive  .vhen  excavated.  ^''^^^f  J,  ^^J  ^o  what  ex- 
disturbing  incrustations  an  car  u  ly  Ol  aned.^T^^^^^^^^^^^^ 

tenl  the  bronzes  should  be  cieanea  ü.   v 


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'  •  -tjäti  ■<  •«» '  j  IJ*T^?T?TTTTT?ii?^ii^i^^^T^^ST??^T^?irT??ä?jT??J?^iI5^^!iSi? 


8 


b,   Early  Chinese  Bronze  Uirrors. 

Different  from  the  hdroic  bronzö  vessels,  the  Chinese  bronze 
mirrors  form  a  most  charming  group  of  their  own. 

The  earliest  which  have  becn  reoovered  from  t  mbs  are  thought 
to  data  about  the  seventh  Century  B.C.  (Late  Chou  or  Husi) 
which  is  confirmed  also  by  literary  evidence. 

The  reflecting  aide  of  the  mostly  round  .etal  dxsk  is  po- 
lished  by  mercury,  whilö  th^j  reverse  is  usually  decorated 
with  casting  in  ralief.  Tkey  are  in  the  begimiing  flat  and 
small  and  become  in  the  course  of  time  heavler  and  larger. 
£»pooially  conspicious  is  the  ohange  at  the  beginning  of  the 
first  Century  A.C.  The  outer  rim  of  the  reverse  side  is 
broaded  and  raised  so  far,  as  to  let  the  back  of  the  whole 
mirror  look  like  a  shallow  dish.  At  this  time  the  knob  in  the 
Center  gets  a  hemispherical  form  with  a  hollow,  through 
which  could  be  passed  the  braided  cord  that  formed  the  handle 
for  holdiug  it  or  for  the  fastening  to  a  stani. 

The  decoration  of  the  mirror  back  was  not  an  inoidental 
Ornament,  but  was  put  on  for  a  purpose.  While  the  ornament 
always  shows  the  art  trend  of  thd  aotual  period,  the  forms, 
Signa,  symbolics  belang  to  certain  categorical  numbers  of 
Chinese  literature  and  nythology  as  well  as  to  their  astro- 
nomical  system.  Even  the  round  form  is  supposed  to  be  symbo- 
lical.  representing  the  heaven.  Through  it  the  importance  o. 
tho  bronze  mirrors  was  greatly  increased  over  the  mere  fact  of 
being  used  as  looking-glasses  for  the  toilet. 
There  existod  the  religious-magical  bel.ef  that  by  u«ing 
Symbols  representing  the  Universe  or  parts  of  it  ^n  "^'^;- 
ature.  it  ^ould  be  possible  to  win  some  of  the  ;j;=J^  "^^^ 
Dower  of  the  greater  Universe  In  order  to  give  strength 
I^dpr  Lotion  against  domons  or  evll  influencas  to  an 
individual.  Using  this  conception  in  J^«  »^^^^^J^^^^^J^^J^. 
the  backs  of  the  mirrors, they  are  credited  '^i^J/J^^^J^f!;. 
mafiical  power  as  magic  Instruments,  that  put  the  cosmi.  for 
magicai  power      g  ^^      ^^^^   supposed  to 

TaJdlff  ev   Influe;ces.  In  some  cases  they  were  said  to  ba 

Ib  e  vL  l;  forcast  the  future,  to  ^^^''^^\''^l'J^Zl''  '' 
the  patienfs  body,  anabling  the  physician  to  diagnose 

It  is  thus  small  wander  that  the  mirrors  "^^^  ■;J^^/  ^^  f;;""' 

IZe'lZ   in  Jt:  timf  oT^he^ead  Person"  s  ehest  as  "heart 
prcte°ting  mirror"  or  added  as  a  symbol  of  light. 


(« 


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The  mirrors  arc  admired  for  their  technical  perfection 
in  alloy  and  caste.  Their  bronze  composition  is  nearly  of  the 
aame  allcy  as  tht  bell-bronzes  used  in  Europe  during  the 
Middle  Ages.  They  contain  75-80  per  cent  of  cjopper,  20-25 
per  cent  of  tin  and  often  1.4  per  cent  of  lead.   It  is 
evident  that  their  supwrior  workmanship  was  reached  by 
moans  of  soft  stone  master-moulds  as  described  by  Schuyler 
Camman:  "The  small,  pointed  bjsses,  and  probably  the  large 
central  boss  as  well,  wer©  apparently  drilled  into  the  flat 
stone,  while  the  main  stright  lines  were  gonged  out  in  shal- 
low  groves;  then  the  characters  and  intricate  figures  of 
the  background  must  have  been  engraved  with  a  Sharp  tool. 
The  shape  of  the  characters,  in  particular,  unquestionably 
indicates  cutting  in  stone.  Probably  the  stone  carving  then 
served  as  a  master-mould  for  a  wax  model  from  which  another 
mo.ld  was  madc  by  lost-way  (cire  perduo)  process,  for  certain 
irreguliarities  in  the  inner  surface  suggest  a  wax  rathor 
than  a  stone  oontact  in  the  direct  mould.  After  removal  from 
the  mould,  the  central  boss,  grooves,  and  rims  were  regulary 

burnished. . ."  ^^   a 

Among  the  patines  the  so  called  "hei  ch'i  ku  =  like  black 
lacquer"  iü  especially  estimc;tfed.  Aocordirig  to  W.P.Yetts 
the  Quality  of  the  blauk  lacquer-like  surface  is  so  perfdJt 
and  uniftym  that  it  could  not  b.  acoidental  and  was  probably 
due  to  silireous  matter  mixed  with  layer  of  the  mould  which 
camtf  in  contact  with  molten  metal. 


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10 


BIBLIOQRAPHY 
Ancient  Chinese  Bronzes 

Anderson,  J.G.   "The  Goldsmith  in  Ancient  China",  Bulletin  7, 

M.F.L.A, ,  Stockholm. 
Bachhofer,  L.    "A  Short  History  of  Chinese  Art",  New  York, 

1946. 
Carter,  Dagny.   "Four  Thousand  Years  of  Chinese  Art." 

Ne>T  York,  1948. 
Freer  Gallery  of  Art,    A  descriptive  and  illustrative 

Catalogue  of  Chinese  Bronzes  acquired  during 

the  administration  of  John  Eilerton  Lodge. 

A.G.Wenley,  Washington,  D.C.  1946. 
Feddersen,  Martin.   "Chinesisches  Kunstgewerbe*.*  Berlin  1939, 
Kelley,  C.F.  and  Chen  Meng-chia.  "Chinese  Bronzes  from  the 

Buckingham  Collection".   The  Art  Institute, 

Chicago  1946. 
K^immel,  Otto  Grosse.   "Ostasiatisches  Kunstgerät", 

Berlin,  1925. 

"Chinesische  Kunst".  200  Hauptwerke  der 

Ausstellung  der  Gesellschaft  für  ostasiatische 

Kunst  in  der  Preussischen  Akademie  der 

Künste,  Berlin  1929. 

"Chinese  Beils,  Drums ,  Mirrors".  Burlington 

Magazine,  193o. 

"Chinese  Bronzes  cf  the  Shang  through  the 
T'ang  Dynasty",  introduction  to  the  exhibi- 
tion  Metropolitan  Museum,  New  York  1938. 
"Birds".  June  1947  issue  of  the  Metropolitan 
Museum  of  Art  Bulletin,  (page  264) • 

Karlgreen,  Bernhard.  "Yin  and  Chou  in  Chinese  Bronzes". 

Bulletin  of  the  Museum  jf  Far  Eastern  Anti- 
quities,  no.8,   Stockholm  1935/36. 

Karlgreen,  Bernhard.  "New  Studies  on  Chinese  Bronzes". 

Bulletin  no.9,  Museum  of  Far  Kastern  Anti- 
quities.  Stockholm  1937. 

Karlgreen,  Bernhard.   "Huei  and  Han" .   Bulletin  no.l3, 

Dto.  1941. 

Sir^n,  Oswald.   "History  of  Chinese  Art".  1948. 

Swallow,  R.W.    "Ancient  Chinese  Bronzu  Mirrors."   Feipmg, 

1937.  .  ^  u 

Schuyler,  Camman.   "TLV  Patten,  on  Cosmic  Mirror  of  the  Han 

Dynasty".  Journal  of  the  American  Oriental 
Society;  vo..68,  no.4,  Oct./Dec. 1948 . 


Lauf er . 
Priest,  Alan. 

Priest,  Alan. 


(  : 


M 


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tii 

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I  it 


L 


„Uiuti 


.      II  I  J*>i  H  f ■ 


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•    I 


•.*' 


11 


Schuyler  Camman. 


P 


Sen-Oku  Sei-Sh8. 
Tüyei  ShuX.o. 

Umehara,  Sueji. 


"Chinese  Mirrors  and  Chinestj  Civilization" 
Archeology,  Autumn  1949.  Vol. 2,  no.3. 
Catalogue  of  the  Colleclion  Sumitomo. 
Illustrated  catc.logue  of  ancient  imperial 
Treasury,  called  SIIOSOIN.   Tokyo. 
"Shina  Kodo  Seikwa  or  Selected  Relics  of 
Ancient  Chinese  Bronzes  froja  colleclion 
in  Europe  and  America".  Part  II,  1933. 

Yetts,  Percival.  "The  Oeorge  üumorfopoulos  Collection, 

vol. II:  Bronzes,  Beils,  Erums ,  Mirrors, 
etc.   London,  1929. 

Yetts,  Percival.  "Catalogue  of  th«  Gull  Chinese  Bronzes". 

London  1939. 

Voretsch.        "Altchinesische  Bronzen".  1924. 


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12 


CATALOGUE  OF  CHINtSb  bRONZES 

1,   Covered  Vessel  for  fragant  wine.   (  Yu  )   H,  20  cm.;  8" 

Body  elliptical  section  with  convex  sides  ©n  a  shallow 
spreading  foot.  Within  faintly  fluted  bands  are  borders 
of  flat  engraved  Ornaments: 

a)  Around  the  body  dragon-like  animals,  perhaps  Karlgreen's 
"feathered  dragon" ,  broken  by  T'ao  t'ieh  masks  in  high 
relief . 

b)  Around  the  foot  the  two  lines  of  the   •'  Hsien-wgn  " 
=  bow's  cord  pattern. 

c)  Around  the  cover  six  dragon-like  ani:aals  placed  smti- 
thetically  to  make  up  the  central  parts  of  four  t'ao 
t ' iah  masks . 

The  main  ground  of  the  vessel  remains  piain. 

The  Cover  is  surjiounted  by  a  fluted  knob-handle.   Lcops 
on  both  sides  of  the  "bjdy  hold  the  swing-handle  in  shape 
of  a  twisted  rope  which  can  move  only  far  enough  in  each 
direction  to  permit  the  lid  to  be  easiiy  removed. 

Insori^tions  of  pictographic  characters  inside  on   the 
bottom  of  the  body  and  the  cover;  in  the  body  set  mto  a 
cartouchc,  Both  deepened  in  the  bronze. 

The  purpose  of  the  Container  was  to  bring  the  wine  to  the 
sacrificial  ceremony. 

The  bronze  is  strongly  covered  by  patination,  green  over 
red  copper  oxide  (ouprite)  with  encrusted  malachite  de- 
posits . 

Yin  (Shang)   1766-1122  B.C. 

Lit.:  Karlgreen   'Tin  and  Chou  in  Chinese  Bronzes". 

Exhibition:   1931/32  Department  of  Far  Eastern  Art  of  the 

Musoums  of  Berlin, (Germany) 
1938/41  Gemeente  MuJ^eum,  Den  Haag,  (Holland) 


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2.  Vase  used  for  sacrxficial  winc  libation.   (  Ka  ).  H. 25, 5cm; 10.1" 

CircuUr  sections  with  spreading  foot  and  trumpet  shaped 

mouth  united  by  the  kiiob  in  the  middle. 

Fiat  encraved  ornaments:  Mouth  with  cicadae  pattern   (Ch'an- 

w§n)   in  the  form  of  the  "rising  blades"  (Karlgreen).  In  the 

middle  and  bel.w   'double  faced-   t'ao  f leh  masks,   on  the 

foct  Ijelow  a  band  of  horizontal  cicadae. 

Once  the  t'ao  t'ieh  mask  is  formed  by  four  eyes  between 

four  vertical  projected  f langes.  The  sucond  time  two 

"trunked  dragons"  (Karlgreen)  are  placed  antithetically , 

to  make  up  the  central  part  of  a  t'ao  t'ieh   Whi.e  he 

hind  parts  of  the  dragons  are  raised  vertically  high,  -ht 

combined  trunks  go  to  form  its  nose.  and  their  «yes  are  at 

the  same  time  the  eyes  of  the  t'ai  t'ieh. 

The  ground  shows  "spiral  filUng"  or  "Lei-wen",  the  thunder 

pattern. 

The  form  of  the  curemonial  bcaker  moets  its  destination. 

A  certain  amount  of  the  sacrifioial  ,.in.  was  poured  frrm 

the  Yu  (cp.no.  1)  into  the  Ku  for  toastxng  the  sp^^xts  of 

the  departed.   The-  high  rim  prcvents  spilUng  ^'f  ^«  "{^^ 

when  the  beaker  was  swung  in  the  different  directions  m- 

viting  the  spirits  to  participate. 

The  bronze  show»  a  fine  dark  green  patina  over  rej  =opper 

oiide;  light  deposits  of  azurite  enhanoe  its  beauty. 

Inside  of  the  foot  a  Short  inscription: 
=  (For)   ancestor  I  (Kümmel) 

Yin  (Shang)   1766-1122  B.C. 

Lit  •  Karlgreen  "Yin  and  Chou  in  Chinese  Bronzes" 

KüLfl  "Chinesische  Kunst".  200  Hauptwerke  der 
Ausstellung  der  Gesellschaft  für  l^'-^'^^^'-'l'};^.      ^909 
Kunst  in  der  Preuss. Akademie  der  K'onste,  Berlin  19^9. 

Plate  XIII. 


Exhibition: 


1929  Ausstellung  Chir.es. Kunst .  veranstaltet 
von  der  G.O.K.  und  der  Akademie  der  Künste, 
Berlin  1929.  Katalog  no.l7. 
1931/32  Department  of  Far  Kastern  Art  of  th., 
Mu«c'xms  of  Berlin,  (Germany)        (u^^^.nA^ 
1938  41  Gemeente  Museum,  Den  Haag,  (rio.iana; 


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3.   Tripod  Libation  Cup  {   Chüeh  )■    H.  21cm.;  9^" 

Inverted  helmet  shape  on  three  spear-head  spreading  feetj 
a  lateral  dragonhead  loop  handle  is  attached  to  the  *ody 

Beslde  thechanneled  snout  two  posts  rise  "«1J^^^°:;«  Jf 

pointed  rim  toppod  by  bell-shaped  fxnials  to  facilitate 

the  removal  from  the  fire  with  the  help  of  sticks. 

The  body  is  enrircled  by  the  "Animal  triple  band"  (Karlgreen) 

with  a  row  of  wingtuilU  at  the  top  and  an  animal  eye. 

Two  inscriptions  of  archaio  characters,  one  below  the  loop 

handle,  the  other  below  the  bell-shaped  finial. 

This  bronze  libation  beaker  «as  used  in  a  pledge  to  the 
RTiirits  After  a  little  wine  had  been  poured  out  of  t..e 
e^o^   It  wls  set  over  a  fire  and  the  oontents  evaporated. 
Flnaliy  it  was  removed  fr^m  the  fire  by  graspxng  its  .wo 
«mall  posts  between  two  sticks  whereby  the  bell-shaped 
finials  helped  to  keep  the  sticks  in  place. 
Patination  of  the  bronze  in  purple  red  and  green  with 
encrusted  malachite  deposits. 

Yin  (Shang)    1766-1122  B.C. 

L,t.:  Karlgreen  "Yin  and  Chou  in  Chinese  Brv.izes" 


Exhibttion: 


1931/32  Bepartment  of  Far  Eastern  Art  o^ 
the  Museums  of  Berlin,  (Germany) 
1938/41  Gemeenta  Museum,  Den  Haag,  (.Estland; 


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4.   Halb^rd   (  K'uei  ).    L.  20  cm.;  7  3/4  " 
Hcad  of  a  halberd  (French  "  hallebarde 


") ,  a  forerunner 
örthrKo  Tdllger-airand  »hafted  in  lihe  manner 
?he  "nei%  a  Und  of  handl«.  passes  through  a  slot  .n  the 
,haft-  the  thongs  are  threaded  through  the  hole  of  tke 
'daggl;  Td  tSe^'laeed  round  the  small  inoision  between 
dag^r  and  nei. 
THö  nei  .3  decorated  with  tho  t'ao  fleh  mask,  the  dagger 

iih":i;:i  Ornaments  in  flat  ^^'^T^ fl,^};^^^' 
culiar  shape,  as  Renö  Grouss^t  m  his  "Lövoiutxon  des 
Broizes  ChL^isos  ;.rohaiques-  ^escribes  a  sxmUar  decor 
"Triangle  decor^e  d-une  töte  de  fao-fxeh  on  l'une  pair= 
de  dragons.  qui  on  pu  -^asser  pour  evoquer  une  oigaxe. 
Beautiful  patination  of  the  bronze  in  rusted  red  with 
incrustation  of  jadeliko  green  dopcsits. 

7in   (Shang)   1766-1122  B.C. 

Lit.:  W.Percevnl  Yetts,  "The  Catalogue  of  the  George 
Eumorfopoulos  Collection".  Tome  I,  page  68, 
plato  LXXI  A  152. 


txhibition: 


1931/32  Department  of  Far  Eastern  Art  of 
the  Musuums  of  Berlin,  (G«rmany) 
1938/41  Gem-entv.  Museum,  den  Haag,  (^Holland; 
1946    Museum  van  Aziatischo  Kunst,  Amsteroam, 
(Holland) 


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5.  Ceremonial  Food  Vessel  .   (Chiu  or  Kuei) 
H.  13cm.;  5^  "  .   D.  17  cm.;  6  3/4  " 

Yetts  mbntions  that  this  group  of  bronzes  for  offering 
cereals  was  called  by  some  scholars  "  Kuei  "  ,  an  äqui- 
valent term,  pronounced  like  "  Chiu  "  in  ancient  times. 

Circular  form,  recurved  sides  «n  a  spreading  foot,  wide 
mouth. 

Around  the  rim  and  the  foot  on  a  diapcr  of  spiral  filling 
borders  of  dissolved  dragon  ornaments:  A  very  peculiar 
draeon-like  animal  with  turned  head  and  vertical  fringed 
ftrckes.  presumably  faathers  :  Karlgrean's  "Feathered  dragon". 
?he  orn;ment  is  broken  by  fao  fieh  masks  in  higher  relief. 
Ti.0  vertical  dragon-head  loop  handles  with  downward 
Pendants  are  attached  to  the  body. 

This  bronze  seems  to  have  long  bean  a  =°l^^  =  ^f :  ^  Pj';" '^^g 
for  the  shiny  surface  of  deep  purple  ai;d  green  J^ars  witness 
to  the  stroking  of  the  hands  of  generations  of  discr.mina- 
ting  collectors. 

Tin-Chou,   First  half  of  the  Western  Chou.   1122-947  B.C. 
Lit.:   Karlgreen  "Tin  and  Chou  in  Chinese  Bronzes". 


if 


Exhibition;  1931/32  Department  of  Far  f  f  ^|•;:^^^^ 

the  Museums  of  Berlin,  (Germany; 
1938/41  Gemeente  Museum,  Den  Haag,  (Holland] 


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6. 


T*  ao  '    V  ieh  Mask, 
h.  9  cm.i  ik   " 


The  wheel  of  one  side  of  a  horse's  snaffle-bite 
in  the  form  of  the  t'ao-t*ieh  mask. 
The  bronze  shows  a  nephrite  green  patination  with 
red  Spots  and  malaohite  incrastation. 

Yin-Chou,  first  half  of  the  Western  Chou.  1122-947  B.C. 

Lit  •   Martin  Feddersen  "Chinesisches  Kunstgewerbe"  1939, 

Abb,90,  Seite  105. 

Exhlbition;  1931/32  Department  of  ?ar  Eastern  Art  cf 

the  Museums  of  Berlin,  (Germany;    ^ 
1938/41  Gemeente  Museum,  Den  Haag,  (Holland; 
1946    Museum  van  Aziatische  Kunst,  Amsterdam, 
(Holland) 


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7. 


Basin  for  Ritual  Washing   (  Hsi  ) 

D.   13.5  em.;   6  1/3  " 
H.    4.5  cm.;   1  3/4  " 


Round  basin  on  small  foot  with  recurved  sites  and 
projecting  rim. 

Around  the  body  relief  bands  with  two  fao  fieh 
aasks  with  loops. 

The  inner  and  outer  surface  of  the  basin  has  been 
gilt  and  decorated  with  engraved  cloud-scroUs. 
The  gild  bronce  is  strongly  patinated  in  green  and 
rusted  red. 

Han.   206  B.C.  -  220  A.D. 

™  .,     „1  v^ttc  "TViP  Pataloeue  of  George  Lunor- 
Lit.:  W.Percival  Yetts   The  tataiogu      /p,:.„  ,T^ 

fopouloa  Collection",  Tome  I,  A  71,  (Plate  Li; 
Exhibition:  1929     Ausstellung  chinesischer  Kunst  in 

der  Preuss. Akademie  der  Kuns.e,  Dti-j-ii, 
(Germany).  Katalog  No.31.  111. F. 43. 
1938/41  Gemeente  Museum,  Den  Haag,  (Holland; 


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Ceremonial  Wine   Vessel      (   Chih   ) 
H.    18.2   cm.;      7   l/8   " 


19 


The  goblet's  main  ground  is  piain,  ornamented  only 
^y  means  of  the  Hsien-w6n  =  bow"s  cord  pattern. 

Inside  the  foot,  in  elevated  cast,  the  archaic 
character  for  father. 

The  bronze  is  richly  patmated  in  red  and  green, 
enhanced  by  deposits  of  azurite. 

Han.   206  B.C.  -  220  A.D. 

Äxhibition:  1938/41  Gemeente  Museum,  Den  Haag,  (Holland) 


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Ladle 


L,  22  cm, ;  B^ 


The  ladle» s  handle  with  the  ^rane's  head  has  an 
elegant,  soft  shape,  presumably  stimulated  by 
Hellenist ic  inf luences, 

Bronze  with  green-blue  patination. 
Han.   206  B.C.  -  220  A.D. 
Ex  coliection  Breuer. 

Lit  •  Martin  Feddersen  "Chinesisches  Kunstgewerbe" ,  1939, 

Seite  114,  A  b.l06. 

Exhibition:  1929     Ausstellung  Chinesischer  Kunst  in 

der  Preuss. Akademie  der  Künste,  Berlin, 
(Germany);  Katalog  no.78,  Abb. p. 58. 
1938/41   Gemeente  Museum,  Den  Haag,  (Holland) 


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11. 


Hanging  Lamp, 
H.  14  cm.;  5^ 


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Here  the  oil  reservoir  is  formed  by  a  cylindrical 
vessel;  half  of  its  cover  could  be  turned  up  by  means 
of  a  hinge  in  from  of  a  goo3e*s  head;  the  upturnabie 
pari  is  now  missing,  presumambly  it  was  shaped  and 
used  as  described  in  no.lO. 

The  whole  bronzo  body  is  covered  by  jewel-like  crystals 
of  malachite,  green   basic  carbonite  of  copper  built  up 
by  secration  out  of  the  bronze  in  consequence  of  long 
time  stratif ication  in  particular  soil. 


■1/  • » 

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Han   206  B.C.  -  220  A.D. 

Lit.:  Japanese  cxcavations  of  Chinese  tombs  in 
Lo  lang  (Korea) . 
Voretsch  "Altchinesische  Bronzen",  A^b.51 


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12. 


SoKetfed  pole  rest  of  chariot, 
L.  23.5  cm. ;   9^  " 


This  inlaid  chariot  finial  is  formed  by  a  rectangular 
socket  with  added  snake*s  body,  olongatüd  upward  in  a 
beautiful  curve  and  ending  in  a  snakö's  head. 

When  I  acquired  it  from  China  in  1929,  its  purposc  was 
not  knovm.  We  had  to  find  it  out  from  the  Po  K'u  T'u  lu 
(=  the  hundred  Antiquities) ,  the  Sung  rcpertoire  of  the 
emperor  Hui-Tsung's  (1101-25  A.D.)  collection  in  the 
Hs*an-ho-palace  (published  1110  A.D.),  tom  27,  page  32: 


ti 


Ch'i  huan  kung  k*o  i  jung  hen  liaug 


Ch'  e  ch*i  t'  o  yüan  ya. 
=   Its  circular  cavity  can  take  up  the  cross-beam, 
Therefore  it  is  called  pole-rest  of  the  chariot. 

Anderson  calls  a  similar  piece   "pole  mounting"  and 
presumes   "its  purpose  as  end  mounting  for  the  carrymg 
pole  of  a  sedan  chaire  and  the  like." 

I  beliöve  that  the  socket  was  fixod  on  the  horse's 
yoke  and  that  the  pole  of  the  chariot  rested  in  the 
gracefui  bending  of  the  snake*s  neck. 

ThG  bronze  is  richly  adorned  by  silver  inlay  with 
spirals  of  slender  silver  threads  somewhat  obscured 
by  patination  and  secretion. 


Han  206  B.C.  - 
Lit.:  Anderson, 


220  A.D. 

J.G.   »'The  Goldsmith  in  An?ient  China'' 
Bulletin  7,  The  Museum  of  Far  Eastern 
Antiquities,  Stockholm  1935, 


Exhibition:  1929 


Department  of  Far  Eastorn  Art  of 
the  Museums  of  Berlin,  (Germany) 
1938/41  Gemeente  Museum,  Den  Haag,  (Holland) 


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13.      Cosmic  Mlrror   of   the  Han  Dynasty  with  TLV  Pattern. 


Dia.    18  cm. ;      7.3 


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These  mirrors  which  are  called  by  foreign  collectors  TLV 
mirrors,  the  Chinese  generally  classified  under  the  name 
of  the  maker  tr  according  to  the  inscription  or  form  of 
decoration  found  on  them. 

Casing  in  relief  deoorates  the  r'^und  bronze  mirror-back 
with  conoentric  arrangement.   In  the  center  rises  the 
perforated  and  almost  hemispherical  boss  from  a  circle 
and  a  small  Square  frame  in  thread  relief.  Annexed  is  a 
broad  frame  enclosing  the  whole  Square  field  in  which 
alternate  twelve  small  conical  bosses  or  nipples  ("ju") 
and  the  "twelve  branches"  inscribed  in  relief  with 
characters:  rat,  ox,  tiger,  hare,  dragon,  serpent,  horse, 
sheep,  monkey^  cock,  dog,  pig. 

According  to  Swallow  this  combination  formed  "the  circle 
•f  sixty"  which  corresponds  to  our  computation  by  Century, 
the  twelve  divisions  of  the  Ecliptic  (orbit  and  sun) ,  the 
twelve  cyclical  animals. 

Next  is  a  crowded  field  containing  a  medley  of  eight 
lively  animals  and  little  curls  in  linear  relief,  eight 
conical  bosses,  each  placed  upon  a  raised  quatrefoild,  and 
four  groups  of  so-called  TLV  forms. 

The  eight  animals  lack  all  symmetry;  they  belong  to  the 

Chinese  Uranoscope. 

The  eight  conical  bosses  are  symmetrically  disposed;  they 

probably  represent  the  eight  periods  of  the  year; 

The  commencement  of  Spring.  Vernal  equinox.  The  Commenoement 

of  Summer.  Summer  Solstice.  The  commencement  of  Autumn. 

Autumnal  equinox.  The  crmmencement  of  Winter.  Winter  Solstice. 

But  they  also  mean  the  eight  Taoist  Immortais  and  even  the 

eight  pillars  of  the  Universe  which  would  support  simulta- 

neously  Schuyler  Camman's  new  explanation  nf  the  TLV  pattorn. 

The  four  sets  of  geometric  figures,  resembling  the  Roman   _^ 
letters   TLV,  which  provide  the  common  name  "TLV  mirror" 
are  all  symmetrically  disposed.  But  about  their  significance 
opinions  differ  greatly. 

Umehara  took  these  signs  merely  as  parts  of  the  "meandering" 
design  (Wan  tzu  t'ou)  without  special  significance. 
Bishop  White  was  of  the  opinion  that  these  signs  represent 
geometrical  angles  of  precision  and  are  connected  with  the 
old  idea  that  the*  earth  is  a  square. 


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Karlbeck  ascribed  to  them  a  technical  origin. 
Thö  Peking  archeologist  Mueller  was  the  firsi  to  point  to 
an  cid  stone  from  the  Tuan  Fang  collection  v|hich  has  the 
appearance  of  an  astronomical  instrumont  and  in  which  the 

signs  TLV  appear. 

Percival  Yetts  stated  his  belief  that  these  aarks  were 
horrowed  from  the  Han  sun-dial  to  serve  as  ornamental 
detail  and  to  symbolize  whatever  function  they  served 
on  the  dial. 
Recently  Schuyler  Camman,  the  curator  of  the  Chinese  section 
of  the  Univorsity  Museum  of  Pennsylvania,  has  triei  to  find 
a  more  extensive  explanation.  According  to  his  very  convm- 
cing  publications  these  TLV  marks  serve  to  make  of  the 
inner  pattern  an  anciont  plane  of  the  earth. 

His  thesis  runs:  ._  ,   •      o^t-w. 

"The  inverted  V  »s  help  to  establish  the  whole  inner  pattern. 
Thev  serve  to  give  the  central  porti  .n  of  the  mirror  the 
appearance  of  a  square  placed  in  the  middle  of  a  cross  which 
forms  a  simple  Illustration  of  the  ancient  Chinese  conoept 
•f  the  Fivö  Directions  :  North,  South,  üast,  West  and  Center, 
with  additional  connotations  involving  the  Five  Elements 

and  the  Four  Seasons  ...  r\.^r.u 

In  this  diagram  the  central  square  must  represent  China 
as  the  "Middle  Kingdom",  while  the  are  around  it,  extendmg 
off  into  the  four  directi^s-^epresents  the"Four  Seas  . 


The  term  "Four  Seas"  was  purffly  figurative,  and  referr.d  to 
the  ias?  territories  that  stretched  beyond  the  -nfines  o 
China,  inhabitated  by  unoivilized  barbarians,  goad  and  evxl 
Anirits   and  wild  animals  •••  ^^      .      ^«>.v 

off  the  boundaries  of  the  four  quarters  of  ^^^  "°^i^' J^'J^,.^ 
?he  spacos  mithin  the  Vs  meroly  represanted  the  non-ezisten.e 

?n  «^rr'the  total  plane  of  the  mirror  gives  the  Impression 
in  anorL,  tne  ».ui.  x  >/     „^-„„inr  Di   the  lade  emblem  of 
that  somcone  has  placed  a  cirou^ar  pi,  tne  J  "«= 

>^r«vf-n   in  toD  of  a  Square  pl;m«  of  t).e, Earth,  Uke  the 

neaven,  m  uuy  wo.  «-  »^h^    *'    ^      x>v    ^u^  T^Y•A•;Ä-»t  in^  cor- 

lin-po(game)  board,  and  then  out  off  the  proje.ting 

nersof  the  latter.  flush  with  the  curve  of  pi... 


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•  •  • 


the  broad  band  which  outlines  the  inner  Square  has 
the  four  T   's  projecting  from  it  in  the  four  cardinal 
directions  ...   The  explanation  for  these  T's  is  provided 
by  the  traditional  concept  of  the  Four  Gates  of  the  Middlö 
Kingdom,  mentioned  in  Chinese  classical  literature, 
The  inverted  L   ' s  at  the  end  of  the  Yiux   Seas  would  ap- 
pear  to  be  more  difficult  to  explain.  But  they,  too,  seem 
to  have  represented  barriers,  perhaps  analogous  to  the 
gates  of  the  outer  enclosure  of  the  Han  place  of  sacrifice... 
all  bend  in  the  same  direction  around  the  mirror  they 
serve  to  give  the  pattorn  as  a  whole  a  rotating  effect 
and  perhaps  they  had  the  added  function  of  presenting 
the  rotation  of  the  F')*^»  SeaBona;  which  w^ra  closely 
associated  with  the  Four  Direotions,  " 

The  noxt  encircling  zone  contains  the  dedicatory  inscription 
of  twenty-three  characters,  naming  the  artisan  who  cast  the 
mirror,  ending  with  the  acclamation  of  the  father  for  whose 
tomb  the  mirror  was  intended: 

'*  You,  oh  gentleman,  are  worthy  of 

yxotection  by  the  (Heavenly)  Official," 

Of  like  width  is  the  next  zone,  filled  with  the  oblique 
"comb-tooth"  pattern  and  on  this  abuts  the  beleved  edge 
of  the  mirror' s  thickened  rim. 

The  rim  is  decoratod  in  two  concentric  belt  ornaments  in 
flat  relief  by  the  "pearl-line"  and  the  "running"  (or 
drifting)  -  clouds  patterns. 
Here  our  mirror  shows  two  uncommon  pecularities: 

1.  In  the  clouds  are  four  animals,  running  with  might  and 
main,  seeming  to  compete  with  the  speed  of  the  clouds. 

2.  Clouds  and  aniaials  spread  over  their  own  boundaries  in 
the  pearl  pattern. 

Three  or  four  animals  can  be  distinguished: 

A  ch'ilin  (the  unicorn) ,  symbilic  of  illustrious  birth, 

a  hare  and  a  dragon.  The  fourth  is  obscured  by  patination 

and  accretion. 

Since  these  animals  dre   figured  on  the  portion  of  the  mirror 

that  represented  the  (rim  of)  the  sky ,  it  would  be  perhaps 

possible  to  infer  that  they  were  celestial  animals,  possibly 

representing  constellations . 

Bronze  or  black  color  with  green  patination  and  accretion. 

Especially  beautiful  at  the  reflection  side  where  the  black 

becomes  glossy  "like  black  lacquer"  (hei  ch' i  ku)  with  some 

areas  of  cloudy  green. 


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Joerg  Trübner  bro.ught  this  mirror,  together  with  a  wonderful 
collfection  of  Chou  mirrors  back  from  his  last  journey  to 

China. 

In  his  "J->erg  Trübner  zum  Gbdächtnis''  Kümmel  irrites 

in  his  preface  (1^30) : 

"  Den  Bronzen  gehörte  seine  Liebe  ...  den  grössten  wissen- 
schaftlichen Gewinn  stellt  aber  die  stolze  Reihe  von 
Spiegeln  dar,  die  sämmtlich  das  höchste  an  Chinesischer 
Spiegelkunst  geben,  und  von  denen  reichlich  die  Hälfte 
uns  neu  ist.  Hätte  Joerg  Trübner  nichts  beschert  als 
diese  einzigartige  Sammlung,  er  wäre  unserer  Dankbarkeit 
gewiss • 


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Han   (206  B.C.  -  220  A.D.)  beginning  of  the  first  Century  A.D. 
probably  9-23  A.D. 

Lit.-  "Freer  Gallery  of  Art»\  Washington  D.C.  1946 

Schuyler  Camman   '^TLV  Pattern  on  Cosmic  Mirror  of 

the  Han  Dynasty" ,  Journal  of  the  "American 
Oriental  Society"  vol. 68, no. 4  (Oct.-Dec .48) 
do.    "Chinese  Mirrors  and  Chinese  Civilization" 
in  "Archeology" ,  Autumn  1949,  vol.2,no.3 
Swallow,  R.W.  "Ancient  Chinese  Bronze  Mirrors", 

Peiping  1937 
Yetts,  Percival.  "The  Cult  Chinese  Bronzes"  1939 


Exhibition;   1931 


Department  of  Far  Eastern  Art  of 
the  Museums  of  Berlin,  (Germany) 
1938/41  Gemeente  Museum.  Den  Haag,  (Holland) 


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29 


15. 


Tiger-Cat.    Ordos  Clothing  Ornament 

L.  5  cm.;   2" 


Bronzb  ornament  in  the  form  of  a  tiger-cat  intended  to 

be  fastoned  to  the  clothing  by  means  of  loops  on  the  back. 

There  is  littlo  doubt  that  this  design  combined  ornament, 

Utility  and  magicr,  like  a  u3eful  eharm  to  protect  the 

bearer  against  evil  influences. 

Already  in  prehistoric  times  the  tiger  was  considered 

sacrod,  for  a  tiger  amulet  was  foiind  at  one  of  the 

prehistoric  Sites.  Throughout  Chinese  history  the  tiger 

has  beon  considered  an  auspicious  and  sacred  animal, 

as  the  Chief  of  all  animals  on  earth,  just  as  the  dragon 

became  the  chief  of  all  animals  in  the  sky.   n^ven  to-day 

Chinese  children  wear  tiger  caps  in  order  to  protect  them 

against  evil  spirits. 

The  term  "Ordos"   was  jroposed  by  E.H.Minns  for 
these  relics  found  in  Sino  Mongolian  borderland,  aspe- 
oially  abundantly  in  the  descrt  co^onty  named  'Ordos' 
in  Saijuan  across  the  great  wall  enclosed  in  the 
northwest  bend  of  the  Yellow  River  (Huang-ho). 

Most  of  such  animal-style  ornaments  are  attributed  to 
the  period  of  the  Han  Dynasty,  a  time  when  the  Huns 
kept  great  armies  beyond  the  Chinese  frontier. 

Bronze  thickly  covered  with  greenish  black  patina  and 
accri.tion. 


Han, 
Lit. 


about  100  B.C. 

Anderson,  J.G.   "Selectod  Ordos  Bronzes", 
Exhibition  1933  in  the  Museum  of  Far  Lastern 
Antiquities,  Stockholm  1935. 


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16. 


Large  Mirror  With  Zodiacal  Decor. 
Diam.  24cm. ;  ^' 


The  knob  in  the  deepenod  middle  field  of  the  round  bronze 
mirror  is  enolosed  by  a  sqaare.  The  Square» 8  boundary  line 
is  decorated  and  its  four  corners  filled  with  lion  masks. 

Four  other  lion  masks  bite  into  the  border  and  fill  four 
inverted  V  shaped  angles  ~-  the  TL  marks  of  the  Han 
mirror  no.l3  have  disappeared  --  dividing  the  rest  of  the 
middle  field  into  four  compartements  eaoh  occupied  by  one 
of  the  »'Pour   sacred  animals   of  car- 
dinalpointa".  ^        ^ 

These  animals  represent  the  four  Quadrants  of  the  vauxt  ot 

heaven  :  \  •   ^v,  v   *v 

The  »'somber  Warrior"  (a  tortoise  and  a  serpent)  in  the  North 

The  "blue-green  (az^^e)  Dragon'»  in  the  East 

The  "vermillion  Bird"  i^  the  oouth 

The  "white  Tiger"  ^^  ^^^^  '»^^^ 

Two  ascünding  belts  with  the  "saw-teeth"  pattern  lead  to 
the  broad  rim  with  three  concentric  belt  ornaments: 
On  the  narrow  or  inner  belt  an  inscription  of  forty  rhyming 
charactors,  while  twelve  zodiacal  animals  follow  each  other 

around  the  middle  belt. 

According  to  the  Chinese  Z  o  d  i  a  c   -   dxfferent  from  the 

European  -  thore  are: 

l.rat.   2. bull.   3.tigcr.   4.harc.   5.dragon.   G.snake 
7.horsü.   8.ram.   O.monkoy.   lO.cock.   U.dog.   i^.boar. 
The  animals  are  placed  in  little  paimels  ^^^"^^"^  P^^^'J J^^^ 
flower  Ornaments  which  lead  to  the  outer  rim  with  spirale 

motives. 

The  rhyming  inscription  gave  great  diff iculties. 

Th   first  who  sucoeeded  with  the  translation  was  Otto  Kumm.!. 

According  to  him  and  translated  once  more  from  German  .nto 

tnglish  it  reads:      ^  ^  ^  ^  .  a  1  a  c  e  (palace  of  the 
"  (The  Mirror  m)  A  -  F  a  n  g  p  a  x  d  o  c  \y 

K^.intifnl  reeion")  reflects  the  gall.  .. 

(^hfmlriorr  S  in     S  h  o  u  (benevol.nco  and  longevxty) 


hangs  in  the  palaco. 

The  water  -  ches 

illuminated  surface. 

The  mooi.   is   susp 


t  n  u  t   is  hidden  within  the 
e  n  d  e  d   in  the  pitcher. 


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All  forms  which  look  into  its  center  are  recorded  by  him. 

Tho  fullmoon  -  reverse  side  is  like  the  empty  heavan. 

Hill      demons      dare  not   come   forth. 

The  watGr-substance  feels  humbled  by  the  work. 

As  well  as  I  could  I  wrote  thesa  jewel-like  Square 

charactors  and  engraved  them  for  eternity  upon  the 

green  bronze." 

Kümmel  rightly  remarks  that  here  "a  long  commentary  is 
necessary" . 

Light  bronze  with  lovely  patination  in  smooth  green  with 
silvery  spots  (yin  k'^ng)  on  the  revorse.  The  face  side, 
polished  by  mercury,  green  and  red  incrusted. 

Six  Dynasties  or   Liu  Chao   (222-581  A.D.) 

Commentary. 

"A~Fang-Palace" :  According  to  the  legend  a  mirror  hung  in 
this  palace  built  by  Shih  Huang-ti  212  B.C.,  which  reflcc- 
ted  the  "galls"  of  the  palace  ladies  and  revealed  wether 
they  were  faithful  or  not. 

"S8n-Shou-Mirror** :  This  mirror  took  its  name  from  a  palace 
of  the  Chin  dynasty  in  the  third  Century  of  our  era.   It 
7/as  hung  ooncoled  and  arranged  in  such  a  way  that  the  faces 
of  those  who  passud  by^woro  reflected  upon  its  surface, 
although  they  were  unconscious  of  the  fact. 
I  rernembor  a  similar  arrangement  in  the  audience  Chamber 
of  the  Austrian  palace  Schönbrunn. 

"Water-chestnut" :  The  middle  motive  of  some  Chinese  mirrors 
is  thus  called,  perhaps  an  allusion  to  the  raagic  mirrors. 
'*Moon  suspended  in  the  pitch":  Perhaps  an  allusion  to  the 
"magician  in  the  pitch",  a  kind  of  counterpart  of  the  euro- 
pean "Man  in  the  moon",  who  practiced  by  magic  all  heaven*s 
miracles  intD  his  lodging  -  a  pitcher. 

"Hill  demons  dare  not  come  forth":  According  to  old,  also 
European  perceptions,  the  mirror  in  which  they  have  to  show 
their  faces  is  the  greatest  terror  for  evil  ghosts. 
"Four  sacred  animals  of  cardinal  point" :  According  to  Tetts, 
there  is  no  evidence  concerning  the  four  supernatural  ani- 
mals to  prove  that  they  oxisted  as  a  symbolic  group  earlier 
than  about  the  third  Century  B.C.,  and  he  is  inclined  to 
think  that  with  the  advance  of  research  they  may  be  found 
less  'Chinese*  than  is  generally  imagined. 


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32 


"Tortoise   and  Serpent"      -     "Sombre  Warrior'»: 

The    Symbol   of   the  North* s   denotation   as    'sombre  warrior' 

can,    according   to  Alan  Priest,    be   explained  by    the   ambigui- 

ty   of   the   expression     "hsüan  wu"    .      It  may  be   translated 

as    somber  warrior   or   also,    according   to   the  Book  of  Rites, 

as   tortoise. 

Chinese  tradition  ascribes  to  the  tortoise  the  female  sex 

only  and  gives  as  its  mate  the  serpent. 

So  the  expression  "hsüan  wu**   may  have  gotten  later  the 

meaning  of  a  snake  and  of  a  mystical  oreation  born  of  a 

serpent  father  and  a  tortoise  mother,  Standing  together 

also  for  the  Yin  Tang  principle,  the  dualistic  alter- 

nation  and  harmony  of  all  things. 

"The  Vermillion  Bird"  : 

The  Symbol  of  the  South,  the  Vermillion  Bird  also  Feng  Huang 
or  Phoenix,  represents  the  Tang  principle  or  solar  essence. 
It  presides  over  the  South  and  is  the  Summer  Solstice,  the 
climax  of  the  Tang  power. 

Thus  are  the  cold  and  the  darkness  of  winter  brought  to- 
gether with  the  Symbols  of  fire  and  light,  summer  and  the 
South.   The  perfect  yin  yang. 

"  Zodiac  *'  :  The  zodiac  or  circle  of  animals  means  astrono- 

mically  an  ''imaginary  bell  in  heaven,  the  paths  of  the  moon 

and  all  the  principle  planets  and,  at  its  middla  line,  the 

ecliptic  or  sun's  path." 

The  Zodiac  has  tw^lv^  divisions  or  signs.   These  signs  are 

reckoned  from  the  point  of  intersection  of  ecliptic  and 

equator.  Describing  our  mirror,  I  gave  tho  signs  in  the 

Chineso  astronomical  order.  But  the  order  of  the  mirror 

itself  differs;  here  follow  the  numbers: 

1,  12,  3,  10,  9,  8,  7,  6,  5,  4,  11,  2. 

The  European  order  and  names  are:  Ram,  Bull,  Twins,  Grab, 

Lion,  Virgin,  Balance ,  Scorpion,  Archer,  Goat,  Water  Bearer, 

Fishes.  (Webster) 

The  Far  £ast  divides  the  day  into  twelve  double  hours, 

usmg  the  names  of  the  zodiac  signs  as  denotations; 

it  bögins  with  the  hour  of  the  rat,  i.e.  eleven  to  one 

j'clock  P.M. 


I 


"'•'ifj 

m 


I 


,ä 


i 


\ 


Im 


I 


\\- 


sfmBsaatmmmm^ 


'\r 


•    '  . 


V  •* 


-i::,;  -r 


/ 


33 


The  date. 

Opinions  differ  to  which  period  t}ie  mirror  should  be 

assigned* 

1929.  Kümmel  in  his  "China  Art"(p.52)  dated  it  seventh 
Century  A.D.  with  the  following  explanation: 
"Uxcellent  specimßn  of  a  rather  rare  type  which  is 
mostly  attributed  to  the  Sui  period  (581-618). 
Nearly  identical  is  the  mirror  of  the  Seki  collection 
(Toiuru  Waken  Koken  Zuroku,  Kyoto  1925,  I,  pl.26). 
The  more  simple  but  in  all  essential  points  corres- 
ponding  mirror  of  the  Po-ku  T«u-lu,  p.l5,  is  dated 
622.  Therefore  the  date  of  Sui  or  teginning  Tang 
dynasty  will  be  right." 

1933.  Umehara  brings  in  his  '^Ancient  Mirrors"  (pl.ll4) 

our  mirror  and  speaks  of  a  "so-called  Sui  mirror", 
showing  that  he  does  not  agree  with  Kümmel' s 

assignment . 
1935.  The  International  Exhibition  of  Chinese  Art  in 

London  dates  the  mirror  in  its  catalogue  (no.499) 
Six  Dynasties  or  Liu  Chao  (221-581  A.D.) 
I  presume  the  results  of  the  latest  excavations  in 
Korea  induced  Dr.Yetts  to  assign  this  type  to  an 
earlier  period, 

It  is  interesting  to  remember  that  the  Liu  Chao  Dynasty 
had  been  foundöd  by  the  Ch»i-tan,  this  tribo  of  herders  having 
invaded  and  conquered  the  country.  They  gave  to  China  the 
name  "Cathay"  that  fired  the  Imagination  of  European  .nedie- 
val  minds.  (Swallow)  They  preceded  and  in  some  ways  in- 
spired  subsequent  invasions  of  the  Mongol  and  the  Manchu. 

Lit.:  Ayscough,  Florenco.  "Chinese  Calligraphy,  Poetry  and 
Painting".  Wiener  Beiträge  zur  Kunst  und  Kulturge- 
schichte Asiens,  1932.  Bd. VI,  p.37  ff. 
Feddersen.  "Chinesisches  Kunstgewerbe".  Berlin, 

1939,  Abb. 125.  ^   . .   * 

Laufer.  "Chinese  Beils,  Drums,  Mirrors".  Burlington 

Magazine,  1930.  j  do^^c 

Umehara,  Sueji.  "Shina-Kodo  Seikwan  or  Selected  R.l.cs 
of  Ancient  Chinese  Bronzes  from  Collactions  in  Lurope 
and  America",  part  II,  Ancient  ^^^^lll>  J^ ' '^^^\^ 
Kümmel,  Otto.  "Chinesische  Kunst".  200  Hauptwerke 
der  Aufstellung  der  Gesellschaft  für  ostasiatische 
Kunst  in  der  Preussischen  Akademie  der  Künste, 
Berlin  1929.  Pl.LXAU.  •  .  •   v,. 

Kümmel.  '^Neue  chinesische  Spiegel",  ^f J^^^^^/;^5^.,, 

Zeitschrift,  Neue  Folge,  ß-^^^^^'«^^«' .^^^'-  ^*  ^T,,^' ' 
Yetts   "The  catalogue  of  the  George  humorfopoulos 
coUe^tion".  Vol.l!.  Bronzes , Beils,  Drums ,  Mirrors  . 
1929. 


H 


•! 


I 


r«l«P«*l  •***»«1M.E*'  S-tM  *  •?<*>  !T»f». 


"  i;  '< 'I  f  -i-  i'«..i :  ■  _ V  •'***i*^*^i^i ,, ,, 


.Hil:  in  »»»•»»■ 


M 


in 


.,  '» 


>  nr\  '  ••  < 


34 


Exhibition:  1929  Ausstellung  Chinesischer  Kunst, 

veranstaltet  von  der  Gesullschaft 
für  ostasiatische  Kunst  und  der 
Akademie  der  Künste,  Berlxn, 
Katalog  no.459. 

1935   International  Exhibition  of 

Chinese  Art.  Royal  AcadonQr  of  Arts, 
London.  Catalogue  no,499. 

1938/41   Gemeinte  uiuseum,  Den  Haag,  Holland. 

1946.  Museum  van  Aziatische  Kunst,  Amsterdam. 


,; 


}!.,:;,, 


n 


it 


ifl 


•.••••11 


i 

m 

>  • » I  • 

I 


1  k.4  .  9  t  «AAA  •'i.tttA'Lil  ftk^  * 


(  \ 


s 


\x 


1 


1» 


I ; 


35 


17  • 


Spherical  Box. 
H.  9.7  cm,;   3  7/8" 


A  spherical  box  which  is  decorated  only  Yy   some  circu- 
lar  lines  and  covered  by  a  lid  with  kjiob. 

It  is  an  Utensil  of  the  cult,  a  medicine  box,  attribute 
of  Yao,  tho  meditative  Buddha, 

Black  silver  bronze.  The  green  patination  also  covers 
the  old  repair. 

T'ang  Dynasty  (618-907  A.D.)  ,  seventh  to  eighth  Century. 

Lit.:  Kümmel,  Otto.  ^Chinesische  Kunst"  200  Hauptwerke 

der  Ausstellung  der  Gesellschaft  für  ostasiatische 
Kunst  in  der  Preussischen  Akademie  der  Künste 
Berlin.  1929.   Plate  XCIII. 


Exhibition:  1929 


1938/41 


Ausstellung  Chinesischer  Kunst,  ver- 
anstaltet von  der  Gesellschaft  für 
ostasiatische  Kunst  und  der  Akademie 
der  Künste,  Berlin.  Katalog  no.422. 
Gemeente  Museum,  Den  Haag,  Holland, 


The  box  was  excavated  with  its  careful  repair,  a  sign 

how  much  ny  predecessor,  more  than  a  thousand  years  ago, 

cared  fcr  this  piece  of  bronze. 

The  bronze  was  also  endeared  tc  me  because  of  its  perfect 

form,  its  simple  beauty. 

I  am  sorry  to  say  that  after  the  Nazi  robbery  the  bronze 

was  returned  to  me  broken  to  pieces. 

Such  a  Short  tiue  in  barbarian  hands  was  enough  to  destroy 

it. 


IM 


üi'- 


m 


*a: 


t: 


•OW;-' 


^c 


\ 


.1 
! 


'.(UUiiU- 


36 


18. 


Kundikft     Bottle 
H.    25  cm.;      8  7/8 


l( 


The  kundika  bottle  for  Amrita  (=  rxectar),  is  an  attribute 
of  the  goddess  Kuan-yin  and  an  Utensil  of  her  priest. 

The  form  shows  Hellenistic  Influenae . 

Our  piece  is  vory  similar  to  the  kundika  in  the  col- 
lection  of  the  Japanese  Emperor  which  was  formerly 
in  the  Horyuji  temple  near  Nara  as  a  gift  from  a  Japa- 
nese Emprcss  to  the  temple  in  the  year  736  A.D. 

Black  silver  bronze  with  earthly  green  and  red  patination. 
T'ang  Dynasty  (618-907  A.D.),  eighth  Century. 


I   I 


m 


•AM 


t  11 

m 


Lit,:   Kümmel,  Grosse.  '^Ostaaiatisches  Gerät",  1925.  pl.35 
Kümmel.  "Chinesische  Kunst"  200  Hauptwerke  der 
Ausstellung  der  Gesellschaft  für  ostasiatische 
Kunst  in  der  Preussischen  Akademie  der  Künste, 
Berlin,  1929.  Plate  ICH. 


hxhibition:   1929 


1938/41 


Ausstellung  Chinesischer  Kurist,  ver- 
anstaltet von  der  Gesellschaft  für 
ostasiatische  Kunst  und  der  Akademie 
der  Künste,  Berlin.  Katalog  no,423. 
Gemeente  Museum,  Den  Haag,  Holland. 


'•>.(tii 
fc:tt!t1 


i^ili!« 


■/.'^ 


i   jißfej 


-v* 


.1(|*»T* 


f   ' 


■  i 


:  t 


.  '    4 


**-'^. 


19. 


Ladle  with  Duck  Read 


ZJ^   Gm.;   13  " 


37 


This  ladle  is  heavy  in  shape  and  weight. 

The  grip  ends  in  a  duck  head  and  throat,  engraved 
with  feather  orjiamont,  whilo  the  well  curved  haft 
and  ladle  shoir  leaves  as  ornament  -  as  far  as  the 
white-grean  patination  permits. 


t 


;;;;?» 


T'ang  Dynasty  (  618-907  A.D.  ) 
£x  collection  Breuer. 

Lit.:  Kümmel,  Auctionskatalog  Breuer,  no.364.  Abt  .pl  .Ay.AVIll . 
Exhibition:   1938/41   Gemeente  ökuseum,  Den  Haag,  Holland. 


i! 


<, ' 


m 


J 


i 


■:€\ 


f 


l^i 


Nil 


20. 


Vessel  For  Writing  Utensils. 

H,   7  cm. ;   3 

Dis.  10  cm. ;   4 


n 


I» 


38 


Cylindrical  vessel  with  fivc  round  and  one  rectan- 
gular  opening  on  the  top  for  nestboxes  of  which 
three  are  preserved.  I  am  convinced  that  the  rectangular 
opening  was  for  the  ink  stone. 


ii 


■  i 


Gilt  bronze  with  green  and  blue  patination. 

Prof .Kümmel  acquired  this  vessel  from  a  Sung  tomb 
in  Korea  1927. 

Sung  Dynasty  (907-1280j)  or  earlier. 


i;  :: 


»"•"•1 

••■•*»  i 


f.!.*::l 


^■jii/i^e  'j:  **-t 


\ 


h 


i 


39 


21/22. 


Two  Candle3ticks  of  an  Altar  Set. 


H  35.5  <2m.  ;   14 


M 


The  principal  features  of  each  candlestick  are  two 
horizontal  basins. 

The  small  basin  on  the  top  (dis.8  cm. 3  3.3")  for  wick 
and  oil  respectivoly  for  the  candle. 

The  larger  basin  below  (dis.  17  cm.;  7")  to  impede  the 
trickle  of  oil  or  wax  on  the  altar. 

Both  basins  are  united  by  a  colunin-shaped  cylinder 
while  the  whole  construction  rests  on  a  round  bell- 
shaped  foot. 

Around  the  foot,  as  well  as  around  the  two  basins 
run  borders  of  flat  engravod  spiral  ornament. 

Bronae  with  cloudy  green  and  red  patination, 

Sung  (907-1280  A.D.)  or  earlier. 

These  two  candlesticks  belonged  to  a  "Wu  King", 
an  altar  set  of  fivö  pieces  :  two  vases,  one  censer 
and  these  two  candlesticks. 

Lit.:  Grünwedel.   "Bericht  über  archäologische  Arbeiten 
in  Idikutschari".   Bayrische  Akademie  der  Wissen- 
schaften, 1906.   Plate  V  :  "Boshisatva  kneeling 
before  Buddha  with  burning  oil  lamp.   Fresco, 
Turf an  eighth  Century." 


"■■■mh, 

•■H 


'•::tt 


■  I 

I 


l 


^  .  f  -.. .  /.'l'.'^T'T 


»  '<  .   r(^*J« 


''% 


p 


II 


e€ 


1  «' 


m 


M 


II 


40 


23. 


Toko,  Receptacle  for  the  ^^ro^^^^siy' 

H.  59  cm.;   23.2" 


The  bronze  receptacle  is  composed  of  two  parts: 
The  socle  with  four  foreigners,  barbarians,  apparently 
pr isoners  of  frar,  who  carry  the  quadratic  box  with 
four  panels,  decorated  by  cut-out  swastica  Ornaments. 
The  top,  a  column-shaped,  hollow  cylinder  with  two 
Short  open  pipes,  adjoined  at  the  head  and  ornamented 
by  cut-out  floral  designs.  The  cylinder  itself  is 
covered  with  flat  reliefs:  ITaves  with  lotus  flowers, 
leaves  and  clouds.  In  salient  relief  two  lizard- 
like  dragons  (hydra)  are  added  to  the  sides,  the  male 
crawling  upwards,  the  female  downwards. 

The   purpose   of   this   vessel,    the     arrow-play, 

is  known  from  the  Shosjin,  the  ancient  treasure  at  Nara, 

Japan,  where  a^j^ar  is  preserved  of  the  T*ang  Dynasty 

in  which  still  stick  feathery  arrows  with  a  round  ball 

instead  of  a  Sharp  point. 

Furthermore  I  have  seen  two  figurative  representations 

where  the  fcfm  of  the  vessel  is  in  accordance  with  our 

own  6ind  where  even  the  Performance  of  the  play  can  be  seen: 

1,  On  a  coromandel  screen  in  the  Rijks  Museum  of  Amster- 
dam, ladies  circle  around  such  a  receptacle  trying  to 
throw  arrows  through  the  Short  open  pipes,  which  are  ad- 
joined at  the  head  of  the  cylinder. 

2.  On  the  great  makimona  "Spring  Festival  on  the  Yellow 
River"  in  the  Metropolitan  Museum,  New  York,  gentlemen  of 
"  a  drinking  party  "  are  devoted  to  the  same  sport. 

The  decoration  of  captives  of  war  on  our  vessel  may  be 
connected  with  the  old  custom  to  grant  arrow  vases  as 
military  distmctions.  Still  it  is  a  long  way  from 
serious  military  training  to  a  mere  pastime. 

Black  bronze, 

Ming  Dynasty.   1368-1644  A.D. 

Lit.:   "Toyei  Shuko"   Illustrated  catalogue  of  ancient  impe^ 
rial  treasury,  called  Shosoin.  Voi. II ,pls. 74-75. 
"Ch»ing  Ming^hang  Ho"  =  Spring  Festival  on  the 
Yellow  River.   Ming  makimono  of  a  Sung  version  by 
Chang  TsÖ  Tuan  (1120).   Metropolitan  Museum  of 
Art,  New  York,  Bulletin  Vi, 6,  no.lO,  June  1948. 


i 

'  ■         t 

1  •  '  • . .  - 

!:-;:;: 

W 

;■   .':• 

•           -  '  ■ 

i.   :■■•■■ 

^  .•,:: 

i 

■;         \ 

'  - 


I-  ^ 


1 


?  1 


m 


m 


CJ  f- 


A 


\    ft 


i 

) 

0 

■  4 

I 

« 


iH 


0 


41 


24. 


Fiat  Drum  (T*ung  Ku) 

Dianu«50  cm.  ;  19,6" 
H.  29  cm,;  11,5" 


The  form  of  the  bronze  drum  is  circular:  a  hollow  case 
ffith  bulging  shoul<lÄrs,  open  at  the  bottom,  covered  by  a 
l*lat  top, 

The  ^^Ae  sho^s- the  i?ast's  seam  and  on  the  sides  four 
loop8  fcr  Suspension  by  cords. 

Linear  deoorations  fill  the  encircling  rings,  ending  at 
the  bottom  in  great  angles  reserabling  the  Roman  letter  V. 
The  top,  displaying  in  the  center  a  twelve  pointed,  high 
reliefed  star,  is  decorated  with  twelve  encircling  rings, 
filled  with  omaments  in  low  relief;  signs  resembling 
the  Roman  letter  T,  waves,  nipples,  parallel  lines,  spiral 
elements,  and  in  the  broadest  part  signs  of  which  the 
principal  parts  resemble  Streaming  pennats. 

These  last  signs  belong  to  an  ornament  which  in  the 

course  of  time  became  unintelligible  to  the  workmen, 

They  lad  at  last  to  the  conclusion  that  also  these 

bronze  drums  belong  to  the  cult  of  the  ancestors. 

Heger  suggested  that  they  might  have  originally  represen- 

ted  the  head  finery  of  a  musician  or  dancer. 

In  D'on-son  (Yonnam)  newly  discovered  drum  fragments,  n:w 

in  the  British  Museum,  show  them  a  s  huge  feather  head- 

dresses  of  men  in  long  prowed  ships,  each  in  the  attitude 

of  managing  a  paddle. 

Goloubew  has  argued  from  the  present  practica  of  the 
Dayaks  in  Eorneo  that  these  ships  are  for  the  transport 
of  the  souls  of  the  dead  to  the  Island  cf  Paradise. 
He  concludes  that  these  drums  are  intimately  connected 
with  the  cult  of  the  dead  and  points  out  that  offerings 
to  the  dead  are  plajed  in  these  drums  by  the  Karen  of 
Burma. 

Careful  stMdies  have  been  made  of  this  kind  of  drums. 
All  agree  that  they  are  characteristic  products  of  the 
Shan  tribos  between  South-Western  China,  Burma  and  even 
farther  in  the  Polynesian  Islands. 

All  a^ree  that  in  the  decoration  many  alien,  i.e.  unchi- 
nese,  elements  exist.  For  instance,  the  star  in  the  ct^nter 
is  aA,  otherwise  in  China,  unknown  pattern  and  may  result 
fro.Ti  astronomical  studies  in  neighboring  India. 


i 


'm 


t 

1  •••>>. 1 

:.j 

c 

'i 

1 

i0 

I 


■  ipH"«!" 


'H,: 


I» 


i  f 


v'.. 


?^* 


42 


Thö  tradition  which  relates  that  such  drums  formed  a  part 
of  göneral  Chu-ko  Llan's  bocty  (called  aceordingly  Chu-ko 
Ku)  oontains  some  truth.  The  general  made  an  expedition 
against  the^  tili  thea  unconquered,  Southern  tribes 
<Miaut2e,  Lolos.  Shan)  in  225  A.D. 

But  at  the  same  time  it  is  known  that  some  drums  were  made 
in  China  and  more  or  less  modified  from  the  original 
modeis, 

However,  the  opinlon  that  most  of  the  drums  go  back  to 
the  Han  period  is  untenabie  and  it  is  very  difficult  to 
give  even  an  approximate  date. 

Bronze  with  clouded  green  patination, 

South  China,  Shan  tribes.   First  millennium  A.D. 

Lit.:  De  Groot   "Die  antiken  Bronzepauken  im  Ostindischen 

Archipel  und  auf  dem  Festland  Südostasiens» 
1901." 

Gray,  Basil.   "China  or  D»ong~*on",  Oriental  Art,  11^3, 195o. 

Heger.   "Alte  Bronzetrommeln  aus  SüdostasienV  1902. 

Münsterberg.   Chinesische  Kunstgeschichte".  1912. 

Voretsch.   "Altchinesische  Bronzen."  1924. 


i 


I 


m 


I 


i.. 


i .  #'■ 


•  I  ■ « • '  •  TTTT':  »itLui^Siiiii»» j 


\f 


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\:\ 


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*^  iij  ^  !  1  i.V.  i .?  •-  .- 


(  ..  -f 


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4.   ..  ^ 


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43 


..  CHINiiSE  CLOISONNü.  ENAMEL 
Fou-lan  Chien  =  Byzantine  Incrustüd  Work 

A  new  development  in  metal  manufacture  came  with  the 
introduction  of  cloisonn^  enamel. 

Alth-^ugh  very  young  in  years  compared  with  the  imposing 
antiquity  of  Chinese  ceremonial  bronzes,  Chinese  cloisonnö 
ahares  with  the  latter  the  same  uncertainty  as  to  its 
origins  and  the  same  curious  lack  of  primitives. 

It  was  called  in  China  "  Po(u)-(  lin)lan'* . 
The  *lan*  Is  a  dialectic  tremsf ormation  from  ♦ lin*  and 
the  whole  word  'fo-lin*  the  transf iguration  of  the  Greek 
Word  'polin'  (1^i*oAi/)  as  Bytantium  was  called  in  the 
middle  ages. 

In  Byzantium  cloisonn^  -  the  word  is  derived  from  the 
French  word  cloison=cell  -  was  produced.  It  may  date  back 
as  far  as  to  thü  time  of  Justinian,  the  üast-Roman  Emperor 
(527-565).  Examnles  of  the  eighth  Century  however  are 
certain,   There  can  be  no  doubt  that  between  Byzantium  - 
East  Romt  and  China  there  was  direct  traffic,  probably 
mediated  by  the  Arabs.  This  would  explain  that  cloisonne 
is  also  called  "Ta-shih-yao"  =  Arabian  kiln, 
Thörefore  it  is  very  possible  that  the  technique  of  the 
Byzantine  cloisonn^  enamel  was  introduced  into  China  for 
the  first  time  during  the  T*an^  period  (618-906),  which 
received  so  many  incitations  from  the  West. 

Perhaps  thus,  the  riddle  of  the  mirror  with  tl  e  cloisonne 
back  in  the  Shosein  could  ba  solved.  It  is  certain  that 
the  mirror  was  left  by  the  Emperor  Shomu  of  o^'apan  (724- 
748)  with  30  many  other  treasures  from  the  Chinese  T'ang 
period  to  the  Buddha  of  Nara. 

Omaru  Seigai  and  Metano  Migaku  in  the   "Record  of  the 
Imperial  Treasury  Shosoin"   reraark  rightly  that  there  is 
"no  parallel  example  either  amcng  the  ancient  mirrors  of 
China  or  among  our  own  mirrors  of  later  produotion", 
But  their  Suggestion  that  the  mirror  is   "probably  a 
product  of  the  ancient  arts  of  Japan"   is  without  the 
slightest  protff  and  very  unprobable.  Form,  design,  color 
correspond  much  more  to  the  style  of  China, 
Anyway  this  unique  piece  acquainted  us  with  an  artisti- 
oally  perfect  industry  which  was  then  for  centuries  for- 
gotten  in  the  history  of  China, 


n 


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44 


Under  thö  Mongols  the  cloisonn^  onamel  is  introduced  into 
China  from  the  West  oncfe  morb,  It  is  said  that  tht  first 
tinamel  was  madö  in  China  during  the  Tuan  Dynasty  (1280- 
1368  A.D.) 

This  is  easy  to  believe  when  one  learns  for  instance  from 
friar  Guillaume  de  R-brouck's  memoirs  that  in  1231  hü  was 
astonished  to  find  among  many  foreign  artisans  his  com- 
patriot   "maitre  Guillaume  Boucher,  orfävre  Parisien,  qui 
avait  demeur^  sur  le  Grand  Pont  l   Paris"  as  a  goldsmith 
at  the  brillian  court  of  the  great  Kublai  Khan  at  Kara- 
korum  and  when  one  remembers  that  at  Limoges  the  Romanesque 
enamel  art  -  cloisonnö  as  well  as  champlev^  -  flourished 
since  the  twelfth  Century. 

These  artisans  will  of  course  follow  the  brilliant  court 
to  Peking  when  Kublai  Khan  usurps  the  dragon  throne  and 
founds  the  Tuan  Dynasty. 

Bösides  this  possibility  it  is  absolutely  sure  that 
Mohamedan  inhabitants  of  the  province  Yünnam  founded  at 
Peking  in  the  fourteenth  or  fifteenth  Century  Workshops 
where  they  began  to  produce  this  cloisonn^  enamel  whieh 
bright  colors  must  have  appealed  to  the  rather  unsophis- 
ticated,  showy  taste  of  the  Mongols.  It  is  perhaps  this 
be^innlng  which  adds  the  denotation   "Kuei  kuo  yao  " 
=  Devil's  Land  kiln   to  the  others  mentioned  above. 

Nevertheless,  the  vast  majority  of  the  3tock  of  extent 
examples  belomgs  definitely  to  the  seventeenth  and 
eighteenth  centuries,  to  the  late  Ming  and  the  early 
Ch'ing  Dynasty   (K'ang-hsi,  Ch'ien-lung)  which  came  to 
Europe  and  to  the  United  States  after  the  sack  of  the 
Summer  Palace  at  Peking  in  1860.  I  need  but  mention  the 
Chinese  museum  of  the  palace  at  Fontainebleau  near  Paris 
(France) . 

The  enamel  of  the  Ming  D>'nasty,  speaking  generally,  is 
•jharacterised  by  a  boldness  of  design,  a  brcadth  of  treat- 
ment ,  whila  the  technique  is  by  no  means  perfect. 
The  polish  is  dull  and  the  surface  of  the  enamel  shows 
numerous  unwanted  holes  and  pittings. 

In  the  Ch'ing  Dynasty  the  tejhnical  finis..  is  Improved 
in  every  detail,  The  tone  of  the  color  is  much  brighter, 
the  polish  brilliaufit,  but  on  the  whole  the  enamel  works 
have  for  me  considerable  less  aesthetic  appeal. 


Ä 


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I«  >  . 

aiij 


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i 

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46 


The  destrlption  of  methods  us.d  at 
Byzantium  aro  so  similar  to  thoaö  of  thö  Chiii68&  that 
thfey  «upport  the  ablief  exiMressed  above  that  the  art  of 
»loiwim^  önamel  was  browght  to  China  from  the  West. 

A  piece  of  metal,  in  China  mostly  bronze  or  brase, 
is  hammered  out  in  the  desired  shape,  leaving  a  smooth 
»urface  upon  which  the  design  is  carefully  traced  with 
a  fine  brush.  Thön  follows  the  application  of  a  thin 
flattened  wire  ribbon  of  oopper.  silver,  or  gold,  fastened 
edRowise  to  the  vaso  by  a  uniqut  proccss  of  soldering. 
Having  regard  to  all  intrioacies  of  tho  l^^oration  the 
wire  parotis  out  th«.  field  into  so  many  oells  or  clo.aon 
n^s  as  there  are  oolors.  With  the  wire  oompleted,  the 
cells  are  fi:ied  with  powdered  enamel  (glass;  moistsncu 
int.  a  paste  which  is  ?ipplied  with  the  aid  of  a  bamboo 
brush.  After  the  colored  pastes  become  dry ,  the  object 
is  baked  by  means  of  a  charcoal  fire,  usually  in  an  open 
courtyard,  proteoted  only  ^y  an  iron  networK  cover,  A 
n-omber  of  men  with  fans  regulate  the  fire. 
Several  applioations  of  the  colored  pastes  and  repeated 
baking  are  ne.essary.  Then  the  ontire  surface  is  careful.y 
rubbed  down  with  pum  ce  stones  until  the  surf leeis 
smooth  and  the  deaign  is  well  finished.  After  af.napo- 
lishing  and  cleaning.  very  often  the  copper  a.  the  fool 

and  Ups  of  the  vase,  as  well  as  the  free  edge  of  tne 
metal  bands,  which  run  over  the  surface  of  the  piece,  are 
gilded. 

Lit  •   Bushell.  Stephan  »Chinese  Art",  vol. 2.  London  1924 
^      "      ?oyei  Shuko  "^-Illustrated  catalogue  of  the  Japanese 

Treasury,  called  ShÖsöin".  Issaed  by  the  Shiali 

Shoin,  Tokyo  1910.  Vol.I,  color  plate  XXVi. 

"Twelve  sided  mirror.  Back  decorated  with  gold 

cloisonne" . 


Commentary : 

"pol  in" 


•  The  Strange  fact  that  the-  aocusative  of 
the  Gr.ek  word  polis  was  used  ^o  denote 
the  "eapital"  By^antium  in  ^he  mdd.e  ages 
was  expLined  to  me  with^the  -^^^^-^^^^ 
of  the  Phrase  "±LCT-y^"oU^       =  towards 

ll::?^l''ll:n.   Phrase  the  Turks  will  Jerive 
"is-tam-bul"  when  they  had  conquered 
Byiantium  in  K.53. 


u 


i 


I 


tns«i 


'I     I 


i 


iÄ,*^— «"^aSm" 


"^^'^i^h: 


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»V«V« 


iii 


II 


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46 


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Commentary  (contd.) 

"examples  of  Ihe  eighth  Century»*  : 

e.g.  Reliquary  of  the  True  Gross  ( staurothek) 
at  the  Metropolitan  Museum  in  New  York, 
dated  Byzantium  8-9  Century.  Probably  brought 
to  Italy  by  a  crusader;  once  owned  by  Pope 
Innocönre  IV  (1243-1256)  who  gaye  the  relic 
in  it  to  the  church  of  Lavagna  (Italy). 


! 


\ 


i. 


I        BT 

'    1 


fc 


Mm 


^ 


i 


iknt,'r~^. 


!^fwl^'t  ■ 


r 


ä 


'-^  P 


•Üt* 


VA 


47 


25. 


Deep  Dish.   Cloisonne  on  brasse. 

Dia.  28  cm,;  11" 


Colander  shape  with  straight  rounded  sides  and  wide 
flanged  rim  with  flat  base. 

Decorated  on  the  base  with  phoenix  and  floral  designs, 
on  the  sides  with  ruwiing  horses,  in  polychrome 
enamels  upon  a  green  ground. 

The  style  of  the  design  is  simple  and  broad. 

The  execution  without  the  technical  finish  of  the 

later  periods, 

Ming.   1368-1644  A.D. 


m 


h: 


\ 

f 


I 


m. 


-..t<l.l..  111- >"l!?iT»W 


fi«tw«( 


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it' 


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•»  I 


48 


II. 


ANCIEHT   CHIllKSt   SCULFTURiiS. 
Seme  notea  on  early  Chinese  Buddhist  sculptures 


221  A.D.   the  Han  Dynasty  finally  collapsed. 
Barbar ian  chieftains,  often  issues  of  marriages  with 
Chinese  princesses,  claimed  to  be  heirs  to  the  fallen 
throne . 

Four  hundred  years  of  war  atrocities  and  confusion 
followed.  In  the  midt  of  oruel  Invasion,  a  new  religion 
c-ooiquered  the  Chinese  world, 

The  worship  of  a  pantheon  of  mostly  destructive  and 
fearsome  natural  powers  and  the  cult  of  the  ancestors 
were  unable  to  furnish  to  the  worried  mind  of  the  people 
the  oonsolation  which  the  new  religion,   Buddhism 
off ered. 

Buddha  was  born  about  560  B.C.  and  died  about  477  B.C. 

Suddhism  was  reported  in  China  already  in  the  first 
Century  A.D.  But  it  was  not  before  the  fifth  Century 
A.D.  that  it  swept  the  country. 

It  is  not  without  irony  that  the  bringers  of  this 
gontlest  of  religions  were  the  warlike  and  cruel 
T'opa  tribes  from  Lake  Beikai  in  Siberia  who  took 
the  lead  and  entered  into  Chinese  history  as  the 
North  Wei  Dynasty   (386-534  A.D.)   who 
set  up  Buddhism  as  their  State  religion. 

The  Weis  besame  ardent  Buddhists  and  brought  to  China 
the  art  that  had  to  serve  the  new  divinity  in  stone 
^arvings  as  well  as  in  gilt  bronze  statuettes. 
From  the  fifth  Century  until  the  fourteenth  an  enormous 
amount  of  the  country» s  creative  genius  will  be  devoted 
to  glorify  the  ne^   craed. 

In  414  A.D.  the  Weis  began  to  build  natural  sanctuaries 
filled  with  buddhistic  Images,  cut  3ut  of  the  rooks. 
The   c  a  V  e  s   o  f  Y*  ü  n  -  K  a  n  g,  situatGd  near 
their  capital  T*a-T'ung-Fu  (Prov.Shansi) ,  off ered 
a  soft  sandstone  wh.ch  facilitatod  the  work.  There 
the  work  ended  about  495  A.D. 

The  capital  was  transfered  farther  South  to  Loyang 
(Honan).  Here  the  caves  of  L  u  n  g  -  M  6  n  (=dragon  gate) 
gave  tho  possibility  to  continue  in  harder  groy  to  black 
limestone  and  black  marble  the  pious  work,  carried  on 
until  the  eighth  Century  by  the  Sui  and  T'ang  dynasties. 


9 


M 


'A 
M 


t  •itsra<.«^»'tf  t.i(rl« 


r.^r.-vr^ii*-^!^-'^"' 


".^t»-i^"'.^->^- 


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.  ;«  -^'C- ;  '^ 


iii 


.  - '.  '■ 


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I  < 


I 


,! 


49 


Many  divergent  influences  contributed  to  the  so-called 
North-Wei  style. 

The  invaders  brought  Indian  (Gandhara)  and  Central  Asiatic 
(Kucha)  influences,  they  brought  sculptural  gift  and  metal- 
lurgic  skill, 

But  as  often  before  and  afterwards;  The  Chinese  united  all 
that  with  their  own  tradition,  fine  technique  and  refine- 
ment;  and  as  rosult  an  individual  Chinese  Buddhist ic  soulp- 
ture  of  their  own  blossomed. 

The  Chinese  altered  the  forma  according  to  their  own  Ideals. 
To  mention  only  some  alterations:  The  fat  round  heads, 
the  broad  Shoulders  disappeared.  Long  and  slim  heads,  Blen- 
der Shoulders  made  their  appearance.  The  transparent  garment 
ohanged  to  robes  which  hid  the  body.  As  in  other  'archaic' 
sculptures,  the  figures  obey  the  law  of  frontality. 
(  ♦  26.  27,  28,) 

Alan  Priest  is  right  when  he  calls  the  term  'archaic"  mis- 
applied  to  this  style,  although  he  agress  that  there  are 
truly  archaic^  traits^, in  early  Greek  sculptures.   I  have 
only  to  refer  to  the  mystic  ecstatic  smile  of  the  Wei. 
Interesting  also  Alan  Priest* s  suggestions  about  the  origin 
of  this  peculiar  style: 

"   The  iconography  of  the  early  Wei  temples  oliviously  came 
from  India  and  from  the  offshots  at  least  of  the  Gandharan 
school,  but  the  style  as  it  appears  at  Tun  Kang  is  far 
cry  from  the  Gandharan  style. 

The  route  of  the  early  Indian  influence  at  Yün  Sang  I 
believe  to  have  been  across  Turkestan.  In  style  the  Central 
Asian  sculptures  and  wall  paintings  are  a  znixture  of 
Gandharan,  Graeco  Roman,  Persian  and  local  Ornaments,  and 
the  last  of  them,  especially  the  wall  paintings  from  the 
temples  of  the  Kyzil  oasis  (Le  Co%  "Buddhistische  Spät- 
antike in  Mittelasien")  rank  among  the  most  brilliant 
things  ever  created. 

If  these  things  indeed  date  no  earlier  than  the  sixth  Cen- 
tury, one  can  only  guess  at  the  missing  links  between  Gan- 
dhara and  Yün  Kang,  which  caused  so  complete  an  art  to 
appear  so  suddenly  at  such  a  remote  distance  from  its 

parent  stem. 

It  has  been  suggested  that  the  iconography  was  transported 
by  means  of  manuscripts  which  wäre  used  as  plans  by  the 
sculptor«  of  the  caves.   The  linear  quality  of  Wei 
sculpture  seems  to  encourage  this  theory." 


4 


V.v.'A 


»•••'•I 


I 


I 


^.± 


•ff  i?  II 1.*.-..  •,'•-» 


%*<{; 


;..  ^?".^ 


•'  » 


f  » 


.   J 


> 


li 


50 


According  to  Siren,  about  the  middle  of  the  sixth  Century 
new  waves  of  North  Indian  influences  become  visible. 
(  East  Wei  534-550  A.D.  *  29.   Sui  587-618  A.D.   *  30,31.) 
The   Sui   form  a  tiny  but  lovely  introducticn  to  the 
aplendor  of  T'ang.  The  nearly  incredible  zeal  i^ith  which 
the  first  emporor  of  Sui  patronized  Duddhism  explains  the 
large  number  of  surviving  examples  for  the  Short  period 
of  tho  Sui  Dynasty,   It  is  said  that  he  ordered  nearly 
four  thousand  temples,  over  a  hundred  thousand  new  Images 
and  the  restoration  of  some  million  and  a  half  images. 
Besides,  already  from  the  Six  Dynastios  on  famous  temples 
kept  Stocks  of  gilt  bronze  images  on  hand  to  be  bought 
as  Souvenirs,  or  dedicated  by  pilgrims. 

In  the  middle  of  the  seventh  Century,  in  the  reigns  of 
the   T'  a  n  g  Dynasty   (618-906  A.D.)  Chinese 
sculpture  will  reach  its  zenith  or,  to  use  a  generally 
familiär  term,  its  classical  stage  (  ♦SS), 

BIBLIOGRAPHY 

Bachofer,  Ludwig.  "A  Short  history  of  Chinese  Art"  1946. 

Carter,  Dagny.   "Four  thousand  years  of  Chinese  Art"  1948. 

Priest,  Alan.   "Chinese  Sculptures  in  the  Metropolitan 

Mu  s  e  um  • 

Sirön,  Oswald.   "Chinese  Sculptures  from  the  fifth  to  the 

fourteenth  Century"  1925. 


I: 


l'l 


V 
V. 


I 


i 


\ 


;l 


r  • 


^.^. 


!i 


t 


\   h 


\l 


n 


! 


iiUi 


•■-^   «  ■  I   ■ll.fj-^JI 


■   ■I«—«]!      I|>   ||%|     -^l 


'-■'  ■•>•■■;'.. ;.'.>.....,'."|- ■"'<..■■.  ■  .,.LJ!IJJ!V!l'!!'.'itii^!!W!!ffiP!ffW!!!!!!!!!iWff^P?'W?Sff 


'»•»'.    .».^i..!.''      '     ''         »«*.».♦, 


51 


26/27. 


Twt   Bodhisattva  Heads. 


H.12  cm,;   4.12" 


The  heads,  endowed  with  a  particular  charm,  show  a 
certain  influence  of  the  Gandharan  and  Mathura 
SohoGl  of  N.W.Indian  sculpture,  though  to  no  3trong 
degree.  The  eyes  are  treated  as  slits,  the  mouth 
fixed  in  a  smile  singulary  suggestive  of  certain 

Greek  types. 

The  iecisive  artistic  traits  are  pure  Chinese,  as 
the  Wei  Tartars  were  fanatic  absorbers  of  Chinese 
modeis.  The  rolation  to  the  ocoidental  Romanic  art 
is  striking. 

The  Bodhisattva  heads  were  taken  by  a  Germar^^Dllector 
in  one  of  the  temple-caves  of  Y^in-kang  at  T*a  Tung-fu 
in  Shansi.  They  belonged  very  probably  to  a  group  with 
Buddha  before  his  Enlightenment >  sitting  under  the 
Bo'tree  in  meditation.  It  seems  even  now  possible  tc 
determine  to  which  cave  both  did  belong, 

Grey  sandstone  with  rest  of  color. 

North  Wei.  (386-534  A.D.)   About  480  A.D.Yün-kang  caves. 

Exhibition:  1929  Ausstellung  Chinesische  Kunst,  veran- 
staltet von  der  Gesellschaft  für  ost- 
asiatische Kunst  und  der  Preussischen 
Akademie  der  Künste,  Berlin.  Cat.no. 238/39 

1931. Department  of  Far  Eastern  Art  of  the 
Museums  of  Berlin  (Germany). 

1935  International  Exhibition  of  Chinese  Art, 
Royal  Academy  of  Arts ,London(England) . 

1938/41  Gemeente  Museum,  Den  Haag  (Holland.) 


Lit 


Kümmel  "Chinesische  Kunst",  200  Hauptwerke 
der  Ausstellung  der  Gesellschaft 
für  ostasiatische  Kunst  in  der  Preus- 
sischen Akademie  der  Künste,  Berlin. 
1929.    Plate  LXV. 


«r 


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f 


'f.: 

I: 


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^ 


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1 


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52 


Reidemeister  "L' exposition  de  l'Art  Chinoise  ii 

Berlin,  Gazette  des  Beaux  Arts, 
''  '  p. 250/51,  1930: 

"  L'^poque  des  Wei  du  Nord  (385-534)  est  characterisee, 
surtout  &  la  fin  du  V.  et  au  döbut  du  VI,  sifecle, 
par  l'apparition  de  la  sculpture  buddhique  chinoise 
archaique,  La  repr^sentation  de  la  divinit^  sous 
la  forme  humaine  est,  Ici,  la  problfeme  principal 
que  se  pose  l'art. 

Les  monuments  les  plus  importants  de  l*^poque  se 
trouvent  dans  le  temple  souterrain  de  Yun  Kang, 
dans  la  province  de  Shansi.  II  est  dommage  qu*  on 
n'ait  pu  montrer  une   des  statuettes  caractdristiques 
de  Maitreye,  dans  le  genre  de  celle  que  poss^dc  le 
Mus^e  Cernushi.  Seules,  de  petites  totes  de  Bodhisattva, 
exquise  dans  leur  charme  austere  et  qui  appartiennent 
ÄL  la  oollection  Ginsberg  de 
Berlin,  sonnent  une  idee  de  cet  art. 

Cohn  "Skulpturen  aus  Yün-kang  and  vom  T'ieh-lung- 

shan".  Ostasiatische  Zeitschrift,  Neue  Folge, 
9. Jahrgang  1933,  p.l44: 
In  der  Berliner  Ostasiatischen  Kunstsammlung  ... 
sind  als  Leihgabe  der  Sammlung  Herbert 
Ginsberg  zwei  Köpfchen  aus  Yün-kang  aus- 
gestellt. .  . 

Mit  Buddha  als  Bodhisattva  unter  dem  Bc-baum  vor 
seiner  Erleuchtung  in  Meditation  mögen  die  beiden 
Köpfe  der  Sammlang  Ginsberg  in  Verbindung  zu 
bringen  sein.   Ja,  vielleicht  kann  man  die  beiden 
Köpfchen  für  die  beiden  Figuren  einer  bestimmten 
Höhle  in  Anspruch  nehmen  (Daido  Sekikitsu  Taikwan, 
Tokyo  1925,  Tafel  56).  Auch  die  Bruchstellen, 
Grössenverhältnisso  scheinen  zu  stimmen. 
Wenn  in  diesen  V.erken  die  Strenge  de?  im  übrigen 
unverkennbaren  Nord-Wei-Stiles  zu  Zierlichkeit 
und  Liebreiz  gemildert  erscheint,  so  ist  das  aus 
dem  Motiv  heraus  zu  verstehen,  in  dem  ein  gewisser 
Ausdruck  durchbricht,  wie  aus  den  kleinen  Dimen- 
sionen. 

Die  Arbeiten  aus  Yün-kang  (Shansi)  reichen  am  wei- 
testen zurück.  Die  Höhlen  entstanden  zumeist  in  der 
zweiten  Hälfte  des  f'ünften  Jahrhunderts,  in  der  Blüte- 
zelt der  Nord-Wel-Dynasty.  In  Yün-kang  stosson  wir 
zweifellos  auf  nordwestindische  (Gandhara)  und 
zentralasiatische  Einflüsse,  aber  es  gibt  eine  fal- 
sche Anschauung,  wenn  man  sie  allzu  sehr  in  den 
Vordergrund  stellt. 


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53 


*'  Denn  die  Hauptzüge  dtr   Skulpturen  und  insb^sonders 
die  künstlerisch  entscheidenden  Züge  können  nur 
rein  chinesisch  genannt  werden,  sie  haben  wohl 
ihresgleichen  in  Lung-mSn  und  anderen  Stellen  in 
China  um  die  Wende  des  sechsten  Jahrhunderts,  aber 
nirgends  sonst.   Und  diese  Kunst,  der  westlich  roma- 
nischen in  ihrer  geistigen  und  formalen  Struktur 
merkwürdig  verwandt,  muss  zu  der  nicht  eben  geringen 
Zahl  künstlerischer  Grosstaten  Chinas  gerechnet 
werden, " 

Ashton,Leigh  "Chinese  Art",  London  1935. 
Chavanne   "Mission  arch^ologique  dans  la  Chine 

septentrional" ,  Paris  1909,  plate  105-160. 
Glaser, Kurt  in  "Chinosisch<j  Kunstgeschichte" 

(Springer),  S.25,  Abb. 28 
Sir^n  "Chinesö  Sculpture" ,  London  1925.  Flatus  17-66. 


« 


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54 


28     Standing  Bodhisatva  with  Two  Adoring  Monks. 

H.18  cm.;   7" 

Bodhisatva   (=  Knowledge  essentiality)  is  a  being, 
maturo  to  becomo  a  Buddha, 

Developed  from  the  legend  of  the  historic  Buddha, 
who  was  a  prince,  a  Bodhisatva  is  mostly  represented 
by  a  Standing  young  man  in  royal  attire. 

Thus  our  Bodhisatva  wears  a  long,  on  both  sides  pro- 

jecting, vestment  with  long  sleeves,  elaborato  jewels 

and  a  peculiarly  formed  orown. 

He  Stands  on  a  lotus  thalamus  supported  by  a  pierced 

bracket  and  holds  his  hands  in  the  Abhaya-MÜdra,  the 

gesture  of  consoling:  Don' t  be  afraid. 

Behind  his  head  a  heart-shaped  mandorla  with  licking 

flfcones  in  relief. 

In  front  of  the  Bodhisatva,  on  the  Wracket  itself,  two 
Buddhist  monks  (each  h.1.5*')  in  adoring  attitude, 
perhaps  Buddha«  s  disciples  A  Nan  (  Ananda  )   and 
Mo   Ho   Chia  (  Mahakasyapa  ). 

Gilt  bronze  with  spots  of  green  patination. 

North  Wei   (386-534  A.D.)  Second  quarter  of  the  6th  cent. 


Exhibition: 


Lit. 


1929  Ausstellung  Chinesischer  Kunst,  veran- 
staltet von  der  Gesellschaft  für  ost- 
asiatische Kunst  und  der  Akademie  der 
Künste,  Berlin,   Katalog  no.254. 

1931  Department  of  Far  Eastern  Art  of  the 
Museums  of  Berlin  (Germany). 

1938/41  Gemeente  Museum,  Den  Haag,  Holland. 

Kümmel  "Die  Ausstellung  der  Sammlung  Perzynski 
im  Berliner  Kunstgewerbe  Museum.  Ost- 
asiat .Zeitschrift  ,  11,461  (1913/14) 

Kümmel  «'Chinesische  Kunst".  Zweihundert  Hauptwerke 
der  Ausstellung  der  G.O.K.  in  der  Preuss. 
Akademie  der  Künste , Berlin.  Plate  LXaXVI 

Shina  Rijutsushi  Chosohen,  Tokyo,  (1915),  pl. 287/88 

Sir^n  "Chinese  Sculpture",  London  1929,  pl.318a. 


1 


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II 


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55 


29.  , 


Va,^rapäni» 
H.52  cm.;    20^ 


f     t   h  e 


t   e 


p    1   e 


High  relief   figure   of     o  n  e      < 

guardians. 

Th^  mostly  appear  as  a   pair  at  the  entrance  of  the  caves 

of  tha  Tock-cut  templ^^. 

Striking  in  our  figure  is  the  energetic  expression  of 
the  faoe^  the  polse  and  the  verve  in  the  movement. 
A  particjuLariy  formed  cap  covers  the  head,  a  short  mantle 
^oth  Shoulders.  The  undergarment  falls  in  beautiful  pleats 
and  is  bound  over  the  hips, 

The  left  hand  is  raised  to  the  breast,  in  the  right  hand 
a  hint  of  the  Vajira  (thunderbolt) . 

Kümmel  describes  his  signif icance : 

"  Vajrapani,  Indra,  als  der  Donnerkeilträger,  der  Vertei- 
diger  der  buddhistischen  Welt  gegen  die  Dämonen,  spal- 
tet sich  im  nördlichen  Buddhismus  in  verschiedene 

Formen. 

Er  verdoppelt  sich  zu  Chin-kang-shÖn  (Uebersetzung  von 
Vajrapani),  die  in  Gestalt  von  stark  bewegten  Riesen 
mit  dem  Donnerkeil  in  der  Hand  vor  allem  die  Tempeltore 
bewachen  und  in  der  japanischen  Form  der  Nio  (Jen- 
wang)  am  besten  bekannt  sind.  Er  vervierfacht  sich  zu 
den  Wächtern  der  vier  Himmelsrichtungen,  die  meist  in 
ruhiger  Haltung  als  gewappnete  Ritter  auf  einem  bösen 
Dämon  stehend  dargestellt  werden." 

The  limestone,  cut  loose  from  the  rock  as  the  reverse 
proves,  has  gained  a  beautiful  tawny  patina. 

East^Wei  (434-550  A.D.)   about  550  A.D. 

HjX   collection  Breuer. 


Exhibition: 


1926 


1929 


Department  of  Far  Eastern  Art  of  the 
Museums  of  Berlin  (Germany) 
Ausstellung  Chinesischer  Kunst,  veran- 
staltet von  der  Ges. für  ostasiatische 
Kunst  und  der  Preuss .Akademie  der  Künste 
Berlin  (Germany),  Cat.no. 243. 
1938/41   Gemeente  Museum,  Den  Haag, (Holandj 
1946  Museum  van  Aziatische  Kunst,  Amsterdam. 


i 


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Lit,:  Cohn  »'Ausatellung  der  Sammlung  Dr. A.Breuer  in  der 

Ostasiatischen  Kunst abte i lung" .  Ostasiattische 
■  Zeitschrift  (The  Far  East)  1926.  Bd,13,  192/3. 
.  pl.20a.  .  . 

Kümmel  "Chinesische  Kunst»»,  Zweihundert  Hauptwerke 

der  Ausstellung  der  Gesellschaft  für  ostasia- 
tische Kunst  in  der  Preuss, Akademie  der  Künste, 
Berlin.  Plate  UCXVIII 
Sir^n  "Chinese  Sculpture" ,  London  1925.  pls.245,293 
Visser  "Mededeelingen  van  het  Museum  van  Aziatische 

Kunst, A^nsterdam"  .  In  'Phoenix*  ,no.3,1946.p.29, 

EXCERPTS 

Cohn,  O.Z.  1926,  tom  13,  page  192/3: 

"Für  die  auf  Tafel  20a  abgebildete  Steinskulptur 
dürfte  eino  recht  genaue  Datierung  möglich  sein. 
Kein  Gebiet  der  chinesischen  Kunst  ist  uns  ja 
bekannter  als  die  frühe  buddhistische  Plastik. 
Dargestellt  ist  zweifellos  ein  sogenannter  Tempel- 
hüter, wie  sie,  meistens  zu  zweien,  an  den  Eingängen 
zu  Höhlen  und  auf  Stelen  vorkommen. 
Wenn  er  in  Tracht  und  Auffassung  von  den  in  der 
T'ang  Zeit  üblichen,  bekannteren  typen  abweicht, 
so  ist  er  aber  für  eine  Gruppe  von  Werken  charak- 
teristisch, die  in  der  Zeit  vor  und  um  die 
Sui-Dynasty  (589-618)  zugeschrieben  werden  müssen. 
Hier  findet  sich  des  öfteren  dieselbe  Kopfbedeckung, 
und  auch  die  eigentümliche  Körperbehandlung 
sehen  wir  gerade  bei  Werken  der  Sui  Zeit  etwa  aus 
der  Provinz  Chih-li. 

Das  Stück  der  Breuerschen  Sammlung  hebt  sich  durch 
die  toergie  des  Gesichtsausdruckes  ^ond  durch  den 
Elan  der  Bewegung  von  dem  Gross  der  so  oft  nur 
handwerklichen  Skulpturen  dieser  Periode  glucklich 

ab  " 
Kümmel,  Preface  to  thc  catalogue  of  the  "Sammlung  Dr.A. 

Breuer, Berlin.  Ostasiatische  Kunst"  Cassirer,  Helbmg, 

12. und  13  Mai  1929:  ^      ,  •  •  . 

"  unter  den  Skulpturen  ist  vor  allem  der  merkwuraige, 
soweit  ich  sehe,  einzigartige  Tempelwäohter  zu 
nennen,  der,  in  Uebereinstimmung  mit  Siren,  der 
Zeit  um  550  zugeschrieben  wird. 


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van  dr.  Herb 
Tot  de  fraaiste 
afgcbeelde     C   h 


u  -  p~ 


Visser  ,  K.xl.  '*uibd.  v  .h.iiüus.  v.Az  .Kunst" 

p.29: 
henigen  tijd  gLleden   heeft  het  Museum  eenc 
belangrijke  collectie  Chineesche  en  Indische 
kunst   in   bruikleen  ontvangen  uit 

rijko   verzameling 
ert   Ginsberg  te  Zeist. 
stukken  behooren  de  h  i  e  r  b  i-i 
ineesche   steensc 
t  u  u  r  ..,   chineesche  bronzen,  bronzen  figuron 
uit  het  groote  gebied  van  Indie... 
Voor  hedan  bepalen  wij  ons  tot  aen  kcrte  bespreking 
van  de-  gereproduceerde  figuur. 
Dezc  aanwinst-in-bruikleen  is  bijzonder  welkom 
^mdat  het  Museum  nog  güen  voorbeeld  van  beeldhouw- 
kunst  in  steen  uit  de  ceuw,  die  aan  den  beroemden 
T'and  tijd  vooraf  ging,  bezat. 
Deze  Tempelwachter  dateerd  n.l.  uit  de  zesde  eeuw. 

Of  het  beeld  tot  het  begin  der  Sui  periode  mag 
•worden  gerekend,  is  moeilijk  vast  te  stellen. 
Dr. William  Cohn  heeft  in  de  "Ostasiatische  Zeit- 
schrift", 3/4  1926,  een  beschouwing  aan  gewijd,  en 
wel  naar  aanleiding  van  du  tentoonstelling  der 
jollectie  Dr, A.Breuer  in  der  Ostasiatische  Kunst- 
sammlung der  Berlijnsche  musea.   Het  stuk  behoorde 
n.l.  vroeger  tot  deze  bekende  verzameling,  waaruit 
ons  Museum  verschillende  stukken  verworven  heeft... 
Na  vergelijking  met  eenige  platen  in  Sirene  groot 
werk  over  Chineesche  plastiek,  komt  Cohn  tot  de 
cjonclusie,  dat  onze  tempelwachter  tot  den  tijd 
voor  en  omstreeks  de  Sui  dynastie  gerekend  moet 
worden. 

Op  de  groote  Chineesche  t^ntoonstelling  te  Berlijn 
(1929)  nog  als  bezit  van  dr, Breuer  tentoongesteld, 
wordt  het  stuk  (no.243)  als  volgt  gedateerd  "Nach 
Siren  wahrscheinlich  Ost-Wei  )534-550)." 

Kort  na  genoemde  tentoonstelling  werd  de  collectit? 
Breuer  bij  Cassirer-Helbing  te  Berlijn  geveild. 
Als  no.240  geregistreerd,  wordt  thans  als  dataering 
"um  550"  aangegeven. 

Men  ziet  uit  het  een  en  ander,  dat  het  niet  altijd  zoo 
gemakkelijk  is  een  werk  der  Chineeschen  plastiek 
op  een  tientaal  jaren  nauwkeurig  te  dateeren. 
Laten  we  ons  crmae  tevreden  stellen  het  stuk  iets 
voor  of  in  de  tweede  helft  der  zesde  eeuw  te  plaatstn. 


♦• 


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Welke  beteekenis  nu  heeft  de  z^sde  eeuw 
in  de  ontwikkeling  der  Chinoesche  plastiek,  meer 
in  het  bijzonder  der  Boeddhistische  plastiek? 
Het  kan  kort  geformuleerd  worden: 
In  dit  tijdsverloop  beleeft  men  de  o  n  t  v?  i 
k  e  1  i  n  g  van  den  strengen  stij 
die  ZOO  karakteristiek  is  voor  jaren  voor  500 
omstreeks  530,   viakunst  waartoe  o  n 
tempelwachter  behoort,   n  a  a  r 
nog  wel  sterk  gestyleerde,  maar  toch  reeds  t.o.v. 
de  groep  van  voor  5J0  -  omstr.  530  v  e  e  1 
minder  streng  aandoc-nde 
plastische  kunst  der  Sui  periode. 
Deze  prachtige  plastiek  vormt 
weer  den  duidelijken  overgang 
naar  het  omvangrijke  complex  van  de  plastiek  der 
T*  ang  Periode, . . 

Tot  de  fraaiste  d^tails  van  dezen  Tempelwachter 
behooren  voorzeker  het  modele  van  den  kop  en  de 
plooienbehandlung  van  het  gewaad.  De  geheele  figuur 
is  iets  gedrongen,  een  indruk  die  versterkt  wordt 
door  den  laa^  aangebrachten  gordel. 

De  kalksteen  heeft  een  fraaie,  lichtbruine  patina 
aangenomen. . .   De  aahterkant  van  het  stuk  wijst 
erop,  dat  het  uit  een  rotswand  gehakt  is  en  der 
halve  den  toegang  tot  de  ruimte  van  een  Boeddhis- 
tische rotstcmpelcomplex  bewaakte...  " 


!i. 


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59 


30. 


Bodhisatva  Ti-Tsanf;. 
R.  18  cm, ;  7.3" 


The  gilt  bronze  figuro  of  tho  Bodhisatva  is  to  be 
imagined  as  an  attondant  of  a  dedicat^ry  group.  like 
the  altarpiece  from  the  Tuan  Fang  coUection,  now  in 
the  Museum  of  Fine  Arts  in  Boston, Mass. ,  dated  593  A.D. 

In  Chinese  Bu^ldhism  the  Bodhisatva  Ti-Tsang  ranks 
next  to  Kwan-yin  with  whom  he  is  often  connected 
Both  are  saviours  from  Hell,  both  agree  in  preachin/tj 
repentance  as  the  way  to  salvation. 

Ti-Tsang' s  boundless  compassion  tries  to  save  mankind 
from  all  sufferings  and  to  lead  to  a  general  conversion. 

With  the  brilliant  lustre  of  his  "precious  pearl"  he 
penetrates  and  illuminates  the  Dari  Palace,  changing 
Hell  into  Paradise.  On  the  evening  of  his  birthday 
the  festival  of  tho  dead,  the  Ullambana,  comes  to  an 
end.  Hell  is  cloßed,  vows  are  made  to  assiste  and  save 
all  lonely  souls  for  whom  no  relatives  care. 

Ti-Tsang  is  either  represented  as  a  Bodhisatva  with 
a  crown  on  his  head  or  as  a  priest. 

In  our  case  he  is  in  the  shape  of  a  priest  with  shaven 
head  and  saoerdotal  robe;   he  Stands  upon  a  small  lotus 
podostal.  With  his  right  hand  he  holds  upwards  the 
"precious  pearl",  the  jewel,  while  his  left  hand  points 
downward  in  varada  mudra.   The  flaming  mandorla  is 
fixed  directly  on  his  Shoulders;  it  is  an  open  circle 
bordered  with  licking  flames,  the  largest  just  above 
his  head, 

This  gilt  bronze  Image  is  typical  for  the  short  phase 
of  extreme  elegance  through  which  Buddhist  sculpture 
passGd  under  the  short-lived  Sui  Dynasty,  which  has 
often  provoked  a  comparison  with  the  beauties  of  the 
i^uropean  Gothik. 


Sui  (581-618  A.D.) 
Exhibition;   1931 


Seventh  Century. 


Department  of  Far  Eastern  Art  of  the 
Museums  of  Berlin,  Germany 
1938/41   Gemeente  Museum,  den   Haag  (Holland) 

Lit.:  M.W. de  Visser  "The  Bodhisatva  Ti-Tsang  (Jizo)  in 

China  and  Japan",  Ostasiatische  Zeitschrift, 
Bd. II  &   III  (1913/14  &  1914/15);  chapter  V: 
History  of  the  Ti*tsang  cult  in  China  at  the 
time  of  thd  Sui  Dynasty"  (11,297). 


i; 

t: 
i: 

■V. 


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31. 


Bodhisattva  Head. 
H.3,5  cm.;  1.5" 


The  little  head  belongs  to  the  most  graceful  works 
of  Chinese  sculpture.  The  smile  gives  the  earthly 
reflection  of  the  enlightenment, 

The  combination  of  strength  of  form  with  the  live 
modelling  directs  to  the  second  half  of  the  sixth 
Century. 

High  relief  in  yellow  marble,  broken  out  probably 
from  a  votivo  Stele, 

Sui  (581-618  A.D.)   About  600  A.D. 

Exhibition:  1938/41  Gemeente  Museum,  Den  Haag  (Holland). 


Vi 


I 


fir. 


-k*MiL<<:  .' aut.^'  .^'..  .'  ■■'   -^-■■-'— '■■■-—  -   — .4j-   i\..':j 


kttl  ■  >  <  *  tai.1*.  . 


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61 


'■'■'^'*{iJ 


32. 


Standirif^  Figure  of  Buddha 
H.22  cm.;  8.10" 


The  gilt  bronzt  Image  Stands  upon  a  lotus  thalamus 

which  rüsts  on  an  octanogal  base. 

A  >road  calm  face  with  a  rapt  expression  below  the 

üsnisa,  elongated  ear  lobes, 

The  cloak  In  olaborate  concentric  folds,  joined  with 

the  body  to  a  harmonious  unit. 

The  hands  in  Abhaya  and  Vara  müdra  bestow  upon  the 

worshipper  fearlessness  and  blessing. 

The  effect  of  the  Indian  sculpture  of  the  Mathura 
and  Gupta  school  is  clearly  noticeable. 

Gilt  bronze  strongly  incrusted  with  green  patination. 

Korea,   Early  T'ang  period,  about  700  A.D. 

Ex  collection  Breuer. 

Exhibition;   1938/41  Gemeente  Museum,  Den  Haag  (Holland) 

Lit.:  Kümmel  "Die  Sammlung  Dr. A.Breuer,  Ostasiatische 

Kunst",  no.252. 


li:i 


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f: 


j: 


^rt*-. 


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f    ' 


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62 


"'■•■'<wi 


33. 


Buddha  Head, 
H.18  cm. :  7" 


Excellent  example  of  the  Buddha  shape  of  the  high 
T'ang  period. 

Monumental  forms,  yet  which  pasa  Boftly  from  one 
to  the  other;  the  lips  füll,  the  eyes  almond-shaped 
below  the  mighty  round  arch  of  the  eye-sockets 
under  the  highly  artificial  coiffure. 

High  relief  from  the  rock-cut  temples  in  the 
South  cave  of  Lung~M8n,  Province  Honam.   Condition 

of  the  reverse  proves  that  the  head  has  been  broken 
out  of  the  rock. 


Groy-black  Lime-stone. 

T'ang  (618-906  A.D.)   About  700  A.D. 


hxhibition: 


1931   Department  of  Far  Eastern  Art  of 

the  Museums  cf  Berlin  (Germany) 
1938/41   Gemeente  Museum^  Den  Haag  (Holland) 
1946   Museum  van  Aziatische  Kunst,  Amsterdam. 


:( 


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34. 


Sitting  Lion 
H.15  cm.;  5.12" 


The  lion  is  sitting  on  a  base,  the  powerful  head  and 
neck  thrown  back,  the  mouth  ojen,  the  ehest  bulging, 
cleverly  contrasted  with  a  supple  and  slightly  curved 

body. 

The  sense  of  latent  power  is  vividly  achieved,  just  as 
muGh  as  in  the  large   guardian   lions  atthe 
tombs  of  the  mighty  or  at  the  gates  of  the  temples. 

Since  lions  were  unknown  in  China,  the  sculptors  had 
to  rely  on  representations  they  had  come  to  know  from 
Western  Asia  and  which  they  succeeded  to  fuse  into 
something  unmistakably  Chinese, 

The  sculptural  quality  of  the  T'ang  animal  conception 
comes  out  very  strongly  in  spite  of  the  small  dimension. 

Yellow  marble. 

T'ang   (618-906  A.D.) 

Exhibition:   1931  Department  of  Par  Eastern  Art  of 

the  Museums  of  Berlin,  (Germany) 
1938/41  Gemeente  Museum,  Den  Haag,  (Holland) 


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III.      ANCIENT  CHINESE  CARVINGS   IN    JADt,  AND   IVORY. 


II  i 


•  I 


35. 


Ceremonial  Jade  Hatchet. 


This  omblem  of  human  authority  is  carved  out 
indigenous  nephrite  material 
whic5h  was  found  in  the  neighbourhood  of  the  C  h  o  u 
capital  Hsi-an-fu  in  Shensi  as  well  as  in  Shansi. 
This  material  was  regarded  as  a  unique,  consecrated 
substance  and  adapted  to  ritual  purposes. 

The  rectangular  blade  of  the  hatchet  is  pierced  to 
fasten  it  to  the  girdle.  It  is  used  ceremonially  in 
sacrifices  and  worn  at  court  functions. 

Jade   (yü)  of  greenish,  grey,  black  and  brownish  hue. 
Thü  hue  is  rather  dull  in  oomparison  with  the  bright 
translucent,  mostly  green,  stone,  which  was  imported 
not  before  the  thirteenth  Century  from  Eastern  Turkistan, 
Yarkand,  from  the  Baikal  Sea  and  from  Burma. 

C  h  0  u  (1122-255  B.C.) 

Exhibition:    1938/41     Gemeente  Museum,    Den  Haag,    (Holland) 
Lit.:     Collis,   Maurice     "The   first  holy   one" ,  Kew  York  1948 


« ; 


Hennessey,  Una  Pope  "Jades"  in  Chinese  Art, 

London  1935. 


Excerpts 

The  great  C  o  n  f  u  c  i  u  s  (the-  Latin  rendering  of 
the  Chinese  K'ung  Fu-tzu  =  Master  Kung  of  tho  Jesuits 
"Confücius  Sinarum  Philosophus" ,  Paris  1867)  who  lived 
550-479  B.C.  at  the  end  of  the  Chou  Dynasty  when  the  oxd 
Society  of  China  was  disintegrating,  e>itomized  the 

jade  thus: 
"It  is  not  because  jade  is  rare  that  it  is  so  highly 
valued.  It  is  because,  ever  since  the  old  days,  wise 
men  have  found  in  jade  all  the  difforent  virtues. 
It  is  soft,  smooth  and  shining,  like  kmdness; 
it  is  hard,  fine  and  strong,  like  intelligence; 
its  edges  sharp,  but  do  not  cut,  like  justice; 
it  hangs  down  to  the  ground,  like  humility; 
when  sfruck.  it  gives  a  clear,  singing  ^ound  like  music, 
the  stains  in  it ,  which  are  not  hidden  and  which 
add  to  its  beauty,  are  like  truthfulness; 


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its  brightness  is  liko  heaven, 

while  its  firm  substance,  \rom   af  the  monntains 

and  the  waters  is  like  eaifth. 

Tho  Book  of  Poelry  «aye: 

When  I  think  '^   a  wlse  man,  he  stöms  like  jade. 

Thal  is  why  wise  men  love  jade. 


II 


Una  Pop^  Jiejin^ssey  "Jade": 
"Jade»»#  the  purest  and  most  divine  of  natural  treasures 
to  b^  the  vehicle  of  communication  with  the  unseen 
jofrer  of  the  universe,  it  was  adopted  too  as  the  emblem 
of   human  authority  and  the  prophylactic  against 
disharmony . . . 
To  Chinese  sensibilities^  which  are  in  Bome  respeots 

finer  than  our  own,  jado  has  two  qualities  that  we 
Bhould  not  naturally  attrlbute  to  it,  a  tactile 
valuo  and  an  auditive  value. 

Not  only  did  the  handling  of  the  jade  engender  suavity 
and  composure,  but   tinkling  pendents 
for  the   girdle   and  the  head  would  by  the 
magic  their  music  generated,  keep  depravity  from 
the  huart.  " 

Tho  supernatural  is  preserved  also  in  the  term  "jade** 
It  is  derived  from  the  Spanish  "piedra  de   i  j  a  d  a'^  = 
stone  of  tho  flank  or  side.  In  figurative  sense;  pain 
in  the  side,  since  the  stone  is  supposed  to  eure  this 
pain  (Webster).  Thus  the  relief  in  th§  efficacy  of  con- 
tact  with  jade  as  a  remedy  for  internal  complaints  is 
evidenoed  in  its  name*   Beyond  it  reaches  the  belief 
that  jade  possessed  the  property  of  preserving  the  flesh 
of  the  body  and  preventing  deoay. 


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36. 


Ivory  Signet  :  Lion 


The  form  of  the  lion,  to  be  correct  of  the  Fo  (=Buddha) 
Dog,  is  Conventionalised  and  adajpted  to  the  oval  form 
of  this  piece  of  ivory;  the  ball  in  the  lion' s  mouth 
is  the  "jewel  (chee)",  symbol  of  purity. 
Under  the  base  deeply  carved  the  seal-characters, 

Ivory  with  old  patination. 

Mlng   (1368-1644  A.D.)   Seventeenth  Century. 

Ex  collection  Breuer. 

Lit.:   Kümmel  und  Grosse   "Ostasiatisches  Gerät", 
1925,  plate  37. 

Exhi^ition:  1929  Ausstellung  Chinesischer  Kunst, 

veranstaltet  von  der  Gesellschaft 

für  ostasiatische  Kunst  und  der 
Preuss. Akademie  der  Künste,  Berlin, 
Kat.no. 669. 
1938/41  Gemeente  Museum,  Den  Haag  (Holland). 


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IV. 


ANCIENT  CHINESE  CERAMICS 


Some  Notes  on  Early  Chinese  Ceramics. 


Pottery  making  in  China  has  an  unparelleled  oontinous 
history  of  five  thousand  years« 

Prof .Anderson» s  excavations  in  Honan  and  Kansu  were 
the  first  to  show  funeral  pottery  painted  with  well 
developed  geometrical  and  spiral  decorations  from 
the  stone  ages. 

From  these  prehistoric,  neolitic  bowls  of  loess  soil 
and  clay  to  the  ivory-colored  ceramic  of  the  Shang  (Ym) 
(1766-1122  B.C.),  discovered  in  Anyang,  is  a  great  step. 
Besides  broken  pieces  only  two  oomplete  vessels  have 
been  found.  The  one  in  the  Freer  Gallery  of  Art  in 
Washington,  D.C.  shows  carved  designs,  identical  with 
those  on  bronzes  of  the  same  period. 

To  the  funeral  pottery  belong  most  of  the  glazed  vessels 
of  the  Han  Dynasty   (203  B.C.  -  221  A.D.)  formed 
after  bronze  modeis.  Their  leaf  green  lead  glaze  is  often 
dissolved  into  irridiacont  silver  of  peculiar  beauty  (*37). 

With  the   T'ang  Dynasty   (618-906  A.D.)  the 
struggle  for  perfection  begins.  Many  foreign  influences 
are  recognizable,  Hellenistic  and  others,  both  in  forms 
and  glazes:  Fine  proportions  and  beautiful  lines;  porcel- 
laneous  wäre  and  even  porcelain.  (*38,  40) 
*'  The  Chinese  themsolves  do  not  trouble  to  make  a 
distinction  between  porcelain  and  stoneware.  If 
the  wäre  is  compact  and  hard  and  rings  with  musical 
notfc  when  Struck,  it  is  classed  by  them  as  porcelain, 
even  though  the  liody  be  dark-colored  and  opaque,  and 
of  a  type  we  should  regard  as  stoneware."  (Hobson) 
The  Word  porcelain  ,  derived  from  the  Latin 
porcella  (a  cowrie  shell),  has  been  in  use  at  least  since 
the  days  of  Marco  Polo  who  visited  China  in  the  thirteenth 
Century.  Cur  definition  "white  translucent  material" 
is  far  stricter  than  that  of  the  Chinese  equivalent  "Tz'u". 

To  the  ceramics  belong  also  the  charming  terra  cotta 
statuettes  of  women,  manufacturbd  for  funeral  purposes. 
They  reflect  realisticly  the  daily  life  of  the  period 
like  the  graceful  Tanagra  figurines  of  the  Greek  of  the 
fourth  Century  B.C.,  found  in  great  numbers  in  the  tombs 
at  Tanagra  in  Boeotia.  (  *39  ) 


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The  S  u  n  g  e  r  a  (960-1279  A.D.)  signifies  the  zenith 
of  perfection  and  beauty  in  early  ceramics. 
The  Chinese  kilns  begin  to  turn  out  magic  results.  Some 
Sung  kilns,  no  doubt ,  are  oontinuations  of  T*ang  establish- 
ments,  The  great  advance  during  the  Sung  dynasty  was  assisted 
considerably  by  imperial  patronage.  But  that  did  not  mean 
confinement  to  the  use  of  the  court  only.  For  instance, 
the  simple  utility  vessels,  found  at  Küluhsien, 
a  city  inundated  during  the  Sung  era  by  the  Yellow  River 
(  1108  A.D.),  Show  a  very  fine  quality.  (Ml). 

In  Chinese  descriptions  of  Sung  ceramics,  the  producta 
of  the   T  i  n  g   kilns  (yao),  situated  in  Tingchou  south 
of  Peking,  are  always  among  the  first  mentioned.  White 
being  the  color  of  mourning,  all  China  Services  were 
changed  to  these  ivory-white  ceramics  when  the  court  went 
Into  mourning.  Although  only  porcellaneous,  they  appear 
almost  translucent.  The  rim  of  these  exquisite  T  i  n  g  - 
yao  bo^l-s  and  plates  (  ♦42,43  )  were  often  left  un- 
glazed  to  be  covered  with  a  metal  collar.   The  decoration, 
mostly  floral  motives  sometimes  enrichted  by  the  mandarin 
ducks,  emblem  of  conubial  bliss,  or  the  phoenix,  emblem  of 
the  empress,  was  carved  by  the  artist's  hand  under  the 
glaze  on  the  porcelain  clay. 

Hobson  remarks:  "Good  specimen  of  the  ivory  white 

wäre  with  bold  free-hand  carving  are  among  the 
most  beautiful  works  of  art  of  the  Sung  potter." 

Quite  different,  heavy  in  pottery  and  glaze,  are  the 
brown-hlack  Ch»ien-yao  bowls  (  M4  ) . 
They  are  destined  to  serve  the  new  custom  of  tea  drinking. 
The  priest  of  the  Ch'an  sect  (in  Japan  later  Zen)  intro- 
duced  it,  in  order  to  remain  awake  during  long  hours  of 
meditation, 

Ascetic  simplicity  as  well  as  aestetic  subtlety,  the 
philosophy  of  the  Sung  tea  drinker,  was  conferred  upon 
the  tea-bowl  maker  at  Chien-ning  Fu  in  Fukien.  These 
bowls  are  in  a  certain  sense  simple  with  their  thick  mate- 
rial  which  preserves  their  coolness  in  spite  of  hat  Con- 
tents, while  e.g.  fur-like  markings  in  a  lighter  shade  on 
the  darker  background,  produced  with  all  the  skill  of  the 
expert  potter,  add  this  aesthetic  subtlety  which  should 
please  even  the  severest  connoisseur. 


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When  later  on  tea  drinking  became  fashionable,  the  glaze 
was  excellently  suited  for  games  in  which  the  person  won, 
whose  bowl  dried  up  last,  the  dark  color  making  it  easy 
for  the  judge  to  arbitrato. 

The  era  of  the  Yuan  D  y  n  a  s  t  y  (1280-1368  A.D.), 
founded  by  the  conquering  Mongols  under  Kublai  Khan  can 
be  regarded,  relativ  to  the  ceramic  art,  as  a  Prolongation 
of  the  Sung  period. 

Aa  soon  as  the  Chinese  Empire  haa  been  restored  by  the 
native  Ming  Dynasty  (1368-1644  A.D.)  with 
the  first  capital  at  Nanking  (the  second  at  Peking), 
pottery  making  enjoys  its  former  significance. 
Onoe  more  Ching-t^-Chön  in  Kiangsi,  not  far  from  Nanking 
at  the  Tangtze  river,  wins  not  only  imperial  patronage 
but  will  be  developed  to  China* s  greatest  pottery  making 
Center,  when  1369  the  old  kilns  are  replaced  by  the  first 
Imperial  porcelain  factory. 

With  it  a  new  epoch  begins  in  China' s  most  ancient  art. 

White  translucent  wäre,  the  real  porcelain  also  according 

to  Western  Standard,  becomes  the  prevailing  type. 

In  spite  of  the  founds  at  Samara  on  the  Tigris,  where 

white  porcelain  fragments  of  T*ang  origing  have  been 

dug  up,  the  'porcelain  question'  is  not  yet  definitively 

»ettled,  while  we  know  for  sure  that  large  quantities  of 

real  porcelain  were  produced  during  the  Ming  period. 

The  hills  which  Surround  Ching-t8-ChÜn  furnish  the  necessary 

Chief  materials: 

A  very  pure  white  clay,  called  k  a  o  1  i  n  ,  from  the 

Chinese  "kaoling=hill,  where  it  was  found"  (Webster)  ' 

and  the  feldspatic  atone,   pe-tuntse  ,  from 

"the  Chinese  pai-tun-tzu  =  white  briquettes"  (Webster)  in 

which  form  the  material  was  delivered  at  the  factory. 

Hobson  compares  them  to  bone  and  flesh  of  the  wäre. 

The  infusible  kaolin  enablcs  the  paste  to  retain  its 

plasticity,  while  the  petuntse,  w^ich  liquefies  at  a 

high  temperature,  confers  not  only  the  porcelain  body 

its  transparenoy  but  suplies  also  the  glaze  when  mixed 

with  a  little  lime. 

Of  the  differ^nt  ways  used  for  the  pictorial  decoration 

of  the  white  porcelain  body  I  will  here  mention  only  the 

underglaze  colors  which  are  painted  before  the  glaze  is  added. 

The  Ming  potters  have  at  their  disposal  only  two  colors 

which  can  stand  the  high  temperature  needed  for  the  glaze: 

eobalt  and  copper  oxyde  for  underglaze  blue  and  red. 


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With  it  a  new  phase  begins:  The  universal  demand  for 

porcelain  in  "bluo  and  white"  with  its 
climax  in  the  Ming  period  during  the  reigns  .-)f  Hsuan 
TÖ  (1426-35)  and  Ch' Öng-Hua  (1465-87),  the  blue  and 
white  and  underglaze  red  receiving  special  mention  (*47)e 

In  the  early  pieoea  the  natural  cobalt  has  a  greyish  tmge. 
It  will  be  improved  by  Import  of  superior  material  from 
thö  Near  East,  probably  Persia,  the  so-called  "Mohazzanedan 
Blue"  (Hui  Ch'ing);  but  theae  supplies  were  not  only 
costly  but  also  irregulär  and  lacking  entirely  at  times. 
The  freshness  and  spontaneity  of  the  designs  in  the 
early  Ming  picturial  porcelains  begins  to  disappear  at 
a  later  stage  when  the  process  of  manufacture  becomes 
more  and  more  systematized. 

In  the  Ming  period  also  the  fine  white   and  highly 
vitrified  porcelain  of  T  6  -  h  u  a   in  the  province  of 
F  u  k  i  e  n   started:  the  body  and  the  luscious  milk=or 
öreme=white  glaze  merge  insensibly  into  each  other. 
The  decoration  is  formed  Hy  moulding,  application  of 
reliefs.  (*46),  The  European  traders  at  Amoy  brought 
this  porcelain  to  Europe  where  it  became  known  as 
">lanc   de  Chine". 

The   Ch'ing  Dynasty  (1644-1912)  of  the 
Manchu  was  established  first  in  Manchuria  with  Makden 
as  capital.  When  the  last  Ming  emperor  killed  himself, 
the  Manchus  moved  south  and  placed  one  of  their  own 
prlnces  on  the  vacant  throne  in  Peking. 
The  Start  of  the  new  dynasty  was  not  favorable  to  the 
ceramic  industry.  In  a  rebellion  against  the  Manchu  the 
Imperial  factory  at  Ching-te-Chgn  was  destroyed;  the 
effort  to  move  the  factory  to  Peking  failod. 
But  thu  brilliant  and  able  personalities  of  ^^^^  ^^^°^J_. 
emperor  and  his  grandson,  known  as  K'ang  hÄi  (1662-17^^; 
and  Ch»ien  Lung  (1736-95)  itimulated  also  the  ceramio 
arts  to  new  prosperity.  In  1680  the  Imperial  factory  at 
Ching-tÖ-ChSn  was  rebuilt  and  put  under  excellant 

Hrfard';!  of  Ch'ing  porcelain  :ontinue  the  preferance 
for  blue  and  white  wäre.  The  natura  -obalt  blue  of  the 
K'ang  Hai  era  attains  by  experimentations  the  most 
pe^ffct  blue.  "We  hear  nothing  of  the  importation  of 
Tlue  at   his  time.  but  wo  are  told  that  the  native  cobalt 
m  neral  was  refin  d  and  purified  by  elaborate  processes 


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and  that  the  different  grades  of  blue  were  obtained  by 
mixmg  the  refined  and  the  unrefined  cobalt  in  varvin^ 
proportions."  (Hobson)  ^ 

Perfect  workmanship  replaces  the  verve  (  *48,49  ). 
Each  piece  passes  through  many  hands:  one  painter'out- 
lines  the  designs,  another  puts  in  the  fillings;  per- 
fection  instead  of  originality  leads  quite  naturally  to 
standardized  modeis  and  ends  in  lifeless  repetition. 


BIBLIOGRAPHY 

Carter   "Four  thousand  years  of  Chinese  Art",  1948 
Hobson  "Guide  to  the  pottery  of  the  Far  East" ,  1924 
Hobson  "The  potter' s  Art,  1935 
Schmidt   "Chinesische  Keramik",  1924 
Zimmermann  "Chinesisches  Porzellan",  1913. 


^ 


i^ 


* 


i 


\    ^    ' 


H 


1 


*  I 


R 


72 


37 


Jar   on  Bear  Feet. 


H.14  öm, ;  5.8 


n 


The  round  jar,  designed  after  a  bronze  model, 

is  carried  by  three  S(^atting  Vears. 

This  animal  was  a  favorite  with  Han  pottery. 

It  was  believod  to  be  a  powerful  tomb  guardian 

and  evidently  oonsidered  the  caryatid  of  the 

period. 

The  jar  belongs  to  the  mortuary   pottery 
of  middlehard  grey-red  earthenware.  The  glaze  is 
lead-silicate ,  colored  with  exid  of  copper, 
resulting  in  a  fine  leaf-green.  Due  to  long 
¥urial  in  the  earth,  the  soft  lead  glaze  is 
dissolved  into  layers  of  silver  iridesoent 
of  peculiar  beauty, 
One  bear  foot  is  missing. 

Han  (206  B.C.  -  220  A.D.) 

Lit.:  Lauf er   "Chinese  Pottory  in  the  Han  Dynasty" 

Exhibition:  1929  Ausstellung  Chinesischer  Kunst, 

veranstaltet  ron  der  Gesellschaft 
für  oßtasiat ische  Kunst  un  der 
Preussischen  Akademie  der  Künste, 
Berlin;  Katalog  no.l41 
1938/41   Oemeente  Museum,  Den  Haag  (Heiland). 


V. 


I: 
t:. 


!; 


♦*  ■ 

t: 


1 


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73 


38. 


Covered  Grain  Jar. 
H*22  cm.;  8.11" 


The  Jar  ia  finely  proportioned  and  covered  by 
a  lid  with  knob . 

The  hard  white  wäre  is  made  on  wheel  and  covergd 
with  a  thin,  pale,  straw-colored  glaze,  minutely 
crackled. 

T'ang  (618-906  A.D.) 

üixhibition:   1931    Department  of  Far  Eastern  Art  of 

the  Museums  of  Berlin  (Germany) 
1938/41  Gemeente  Museum,  Den  Haag  (Holland). 


m4 


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39. 


Mourning  Girl. 
Ha?  cm.;  &.11" 


A  sitting  girl  with  bowed  head,  wearing  tho  typical 
T*ang  head-dress,  presses  her  left  band  against  her 
bosom  with  a  strong  expression  and  b^aring  of  mourning. 

This  unglazod  terracotta  tomb   figure  was 
made  for  funeral  purposes  with  the  idea  that  the 
spirit  of  the  dead  followed  the  pursuits  which  had 
engaged  him  in  bis  life, 

Terracotta  molded  of  reddish  clay  with  some  traces  of 
pigment , 

T'ang   (618-906  A.D.) 

Lit.;   Sirön,  Oswald  "Die  Stilentwicklung  der  Chinesischen 

Grabfiguren";  Jahrbuch  der  Wiener 
Freunde  Asiatischer  Kunst,  1930/31 

Exhibition:   1931    Department  of  Far  Eastern  Art  of 

the  Museums  of  Berlin  (Germany) 
1938/41  Gemeente  Museum,  Den  Haag  (Holland). 


Mxi   •  (  »4 

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40. 


Melon-shaped  Pot 
H.H. 5  cm,  ;  4.8" 


il: 


The  fruit-shaped  pot  is  of  hard  buff-grey  porcellaneous 
wäre.  It  ia  coated  with  white  slip  -  th6  pottor's  term 
for  liquid  olay  -  and  covered  with  a  transparent  glaze 
green  spotted  and  minutely  crackled.  The  glaze  ends 
some  distance  short  of  the  base. 

Late  T'ang   (618-906)   or  harly  Sung   (ö60-1279). 
Abüut  900  A.D. 


Exhllition: 


1931 
1938/41 


Department  of  Far  Kastern  Art  of 
the  Museums  of  Berlin  (Germany) 
Gemeente  Museum,  Den  Haag  (Holland) 


» - 


4 


ii' 


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76 


41. 


Deep  Bowl.    "KULUHSIEN"   Type. 

Diam.    21  cm. ;      8.5  " 
H.  9  cm.;      3.10" 


The  deep  bowl  on  a  short  foot  is  of  hard,  buff-grey, 
porcellaneous  wäre;  it  has  a  coating  of  white  slip 
covered  with  a  cream-tinted  glaze,  closely  crackled 
in  "ostrich-egg"  style. 

The  glaze  ends  in  a  wary  line  some  distance  short 
of  the  base.  "Spur-marks"  inslde  the  bowl  show 
that  the  bowl  has  been  fired  upside  down;  they 
are  the  scars  left  on  the  base  of  the  wäre  by  the 
pointed  Supports  on  which  it  rested  in  the  kiln. 

Much  of  this  kind  of  wäre  was  excavated  in  Southern 
Chili  where  the  town  CHU-LU  was  destroyed  by  inundation 
in  1108. 

The  Word  HSIÜN  behind  Chü-lu  means  district  city, 
distinct  from  departamental  ("chou")  and  prefectural 
("fu")  City.  (Hobson) 

Early  Sung.   About  1000  A.D. 


Lit.  ; 


Hobson 
Tetts 


"Guido    to    the   Pottery   and  Porcelain 

of   the  Far  East",    1924 
"The   catalogue   of   the  George  Eumorf opoulos 

collöctlon"    1929,    vol. 6,    pl.23. 


i 


i 


Exhibition:   1931 


Department  of  Far  Eastern  Art  of 
the  Museums  of  Berlin  (Germany) 
1938/41  Gemeente  Museum,  Den  Haag  (Holland). 


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a:;::;: 


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77 


42. 


Pai  (white)  Ting  Carved  Conical  Bowl. 
Diam.  2"3»5  cm.;  9.5" 


A  deep  bowl  of  conical  form  on  a  short  foot. 
The  body  clcsely  grained,  white  and  porcellaneous. 
The  glaze  has  the  color  and  texture  of  a  warm 
ivory  white  with  "gummy  drops"  on  the 
exterior,  also  called  "tear  drops"  and  regarded 
as  evidence  of  genuineness  by  Chinese  collectors. 
The  foot  Is  glazed,  not  the  mouth  rim,  giving  the 
impression  of  having  been  fired  upside  down. 
The  raw  edge  of  the  mouth  rim  is  concealed  by  a 
metal  collar. 

The  Interior  has  been  decorated  by  a  design  before  the 
bowl  was  glazed  and  baked  in  the  kiln. 
It  is   carved   on  the  porcelain  clay  with 
the  bold  free-hand  of  a  master  in  the  best  Sung 

style: 

Two  mandarin  duks  (Tuen  yang) ,  emblem  of 
connubial  bliss,  swim  among  rushes,  while 
the  water  is  depicted  with  combed  waves. 

The  exhibition  of  Chinese  Art  1929  in  Berlin  gave 

the  possibility  for  scrutiny  and  comparison  with 

three  other  Pai  Ting  bowls  of  similar  quality 

and  decoration. 

These  belonged  to  the  collections  of 

Eumorfopoulos,  London   (Katalog  no,594) 

Koechlin,  Paris        fKatalog  no.593^ 

Steiner,  Berlin        (Katalog  no.596) 

Our  bowl  (Katalog  no.595)   corresponds 

with  the  famous  Eumorfopoulos  bowl  also  in  proportions 

and  is  doubtlessly  carved  by  the  same  hand,  to  which 

Rcidemeistor  ascribes  also  the  Koechlin  bowl  (see  belowj . 

It  was  formerly  in  the  collection  of  the  areheologist 

Wu  Ta  Chen  in  Soochow. 

Sung   (960-1278  A.D.)   Factory  of  Ting  Chou  in  Chihli. 


•I 


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,.'  Sr.y- 


,,\  •  v;-.,. 


Exhibition:   1929  Ausstellung  Chinesischer  Kunst, 

veranstaltet  von  der  Gesellschaft 
für  ostasiatische  Kunst  und  der 
Preussischen  Akademie  der  Künste, 
Berlin,   Katalog  no,595. 

1931   Department  of  Far  Eastern  Art  of 
the  Museums  of  Berlin,  Germany . 

1938/41  Gemeente  Museum,  den  Haag,  Holland. 


Lit. 


Hobson  "Guide  to  the  pottery  and  porcelain 

of  the  Far  East.  1924. 
Hobson  "The  potter' s  art" .  1935. 
Reidemeister  "L'Exposition  de  l'Art  Chinois 

\   Berlin  1929"  in  Gazette  des 
Beaux-Arts,  p.254. 
Yetts   "The  catalogue  of  the  George  Eumorfo 
poulos  collection"  vol,6,  p.l25. 


Excerpts: 
Hobson  in  guide 


i  ■ . ; 


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..■*«-   . 


.*/ 


ti 


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^-      4.      •- 


»..  •« 


^*;.'  r.'>''   '.  " 


"Good  specimen  of  the  ivory  white 
wäre  with  bold  free-hand  carving 
are  among  the  most  beautiful  works 
of  art  of  the  Sung  potter" 

Reidemeister  in  Gazette  d.B.A,: 

"L'^tude  minutieuse  et  la  comparison  des 
objets  expos^s  nous  apprennent  aussi  que 
la  tradition  chinoise,  qui  fixe  l'origine 
de  types  d^termin^s  ?l  des  ateliers  deter- 
min^s,  ne  doit  pas  Ütre  mise  en  doute. 
Je  n'ai  qu' ^  mentionner  les  rares  ^oupes 
du  type   t  i  n  g  qui  portent  un  decor 
grave  d'oies  et  des  vagues. 
Quatre  pi^ces  sont  re^unies  iei  provenant, 
entre  autres,  des  collections 
Koechlin  et   Ginsberg. 
A  leur  examen,  personne  no  peut  douter 
qu'elles  appartient  au  mSme  atelier, 
sinon  au  m8me  artiste." 

From  these  four  bowls,  once  united  at  ^^^/^^^^^^^^^^.  J^ 
Berlin,  twcr  are  naw  in  the  museums  of  London  and  Paris 
(Eumorfop<nilos  and  Koechlin),  ^^^  (S^f^^^^)^^^^  \l\l 
at  Sothebey  k  Co,  London,  on  the  fourth  of  May,  1948, 


i!:: 


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79 


43. 


TZn     (  flour  )  >  Ting  Dish. 
Diam.  25  cm, ;   10" 


The  dish,  raised  by  a  Short  foot  and  with  a  high  rim, 
is  of  perfect  circular  form  and  of  delicate  color, 

The  body,   brownish  porcellaneous  hard  wäre, 
is  covered,  except  on  the  top  of  the  rim  and  the 
foot,  with  an  ivory  white  colored  glaze, 

Tho  interior  decor,  phoenix  flying  over  waves,  has  been 
carved  on  thü  procelain  clay  before  the  glaze, 
nevertheless  ncarly  worn  out  by  use  and  heavy 
crackles.  On  the  outer  rim  a  pettern  of  vertical 
lines  is  roGOgnisable • 

Sung   (960-127Q  A.D.)   Ting  Chou  in  Chihli. 

Exhibition:   1929  Ausstellung  Chinesischer  Kunst, 

veranstaltet  von  der  Gesellschaft 
für  ostasiatische  Kunst  und  der 
Preussischen  Akademie  der  Künste, 
Berlin.   Katalog  no.608. 
1938/41   Gemeente  Museum,  Den  Haag,  Holland. 


/J&r-, 


l( 


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BO 


44. 


Chien  Ware,  Conical  Tea  ^owl,   (  Teamoku  ) 
Oiam.  12.5  cm.;  4.15" 


The  conical  bowl  Is  of  hard  blackish  pottery  with 
a  thj.ck  blue-black  glaze  streaked  with  golden  brown 
in  fine  lines  like  "  hare's  für  •♦. 
Baze  and  mouth  remained  unglazed;  the  rim  is 
protected  \j   a  silver  collar. 

These  bowls  were  populär  In  the  tea-testing  compe- 
titions  of  the  Sung  Dynasty,  whers  the  poifdered  tea 
succieeded  the  oake  tea  of  the  T'ang.  While  the  cake 
tea  was  boiled,  the  gxeen   leaves  of  the  shrub  were 
ground  to  fine  powder  in  a  amall  stone  mill  and  the 
preparation  was  whipped  in  hot  water  by  a  delicate 
whisk  made  of  split  bamboo. 

In  Japan  the  masters  of  the  tea-ceremony  have  always 
delighted  in  the  Chien  yao  bowls.  Their  thick  material 
made  them  cool  to  hold  and  the  black  glaze  showed  up 
the  least  trace  of  the  green  tea. 
It  is  Said  that  Buddhist  monks  from  the  Ch' an 
monastery  ob  T'ien-mu  S}an,  in  Chekiang,  introduced 
the  Chien  yao  into  Japan  and  that  the  designation 


as 


"temmoku"   is  derived  from  this  origin. 


Sung  (960-1279  A.D.)   Chien-nung  Fu  in  Fukien. 


Exhibition 


Lit. 


1929  Ausstellung  Chinesischer  Kunst, 

veranstaltet  von  der  Gesellschaft 
für  ostasiatische  lunst  und  der 
Preussischen  Akademie  der  Künste, 
Berlin,   Katalog  no.539. 

1931  Department  of  Far  Eastern  Art  of 
the  Museums  of  Berlin  (Germany). 

1938/41  Gemeente  Museum,  Den  Haag  (Holland; 

Hobson  "Guide  to  the  pottery  of  the  Far  East" 
Hobson  "The  potter' s  Art" 
Okakuro  Kakuzo  "The  book  of  tea'  . 


; 

! 

i: 
1; 
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45, 


Small   Vase  with  Long  Nei^k 
H.    18  cm.;    7.15" 


81 


Middlehard  grey-red  wäre  with  a  leaf-green  glaze 
which,  due  to  burial  in  the  earth,  has  bccome  silver 

Irideaoent.  .   , 

The  decoration,  moulded  in  low  relief ,  prune  twigs 
and  volute  Ornaments  is  yellow  colored;  so  is 
the  rim, 

Ming.   1368-1644  A.D. 

Exhlbi^ion:   1929  Ausstellung  Chinesischer  Kunst 
i-xnioivi"  veranstaltet  von  der  Gesellschaft 

f*ir  ostasiatische  Kunst  und  der 
Preussischen  Akademie  der  Künste, 
Berlin.   Katalog  no.676. 
1938/41  Gemeente  Museum,  Den  Haag  (HoilanlJ. 


V 


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w 


■■■m 


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x-^fe  ^»._>^  .  Aj-Bft<MMaa^'«^kjkA..di:^l^  :.lit  »-t«i^»>iL_ii^.  i^^.  . 


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46* 


Gourd-shaped  Poi'eelain  Bottle. 
H.  24  cta. ;  9.5" 


The  body  of  the  rase  is  of  fine  grain,  unctous  and 
yery     white  i     The  glazo  is  thick.  and  solid. 
The  decoration  is  painted  in  underglaze  Imperial 
b  1  u  e   and  ooj^per  red,   "Which  was 
at  its  best  at  this  time"(Hobson) . 

The  style  of  the  decoration  is  fresh  and  spontaneous. 
Below:  T?ro  phoenix  (fing  huang) ,  the  emblem  of  the 
empress,  between  cloud  and  fire  Ornaments. 
Above:  Symbols  of  good  luck  and  fire  Ornaments. 
On  the  bottom  the  reign  mark  of  Ch*6ng  Hua. 

Ming,  Ch'gng  Hua   1465-1487  A.D. 

Exhibition  :   1938/41  Gemeente  Museum,  Den  Haag  (Holland). 


Lit.  :  Hobson 


"The  Potter«  s  Art",  1935 

"  The  reign  of  Ch' eng  Hua  (1465-8")  and 
before  the  reign  of  Hsüan  TS  (1426-35) 
were  regarded  as  one  of  the  classic 
periods  in  the  oeramics  of  this 
dynasty,  The  blue  and  white  and  under- 
glaze red  are  specially  mentioned." 


I 


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V 

v 
V.. . . 

tf  •  -  •  i 

♦».  . ■ • 


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83 


47. 


A 


[  tiiti 


Small  Fruit->shapfcd  Vas^ 
H.    15,5cm. ;   6,1" 


r. 


....  -ir  '^-"•'  >_•- 


Poraellaneous  wäre  with  soft  looking,  creaay-white 
glaxe,  minutely  crackled.  At  the  rim  a  lizzard 
and  a  beetle  are  applicated  In  high  relief. 

Body  and  glaze  merge  insensibly  Into  each  other, 
having  a  charm  of  their  own.  So-called  "B  1  a  n  c 
de  Chine". 

Mlng   1368-1640  A.D,   t«-hua,  province  of  Fukien. 


Lit. 


Hobson  "The  Potter^s  Art".  1935, 

Schmidt,  Robert   "Chinesische  ReramikV ,Taf «1  8^f. 


u 


I 


SM 


— .. — ^.^-_^_. — . 


I '  ■  " » *  •  ii 


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I 


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A 


84 


48. 


Porcelain  Jar> 
H.27.3  cm.;  11" 


The  body  of  the  big  jar  is  of  w  h  i  t  t  material 
with  a  pure  limpid  glaze;  the  eombined  effect  shows 
a  white  which  Hobson  compares  with  "^ell-set  curds". 

On  this  background  the  decoration  of  peonies  with 
their  leaves  is  masterfully  distributed  in  b  1  u  e 
which  bXends  harmoniously  with  the  white. 

This  b  1  u  e  ,  which  varies  from  a  deep  saphire  to 
a  pale  blue,  receives  life  and  movement  from  its 
graded  washes. 

The  spontaneousness  of  the  Ming  painter  is  super- 
seded  by  perfect  workmanship. 

The  ^rim  is  proteoted  by  a  copper  collar. 
Carved  teak  wood  cover  and  stand. 


Ch 


'  ing  Dynasty,  K' ang  Hsi   (1662-1722  A.D*) 


Lit.  :   Hobson   »'Guide  to  the  pottery  and  porcelain 

of  the  Far  East"  1924 
Hobson  "Potter' s  Art"  1935. 


1 


i 


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85 


;;mj 


49,  Small  Porcelain  Bowl, 

Diam.  17.4  cm. ;  7.2" 
H.     4  cm.;  1.8" 

The  porcelain  material,  glaze  and  decoration  of 
exquisite  finiah. 

Insiie  the  bsttom  a  big  imperial  five-clawed  dragon 
en  face  in  iron-red  on  underglaze  b  1  u  e 
waves;   white   are  the  breaks  as  well  as  the  wide 
rim,  undecorated  except  for  a  small  blue  double  line. 
Outside,  in  the  »ame  color  scheme,  ten  small  dragons 
en  profile,  in  different  shapes  and  movements  on 
waves. 

Under  the  bottom  the  seal  mark  of  the  reign  of 
Ch' ien  Lung. 

Ch'ing  Dynasty,  Ch'ien  Lung   (1736-95  A.D.) 

txhibition:  1938/41  Gemeente  Museum,  Den  Haag  (Holland) 

Lit.:   Hobson  "Guide  to  the  Pottery  and  Porcelain 

of  the  Far  East",  1929: 
"  The  long  and  prosperous  reign  of 
Ch'ien  Lung  was  the  last  of  the  great 
periods  of  Chinese  ceramic  history. 
The  celebrated  T'ang  Ting  was  now 
appointed  to  the  supreme  control  of 
the  Imperial  factory;  and  during  his 
rule,  which  ended  in  1749,  the  King- 
techen  potters  touched  the  zenith  of 

their  skill". 
Robert   "Chinesische  Keramik",  1924, 

Tafel  126  d. 


I 


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n 
u 


Schmidt , 


t; 


ftif' 


~'*f-H^<i*M^:- 


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50  4 


Small  Vase  with  Long  Keck 
H.l«  <?m.;   4.15" 


86 


\   ii- 


. 

I*  * 

u 

: 


1 


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1 


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F«   .: 


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The  glaze  of  the  porcelain  vase  is  so-called 
"Clairc   de  Lune'*,a  pale  blue 
shade  which  was  obtained  by  mixing  cobalt  with 
the  white  feldspatic  glaze. 
Under  the  foot  the  reign  mark  of  Ch»ia  Ching. 

Ch'ing  Dynasty,  Ch'ia  Ching   (1796-1320  A.D.) 
Exhibition  :   1938/41   Cremeente  Museum,  Dtn  Haag  (Holland) 


Lit. 


Hobson 


"The  Chia  Ch»ing  period  is  from  the 
ceramic  point  of  view  a  Prolongation 
of  the  Ch'ien  Lung." 


E  f 


.^•l 


r 


r 


;■      '^ 


I  «' 


•^ 


I 


87 


'»f^ 


51. 


Poroelain  Plate  Decorated  in  Black  and  Gold 


Diam.  23i5  om. ;  9" 


I  ! 


It 


The  poroelaiji  plato  belonged  to  a  table  Service  which 
was  ordcjred  in  the  seventeenth  or  eighteenth  Century 
in  China  for  European  use .  White  porcelain  from 
Ching-t§  ChCn  is  decorated  aftbr  a  European  engraving, 
a  foreign  merchant  brought  to  Canton,  so  well  or  so 
:iuriously  as  the  Chinese  copist  understood  the  matter. 

The  black  lines  of  the  European  engraving  arü  given 
diligently.  Beeause  of  these  black  lines,  this  kind  of 
porcelain  is  called  in  the  Netherlands  "Zwarte  Kunst", 
whiiö  the  general  term  is   »^Chine   de  Commandb 

Our  plate  shoivs  inside  its  bottom  ::  nythologicai 

soene,  probably  one  of  Jove' s  love  affairs.  His  ^agie 

and  two  cupids  are  present,  a  peacock  too.  There  are 

some  misunderstandings  in  the  reproduction  of  the 

flurroundings.  A  gold  ornamented  edge  leads  to  the 

broad  rim  with  interlacud  band-ornaments  in  blac^k 

and  ßold. 

Porcelain   from  Ching-tg   Ch€n,    the   decoration  probably 

Canton. 

Seventeenth  -  eighteenth  Century. 

Exhibition:   1938/41   Gemeente  Museum,  Den  Haag  (Holland). 

Lit.:   Hobson  "Guide  to  the  Pottery  and  Porcelain  of 

the  Far  East" .  ^ 

Schmidt,  Robert   "Chinesische  Keramik"   Tafel  13. 
Zimmermann,  r:rnst   "Chinesisches  Porzellan  Tafei  13.. 

Pro  Memoria 

This  pl-it.  bclongsd  to  the  famuus  Chin.  de  Com:.c^de 
ooll.ction  of  Mrs. Sophia  Eltzbaoh.r  Amsterdam  Sh. 
buiU  up  her  volumlnous  colloction  by  P^J^f  "^^^^  JJ  ;^-^ 
M^-fVi^rirnds  Thereforc  we  can  presume  v-hat  .--so  tr.is 
p  at  iaf  :;d!  :o%rder  of  the  Dutch  ^^^\'-f;'^^^,^'^ 
founded  by  Pietor's  Coen  in  1602.  After  the  death  of 
irritzbLhcr  in  1900  the  .hole  collcca^^^^^ 

llr'     ^his  tha  0  lleSt ion  .as  in  the  Schloss  Museum 
mothtr.   Thus  tne  >''-^-^«      f<niiection  has  not  sur- 

for  her  descendents. 


\ 


w 


f » ■  f^ttm 


>^mt-,- 


II 


I 


l 


w 

I 


i,   i 


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88 


V.    tMnh.TiT   r.HINt.SL     PAINTING 


=2  Birds   and  Flowters. 

Kakemono   on   darfcened  Silk   in  brocadt  mounting. 
102   X  49  om. ;      40.3  x   18.5" 

■^      f.-         or.   -ho   branches   above  him  a  pair   of   3mai..r 
VHrrt.*-    on   the   eround   below   a      p  h   e   s   a  n   t      among 

::rri:t   W;   a.:  blosso«s.    another  with  ««all  whUe 

LMeMglt'slde   ded.catory    inscript.on  of   th.rty   one 

^•hara^ters. 

Tuan   (Mongol)    Dynasty    1260-136     A.D. 

From  Daizen,    Kioto . 

r.rs      "P-iintinß    and  Caliigraphy*' : 
p.6.    •'    In   1260   the  Mongols   becaac   mast^rs 

ptinUng   contxnued   in    the   Sung   traditio., 
,Uh  a  eertain  difm^^^ 

The    life    ^J^^i^f^'^.giif.cant   motive 
become»   a  far   more    signx  ,,        ^^^ 

^K.^  ^^th  US       Flowers   espeoxaUy,    lor 

^°'      ^7!d  with  Jirds,    a3   if   songs   and 
as3o=iated  with  bir      .  ^  eio^uence 

movcojents   ol    tne   oiru  „ 

to   the   silence   of   th«  flowers. 


Lit. ; 


1  m-i 


i: 


I- 


dt  I'    i     .A. 


i 


'-   ■'(, 


'■*P: 


89 


VI.      ANCIENT  CHIWESK      LACQlLbR 


53,      Rectangular  Box  For  Incense  wlth  Painted  DecorBitionr     '^ 

H.   4  cm.;    1.6" 

G.    6   X  6  cm.;    2.6  x  2.6" 

The   foundation   of   the   lacquer  work  is  wood. 

The   decoration  (hua  ch* i)    is   a  painted  upright 

acarlet   celestial  five-clawed  dragon  in  profile 

amidst  clouds  and  lightening  Ornaments. 

The  favorite  three  color  scheme  of  the  Ming  is  used: 

Scarlet,  green  and  brown  on  black  ground. 

Both  parts  of  the  box  are  framed  with  lead, 

Ming  (1368-1644  A.D.)   Sixteenth  Century. 

Lx  colloctions  Prof .Grosse ,  Dr^A. Breuer, 

Exhibition:   1929  Ausstellung  Chinisischer  Kunst, 

veranstaltet  von  der  Gesellschaft 
für  ostasiatische  Kunst  und  der 
Preussischen  Akademie  der  Künste, 
Berlin.  Katalog  No.772, 
1935/36  Royal  Academie  of  Arts,  London. 

Internat. Exhibition  of  Chinese  Arts. 
1938/41  Gemeente  Museum,  Den  Haag  (Holland). 

Lit.-:   "Transactions  of  the  Japan  Society  of  London". 
Vol. XII,  plate  IX.  ^^ 

Leicht  Ashton  "Sculpture  and  Lacquer  i^Ot> . 

"Lacquer  is  one  of  the  oldest  arts  m 
China.  The  foundation  of  the^material 
is  the  natural  gum  of  the  Ch*i  shu 
tree.  The  gum  in  dried  form  is  crushed 
and  strained  through  cloth  to  reime 
it   is  next  ctlored  to  the  various 
tints  required  and  then  ready  for  use. 
The  Chief  colors  are:  scarlet,  yellow, 
black,  brown,  also  green. . . 
With  the  materials  thus  obtained  the 
lacquerer  paints  on  his  coats  over  a 
foundation  of  wood,  metal  or  paper  mtlchce 
in  successive  layers,  never  iess  than 
three,  allowing  each  coat  to  J;y  ^^^J^^ 
the  next  is  applied.  The  object  is  then 
ready  for  decoration... 
The  Chief  Center  of  painted  lacquer 
was  Chia-hsing  fu  in  the  province  of 
Chekiang." 


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90 


VII.   AKCIüJJT  CHINESii.  RUGS 


The   majority   of  rugs  was   producod  at   a  comparatively 

late  date. 

Apart  from  the  early  fragmentß  foiind  by  Aurel  Stein  in 
Central  Asia  on  the  old  "Silk-tracks" ,  a  few  pieces 
of  T'ang  time  ,  part  of  emperor  Shomu's  gift,  exist 
in  the  Soso-in  at  Nara. 

The  nomade  tribes  of  China' s  western  borders  in 
Chinese-Turkestan  brought  industrial  art  of  carpot- 
weaving  already  from  Central  Asia.  Besides,  Tamerlan 
settles  Persian  carpet-weavers  at  Samarkand  about  1408. 

Nevertheless  the  Chinese  carpet  develops  a  style  of 
its  own,  primary  in  its  principal  centres  of  produotion 
at  Yarkand  and  Kashgar,  later.  when  the  carpet-weaving 
industry  is  greatly  promoted  by  the  emperors  K^ang  hsi 
(1662-1722)  and  Ch' ien  lung  (1736-1796)  in  the  provmc. 
Sohantung  and  in  Peking.  Here  the  proper,  Pj^^f /^^^^^J^,^ 
patterns  develop  which  differ  greatly  from  the  Turkest^n 

designs, 

Both  have  in  common  principal  features,  diverging  from 

the  carpets  of  the  Nearer  tast,  Mu=h  looser  knitting, 

r^ottin/of  the  pile  to  offset  the  angularity  of  thu 

desigi;?  difJerent  oolor  schemos,  yellow  and  Uue  being 

the  nrodominant  ghade»»  ^,       <^«^^  y^t 

The   piain  Chinese  patterns   trace   back  ^o  the  very  anci.nt 

ait   of   silk-weaving.   which  in  the   antiquity  brought   the 

»^Qmc   »«cif.rp«*"    to    the  Chinese, 

Jhftradi     onal  use   of  ao.epted  motives   form  the  bas.s 

of  many   a  pattern.     Floral   -«^.-^f  .J^^     ^  ,'th.   four 
Prunus,    p.ony.   Chrysanthemum,    ^^J^^^^^^^^^^J  °  ,   rolc, 

and  water,    lightning  and  ^ ^^'=-    f  =°   '*':;j,igif  Buddhist" 
(Pa  kua),    the  "Twelv«  Ornaments   ,    the     fcignx.  ^ 

emblems , 

Münsterberg  "Chinesische  Kunstgeschi.hi., 


Toyei   Shuko 


Band  II,    1912. 
"Illustrated  Cataloguc-   ot 
Ancient  Imperial  Treasare, 
called  ShoBoin",   vol. II. 


..Seres"    :   The  native  name  of  the  natural  silk  f.bre 

was 


♦*8SÜ" 


\ 


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f  l; 


m 


^ 


^ 


jt^ 


1 


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91 


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^  '  4 


I 


54. 


Shantung  Wool  Rüg. 
200  X  256  cm.;   79  x  101.1" 


In  the  middle  of  the  creamy  ground  a  circular  mcdaillon 
in  bluc  and  yellow.  In  it  the  lionlike  shaped  "Fo-Dogs", 
These  dogs  (Fo  is  the  Chinese  term  for  Buddha)  guard 
buddhistic  sanctuaries,  the  male  carrying  the  ball-shaped 
chu  (=  jewel),  the  Symbol  of  purity. 

Over  the  rest  of  the  croainy  surface  somö  prunus  twigs 
in  orange,  yellow  and  brown  are  gracefully  scattered, 
while  the  four  corners  are  filled  with  scrolled  stcms  with 
peonies,  the  "mu  dan  hua" ,  sym>ol  of  wealth  and  esteem, 
being  simultaneously  on  of  the  four  seasons'  flowers. 

The  borders  are  dark:  Chinese  meander  or  Thunder  pattern 
in  blue.  yellow,  brown  on  orange  ground,  surrounded  by 
dark  blue  ground  with  peonies  and  tondril  pattern. 


a 


About   1750     (Ch'ien  Lung) .      Province  Shantung. 

Lit.:      Holt      "Rugs   oriental   and  occidental  antique   and 

modern",   Chicago   1908. 


Exnibition    :    1929 


Ausstellung  Chinesischer  Kunst 
veranstaltet   von  der  Gesellschaft 
für   ostasiatische  Kunst   und  der 
Akademie   der  Künste,   Berlin, 
Katalog  no.ll22. 


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92 


55. 


Chiriüse-Turkestan  Wool   Rüg. 
265  X   120   cm.;    104.1  i  47 •5" 


Ploral    and  geometric   pattern  on  deep  ruby-colored 
ground. 

Principal   features   are   the   three   circular  modaillons 
in  the   centre   part  with  cloud   and  floral  motives   on 
blue   ground,   The  "reversed  line"    in  black  fills   the 
four  Corners. 

On   the   borders   tendril-work  on  blue,    flower  rosettes 
on  ruby   and   the   **8wastiKa-band-ornament"    called 
"   wan  dsi  bu  daw   tou  =  good  luck  without   end  "    on 
yellow  ground. 

Yarkand,      East  Chinese   Turkestan,   West  China. 
Nineteenth  Century. 


Literature: 


56. 


Bushell     "Chinese  Art",    1910,    vol. II. 
Hackmack     "Der  Chinesische  Teppich".    1921 
Münsterberg     "Chinesische  Kunstgeschichte", 

1912,    Band  II. 


Chinese-Turkestan  Wool  Rüg. 
220   X   115   cm.;    86.14  x   45.4" 


The  background   of   the  middle   field  is  nearly    turquoise 
whereby   the   change   of   shades   adds   to   ^^\Pf  ^J^^^    .  . 
charm.    In   it   a  pomegranate   tree,    the    symbol   of  fera- 
lity.    grows   in  yellow   out   of   a   small   vase;    ^ts   Uigs, 
horiEontically   and   symetrically   arranged     fUl   the 
ground;    the   leaves   and  fruits   are,    in  spite  of   styli- 
aing,    clearly   recognizable.  ^^.ev 

Two  Mörders  enclose  the  rüg  Both  in  ^«^-  J^JJ  J 
shades  the  inner  with  floral  ornaments,  the  outer 
wuS   Jhe     "swastika-band-ornament"    in  brownish   tmts. 

Kashgar,      East  Chinese   Turkestan,   West  China. 
About    1800. 


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93 


57. 


Areade  Praygr  Rüg. 
180  I  78  cm.;   70.14  x  30.11" 


The  whole  surface  of  this  rüg  with  a  tile-red  background 
is  divided  into  Sil  prayer  niches,  buildmg  together 
the  "areade"  . 

Each  niche  is  decorated  with  the  pomegranate  tree  a 
very  ancient  orlental  symbol  of  fortiUty;  0^^  f  J 
»ft«;  »rows  a  stalk  wlth  a  blossom  on  the  top  and  tnigs 
arranged  syLrrically  .ith  more  or  less  ^ty  -1  le-es 
Sd  flowers  in  two  shades  of  blue  -^^/j^^J/^^^^J* 

The  same  two  shades  of  blue  ^«/"*  J°\ii'  f.Tith 
of  the  niches  and  the  background  of  the  borders  with 

their  flower  motives  in  tile-red. 

Pine  wool  with  a  silky  lustre. 

Kashgar,  East  Chinese  Turkestan.  West  China. 

Nineteonth  Century. 

These  rugs  are  also  called  "^^^^^^,^\^IZTJ^^'" 

xneac  xu^^  c-^fnatpd  old  and  famous 

after  tho  more  central  "^^^^^J /^^^^  ^„  ^he  Uohamedan 

capital  of  Turkestan.  T^^^^^^t J''Afe-end  of  the 
p^ulation  for  common  prayers  the  gable  ena 

niche  pointing  to  ^h^^^^i,  ^^^^.^^^i^:,  pattern  seems  clear. 
Here  the  connection  wUh  the  mamxc  pa      ^.^^^  ^^^^^ 
The  design  "sembles  the   Moudjur  ^^^^ 

Shows  the  same  Ji-^^^^^.i'^^^.furd  a^^  differ  in  the 
most  of  the  niches  remam  unfiiiea  ^ 

solors  of  their  background. 

v.artPrsen  "Chinesische  Kunstgeschichte", 
Literature:  Feddersen   ^^^^^^^^^^^^  193. 


I 


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94 


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B. 


JAPAN 


VIII.        Sword-Gear  Maaters 

The    sword-gear   is  not   forged  by   the  blade-smith 
who's   occupatio!!  had  an  almost     religious  eharaoter; 
particular   schools   of   artists   in  metal  wrought   them. 
The   jaixanese   distinguish  between   decoration-ornaments 
on  the   sword  and  the   decorated  parts   .^^  ^^^^"".^^^^^V 
Tn   the  first   belong  the    sword-knive     ^   ä  •   d  z  u  K.  a  ;    , 
'the   B^ord^eedle  (logai)  ,   whxch  found   their  Places  - 
both   sides   of   the   scabbard,    and  the  .mall  ornaaents  on 
both   sides  of  the  hilt  (menuki);  /,  ...n   „„d 

To  the   latter   the   guard  (tauba),    pommel   (fuohi)    and 
hilt-ferrule   (kashira). 
The     Goto      sohool   is   oonsidered  the  classioal 

aehool   of   chiseled   sword  gear.  /^to   im?^ 

lllll  founded  by    the   ^^-uraiQoto  Maseru  (1439  1512) 

who  was  born   in  the  province  ^^'^l^^^l^'^ll^^lZ., 
luxurious  oourt   of   the  Ashikaga  Shoguns.   His   artist 

name    is  Tujo,  .  slxteen  generaticns, 

Durlng  four   centuries   (1460-1856;,    ^^  us   style 

the  Goto   sohool  will  P^^^^^^J^L     P^in  el     the'great 

?:Jd:i^iordf  (d:r.X)"a:i";hrii%oiioL.s  the  sa.u.ai, 

illo'lfli-e   first  .aster  ^^.°^^-orated  sword  gear  w.th 
leiiefs.  The  fourth  aoto  .aste    G^o  t^o^  K^^  r  ^^ 

(Mitsuige  1530-1620).  ^  /J^^J^^^.i,^,  ,sing  silver  for 

use  human  ^^«7/%^fi.  J^om  the  fifth  master,  Goto 
faces  and  hands,  ""^^"J^"  ,n   ,j,g  first  k  o  d 
Tokuju  Mitsutsuge  J^t^-lW,  the 
with  the  Short  steel  blade  have  origi 


z   u 


k  a 


A 
s 


im    uiio    o^^v  ~ .„11,, 

1    .v=   rr.f^  masters  used  prinoipaliy 
s  ground  f  ^^^\i^:i5:;%:^:'ef  of  a  basis   of  oopper 

"  ^  ^  "^  ^        ;^™?xtures  of  silver  and  gold. 
with  varying   admixtures  °^^     aurfaoe 
They   decorated  the   ^g^r^a  x^^^^^  ^^  ^^^^  ^^    .^  p^^tly 

goldplated  shakudo. 
Shoguns  at  Yedo. 


I 


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f  -:  «^  -  ^  *1 '  5 '   .^  •' 


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Horks  of  the  Goto  mastors  for  other  purpos^s  than 
8word-gear  are  very  rare.  I  only  know  of  tho  grasps 
of  sliding  doors  (hikite)  In  form  of  hanging  bamboo 
vases  with  various  floner  decorations,  furnished  for 
the  pleasure  seat  of  the  prinoe  Katsura  of  Kacho 
near  Kioto,  and  the  nagikakushi,  nail  heads.used  to 
concell  the  nails  which  join  temple-oolumn  and 
ceiling-beam.  In  the  first  templo.  Higashi  Hongwanji 
which  Sas  buht  on  order  of  Hldeyoahi,  they  w.ro  in  th. 
form  of  floating  tennins^ 

The  few  kodzukas  her.  described  are  tho  rest  of  a 
small  collection  built  up  in  Tokio  1908. 
For  the  introduction  into  this  br&nch  of  Japanese 
art  I  am  indebted  to  «ry  friends  Gustav  Jacoby  and 
raul\autier  .ho  o.ned  onc  of  t  e  .03   .  rtan.^^^^^_ 

°.;i^rirt:  vziirz'^  dLi:;  u  in  xokio  and 

gave  me   valuable   advico. 


Ir.:-: 


Lit. : 


Ausstellung  Japanischer  Kleinkunst,  Sammlung 
Gustav  Jacoby,  Kunstgewerbe  Museum  Berlin  x905. 
Jussreliung  japanischer  Ku.st«erke,  Sanunlung 

Uoslö.  Berlin  1909.         seh^^ertzieraten"  , 
"Japanische  ^tichbiä-ter  uno  d      ^^^.i^hnis 
Sammlung  Georg  Oed«r.  Bes.hreioena      ^^^^^^ 
von  Paul  Vautier.  Herausgegeben  von  Otto  Kumm 

Berlin  1916. 


«* 


.*t^^ 


~w^ 


lü 


I 


'I 


/•♦ 


96 


58/59.    Two  Nail-Convealers   in   the  Shape   of  Floating  Termins, 

L.    45   cm,;    17.12"        ♦       46  cm,;    18.1»» 
H.    17   cm.;      6.11"        *       19  cm.;     7.8" 


Tho  two  Tonnins  (sanscrit  Apsaras).  Buddhist  angels 
of  femalo  sex,  are  represented  floating  in  the  air 
and  plRying  on  musical  Instruments ,  One  is  holding 
the  flute  (tohou)  to  her  lip»,  while  the  other  carries 
the  drumsticks  in  hoth  hands. 

Both  figurines  wre  fixed  to  the  timber-work  of  the 
tomple  Higashi  Hongwanji  to  conceal  the  nails  which 
joined  temple-column  and  ceiling  beam.  ("Kugikakughi") 

Copper  ground  plated  with  gold,  silver  and  shakudo. 

The  trifold  patterned  gold  is  used  to  chisel  the 

Streaming  gowns  and  ribbons,  the  silver  to  represent 

the  uncovered  upper  part  of  the  body,  faces,  arms,  feet, 

and  the  shakudo  the  hair. 

Shakudo  is  used  also  for  the  bracelets  as  well  as  for 

the  blossom  ornaments  which  are  layed  on  the  gold  as 

decoration  for  the  gowns  besides  engravings  and  trellis 

pattern  in  black  enamel. 

Attributed  to  Goto  Kojo.   1530-1620. 


Exhibition:  1912 


1935 


^'Ausst-aiung  altsr  Ostasiatischer  Kui.st", 
veranstaltet  in  der  Königlichen  Akademie 
der  Künste  zu  Berlin.  Kat.-.log  no.280/i. 

"Ausstellung  Kunst  des  alten  Japan", 
Basel,  Gewerbe  Museum,  Kat.no. 13. 


■^m     i' 


i 


IIP 

ti- 


li; 


Otto  Kümnel  wrote  1912  "Gotomeister  in  the  beginning 
of  the  soventeenth  oentury,  originally  in  the  ttmple 
Higashi  Hongwanji".  ^c.wthat 

at  K  fo  finishcd  1.02?,  also  the  usa  of  hunan  figurcS 
and  silver  for  faco  and  hands  are  mentioned  as 
charaoteristic  for  this  master. 


.;^. 


"l^^iÄ  r*"*" 


1.  s. 


Small  wonder   that    thc   Gotomaster  yielded  to   such  an 
unoommontask.    It  was   the   omnipotent  Taiko  (great 
oounselor)    Hideyoshi   (1512-1598)   himself,   lover  of 
sumptuous   decoration,   who   ordered  the   transfer  of  the 
headquarters   of  the  weatern  hranch  of   the  Hongwanji 
sect    to  Kioto   and  was    in  consequencG   interested  in 
the   erection  of   a  templc  building  which  met  his  taste, 
still   to  be    Seen   in   the  Main  Hall   of   thü  Nishi- 
Hongwanji,    eröctcd   at  Kioto   in  1591. 
The   Higashi-Hongwanji  temple  was   only  finished  after 
Kisdoyoshi*3   doath,   when  leysau  Togugawa,   Hideyoshi' s 
greatest  general,had  succeeded  in  maUng  Japan  his   own. 

In   1768   a  fire   destroyed   the  temple.   Among  the  few 
things  resoued,    these   tennins  were   saved  and  came 
into   the  possession  of   the  counts  Otani,   high  priescs 
of   the   Hondo   seot. 

IVhen   on  July   5,    19o9  the   Otani  possessions  were  sold 
by   auction,    I  was   able   to  got   the  tennins. 

Kümmel     "Kunst  Chinas,    Japans,    Koreas»'     Handbuch  der  Kunst. 
^issenBohaft.,.    1929.    (ill.154,   p.l72.) 


f 


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i 


98 


60. 


Kodzuka 


A  golden  rake  in  relief  beside  a  tombstone  with  gold 
inscription  on  grained  Shakudo  ground.  Frame  half  gold, 

half  shakudo, 

The  reverse  half  gold  plated,  half  even  shakudo. 

Goto  Master,  eighteenth  Century. 


61. 


Kodzuka 


Two  monks  with  rosaries   in   their  hands   approach  timidly 
an  oni  who,    disguised  as   a   samurai,    is  going  to  strike 
the   great   tomple-bell  with  the  hammer, 
Rolief   in  gold,    silver,    shakudo,    with  inlaying  and 
engraving   on  grained   shakudo   ground.      Gold  frame. 
Reverse    shibuiehi  with  signature. 

Goto  Master,    eightecnth  Century. 


62. 


Kodzuka 


Saigyo  Hoshi,      (prince  Sato  Hioye  Ilorikiyo,    1115^1188) 
as  pilgrim  Stands   lost   in  viowing  the  Fuji-yama, 
The   famous   contour   of   the  ijiountain  Is   engraved  on 
even   shakudo  ground;    the   pilgrim,    the   lotus,    the 
cloud-band  are   inlaid  in  gold  and  silver. 

Province  Kaga,    eightoonth  Century. 


63. 


Kodzuka 


A  hare  sitting  between  grasses  looks  at  the  moon, 

which  is  half  covered  by  clouds. 

Ground  matorial  is  iron,  the  hare  gold  relief,  tne 

moon  and  grasses  silver.  oV>.n-h«» 

Tho  reverse  is  gilded  and  decorated  by  f^^^^  shrubs 
in  engraving.;  Signatur«:  Matsushita  Yoshiro. 

Province  Kaga,   seventconth  Century. 


64, 


Kodzuka 


An  Rpe  pursuing  with  its  eycs  a  Jragon-xy. 
Ground  material  iron,  the  ape  relief  in  shakudo, 
the  dragon-fly  gold  inlaying. 
Province  Kagft,   eighteenth  Century. 


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A 


Kodzuka 


t7Ti£   is   inlaid  on  even  shakudo   ix;  «^^^and  silv.r 
The   top  of   the  kodzuka  is  framed  in  gold,    the  bott 
in   silver. 
Province  Kaga,      eighteenth  Century. 


om 


66. 


Kodzuka 


67. 


Tiger  in  rain.   Relief  and  gold  inlaying  on  i^on. 
Signature:  Suzuki  Kazugasu. 
Mito,   eighteenth  Century. 

Kodzuka 

Chorry-tree  tranch  in  relief  on  iron  ground, 

enricLd  by  blossoms  in  silver  and  gold. 

Slgnature. 

Mito,      eighteenth  Century. 


Province  Kaga;  r6nown  in  the 

Works  of  art    of   ^ho  provinc^  K.g^-  are   r  ^^^ 

eighteenth  and  nincteenth  c.ntury  ^  ,,  ,ech- 

of  gold  and  ^^^^^l'^^'^'ll^.iX     Ground  netal  mostly 
nioally   and  ^'^^^^^^^JJ^^n  in  mW  col^^^- 
Sic«  the   artlovmg  daimios  ol   ^^g  ^„^^^^ 

to   time   the  most   i-^P-f^jf,  ^eouted  by   their  pupils 
to   their   C50urt,   many  work."  execu^ 

Show  the  Goto  Ftylfe. 

Mito:  .,       ^   „.  -nowerful   and  artloving  princ.s 

in     W.  i  t   0    ,     resxdenceof  powert  ^.^^^^^^    ^ 

groat  «any   ^^«'^^^"'''^J:^!!   ^  middle   of  the  nxne- 
middle   of   the  eighteenth  to   the  m 

teenth  Century. 


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IX  ANCIüJ^T   JAPANESE  POTTERY 

3ome  notos  on  pottery  used  in  thD  Cha-no-yu. 

r^u  r,«  vu   literally  means     "tea' s  hot  water"  but  is 
always   translated  with     TEA     CEREMONY. 
Tr,    Tat>--ri  the  potter' s  art  developed  in  tha  thirte^nth 
Century   and   it  came  at   thc   saoe     J  ^^^^   .^ 

of  the  Chinese  cult  of  ^^^'f/ ^^  '^f;,  i.plements: 
b.came  necessary   above   all   to  g  t  P^^^^^^^  ^^^ 

tea  -  bowls  =   c   n   a  w  a  n,    tui^  j 

estimated  as     o  h  a  w  a  n   . 

The   potter  Toshiro   l-rned  Chinese  .ethods  on  hxs 
journey    to  China   in  ^223   to   1^^7  ^.^^,^  ^^.^^^^^ 

On  his  return  to  f  PJ^^^^^j,^i/3  jf^     t  o  a     J  a  r  8 

material,    making   ^i'^^J^^^^^e^  brown,    th.  famous 

_<»v    ■Plnwino    clazes    Ol    an    amoei    i'i^       ) 

with  flowing  gl  „      ,  Chinese   piece. 

..   K   a  r   a     n  o  n  o  „;^'o    .   t   o     in  the  province 

generations   of   famous   potters. 

.      .nnt^-ibuted  to   the  rapid  progross  of   the 
Ihree   ovents   conti iDuita 

Japanese   tea   =eraaics.  aecular  tea-ceremony  by 

The   first  .as   the  ^'^^'''f^^'lCL^.ur.  of  the  shogun"  s 
Ashikaga  Yoshimasa  ^^^^^^/-'J      .^^   »he  Ginkakuji  or 
dignity.    In   1479  ho  built  ^-^f  ^^  ^^,  favorites  Soami 
sllver   Pavillon  «^    .'^^'/"•/fi'.^ated  the   tea  oormony 
and  Shuko  he   Pr^^^,f°\!fi„  the  first   tiny   tea-room 
to    tho   rank  of   a  fine   «^//Jf,  ,,,^  ,he  canon  pres- 
(cha-Bhit8u)   built  J-  -=^/^^  ,,  ,,e  proper  sxre  for 
orlbing  four   and  a  hau   ^ 

such   a  room.  jjtinn  aBRinst  Corea  m  ^i>-ic, 

Second:    Hideyoshi' s   oxped.Uon^g     ^^^^  potters  were 

m  the  wake   of  which   %"^'^°f   °'ious  parts   of  Japan 
V        „vt    hft-k     who   sottled  in  various  *'  -   .        ^  g     and 
brought   ba^K,   «"^  TAkatori,      ».i" 

at     S   a  t    8   u  m  a   ,      T   a  k  a 

£  a  r   a  t   8  u. 


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Third:    thc   Convention  of   thc  various   schools  of 
tea-drinking  which  Hidoyoshi  called  together   \n  1594 
at  bis  palace   of  Pushimi.   Here  one  of  the  greatest 
tea-masters  Sen-o-Rikyu  collated,   purified  and 
codified  the  tea-ceremony. 

He   took  up  the   simplicity   and  ralsed  it  to  a  canon 
of   taste.   The  worship  of  simplicity  and  of  the 
antique   in  objets   of  art,    together  with  the  observance 
of  an  elaborate  code   of  etiquette  are   the  doctrine 
and  discipline  of  the   tea-ceremony ,  which  has  never 
varied  since. 

The  Japanese  potters  did  not  work  in  great  organised 
oentres   like   those   of  Ching-t8-ChÖn.   Unusally  one  or 
two  potters  ran  small  work  shops.   Hence  the  great 
variety   of   the  wäre,   hence   the   individuality  of  every 

piece.  ,  ,  *  \ 

The   Japanese   tea-masters     (   c  h  a  j   i  n  =  tea  man; 
lent   their  Inspiration  to  the  manufacture  of  the 
Utensils  used  in  the  tea-ceremony .     The  beauty   of  the 
used  ceramics  depends  mostly  on  the  expediency 
expressed  in  form  and  glaze.  The  great  manipulatod 
skill   is  often  masked  by  roughness.   One  or  more 
flowing  glazes  cover  the  wäre,   running  partly   in  drops 
and  ending  abruptly  before  reaching  the  base. 
At  first  glanae  these  potteries  appear  very  simple. 
But   all  who  View  them  in  the  right  attentive  mood 
TiV    find  the  neblest  pieces  to  be  animated  creations 
befongi^g  to  the  most  beautiful  which  have  been  exeouted 
in  th!  c!ramic   field.   Hence  it  becomes  ^^^^^J^/^^Jf^^^^ 
that   the  Japanese   equaliJ^e  such  pieces  to  sword  blade 

only. 

The  esteem  in  which  these  '^'^^^'\''lll'}t\^,T 
the  dlfference  betwoen  Japanese  and  foreign  art 

appreeiation  especially  Jif f ^J^^;^,  ^^i,,.  ^^ereas 
Tho  foreigner  considers  first  ^J^  jf^J^;;,;tance  that 
for  the  Japanese  it  is  of  the  g^^^J^^f J^JJJ,  translation 
auch  a  piece  possesses  "ajl   .  ^^^ .        \.      ^..    ^f  a 
»Tslt^äoes   not  give  the  füll  .eanxng  ^Je  a  .  f  »  , 

piece  depends  «^^  onj^  ^J^t  a  e'?h  Xs  r  cal  events 
art  itself .  Essential  for  it  are  ine  n 

which  it  lived  to  see  and  t^e  manner  n  which  ^^  .„p^^tanoe 
treated.  Hence  the  ^^'^"^«^JtL^he  old  brfcade  bags 
and  essential  for  the  ^J^f 'iJ'',ilf  tastfuUy  adapted 
with  their  lini-8»  °^,;  ^"  ^l       d  ivory  lids  and  the 
to  the  color  of  the  8^*'^'  "^^  ^y,^   shape  of  the  piece. 
old  piain  wooden  boxes  fitted  lo  vn 


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I   cannot   do  better   than  to   quote   litcrally  Okakuro  Kakuzo 

in  the   following  paragraphs: 

"      Teaism  is   a  cult   foujided  on   the   adoration  of  the 
beautiful   amoja^  the   sordid  facts  of  every   day 
exiatenee.      It    iaculcates  purity  and  harmony,   the 
mystery  of  mutual  charity,    the  romanticism  of  the 
sooial   Order.      It    Is   essentially  the  worhip  of  the 
Imperfecta    as   it   is   an  attempt   to   accomplish  something 
possible   in   this   impossible   thing  we  know  as  life. 

The  Philosophy   of  Tea   is  not  pure   aestheticism  in 
the   ordinary   acceptance   of  the   term,    for  it  expresses 
conjointly  with  ethics   and  religion  our  (i.e. Japanese) 
point   of  Tiew  about  man  and  nature. 
It    is  hygiene   for   it   enforces  cleanliness,   it  is 
economic,    for    it    shows   comfort   in  simplicity  rather 
than   in  tho  complex   and  costly;    it   is  moral  geometry 
in   as  much  as   it   defines  our   sense  of  proportion 
to   the  universe:    It   represents   the   true   spirit  of 
Eastern  democracy  by  making  all   its  votaries 
aristocrats   in  taste." 

••  It  is  in  the  Japanese  tea-ceremony  that  we  sea  the 
oulmination  of  toa  ideals.  Tea  became  more  than  an 
idealization  of   the   form  of   drinking.    It   is  a  religion 

of   the  art   of   life. 

The  beverage  grew  to  be  an  excuse  for   the  purity   and 

refinement,    a   sacred  function  at  wbich  the  host   and 

tho  guest   joined  to  produce   for   that   occasion  the 

utmost  beatitude   of   the  mundane, 

The  tea-room  was   an  oaais   in  the   dreary  waste  of 

existence,   weary   trarellors   could  meet   to  drink  from 

the  commoi   spring   of   art-appreciation.     The  ceremcny 

was   an  improvised  drama  whose  plot  was  woven  about 

the   tea,    the   flowers   and  the  painting. 

Not   a  color   to   disturb   the   tone   of  the  room,   not   a 

sound   to  mar   the   rhythm  of   things,   not  a  gesture  to 

obtrude   on  harmony,    not   a  word  to  break  the  unity 

of   the   surroundings,    all  movements   to  be  Performed 

Bimply  and  naturally   -  such  were   the  aims   of  the 

tea-oeremony.  „»-p.,i 

And   stranelY   enoußh,    it  was   often   successful, 
And   sirangiy   e^^u^ix,  v^v,^,.ri   it    all-   Teaism  was 

A    subtle  philopophy   lay  behind  it   an. 

Taoism  in  disguise.*' 


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XL 


104 


Pinally   it    is  necessary   to  know   thb  meaning  of  the 

technical   torm     ••Itokiri", 

Ito   is  =  thread,    kiri  =  cut,    together  it  means  "Thread 

Mark",    These   marks ,    concentric   lines  under  the  base 

orignate  when  the   pottery  with  a  piece  of  string  or' 

wire   is  cut  from  its  bed  on  the  whoGl. 

They  trend 

a')      as   a  rule   from  right   to   left    :   Hon-itokiri. 

sometimes   from  left   ot   right    :    Kara^mono  =*Korean 
piece;    which  is   thü  resuit   of  the  Korean  praotice 
of  tuming  the  wheel  with  the   left  foot. 
sometimes   concentric   circles   appear    :   Maru-itokiri, 
sometimes  concentric   circles  of  greater  distance: 
Uzu-itokiri;      it  means  whirlpool  and  is  used  mostly 
on  big  jars, 

These   marks  are   very  carefully  executed  on  the  best 

pieces   and  the   Japanese,    describing   these  potteries, 

never   forget   to  mention  them. 

Bibliography . 

Abegg,    Lilly     "Yamato,    der  Sendungsglaube   des  japanischen 

Volkes",    1936. 
Chamberlain,   Basil  Hall     "Things   Japanese",    1905. 
Hobson     "Pottory   and  Porcelain  of  the  Far  East",    1924. 
Kakuzo,    Okakujra     "The  Book  of  Tea",    1906. 
Kümmel,    Otto     "Töpferarbeiten"   in  Ausstellung  Sammlung 

Gustav  Jacoby,    1905. 
Kümmel,    Otto     "Kunstgewerbe   in  Japan",    1911. 
Kümmel  k  Grosse     "Ostasiatisches  Gerät"»  1925. 


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105 


a.   Pottery  used  in  the  Cha  -  no  -  yu  . 


^ö'   Chatsubo>  Big  Jar  for  Tea  Leaves  with  Wooden  Cover. 

fl*  18  cm.;  7" 

Red  brown  wäre  with  three   loops,    Dark  brown  glAie  with 
metallic    apecka  and  flecked  yellowish  runninÄ  droDs. 
Ü2U  itokiri. 

Seto  before    1650,      Southern  Hondo,   Province  Owari« 

Eihibition    :      1935     Gewerbe  Museum  Basel  (Switzerland) , 

**Kun3t   des   alten  Japans".   Kat.no. 406. 
1938/41     Gemeente  Museum,   Den  Haag  (Holland)  . 

^^»      Chaire.      Small   Jar   for  Powdered  Tea. 

H,   6  cm.;      2.2" 

Very  thin  war©  of  spherical  form,  so-called  "  B  u  n  r  i  n  " 
=  appleform.  Dclicate  surface,   Brown  under-  and  Upper 
glaze,  the  latter  with  a  very  light  purple  glimmer, 
Ca3*eful  Kara-mono*itokiri. 
Ivoty  Cover,  old  brooade  bag  and  box. 

ßeto,  before  1750. 

Exhibition  :   1935  Gewerbe  Museum,  Basel  (Switzerland), 

Ausstellung  "Kunst  des  alten  Japans", 
latalog  no.401. 
1938/41  Gemeente  Museum,  Den  Haag  (Holland). 

70.   Chaire,  Jar  for  Powdered  Tea. 

H.  10  cm,;  4" 

Reddish  wäre   of   stralght,    slim  cyllndrical  form. 
Black-brown  metallic  glaze. 

5§S?f4o^e?:4?iiH^6cade  bag   and  box. 

Seto. 

Exhibition  :  1935  Gewerbe  Museum,  Basel  (Switzerland), 

"Kunst  des  alten  Japans",  Kat.no. 400. 
1938/41  Gemeente  Museum,  Den  Haag  (Holland). 


\ 

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106 


71. 


Chaire,   Jar  for  Powdered  Tea, 
H,   7  cm.;   2.1^2" 


Form     •'Daikai".   Red-broim  wäre  with  dark  and  light 

brown  glase, 

Hon-itokiri, 

Ivory  Cover,  old  brocade  bag  and  box, 

Seto 

Ex  collectlon  Vautier. 


72. 


Chaire.  Jar  for  Powdered  Tea. 


H.  8  om.;  3.3" 

Beilied  form  with  tied  neck  and  two  loops. 

Reddish  brown  wäre  with  coffae  brown,  metallic  glaee, 

Hon-itokiri. 

Ivory  Cover,  old  brooade  bag  and  box. 

Takatori,  Island  of  Kiushiu,  province  Chikuzen. 


73. 


Chaire,  Jar  for  Powdered  Tea, 


H.  10  cm.;  3.15" 

Straight,  slim  cylindrical  form. 

Grey  brown  wäre  with  a  thin  black  and  a  thick  grey  glaze. 

The  grey  glaze  is  ending  in  a  drop  on  the  black, 

shrivelled  into  distinct  globales  which  are  compared  to 

"  Dragon-skales"  (ja  katau) . 

Hon-itokiri. 

Ivory  Cover,  old  brocade  bag  and  box. 

Satsuma,  princedom  in  the  southern  part  of  the  island 
of  Kiushiu. 

Eihibition  :  1935  Gewerbe  Museum  Basel  (Switzerland) , 

"Kunst  des  alten  Japans",  Kat.no. 455, 
1938/41  Gemeante  Museum,  Den  Haag  (Holland). 


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107 


74. 


b.      Pottery   for   every  day   use. 

Koro.    Incenae  Vase   of  Enameled  Earthenware. 

H.   5,5  cm.;   2.2" 


CylindridÄl   form,    Greyish  body  with  crackled  yellowed 
glaze,    decorated  with  sketehy  landscape  designs  in  blue, 
green^   gold  enamel  oolors. 

tioto,    style   of  Ninsei,      about   1700. 

Ninsei  was   a  famous  potter  who   chose  his  artist  name 
after   the   temple   of  Ninwaji,   close  by  his  native  yillage. 
Ho   is   the  pupil   of  Sohaku,    maater  of  tea-oeremonies,   and 
famous   at  being  able  to   evoke   stimulating  nature  impres- 
ftions  with  a  few  strokea   of  his  brush, 

With  his   decoration  he   atarted  a  national  style  of 
decoration  which  bocEune   typical  of  Japanese   pottery. 


75. 


Box  with  Lid  of  Painted  Earthenware. 

Diam.    11,5  cm.;   4.öa" 
H.      10       om.2   3,15" 


Grey  wsire   of   spherical  form  with  a  thin  creamy  glase 

minutely   crackled,    painted   in  blue   enamel  color.   In  the 

blue  ground  foliage  and  blossom  ornaments,   bordered 

by    Spiral  bands,    are   spared. 

Spiral  bands   too  bordor  the  circular  medaillon  on  the 

top   of   the   lid  with  the  half-figure   ofa     Dutchma 

in  the  oostume   of  the   seventeenth  Century   and  with  the 

Roman  letters     ••   I  0  S  ••    , 

These    letters  prove   that   the  box  was  ordered  by  the 

Dutch  East   India  Companyo   the   foundation  of  Pieter  Coen 

in  the  South  Asiatic   and  Oceanic   Islands  Sumatra,    Java, 

Small  Sunda  Islands,    in  1602. 

It    seems   probable   that  the   box  was  manufactured  in  one 

of  the   small   kilns   around  Nagasaki  whereto  the  Dutch 

had  access  from  their  factory   at  Deshima, 

Like   the  "Chine   de  Commande"   (cp.cat.    •51)    the  figure 

of  the  Dutchman  is  painted  after  a  European  engraring, 

sinca   the  copist   even  trled  to   Imitate   the   lines  of 

the   original   engraving, 

Nagasaki-yaki  (?).     Early   eighteenth  Century. 

Ex  collection  Paul   Vautier.   Tokio   1908. 


*)!>♦ 


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108 


t   i   0  n 
part 
t  i  a  n 


Commentary 

« 

The  Dutch  in  Japan. 

When   in  the   first   decade   of  the   seventeenth  Century 

to  bring   the  country   lasting  peace,    the  Catholic  mission- 

aries  were  driren  out   and  Christianity   extirpated, 

Dutch     merchants     managed  to  gain  favor 

with  the  powerful  Togugawa  offering  to  the  shogun 

the  benefits  of  foreign  trade  w  i  t  h  o  u  t  the 

drawbacks  of  a  foreign  religion, 

Indeed,    much   of   the      Singular     tolera 

the   Dutch   traders  came   to   enjoy,    they   owed  to   the 

they   played  in  the   annihilation  of   the     Chris 

of  Shimabara   in  bombing   the  Hara  castle   in  February-March 

1638.    ("New  Dawn   in  Japan"   by  Everett   J, Briggs,  New  York, 

1948,    p.47,    54/55.) 

For  more   than  two  centuries  the   Dutch  traders  received 

a  commercial  monopoly,    though  under  humilating  con- 

ditions. 

The   Dutch  factory  was    sit..ated  at  Deshima,   then  an  islet 

in   the  harbor  of  Nagasaki,    but  now   absorbed   in  the 

foreshore.    So   it   happened  that  Nagasaki  became  the   only 

place  where   any  communication  with  the   outer  world  was 

permitted,    the  Dutch  being   the   sole  representatives  of 

the   Europe   of  the   seventeenth  Century  for  the  Japanese. 

The   Dutch  coxamerce  too  was  restricted  within  narrow 

limits,   yet   Dutch   interference   in  the    style  of  ceramic   decora- 

li^Seyond  question.    Many  pieces  were  exported  by  them 

and   some  were   also  manufactured  specially  to     their 

Order  for   that  purpose. 

The   term     "yaki"    is  =   "to   bake"    and  means  the   product   of 
a  kiln  with  the  characterical   addition  to  the  name   of  a 
town,    province  or   an  artist's  family. 


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109 


X^  ANCISNT   JAPANülSE  LAC  QUER 

Our  collection  of  Japanese   lacquer  work  gave  a  fairly 
well    survey   containing  forty  pieces.   To  be  ro^bed  of 
our   twelve  No  masks   from  the  Meida  collection  as  well 
as   of  our   Ijuros  mostly  of  the  Vautier  collection,   I 
aspeclally  resent.   The  noble  pieee,    described  below, 
is  the   only   remainder« 


76, 


toro>  Incense  Vase, 
H,  7  cm,;  ZAZ'' 


Cylindrical   form.   Gold  lacquer   decoration  on  wood 
foundation:    Dark     n  a  s  h  i   j   i     (=pear)  ground,    so 
oalled  becausG   the  gold,   powdered  over   the  black  lacquer 
surface,   resembles   the   akin  of  the  Japanese  pear. 
Design   in  gold  lacquer ^   m  a  k   i  -   e   ,    literally  "powdered 
picture»«    :In     hlramakije     i.e.   flat   lacquer 
fishing  boats   on   small  waves  at   the   shore,   where  fishing- 
nets   are  hung  up;    two  round  medaillons  with  buddhistic 
Symbols,    the      swastica     and  the     p  a  g  o  d  a   » 
In     takamakije     i.e.    relief  lacquer  and 
kirigane      i»e.    Inlaying  of  gold  foils,   the  ahore 
itself  with  rocks   and  a  tre<e. 

The   Interior  of   the  kopo   is  protected  against  the  heat 
of   the  burning   incense. 

Ashikaga  period     (1338-1565).      Siiteenth  Century, 

Lit,:    Jacoby     "Die  Lackarbeiten"    im  Katalog  i^er  Sammlung 

Mosle,   Berlin   1909 
Kümmel     •'Kunstgewerbe   in   Japan*\    1911. 


Comment€ury . 

Swastica  (Japanese  manji)  is  de 
Sanscrit  "swasti"  =  good  luck.  Derivat 
hooked-cross-f orm  from  the  wooden  cross 
of  fire  drilling  or  from  the  suri-cross 
The  latest  excavations  in  NW  India  by  J 
Mohenjo-Daro  ("M.-D,  and  the  Indus  civi 
London  1932)  prove  that  this  diagram  wa 
3  000  B.C.,  i.e.  one  thousand  years  bef 
invaded  India.  It  has  been  traced  back 
gammadion  in  Troas  anterior  to  the  13th 
and  is  supposed  to  have  pasfeed  westward 
eastward  to  China,   Tibet,    Japan. 


rived  from 
ion  of  the 

for   the  purpose 
are   doubtful. 
.Marshall  in 
lisation" , 
s  there  before 
orc   the  Aryans 
to  the  Oreek 

Century  B.C. 

to  Jceland, 


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From  the    swastica   sprang  many   decorative  pattern  as  for 
instance   the  Chinese   awastica-band-ornament,   called  wan  dsi 
bu  daw  tou  =  good   luck  wlthout   end. 

Por   this  norstic   diagram  many  explanations  have  been  given 
On  OUT  koro^  I   am  sure,    it  means   symbol  of  Buddhist 
esoterics^  Generally   it  was  considered  as  symbol  of  luck. 
On  the  hoart   of  Buddha,    painted  or  inlaid  in  gold,    it 
means   love   and  consideration  even  for  the  lowest  creature 
in  Hitler-Germany  race  hatred,   Jew-baiting.  * 

Rousselle  gives  further   explanations   in  "Typische  Bildwerke 
der  buddhistischen  Tempel   in  China"   (Sinika,   VI, 6,   p.J>86): 
'•      Dieses  Symbol,    das  aus  der  vorgeschichtlichen  Zeit   längst 
vergangener  Rassen  stammt   -  wie  die  Ausgrabungen  lehren- 
hat  im  Laufe   der  Zeit  mancherlei  neue  Auslegung  erfahren. 
So   sieht  man  in  ihm  ein  Symbol  der  Drehung  des  Welt- 
gesetzes und  der  Wandelwelt,   bei   entgegengesetzter  Dre- 
hung,   der  Erlösung. 

In  China  wird  es  meist   als  Zeichen  der  Zahl  10.000, 
d.h.    unzählig   aufgefasst.   Es   soll   dann,   unter  anderem, 
auch  auf  unzählige  Aeonen,   richtiger  gesagt,   auf  das 
Ewige   deuten,    das   sich  in  Buddha* s  Geist  oder  Herz,    - 
beides      ein     Wort   in  China  -  offenbart.     Daher  die  An- 
bringung  des  Zeichens   auf   der  Brust  Buddhas   in  Herzhöhe. 
Das  Swastik  Kreuz   als  Symbol   des   ewigen  Weltgesetzes 
(dharma)   und  der  Predigt   oder   Lehre  von  ihm,   ja  der 
Buddhistischen  Religion  überhaupt   (was   alles  dharma 
heissen  kann)    ist   zum     Zeichen     des     Buddhis- 
mus    geworden  und  hat   den  älteren  Dreizack  verdrängt." 

P   a  g   0   d   a     (from  Tamil  pagavadi) ;   Another  symbol  of  the 
Buddhist   doctrine.   Thesü   towerlike   storied  structures  - 
Boerschman  called  them  "lighthouses   of  Buddhistic  world- 
statute"   -   are   also   of  Indian  origin,   But   they   developed 
into   absolute  Chinese  form,    taken  over  in  the  typical 
Buddhist   temple   architecture  of  Japan,    often  used  as  reli- 
quaries.   Each  of   its   storiea  must   be   thought   of  as   one   of 
the  heavens  while   the   Square  base   is   a  symbol  of  the  earth. 
In  India   the  upper  part   of  the   structure  is  usually  round, 
but    in  China  the   Square    shape   is  more  common, 
Through   the   Cbnter  of  the  building  there   is  frequently   a 
mast   or  axis  which  serves  no   structural  purpose  but   is 
rather    thought   of   as   the  world  axis.    The   spire   ends  usually 
in  a   lotus  bud  or   flaming  jowel,    symbolixing  the  purity 
of   the    law  of  the  Enlightened  one. 


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111 


XI 


AKCIENT   JAPANESE  NETZUKE 


The  netzuke   .(ne=root,    t2uke=hang)      is  a  button  with  t^n. 

and   to  counterpoise   it.     The  Japanese   sculptor  raised 
this   Practical  Problem  into   the  artistic   sphere  givinß 
this  button  the  form  of  an  often  very  complicated  and 
agitated  carving  which  nestled  softly  to   the  band  and 
gown. 

In   suoh   a  manner   the  netzuke  belong  to   the  Japanese 

r    \!h^   f.^   ^   ^     ^"^  ^PP®^^   ^^  Kümmel"s  "Ostasiatisches 
Gerät ••,    illustrated  with  samples  from  my  carefuUy 

selected  collection  which  was  assemblad  directly  from 
old  collectiona   in  Japan  in  1908.   Heuce   the  unusual  high 
quality.  ^ 

Now  only   the   descrlbing  catalogue  with  183  numbers  and 
172  photographs  remains  and  one   solitary  piece  which 
is   described  below;    everything  eise  was   stolen. 


77. 


Grasing  Horse. 
H,6  cm.;  2.6" 


Ivory  carving  which  adapts  the  figure  of  a  graßing 
hörst  to  its  purpose  by  oonventionalising^  it  to  a 
fitn  contur.  On  the  back  holes  for  pulling  through 
a  cord. 

Tokugawa  period,   Eighteenth  Century. 

Lit.:  Kümmel  "Ostasiatisches  Gerät"  mit  Einführung  von 

Grosse.  Bruno  Cassirer,  Berlin  1925; 
See  frontispiece  and  page  126. 
Graf   "Japanisches  Gespensterbuchy  see  page  12,62. 

Exhibition:   1939  "Netzuke  uit  de  collectie  Ginsberg"; 

Kunstzaal  Tikotin,  Nassauplein,  Den  Haag, 
(Holland). 


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112 


XII. 


AKCIENT    JAPANESE  PAINTING 


The  Ashikaga  portrait,    describod  bolow,    Iß  the  only 
painting  which  by  chance  was  saved. 

Lost   is   tho  **Goddess  Benlen  (Saresvati)",    a  Buddhistic 
cult  painting  of  Kamakura' s  fourteenth  Century,    in  red 
and  gold,    formerly   in  the  Hayashi  collection;    lost  "The 
Tea  Harvest»*  by  Jwasa  Matahei  (1578-1650)  who's  opus  led 
to  the  ma^ers  of  the  ukioyö  (passing  world  picture). 
Lost   our  ffolden-grounded  byobus  with  Xano  Mitsonobu's 
(1600  er.)    snowcapped  pines,   the   sliding  doors  of  the 
Chigaidana  with  the  ohrysantemum  branch;    lost   our  pair 
of  apes  by  Mori  Sosen  (1747-1827)   — -     to  mention  but  soine 
characteristic   samples  of  our  collection. 


I 


78. 


Portrait  of  a  Warrior. 
kaKemono 

120  I  55  cm.;  47.2  x  21.10" 


Scroll  painting  in  color  on  soft,   darkened-grey  paper. 
Sitting  on  the  matt  in  solemn,  unmoved  pose,   the  cere- 
monial  portrait   of   a  samurai  with  thin  beard  at   Ups, 
cheek  and  ohin,   offers  a  firm  contur. 

The  bearded  gontleman  has  an  aristocratio  face.     The  cut 
of  his  eyes,   the  8wii«of  his  no»e-hr.dge,   the  ^hape  of  his 
sad  mouS.   ^iven  with  a  few  stroKes     f-Jf  ^^^/^^^^^.^^ 
who  was  identified  in  Japan,  where  I  bought  this  painting. 
fl«     Masashige     Kusunoki.     He  teil, 

?  ghti^g  for   the   emperor   in  the  ^«^^^%°^f  ?f  °f^',:/'''' 
fl*    «  time     when   it  was  without   prospeots  to  fight  for 

lll  luV.  1^1333  the  rule  of  the  ^^^ll\f',^Z]i' 

Knt   for  a  Short  time  only,     The  rebellion  of  Tanauji 

\\  hl  k  a  ß  a     and  the  battle  of  Mlnatogawa  brought 

forti  ag   ain'the  Shogunate.    at   this  time  of  the  ashikaga 

family  which  became  predominant. 

The  .»ur.i  IS  .,ulppod  -ilh  i>"  "-t'.^^.'JSf.Sr.äg!;" 

The  kakemono  has  been  damagod.  Old  repalr. 


I 


Ashikaga  period     (1138-1565). 


11 


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XIII 


ANCIENT    JAPANESE  COLOR  PRINTS 


In  the   obituary   of  Raymond  Köchlin,    the   famous  collector, 
Kümmel   (O.Z.    1931,    p.205  ff)   reports  that  Köchlin  told  him 
once   of  having  been   fetched  in  1890  to  the  Ecole  des  Beaux 
Art 8  in  Paris,  where  Bing  had  arranged  an  exhibition  of 

Japanese  oolor  prlnts,    adding:    "Ce  fut   le  coup  de  foudre... 
de  oe   jour   date  ma  vie   du  collectionneur," 
I  mention  thi»,   because   this   episode   is  rauch  like  ny  own, 
only   ten  years   later, 

It   was   about    1900  that   Japanese  color  prints  awakened  my 
desire   to   collect   art   of   the  Far  East.   A  fe?r  years  later  I 
was  glad  to  collect    in  Japan  326  prints,  which  gave  a  good 
survey    of   this   art   from  the  middle   of  the   saventeenth  tili 
to   the  beginning   of   the  ninetoenth  Century,    and  plenty   of 
incitations  besides.    Evory  phase  of  Japanese  life  is   illus- 


trated  in  these   prints,   whereby  beautiful  women,   actor^, 
famous    landscapes  play  an  important  part.     Charaoteristio 
the   Japanese   demomination:    "ukioye"  =  passing  world  picture. 

As   the    last   peouliar   creation  of   the   artistic  ^olor  print 
the     surimono     appsar«   in  tho  eighteenth  Century. 
It    comblnes   a  picturo  with  a  poem,   relative  to  it.   It   is 
ordered  for    special   ocoasiona,    to  bs   distributed  among 
frlends   on  New  Tear's  Day,    on  birthdays,  weddings,   as 
invitations,    etc.    As  the   surimono  was  printed  but  in  small 
edition-.and  was  of   small   size,    the  cost  was  not  of  suoh 
importance   and  therefore    special   sare  oould  be  given  to 
paLr,    color s   and  technioal   luxurles.  While  the   intanded 
17L{   of   the  color  print   is  normally  ^eaohed  wx  h  seven 
to   ten  color-plates     for   the   surimono  ^wenty  to  t^xry  are 
usod,    often  applying  gold,    silver  and  blindpressure 
profusely. 

nnW   a  few  of  m  prints  remained  which  are  doscribed  here. 
B^l'from  this  ^art    of   our  collcction  thero   exist   oxoellent 

rX^cit^Lrunr^enxhibition  "Ausstellur.g  alter 
'•    'osLiafx^crer  Kunst,    verar.staltet   von  der  A.adenje  der 
^  -iQ-jon     wV^prp>    a   selection  irom  our 

cS?::ti:n':o     th       wüh1elccu:ns  from  the  famous 
ToUertloL   jicckel,   Mosl^ ,    Oeder,   St^.uss-Negbaur 
reprssented  the   Japanese   ^^'^f  P^;"li.33hi„e.   40  Licht- 
2.   The  publication     "^-.f -^J:,^,!  ,f '^f  ^fs^hrieben 
J:r5uU:s"Kur^?h^^]:s^ph  riSrVenag,   Berlin  1924-.. 

P.'^i^  ^piriLfti^oi  ^°^T -i:;uorH:n^ 
.:-^i^-otrdirthro;Lrnartirerri-"- original 


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colors  and  even   the  old-age  traces.     There  are  early 
prints  of  Torti   II  Kiyomasu  (1679)   in  Hoso-e  Uruahi-e, 
Beni-e   and  with  gold  powder.   Thore  are   some  of  Toshusai 
Sharaku's   actors  half-length  portraits  on  mlke  ground 
(1794),    83  well  as   one  of  Eishosai  Nagayoshi's  silver 
ground' prints,    the  girl  who  with  snow-oovered  umbrella 
leans   on  a  male   «ervant   in  a  rod  coat  while  heavy  snow 
fallinK     But   there  are   also   the  most  famous  prints  out 
of  Katsushlka  Hokusai's   (1760-1849)   "Thirty-six  views 
of  Fuji"   serles,   the  "Gröat  lave  of  lanagawa  Inlet"   and 
"The  Pftji  of  Oaifu  Kwaisei". 


18 


■  ■■Xl 


79. 


Rekiaentai  Eiri   t     Audienge  with  the  Smpress. 
120  X  37  cm.;   47.4  x  14.9" 


In  the  imperial  pavillon  the  ^f^^f  •  'f ^l!"  ' Ut?irsor- 
nhi      It^ans   aeainst   a  small  table;   beside  her  a  littie   ser 
fani     sS   it^conceiled  by  a  bamboo-roll-blind  whxch  xs 
Iran^pSent   onough  to   let  her  aee  wha     xs  goxng  on 
in  front   is   a  veranda  to  which  some   Bteps   lead.   Here, 
behind  tb     motal-deeorated  balu3trade.two.aids  of 
wfiting  with  fans   in  ^heir  han  s  are     xt^g.  ^^ 

They  are  looking  «^tentively   at  the  littl.  P 
which  is  approaching  along  the   P^J^«;  ''^''' 
tiles  and  bordered  by  coniferous  trees. 

.♦♦c«HflH  bv  two  aiaids  of  honor, 
in  front  of  the  P-f =»  ^/l/rt^J^spareit  black  court  gown 
the  prince   steps,   attired  in  a  tr       p  ^^^.^^  ^.^  ^^^ 

with  the  ceremonial  ^^f  J^^-^^^Jj,'   <,„^ies  the  katana 
cortege:   A   H^^^'T^wairiiga  Standard  bearer,   cour- 
(=long  sword),   ladio3   in  ^^^J^^g;  J  ^^  ^^  shoes.an  obi  of 
Uers.  Partly  they   ^^f^  f ^'^/i/^hey  aocompany  the  ox- 
brocade,    a  big  g"'°^''^-^°^;„^!^cels     Soon  the  curtain  of 
drawn  f  I-J-Jjj^t'uf     t  andlh;  prin=ess  will  deseend 

lo  pay  her  respect.  to  the  empress. 

V,   9ii   T  37   cm  and  signed. 
Series   of   five  prints,    each  24  x  37  cm         ^^^^^^ 
All   together  «ounted  on  Japanes     si  k  ^^^^ 

Japan  about    l^^O     The   artist  belomg^to^t^^  g  ^^^  ^^^^   ^^ 

the  -i«^-"ii°  ":::fgera  ed'bodilj  structure. 
woman  beauty  '^^^/J^^'^e  known. 

\  iQ'.g  Haarlem  (Holand)   "Raro  Japanese  Color 

Exhibition   :    1939  Haarlem  ^ 


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80. 


Kubo  Shumman   :   Chinese  Poetess. 
16  X   19.5  om. ;   6.5  x  7,9" 


•The  artist  copied  for  this     surimono     anold 
Chineae  album-leaf  painting  of  great  delicacy,  giving 

even  the   damaged  edges.  ,      .^  u  ♦«  „v 

The  poetess  is  sitting  In  the  garden  besido  an  old  trunk 
out  of  whioh  fresh  twigs  with  cherry  blossoms  flower.  Her 
beautiful  face,   absorbed  in  thoughts,  rtsts  on  her  hand 
holding  the  brush;   her  arm  leans  on  the  stone  table  where 
the  ink  stone  is  ready  to  enable  her  to  give  visible 
expreaaion  to  her  ver.ee  on  the  petal  in  her  lef    hand 
A  poem,   reiating  the  result  of  her  thoughts.   m  the  right 
Corner»        Signaturo. 


814 


gubo  Shuanar^      ;     The  Tea-House  Girl. 
9  X  22  cm.;    3.9  x  8" 


This     surimono     represents  a  tea-house  girl  who 
in  her  uplifted  hand  carries  a  red  lack  stand  witha 
tilver  covered  bowl.   The  bla.k  ob^.  shoirs  in  gold  the 
pattern  of  conlferous  twigs.  „.„„.ture 

Two  poem»  fUl  the  background.       Signatare. 

^r,ac  tac.n     la  eonsidered  the  classical 
Kobo  Shumman,    1785-1856,    J.»  consiaoi 

master  of  the  surimono. 


82.  Katusito  Hokusai 


Two  i-Artias   on  the  r.Arden  Terraee. 


27.5  X  13.5  om.j    10.13  x  5.6" 


,  -,  n  n  ^  sliding-walls  with  paper  filling, 
On  this  8  u  r  1  m  0  n  =^  ^uaing       ^^^^  ^^  ^^^  ^^^^^ 

given  in  il^''^f,-:fi:;,':;fudf  furnish  the  background 
while  byobus  "^^^^^^^^  '^i"  v  lacquer  top  on  which  are 
Against  them  a  table  ""^^^^J^^y";?^  trocade,  a  red  lac- 
a  pack  of  books  l^^^f  P^J/^^igHese  witha  peacock  feather, 
quer  box  and  a  white  P^^^^^f ''J^iy  ^lad  with  silver 
in  the  foreground  ^^^..J^f  ^^^^/J^^/to  cut  paper  Sheets 
needles  in  their  coiffurc  are  du  y       ^^^^^  ^^^^^^ 

::d  to  f  old  =»»«^11  ^^f  f »  "^tfat   f  äe  soul"  .  used  at 

or  P'^l»°'l-i°',?r'soS  s'  Day!  tho  fifteenth  day  of  the 

the  -^X'^rth   ->  fl  at  doiA  the  river. 
aeventh  month,  to  1^°'*''  sicnature. 

On  the  left  side  the  poem.  SignaLu 


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83. 


Uoya  Hokkei      ;     Pujiyama, 
18  X  20  cm. ;   7x8  " 


This      surimono     gives   a  color   dreao  oround  this 
famous  mountain.   The   fuju-yama  rises  out   of  the  mist   in 
¥lind  pressure   ami  silver.    In  blue  tinta  a  chain  of  moun- 
talns  before  him.    In  the  foreground  a  small  mountain 
meadow  in  soft  green  with  coniferous  trees  in  bronze 
color,    Clouds   in  gold  terminate   the  color- symphony  of 
which  I  have  mentionod  only   some  eminent   tints. 
Poem  in  the  right  corner. 
SignaturB  with  red  seal  charaoters, 

Katusika  Hokusai   (1760-1849)    and  Uoya  Hokkei  (1780-1854) 
are   known  to  eicel   in  surimonos. 


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I  N  D  I  A 
ANCIis^JT   INDIAN  ART 


Some  xlotes   about  Buddha  and  his  representation. 


Whlle   there  no   loÄgiir  is  any  dou^t   about   the  Historie 
Personality   of  Buddha,    the  legendary  contents  of  the 
Buddhistic   literature  are  partly  of  «ymbolic   significance. 

T*he     Siddharta     was  born  about  560  B.C.   as  the  son 
of  the  princely  house  of     S   a  k  y  a     from  Kapilavasta  in 
the  Mimalaya  territory   of  Nepal.  According  to  the  legend 
he  resigned  his  prinoely   life,   cut  hia  hair  -iiocthis  curls- 
and  became     SAKYAMUNI  =  hermit  of  the  Sakya  race 
or     G  A  U  T  A  M  A,    the   ascetic,   who  lived  in  solitude 
until  he  won   the  knowledge   of  truth  for  the  redemption 
of  earthly   auffering,   growing  to     B  U  D  D  H  A  =  the 
ENLIGHTüNfcD.     He   died  about  477  B.C.    (according  to 
Max  Mueller). 

During   the   firat  Century   after  his  death  he   and  his  dootrine 
are  represented  by   Symbols   only>   above  all  by  the  wheel 
(Sansorit    :    c   a  k  r  a  ).   Buddhism  was,   as  long  as  the 
doctrine  remained  pure,    a  philosophy  not  a  religion, 
327  B  C.   Alexander  the   Great   invades  India;  he  marches  over 
the  Kabul  pass  into  üorth  West   India;    after  his  death  323  B.C. 
his   empire   is   divided  anong  his  generals  (Diadoches). 
In  256  B.C.    the  governor  of  Bactriy,  Diodotos,  makes  him- 
•  elf   independent.   The  Graeco-Bachtrian  ^i^«^^«  ^^^f^^^^^'» 
extending   its  rule  to  North  *est  India,    including  the  land- 
scape     G%  n  d  h  a  r  a,    then  inhabitated  by  ^^^^^^  "^JJ' 
now  Afghanistan.   When  Buddhism  enters  Gandhara  in  the  time 
of  Diodotos,    the   doctrine   encounters  a  Hei  enistic  culture. 
a  hybrid,    composed  of  Greek  and  ^riental  elements 
Hellenistic   art   in  Gandhara  presents  to  the  Buddhisti. 
-/>rld  the     f  i  r  s  t      saaples  ofa     figurative 
Te  p  r   e   s   e  n  t   a  t   i  o  n  of  Buddha,   identifying  the 
founLr  of   the  Buddhistic   doctrine  with  the  sun  hero 
^^^***  1   «  />  1    1   o     With  this   introduction  o:   an 

Hl-         .^#   ^^fonioenee"   or   supermind.    ^X-s   origj."  «»«v 
the   '•bump   of   Inteiiigence     ux   ^u>'  o^-rAnoinc  a  knot 

traced  back  to  the  Hellenistic  cu»to»ofarrangingajn^^_ 

of  hair  on  the  crown  of  f^«^f  ^^^i^^f/^jf .  protuberance. 
Standing  was  changed  by   later  artiau 


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It   is  very   dou^tful,    if  the   hair-toot   of  the   early  ApoUo- 
like  figures  generally  oonceiled  a  protuberance. 
The   Short   curly  hair   of  the   later  types  only  makes  the  out- 
gr<rwth  of  the   skull   distinctly  visi>>le.   The  knot  of  hair 

changes   to  a  horn-like  polnt,   rising  upwards  like  a  flame 
(raami).   The   rasmi   later  becomes  more  and  more  elaborate, 
until   the   origin   is  hardly  more  recognisable. 
The   »•  ü  R  M  A  ",   marked  as  a  little  pearl,    symbolises  a 
eircle   of   little  white  hairs  between  the  eyebrows,   a  third 
eye,   which     "shining   like   silver  or   snow"  enables  Buddha 
to   illuminate  the  üniverse. 

The  "ElongatGd  Ear  Lobes",  pulled  down  by  the  weight  of 
the  royal  ornanents,  which  the  Siddharta  later  took  off, 
becoae  an  attribute   of  beauty   as  well   as  a  symbol  of 

Buddha' s  world-wide   listening  sympathy. 

These  body  features,    formed  already   in  Gandhara,   reaained 
principally   unchaged  through  the  whole  Buddhistic  worid, 
while  the   transformation  of  the  Helleni&tic   type  to  the 
Indian  physiognoasy  ensues  by   degrees.    It   differs  greatly  in 
the   different  radiations  of  Buddhism  to  the  South  and 
Parther  India,    to  Indonesia  and  the  Par  Jtast   (China,   Japan). 
To   the  Par  East   the  representation  of  Buddha  comes  pertly 
direct  from  India,   partly  from  Central  Asia  (Turkestan). 
RelativelyT^hFibes^  style  of  Gandhara  is  upheld  in  Japan; 
the   treatment   of  drapery,    the   throw  of  the  pleats  is  almost 
Grecian;   The  robe   is   so   set   as   to   ahow  the  contour  of  the 
bocHy,    the   folda  following   the   lines   of  the   limbs  in  a 
natural   and  unconsirained  way,   This  is   attributed  to  the  im- 
ported   statues  from  Korea,    since   the   sixth  oentury  A.D., 
eiecuted   there  by   artists  who   came   from  Central  Asia. 
In  the  beginning  China  followed  the  Gandhara  influenae  too. 
But   in   the   course   of  time   she   successfuUy  developed  a 
style   of  her   own.     The  Lamaist ic   figures  only  preserve  the 
Indian  type,   Coming  from  Nepal  across  Tibet. 

Likewise  most   of   the     g  e   s   t  u  r  e   s     of  Buddha  and  the 
Bodhisatvas,    the     "  frl  u  d  r  a  s  "   (literally   seal) ,    are 
already   to  be  found  in  Gandhara.  Most   strongly   the  attitude 
of   the   hands   shows   the   symbolic  meaning.   They   always  give 
a  hint   of   a  scene   from  Buddha«  s   legend-life,    of  a  certain 
action;    or   they  embody  a  cortain  State,   a  religious  con- 

ception: 

"Dharmacakra  Müdra"  :  gesture  of  turning  the  wheel  of 
doctrine,  The  hands  are  kept  in  front  of  the  breast  so 
that  the  finger  tips  contact;  the  palm  of  the  right  hand 
is  turned  outward,  the  palm  of  the  left  hand  inward. 


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Bhüaispara  mOdra  "  :  the  gesture  of  touohing  the  earth 
or  caUln«  the  earth  as  witnes3  (in  the  dispute  with  Mars 
the  demon  of  eril).  The  hand,  pala  inward,  hang»  down 
"  yara  „üdra  "  :  the  gesturc-  of  b lessing. ' The  hnd^;!, 
outward,  hangs  down.  '  ^ 

^   Abhaya  mödra  "  :  the  gesture  of  consoling,  of  fearless- 
ness.  The  hand  is  lifted  In  teaching.  leariess 

"  Dyana  müdra  "  :  the  gesture  of  meditation.  Both  hands 
lie  on  each  other  in  his  lap. 

B0DHI3ATVA  (=  knowledge  essentiality)  are  beings,  mature  to 
become  Buddha.  The  original  type  is  a  young  man  royally 
attired,  decked  with  bracelets,  necklets,  breast-chains, 
developed  from  the  legend  of  the  historic  Buddha,  who  came, 
as  we  learn,  from  a  princely  house. 

DYANI  BUDDHA 

Aocording  to  the  Imagination  of  the  northern  Buddhist  every 

♦^  MANUSIBÜDDHA  "   i.e.  a  Buddha  in  human  shape,  has  a 

mystic  image.  This  image  is  to  be  found  in  an  imaginary 

heaven  of  terraces  which  correspond  with  the  four  grades 

of  reflection  and  is  called  "DTiNIBUDDHA  "  . 

The  conception  is  that  the  Eanusibuddha  3riginates  by  means 

of  emanation  out  of  the  Dyanibuddha.  Therefore  every 

Manusibuddha  has  his  Dyanibuddha  (Pischel-Lüders  : 

"Sein  verklärtes  Ebenbild  im  Himmel"). 

And  further:  Every  Dyanibuddha  has  his  Dyanibodhisavatva, 

his  Spiritual  son,  produced  by  emanation. 

From  this  in  our  age  (kalpa)  the  following  degrees  result: 

Dyanibuddha  ;  Buddha  Amithaba,  the  Buddha  of  immeasurable 

splendor. 

Dyanihodhiaatva    :    Avalokitesvara  or  Padmapani. 

Manusibuddha    :    Sakyamuni   (Gautama). 

In  the   future   age     MAITRje.TA,    at   preaent   still  Bodhisatva, 

will   become  Manusibuddha, 

Lit.:    Adam,    Leonhard  "Buddha  Statuen",    Stuttgart   1925 

Grtnwedel,    Albert   "Ifythologie   des  Buddhismus", Lpzg.  1900 
Grünwedel,    Albert   "Buddhistio  Art    in  India" ,    trans- 

lated,    revised  and  enlarged  by 
Jac.Burgess,    London   1901. 


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120 


84 


Buddha  Head  from  Hadda. 
8  cm.;   3.2" 


0   s  - 


It   is   clearly  recognizable   that   the   sun-god     Hell 
Apollo      of   the  Alexandrine  period  was  used  as  a 
prototype   for   the   Buddha  head.   The  Apollonian  features 
ßtill   belong   to   the   classical  antiquity   in  spite  of 
certam  traces   of  transition  to   the   type  of  the  Indian 
race     Prcm  the   finely  mculded  nose  the  eyebrows  strive 
aloft;    the   eyelids   are   longly  drawn  with  shaipedges; 
a  gently   smlling  mouth  in  füll  fleshiy  parts.   According 
to   the  Hellenistic   custom  the  hair   is  arranged  in  a 
krobylos,    the  head  crowned  by  a  tuft   of  hair,   tied  to- 
gether.   The   hair   is  roughly   treated,   unfortunately  the 
greater  part   of   the   crowning  coiffure  broke  away 

Stucco. 

Hadda,      fourth  Century  A.D. 

Hadda   is   situated   south  of  Jalabad  in  Afghanistan  near 
the   frontier   of   the  North-West  provinoe   of  India.  As 
we   know  from  the  record  of  the   Chinese  pilgrim  Fa-hien 
(about  400  A.D.)    the    town  Hi-lo,    the  present  Hadda,  was 
up   to   the   fifth  Century   a  flourishing  place   of  pilgrimage. 
Buddha»  s  Usnisha,    the  prctuberance   of  his   skull,   explained 
as  the  bump   of   intelligence ,    was  preserved  there  as  a 
relic   in  a  richly   decorated  and  carefully  ^uarded  vihöra, 

The  head  was   purchased  from  the  Völkerkunde  Museum,   Berlin, 
Abteilung   der  Asiatischen  Sammlungen  (Ernst  Waldschmidt). 

Lit.:      Bachhof  er     "Zur  Plastik  van  Hadda",   Ostasiatische 

Zeitschrift,   Neue  Folge,   7. Jahrgang  1931. 
Cohn,   William  in  the   Oriental  Art,    vol. I,no, 1,1948: 

"Although  the   small   sculptures  from  Hadda 
have  much   in   common  with  Oandhara  and 
permulatöd  with  Western  elements,   they 
form  a  class   of   their   own,    distinguished 
by  frcshjiess   of  invention  and  artistic 
spirit,   Many   of   them  anticipate   in  a 
miraculous  way  the  whnle   later  develop- 
ment    cf  Western  art." 
Godard     "Exposition  des  r^centes   d^couvertes  et   des 

re'oents   travaux  arch^olcgiques   en  Afghanistan", 
Musee   Guimet,    1924. 
Hackin     "Les  Fouilles   de   la  Delegation  Archeologique 
\  Hadda".  Revue   des  Arts  Asiatiques,    vol. 2. 


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121 


85^ 


Buddha  Head  from  CamhnH^;. 
11  cm,;  4.5'« 


tightly  closed.  The  eyes  look  downwards!  the  farm^f 

he  eyeball  protudes  ander  the  eyelld.  The  ar  are 
lengthened  according  to  the  canon 

3'!!%^!?'''/''"^^'*'.  ^^  ^  bandlike  Uno,  Is  transformed 

the  skull  topped  by  the   "rasmi"  (flame)  in  the  simple 
irom  Ol  a  cone. 

Bronze  with  green  patination. 

K  h  m  e  r  Art,  Camodia  (South  £ast  Further  IndiaV 
IX-XIII  Century  A.D.  ^' 


Commentary. 

The  people  of  the  Khmer  replaoed  the  people  at  the 

loT?er  Menam  and  Mekang  in  the  ninth  Century  A.D, 

An  empire  originated  which  included  the  South  part 

of  the  present  Slam.  The  Khmer  embraced  Indian  culture, 

in  the  middlc  of  the  tenth  Century  founded  the  capital 

Angkor     Thom     and,   near  by,    in  the  eleventh 

uentury,  the  temple  of  Angkor  Vat. 

Long  fights  with  the  people  of  Tai,  who ,  Coming  from  the 

south  of  China,  pressed  more  and  more  to  the  South; 

the  empire  of  Khmer  will  at  last  succomb  to  them, 

becoming  a  part  of  the  kingdom  of  Slam,  the  Siamese  people 

a  "cross-bread  of  Tai  and  Khmer"  (Heine  Gelder). 


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86. 


Buddha  Head  from  Slam 


18  cm.;  7.2 


»1 


s-'^'t,*  . 


.HnfP 


122 


Füll  face  with  a  long  polnted  nose.  The  eyes  look 
downwards.  The  curvatures  of  the  eyeballs  protude 
distincly  under  the  e'l^elids.  The  eyebrows  join  the 
forehead  without  hardness  as  a  llghtly  elevated  roll 
Beneath  the  füll  lips  a  roundish  chin.  Tho  ears  of 
stereotype  length. 

Each  curly  hill  ji    the  Cluster  of  locks,  which  reach 
far  down  the  fcrehead,  is  of  a  big  scale.  The  rasmi, 
the  flame,  rising  out  of  the  top  of  the  asnisha,  the* 
protuberance  of  the  skull,  is  disjointed. 

Bronze  with  green  patination, 

Slam,   art  cf  the  Ayuthal  empire  (1350-1750  A.D.) 

Indian  art  flows  from  East  India  to  the  Farther  India 

Into  the  present  North  Slam,  habitatod  since  times  of 

old  by  the  people  of  Tai-Shan. 

First  united  by  the  kingdom  of  Sukothai-Savankolok, 

it  is  -  according  to  Voretsch-  reserved  to  the  North 

to  create  the   "national  Siamese  art". 

However,  the  present  Siamese  people  will  originate 

only  after  the  Khmer  succombed  to  the  Tai  and,  uniting, 

create  this  hybrid  race. 


Lit« :   E,A. Voretsch 


"Ueber  Altbuddhistische  Kunst  in 
Siam",  Ostasiatische  Zeitschrift, 
1916-1918.  V,l  and  Vl,l. 


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87. 


Nat   Dbva  from  Burma( 
39  cm*;    15.3" 


•1*1«« 


Kneeling   figure   of  great   charm  in   attitude:    the   arms 
wlth   elegant    long   fingers  i-iae   In  graoei^ul  movements, 
the   head,    bent   a   little  backwards,    is   turnod  to   the 
right   sido, 

Vestments   and   jewolry   show  the     coürt     attire 
if   the   thirteenth  Century,    customary  for  divlne  as  well 
as   demonio   belngs   to  which  the  Nat  De\^a  belong. 

in   the  forohead  the   uraa*   The   eyebrows   in  a  lightly 
elevated  roll   over   long  drawn  eyes  whloh  look  downwards 
under  half-closcd  lids;    straight  noae   abovo  tired  Ups. 
The  hair   is   completely   covered  by   a  kind  of  helmet 
which  Imltates   in  a  baro^ue  way  Buddha^  s  Cluster  of 
locks  with   the   topping  rasmi»  Fastened  to  this  helmet 
is   a  head-band  with   long  wing-like   orti&ments  which 
•urround  the   ears,    frame   the   face   and  öorrespond  to 
smailer  wing-like   ornaunents  fixed  on  to   the   Shoulders» 

The   Upper  part    of   the  body   is   covered  by   sumptuous 
jowelry    only :    pendants   around  breast    and  back  crossed  under 
rosettes^   Yroad  chains   around  neck,    arms   and  ankles  - 
all    inlaid  with   Jewels.    Even   the  gown  which  encloses  the 
abdomen  tlghtly    is   covered  with  precious   stones. 

The    figure   probably  belonged  to    a  group;    a  hole  beneath 
the   kneet   and   small   damage   auggest   the  fixing  to  an 
altar   and  the   rape   done  by   force. 

B  r    0  n  8   e      gilded,    partly    darkened,    at   the  back 
freshened  up, 

B   u  r  m  a,    NW  Farther   India.      17th-18th  Century. 
Formerly    in  the   collection  of  Walter  Heymel,  Munich» 
Exhibition:      1938-41   Gemeonte  Museum,    Den  Haag,    Holland. 

Lit.:      Schermann     "Genien   in   der   religiösen  Kunst   des 

birmanischen  Buddhismus".    Ostasiat. 
Zeitschrift,    1919-20.    VIII, 25. 
"Nat   DGva   sind  Geister,    die  mit   dem  Buddhismus 
als   mehr   oder  minder   abgewandelte  Gestalten 
der  Hindu  Mythologie   ins  birmanische  l^^d  ver- 
pflanzt  wurden;    an  ihrer  Spitze   der  altvedische 
Godd   Indra,   Thagya  genannt,   wie   alle   ^eine 
Genossen  als  wohltätige   Hdfer  betrachtet    . 


I 


^m 


124 


m 


$ 


• 


« 


88. 


Padmapani      (Avalokitesvara.    ValraT^ani) 

18.2  cm.;   7.1" 


The  Dyanlbodliisatva  (cp.page  119)  Padmapani  (  =  h«  with 
the  lotus  in  thü  band)  Stands  in  triancla  (Sanscrit  = 
thricc  bent)  attituda  on  a  lotus  pedostal. 
The  f. «et,  the  upper  part  of  thü  body  are  uncovered. 
Araund  hips  and  thighs  the-  long  shawl-like  uppergarment 
is  twisted  in  the  manner  of  a  scarf  in  which  the  sacred 
cord  (yajnopavita)  ,  running  from  the  left  Shoulder, 
nestles,  while  the  ends  in  pleats  hang  deeply  down  in 
front  and  at  the  side. 

The  features  are  pure  Hindu.  The  long  hair  is  dressed 
high,  bound  together  to  a  crowning  knot  in  Hellenistic 
mannor.  In  front  of  the  knot  a  band  holds  a  diadem, 
richly  adorned  and  with  Amithaba  Buddha,  Padmapani»  s 
Spiritual  father,  in  the  oenter,  Heavy  ear-pendants  in  the 
elongated  ear-lobes,  a  necklace,  arm  clasps  and  bracelets 
complete  the  adornment. 

It  can  be  assumed  that  tho  left  hand  originally  held 
a  long-stemmed  lotus;  the  right  hand  in  "vara  müdra", 
the  gestura  of  blessing. 

The  backside  with  hook. 

Bronze  with  green  and  blue  patination  shows  rest 
of  formor  gilding  which  accentuated  the  very  fine  work. 

North  India,   llth-12th  Century. 

Exhibitions:  1938-41  Gemeente  Museum,  Den  Haag,  Holland 

1946     Museum  van  Aziatische  Kunst,  Amsterdam. 

Commentary 

PADMAPANI  may  be  associated  as  well  to  Avalokitcsvara  (=:he 
who  looks  from  above)  as  to  Vajrapani  (cp.no. 29).  This  Bod- 
hisatva  represents  the  most  important  figure  in  tho  Pan- 
theon of  Tibet. 

The  Northern  Churcli,  the  Lamaism,  has  made  all  Buddhas 
and  Bodhisatvas  to  gods,  who  should  be  -.dorated.  It  is 
from  him  esptcially  that  people  implore  help  in  all    ^ 
needs.  To  him  they  direct  the  known  evocation  ("mantras»  j: 

"Om  Mani  Padma  Hum,  Lol  =  The  Jewel  in  the  Lotus.  Lol 
The  Bodhisatva  Padmapani  has  always  proiuced  new  represen- 
tations.  His  four-armed  form  is  always  incarnated  in   the 
head  of  the  Lamaistic  church,  in  the  ruling  Dalai  Lama. 

Lit.;   Leonhard  Adam  "Buddha  Statuen",  1925. 

Albert  Grünwedel  "Mythologie  des  Buddhismus  in 

Tibet  und  der  Mongolei",  lyoo.  ^^ 
Albert  Grünwedel  (J.Burges)   "Buddhist  Art  in  India  , 

1901. 


"iwWPPPBBi 


"r 


wf^' 


r:i: 


i..  iitn- .^nii 


■:;tt 


*;! 


125 


89. 


BakJRi  Ka-ro. 
14.5  cm. ;    6" 


Lamaistic  goddess.   The-  slim  body  with   smali   fi>.     v 
is  nude   except  for  pendants  aroU     he  LoJ  llT.tT" 
arm  and  feet   clasps  and  a  diadem  of  skulls     ThJ  V.l    l' ■ 
f]ows  down  the  back.  SKuiis.  The  long  hair 

Jil?.rr^^"^  movement,    striding  with  might  and  main  over 

Oval  pedestal  with   lotus   ornament. 

B  r   0  n  2   e.      The   former  gilding  is   lost;   according  to  the 
bronze  color   and   certain  damages  it   .eens  probable  that 
the   figure   underwent   a  great  fire. 

Nepal;      slxteenth  Century. 

Exhibition:    1938/41   Gemeente  Museum,   Den  Haag  (Holland) 

1946         Museum  van  Aziatische  Kunst,  Amsterdam 

Lit.    :    Albort  Grünwedül  "Mythologie  des  Buddhismus  in 

Tibet  und  der  Mongolei*',    19oo 
"   Eint   besondere  Klasse  von  Göttinnen  sind  diö 
D  a  k  i   n.  i   3    .   Das  Wort  gilt   als  Femininform 
zu  einer  Tantra  Goddheit  Dftka  (=Luftwandler) . 
Eine   berühmte,    viel   abgebildete  Dakini  ist   die 
N  a  r  0    ,   welche   eine  Begleiterin  oder  vielleicht 
eine   besondere  Form  der  Vajravar^h^ist ,   sie  ist 
Schutzgöttin  ä.QT  Sa-skya  Schule. 
Interessant   ist   die  Notiz,    dass   die  Nepalesen  sie 
für   die    inkarnierte  Bhavani,    die  Gattin  Civas 
halten," 


•1 


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mi^mm 


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kl 


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127 


D. 


NEAR     EAST 


XV. 


ANCimBRQNZF.     n.p....     ivqhy  CARVT., 


91. 


Water  Bowl. 

Diam,   30  cm. ;    12" 
H.  26  cm.;    10" 

The  big  bronze   vessel   is   of  sphe-ioal  frnm     .v       .^ 
opening   oncircled  by   a  s.all  Jr'tr^L'ng  ni  lll^' 
broadens   into   two   opposite  handles. 
The  body   and  riin  are   filled  with  engraved  and  embossed 

fillod  with  arcades   in  which  are   depicted  legends  oJ 
Western  Asia  in  the  manner  of  early  miniaturfs.  Ibove 
and  below,   between  interlaced  patterns,   run     f  r  i  e  z 
in     Hebrew     letters     on  arabesque  ground 
arranged  in  eight   sections  Joined  by  an  unintefrujud 
band,   but   separated  from  each  other  by  round  medaillions 
with  sitting   angels   or  animals. 

The   rim  is   ornamented  with  bxrds   and  flowers,   each 
handle   embcllished  by  an  oblong  modaillion  with  Hebrew 
characters   on  arabesque  ground  between  fighting  animals. 


e  s 


B  r 
Asia 


0  n  z   e 


with  green  patination, 
1  n  0  r    ,      Seljuk,     XIII  contury(?). 


Commentary , 

Weither   the    Oriontal  Seminary,    Berlin  (Prof .Mittwoch)  nor 
the    Jewish  Theological  Seminary  of  America,   nor  the  Jewish 
Museum  of  New  York  City  were   able  to  translate  the  Hebrew 
inscriptions   into   a  European  language. 

Thoy   agree,    thtt  the   inscriptions  are     A  r  a  bi  c,   trans- 
literated   into  Hebrew  letters,    that   the  bowl  is  at  least 
five   hundred  years   old  and  probably  was  manufacturod  in 
Asia  Minor. 

Comparison  with   a   smaller  but    otherwise   very   similar 
bowl,    formerly   in   the   collection  of  Joseph  Brummer 
(auction  part    II,   New  York,   May   11,1949),    leads  me   to 
suggest   a  more    exact   date.   The   Brummer  bowl   shows   the 
8£ime   kind  of  monumental  Hebrew  characters  and  is  dated 
in   tho   catalogue:    "Seljuk,   Xiii  ct.". 

The   Seljuk,    a  Turkish  tribe,   built   a  great   empire  over  a 
grcat  part    of  Western  Asia  with  capitals  in  Bagdad  and 
Jspahan.    Our  bowl  was   excavated  at   Jspahan.    I  believe 
that   this   fact  would  also   Support  my  suggt;£tion. 


V   i 


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92. 


Earthenware  Plate. 
Di. 32  cm.;    12.5" 


Brown  wäre  with  yellowish-white  glaze  widely  orackeled. 
Decoration   in  the   ao-called     Mohammedan    under- 
glaze     b   1  u  e    :    In  the  oentre  a  hare,    carnations  and 
leaves;    around  the  rim  inscription  in  Persian  letters. 

The  blue   color,    the    3o-called  Mohammedan  Blue,  was  much 
valued  and   imported  by   the  Chinese  pottora  in  the 
Hsüan-TÖ   period  (1426-35)    and  in  the  reigns  of  Ch6ng  T8 
and  Chia  Ching  in  the   sixtoenth  Century. 

P   e  r   s   i  a,      sixteenth  Century. 

Exhibition:    1938/41     Gemeente  Museum,    Den  Haag  (Holland). 


93. 


Fayence  Tile. 
19.5  X   19.5  cm. 


The   tile   has   the   form  of   an  octagonal   stRr  and  is  filled 
with  "arabesque",    according   to  Webster' s  definition 
'•   a  Kind  of  ornamentation  consisting  of  a  fantastic 

Interlacing  pattern  of  flowers,   foliage  or  fruit, 

'^ften  with  figures   of  men  or  animals." 

On  the  white  ground  in   light  relief  figurative  decoration 
surrounded  by   ornamental   foliage   and  blossoms  in  the 
email   colors   of  aubergin,   graen,   grey,  yellow  etc. 
Under   the  glaze:    In  the  centre     Mary     or    Maria 
(mne)    with     C   h  i   1   d   ;    in  the  foliage   symbolic  animals : 

pigeon,    Qss,   hare,    duck. 

Around   the   rim  inscriptions   in  Arabian  letters. 

I   surmise   a  connection  with  the   oriental  ser^t  of 
i  A  R   I  A  M  I   T  E  S    ,   who  give  priority  to  the  worship 
of   the   Virzin  Mary.    They  believe   in  conception  and 
delivory    effected  like   the   transmission  ^^.^^^  7^^; 
light   through   a  pane  of  glass  without   impairing  the 

virginity . 


F   e  r   s    i   a 


seventeonth  Century. 


t   -^- 


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129 


94 


Ivory  Handle, 
H.    12.3  cm.;   4.15" 


Fiat   relief   carving   divides  the  curved  surface  of  the 
dagger-handle     threefold.     Great  flgurative 
decorat ions   fill  the  middle  part,    enclosed  above  and 
helow  by   ornamental  borders.    Long  use  has  softly  ground 
off   the   surface   so   that   of  the  human  faces  the  out- 
lines   only  remain  recognisable. 

The   side  which  I  consider  the  front  view  shows  a  king 
in  medieval,   formal  attire  with  crown  standing  under 

a  canopy. 

Arabian  Inscriptions  on  the  borders  above  and  below 

the   king  runf 

NASRUM  NUN  ALUHI  =  HELP  BY  GOD 
WA? AT   HUN  KARIBUNI  =  AND  VICTORY  Nii^AR. 
The   figure    as  well   as   the  Arabian  letters  are  raised 
from  a  background  of  foliage« 

I  surmise  that  the  other  side  presents  the  same  person 
in  informal  attire  together  with  bis  wife  or  mistress. 
The  king's  right  arm  is  fondly  put  around  the  lady's 
neok,  and  we  would  probably  believe  we  were  seeing  a 
couple  ^f  the  Prench  Gothic  world,  were  it  not  fo^J^^ 
lady's  trousers,  ihowing  under  the  long  garment,  whlÄ 
direct   our   thoughts  to   the  Near  East.  ••■ 

This   side  without   inscription,  The  borders   are  filled 
only  with  Q  kind  of  cloud  ornament. 

This  handle    is   all   that    remained  from  a  ^^«ß^; J^^^^^ff 
in  complete   condition  in    M  c   e   d   ,   tho  ojd  oap^tal  of 
the  Armenian  kingdom,    in  1904.   The  very   ^^^^J^^f 
steel.blade   as  well   as  the  artistically   ornamented 
leather   scabbard  were   stolen, 

A  r  m  e  n   i   a,        fifteenth  contury. 

It   has  boen   suggested  by  F-^-^^^.r^^shiriif^-cItef 
ivory    carving   is   of  Egyptian  «raftmanship  and 

for  Armenia. 


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V 


ANCIENT   ORIENTAL  RUGS. 


a  n  0  i  e  n  t 


Pollowing   the  European  usage  I  call 

all  rugs   originating  before   1800. 

Perhaps   it  would  be  best   to  call     a  n  t  i  q  u  e     only 

those  ruga  irhere   the  connection  of  production  and 

drawing  belongs   undoubtly   to  the   sixteonth  and  seven- 

teenth  oentury. 

But    the   usage   in  the  U.S.A.    is  different,   Here  the  trade 

calls  "antique"   every  rüg  which  is  at  least  one  hundred 

years  old. 

Rugs  probably   originated  nith   shepherd  tribes  In  the  dim 
dawn  of  civiliEation,   The  magnificent  rugs  made  by 
Babylonians,   Assyrians  and  Egyptians  have  long  since  dis- 
appeared,   However   the  fragment  of  a  rüg.  woren  in  Sgypt 
about  400  A.D,,    now  in  the  Metropolitan  Museum,  New  York, 
and   surely   one   of   the  oldest  pieoes  in  existence,  proves 
that   this  rüg  was  woven  by  methods   still  in  use  by 
modern  craftsmen.    Llkewise   old  Symbols  live  on:  The  warp 
as   the   immutable  forces   of  the  world,   the  weft  aa  the 
transient   affair  of  man.   Believing  that  colors  can  influ- 
ence   human   life,    each  color  has   its  own  signif icance: 
Thus  Yellow  means   the   earth  which  is  conquered  by  the 
Oreen,    the  wood;   White,    the  metal,   which  dominates  the 
wood  and  Red,    the   fire,   which  destroys   it.  Black  symboliies 
water,   which   overoomes  the  fire. 

There   are   two  principal  techniques  for  making  rugs: 
Tapestry  weaving   and  knotting. 

The   oldest  method   is   the   tapestry  weave:   The  weft  is 
woven  back  and  forth  to  form  the   shapes  of  the  pattern 
in  various   colors.   In  this  way  the  whole  fabric  becomes 
a   sort   of  reversible  color  mosaio,    c>alled  in  the  Near  East 
"   I  I  L  I  M  '*    ,    possibly   derived  from  the  landscape 

Kilikien.  ^  , 

Closely   affiliated  to  this  kind  of  weave  procedura 
is   the   technique  used  still   today   in  the  Caucasus,   called 
"SUM^XH"    (cp.below  no.99).     Here   a  sort   of  chain  stltch 
is   sewn  solidly   across   the  warp,    fcrming  the  pattern. 
The   effect    is   something   like   a  kilim.  But  perhaps  one  could 
hetter  compare    it   to   an  embroidery. 
The     k  n  0   t   t   e   d     rüg   originated  from  the  ^'-^\f 
strengthening   the   floorcover.  For  this  P^^P^^^/^^^^^^^ 
.f   diverse   materials   are   knotted  into  the  woven  ground, 
leaving  a  pile  which  may   be   loose  or  tignt. 


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131 

from  80  to  400,    although  rugs  are  knoim  with  over  2.000 
knots   to   the   Square   inch.  Por  instance  the  famous 
Ardabil  carpet   in  the  Victoria  and  Albert  Museum  at 
London  numbers  32.500.000  knote  on  61.5  qm. 

In  the   slxteenth  oentury  the     t  e  n  i  t  h     of  the  art 
of  rug-neaving  will  be  reached  in     P  e  r  s  i  a     in  the 
reign  of  %bd  S4farid  Dynasty  (1502-1736),   especially 
during  the  reign  of  Shah  Abbas  (1587-«1628). 
The  geometric   deeign  with  Kufio  characters  of  the 
14th  and  15th  oentury  diaappears;  Arabesques  prevail, 
this  kind  of  ornamentation  oonsisting  of  a  fatastic 
interlaclng  pattern  of  flowers,   foliage  or  fruit,   often 
with  figurea  of  men  and  animals  (Webster),  floral  scrolls, 
various  Chinese  motivs  among  them  dragons  and  wandering 
oloud  bands.      I   knew  that   the   cloud  band  is  of  Chinese 
origing;    however   the   Statement  of  the  "Handbuch  der  orien- 
talischen Töppichkinde"   page  89  that   it  originally 
ptesents   the  "holly   sponge",   called  tschi  and  symbolizing 
immortality    in  the  Chinese  mythology,   was  new  to  me, 
By   degress   the  plants  and  animals  then  become  more  and 
more  Conventionalized;    the  entanglement  of  the  arabesques 
lands   to  geometric   figures. 

In     T   u  r   k   e  y     the  "court  rugs"   appear  to  be  a  somewhat 
formaliied  version  of  elaborate  Persian  carpets.  They 
are   very   different   from  the  Turkish  rugs  woven  in  the 
villages.   Best   known  among  them  are   the     "  p  r  a  y  e  r 
rugs".   They   are   cloacly  related  in  design  but  woven 
at    different  centers   in  Asia  Minor.   In  West  Anatolia 
at  Melas,   Ghiordes,    Kula,    in  East  Anatolia  at  Ladik. 
They  were  woven  very  probably   since   early  Mohammedan  times 
(Constantinople  was  conquered  by  Mahomet  II  in  1453)    , 
,liut   today  -in  consequence   of  being  articles  of  every 
day  use-  few  pieces   are  in  existence  which  can  be  dated 
earlier   than  the   seventeenth  Century.     Martin  in  his 
"History   of  Oriental  Carpots  beforc   1800"   shows  in 
figure   340  a  Ladik  prayer  rüg  with  the  date  1110  of  the 
Mohammedan  calendar,   Since   the  Arabian  calendar  begins 
with   the  Hegira  (f  light   of  the  Prophet  from  Mekka  to 
Medina)    in  622   of   the  Christian  era,    1100  corresponds 
with   1733  A.D.,    and  I   do  not  understand  how  Martin  comes 
to   figure   out   the   date   of   1699. 


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Th«      "prayer  rugs"      owe   their  origin  to  the  need  of  the 
¥ellever   to  perform  daily  five  prayers,    as  ordered  by  the 
Koran  (lit.=read  or  teach),   the  Mohaaunedan  Holy  Soripture, 
collected  after   the  death  of  Mahomet  (569-632  A.D.)  with 
the  principal  dogma: 

••La  lllahs   il  Allah!   Mahomet  resoul  Allah!" 
There  is  no  God  but  God!   Mahomet  is  the  Prophet! 

During  prayer   the   eyes  have  to  be  turned  to  the     "Kebla'», 
the  point   of  the  heaven  in  the  direction  of  Mecca,   indicated 
internally   In  every  mosque  by  a  niche     "AI  Mehrab"   , 
externally  by   the  Position  of  the  minarets  (from  Arabian 
mansrat=llghthou8e) .   Therefore  every  prayer-rüg  has  a 
design  which  represents   thls  niohe.  While  in  uae  for  praying 
the  gable-end  of  the  niche  has  to  point   in  this  prescribed 
direction, 

The  believer   Steps   on  the  broad  end.   He  repeats  several 
times   laudatory   ejaculations:    "God  is  great,  God  is  power- 
füll    God  is   all   powerful!"     Bowing  to  the  angels,   (minis- 
tering   spirits)   to   the  right  and  left,   he  props  on  his 
arms   and  finally   touches  the  earth  (i.e. the  rüg)  with 
his  head, 

The     Caucasian     are  not   to  be  confused  with  other  groups: 
Brilllant   in  colors,    streng  contrasta,    simplefied  geometric 
forms,    according  to   science,   based  on  birds  and  beasts. 
They   have   a  oertain  savage  grandeur.  We  find  rectangulars, 
rhombe»,   polygons  with  stars,   multifarious  stars,   ßetween 
or  also   joined  to   them  are   strangely  formed  structures. 
they   look  like   claws  and  tongs  and  hooks,    sometimes  on 
long   stakes,    stmetimes  following  the  contures  of  singl 
parts   of   the   design. 
The     Turkoman     rugs   are   the  product  of  wandering  tribes. 
Small  geometric   patterns  appear  on  a  ^^^J^ß^°^^^^^^  f  Jf 
red.   Since   all   tent   dwellers  use   their  rugs  constantly, 
these  rugs   are   an  intergral  part   of  the  ^^^^^^^^ß-    ,, 
Although   sturdily  woven  the  wear   and  tear  is  especially 

hard. 

Except   for  the   Turkoman  rugs,   where  the  ^"ditional 

patteru  has  not   changod  radxoally  °-^^;.   «^^^  J  °'' 
'^  ducts   Show  the  same   deollne   •  ^^e 

tiff  and   in  the   end  ■unintell-gibie, 


e 


if 


all  the  other  pro 


Uving  pattern  becomes  «^^^%*^^  ".".^ese  Ornaments 
so  that  the  deoper  meaning  of  »^'^y/f^^f ",  ^d  is 
was  unknown  to  the  carpet  weaver  of  long  ago,  ana 


was  unknown 

also  lost  to  today's  admirer. 


,  ■  ■■««»mf 


4U»Ul.i.>JLMMIi, 


ifWiiii  I 


'.  ••     •► . 


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Time   has  not   dealt   kindly  with  rugs,   being  vulnerable 
to   dirt   and  wear.      The  bare  or  only  slipperod  feet  of  tha 
eastern  countrymen  were  muoh  less  harah  than  the  heavy 
footwear   developed  in  Europa  Trhich  so  often  wore  the 
lustrous  pile   away.  And  yet   :   The  diamed  colors  of  the 
old  rugs   still  bring  out   the  oonsummate  art  of  their 
design  and  we   oan   still  enjoy  their  beauty,   though  to  a 
lesser  degree. 

It    Is   sad  to   learn  that   during  the  Second  World  War   some 
of  the   finest   collections   of  early  rugs  in  existence 
were   destroyed   :    The  collection  of  the  "Kaiser  ?riedrich 
Museum"    in  Berlin,   most   cleverly  >rought  together  by  Wil- 
helm Bode   searching   eld  Spanish  and  Italian  churches  at 
a  time  when  the  general  interest  was  still  lacking,   char- 
red   in  the   safe-deposits   of  the  new  "Reichsbank»^  at  Berlin, 
The   collection  in  Munich,   mostly   from  the  possession  of 
the   former  reigning  family  Witteisbach,   was  wantonly  des- 
troyed by  the  Nazis  before   their   surrender  to  the  allies. 
All   the  more  we  have   to  be  grateful  that  antiques  rugs 
of   every   kind  have   found  their  way  to  the  New  World  and 
to   safety.    New  York  Metropolitan  Art  Museum' s  collection 
of   oriental  rugs  gives   an  extraordinary  opportunity   to  get 
an  idea  of   those  masterworks  of     "court     rugs", 
Gven  of   the   füll  freshness   of  their  original  beauty, 
I  need  only  mention  the  "Emperor's  Carpet"   from  castle 
Schönbrunn  near   Vienna,   the  "Ailaal  Carpet"  from  the 
shrine   •f  Shaik  Safi   at  Ardabil   and  one  of  the  latest 
acquisitions,    the   "Anhalt  Carpet". 

The  hi Story   of  the  Anhalt   carpet   is  typioal  and  explains 
als«   its   perfect   condition,     It  was  probably  n-ade  during 
the   reign  of  Shah  Tahmasp   (1525-1576),  woven  at  the  State 
manufactory   of   the  Safavid  shahs   at  Täbris  between  1524 
and   1535.  From  Persia  it   came   into   the  possession  of  the 
Sultan  in   in  Constantinople  and  accompanied  the  Turkish 
arnor,    perhaps   the   Sultan  himself,   to  the   siege  of  Vienna 
in   1638,    to  be  used  in  great   affairs  of  State  only,     When 
the  Turks  were   driven  back,   the  carpet  came,   as  part  of 
the  Turkish  booty,    to   the   Duke   of  Anhalt.     At  the  ancestral 
Castle   at   Anhalt    it   remains  forgotten  until   it   is  redis- 
covered  by   chance   and  the   late  Lord  Duveen  shows  it  fi^st 
to   the   public    in   London' s   exhibition  of  Persian  Art   in  1931. 


an 


But  also  the  simpler  kind  of  antiquo  rugs,  like  the 
p  r  a  y  e  r  r  u  g  s,  are  representel  in  the  Anieric 
muse-oms  in  an  amazing  quantity  and  variety.  I  saw  many 
of  them  used  to  enliven  rld  American  ^^^^^^^^''  ^''J.^^ 
museums  of  great  eitles  took  pains  to  collect  and  br.ng 

ighteenth 
ent 
which 

are  still  now  representative  for' their  homely  charm. 


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The  modest   oarpets   for   daily  use  of  tht  eighteenth  Century 

I    am  going   to   describe  below,   have  stil  preserved  at 

least   one   quality   in  common  with  the  classic  masterworks: 

The  harmonic   effect   of   their  colors.   In  spite  of  manifold 

coloring  and  vivid  contrasts,    they  are  always  restful  to 

the   senaes,    attribute   always  and  essentially  to  the  harmony 

of  the  room  they  adorn. 

Time   and  the   fading  colors   do  not  effect  their  beauty^ 

ainoe   the  predoninant   colors,     red,     yellow, 

b   1  u  e     fade    least   and  the  traditional,   sensible,   taste- 

ful  uae   of  the   organieally   dyed  material  remaias. 

With   the  use   of  the   anilin  colors,    invented  in  1859,   this 

harmoniting   of  colors  will  begin  to  fall. 

In  the  following  I  have  classified  the  rugs  into  four 
groupa   : 

1,  Turkish-Anatolian 

2,  Caucasian 

3,  Persian 

4,  Turkoman  (nomades) 


95-97 
98-99 

100 
101-102 


Lit,:     Martin,   F.R.      "A  History  of  Oriental  Carpets  before 

1808",   Vienna  1908. 
Neugebauer  &  Orendi     "Handbuch  der  orientalischen 

Teppichkunde",   Hiersemanns  Handbücher, 

Band  4,      Leipzig  1909. 
Art   Institute   of  Chicago     "Exhibition  of  Antique 

Oriental  Rugs".   Chicago  1947; 

Charles  P.Kelley. 
Bulletin   of   the  Metropolitan  Museum  of  Art,  New  York, 

vol.V,   no.2,   October  1946;     "Osborn, 

the  Kress  Benef action". 


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135 


95. 


Prayer  Rüg     (Melas). 
125  X  94  gm.;   49.3  x  37  " 


The  ground   of  the   proyer-niche   is  rod.  A  mosque  lamp 
in  yellow  hangs  d<rwn  Into  the  niche, 

The  Qolumns  which  support   the  gable  end,   the  gable-fiöld 
itself  UluÄ  &nd  yellow, 

Small   enclosing   on  creany^   broad  borders  on  brovm  ground 
with  floral  forma   in  different  colors, 
Much  worn  and  torn. 

Aaia  Minor,   Turkey-Anatolia,  Melas.     Eighteenth  Century, 


96. 


Prayer  Rüg     (Ladik) . 
200  X   115  cm.;     78.12  x  45  " 


Distinct  division  in  three  parts;    The  principal  one,   the 
niohe   in  the   middle,    dark  rieh  red,    the  foot-part  on 
white,    the   gable-part   on  green  ground. 

Below  a  kind  of  gable-stairs  a  jug  to  remind  the  believers 
of  the  washings   ordered  by   the  Koran,   tiny  light-llke 

points   on  both   sides. 

On  the  white  ground  below  three  battlement-like  figures 
and  five   tulips   on  long   stalks;    on  the  green  ground 
ahove   two   Jugs   and  floral  forms,    among  thea  two  palmettes 

in  different  colors.  .   ^  .,        ^     a 

On  the  borders  floral  patterns  together  with  the  cloud- 

band  motive. 

In  good  repair. 

Asia  Minor,   Trirkey-Anatolia,    Ladik.       Eighteenth  Century. 

Lit    •     Martin     "A  Histpry   of  Oriental  Carpots  before  1808"; 
Lit..     Martin       J^^^^^J/^^^^j^  ^^..^^   1700  in  the  mosque 

Ala-al-din  in  Konia.  t^^v^t, 

Neugebauer  &  Or.ndi     ''HandWch  der  orientalischen 
Teppichklmde\   colored  plate  III,    and 
ill.59. 


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97. 


Prayer  Rüg     (Kula)  > 


Color  harmony   of  blue   and  yellow,    disbanding  of  the 
borders   in   stripes,    are  characteristic  for  this  kind 
of  carpet.    But   also   the  yollow     t  r  e  ©  -  ornament 
In  the   doep  blue  ground  of  the  prayer-niche, 
representing  the   "Tree   of  Life"  which  grows  in  the 
midst  of  the  Uarden  of  Eden,   eating  of  which  gives 
aternal  life, 

Blue   is  the   color   of  mourning  in  the  Near  East; 
this  kind  of  rüg   serves  as  a  funeral  oarpet,  first 
io  oover   the   cofpse,    then  the  coffin  of  the  faithful, 

and  finally   it   is  used  by   the  relatives  to  pray  on 

near   the  tombstone. 

Asia  Minor.   Torkey-Anatolia,  lula.     Elghteenth  oentury, 
v-„»^  A  nrendi     "Handbuch  der  Orientalischen 

111.61. 


V.: 


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III 


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137 


98. 


Caucasian  Rüg     (Schirwan) . 
310  I  135  cm.;    122.5  x  53.2  " 


The  background  of   the  principal  middle  part   is  red, 
of   the  bordors  yellow,   white   and  brown.  C-oometric 
motivea   in  yellow  and  white  with  brown  and  a  few 
li^ht»  blue  ones  form  the  ornamentation. 

South  Cauoasus   distric   of  Schirwan.     Eighteenth  Century. 

Lite-      Neugebauer  &  Orendi     "Handbuch  der  orientalischen 

TeppichkundeV   ill,87,p.l48. 


99. 


Caucasian  Rup     (Sumakh). 
270  X  220  cm.;    106.10  x  86.14" 


This   carpet   is  woven  in  the   tapestry  manner  I  mentioned 
in  the    introducation  (p.l30), 

The   principal  colors  are  red,   blue  in  two   shades, 
yellow  and  green.   The   ornamentation  is  geometric. 

The  middle   field  ground  is  red,   but  ^/^^  .P^J^ß^f  .^^^ 
deep  blue  give  predominant   effect   and  ^ivids  it   into 
two   equal  parts.   With  great   ingenuity   a  «^ultiplicity 
of   Stars   aSd  polygons   in  different   shape     s  ze  and 
coloring  are   dispersed  over   the  whole   surface. 

On  both  narrow  sides   a  Doraer 
running  on, 

province  Schirwan. 

The  nos.98   and  99  wore  .ought   at   TifUs   In  1909. 


9* 


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»I. 


ItiwtÖ. 


138 


100. 


Persir;n     Rüg      (Karadagh). 
375   X   165  cm.;    147.14  x  64.15" 


The   bp.okground  of   the   long  rectangular  middle   field  is 
dark  bluo,    of   the   two   small  borders  yellow  and  of  the 
broad  border  between  them  red.   All   are  filled  with  floral 
ornamentations   in  red,   blue  and  yellow. 

North  Persia,   province  Azerbeldschan^   distric  Karadagh» 

Eighteenth  Century, 

Lit,:    Neugebauer   and  Orendi     "Handbuch   der   orientalischen 

Teppichkunde,"   ill.lll  &  112. 


101   and   102, 


Two   Tekketurkotaan  Rugs> 

155   X  87   cm.;   61.1  x  34.4  " 
137   x  85  cm.;    53.1  x  33.8  " 


The   trade   usually   calls  these   rugs     "Bukharas". 
The  wool  has   a   silky    lustre.    ön  the   deep  red  background 
small   geometric   patterns   in  dee   dark-blue  >nd  yellow, 
oalled  by   the  Tekketurkoman  tribes     "flying  eagles". 

The  Tekketurkomans   are  wandering   tribes   (nomads)    in 
Central  Asia,    in  Turkestan  between  the  Caspian  Sea  and 
Bukhara,   They   are   tent   dwellers   aa^  these   rugs   integral 
pp.rts   of   thöir  furnishing;   therefore  the  rugs   are   in 
constant   use   and  thus,    in  spite   of  the   sturdy  weavmg. 
the   traces   of  extremely  hard  wear  and  tear  are  visible. 

The   date   of  w^aving   is  very   difficult   to   teil   since  the 
traditional   pattern  does  not   change   over  a  very   long   time. 
Tet    the  rieh  deep  colors   let  us   surmise   that   the  rugs  were 
wovon   still    in   ihe    eighteenth  Century. 

Lit    •    Neußcbauer  A  Orendi     "Handbuch  der   orientalischen 
.lt..    r^eugcD  u  Toppichkunde",    ilius.    140. 

Oettingen     "Teppich  Kartenwerk",    Serie  V/2 ,   bl.26 

"One   of   the   finest   craftmanship  pf   knot- 
ting,  2.50O-3.5-00  knots   on   100  qcm," 


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The  axc,  cut  out  of  a  whale  bone,  served  as  a  ceremonial 

Inplement  In  the  ancestral  ritual. 

It  has  the  form  of  a  stroke-weapon;  on  the  stroke  side 

the  whalG  bone  is  flattened  to  a  sharp  edge. 

The  grip  is  placed  well  bulanced  between  a  dragon'  s  head 

at  the  end  of  the  handle  and  the  monster  which  seems  to 

creep  along  the  upper  rim* 

Both  figures  are  deoorated  in  the  typical  M  a  o  r  i 

fashion  with  decply  cut  Ornaments,  the  eyes  inlaid  with 

mother-of-pearl, 

Below  the  head  a  hole  as  if  for  fastening  to  the  girdle. 

New  Zealand  (Australia) ,  before  1642, 

Maori  art  before  European  era,  i.e»  before  the  discovery 
by  Tasman  In  1642. 

Lit.:  "Cahier  d»art",  1929,  2/3  (Mars/Avril) ,  fig.14. 


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CoUectors'  Japanese  art 

The  Times-Sotheby  Index/Gerald  im  Keen 


Over  the  last  tew  years  ceriain 
aspects  Ol  lipanese  art  have 
turned  into  populär  almost 
lashionable  -collecting  iields  in 
thc  uest.  I  hc  nel^uke.  a  small 
biitlon-like  loggle  that  was  used 
lo  atlach  itcms  hanging  Ironi 
the  waht  and  which  was  ot'ten 
carved  with  consummalc  art. 
has  bccome  a  collector's  iteni 
pai  excellence.  I  Ins  has  the 
widest  follov^ing  of  collectors 
of  any  Japanese  art  torm  m  ihe 
v^est. 

ils  dosest  competitor  \s  the 
inro.  a  poiich  or  Container  with 
•^everai  separate  compartmenls 
^^hieh  was  originally  used  to 
carry  seals  in  and  later  lor 
carrying  medicmes.  fhe  inro 
hung  trom  a  cord  and  was 
attached  at  the  waist  by  a  net 
sukc.  On  if  was  la\ished  the 
finesl  art  ot  thc  lacqiierer — an 
art  iorni  which  was  mo^t  highl\ 
regarded  and  dcvcloped  in 
Japan. 

Japanese  metaiwoik.  particu- 
larh  the  tsuba  or  vvvord  guards. 
and  sword  littings  now  ilso 
command  a  lollowing  in  the 
wesi.  Ihc  artislr\  heic  lies 
again  in  thc  decoration  ol  the 
picces  Lising  nian\  ditterent 
nietals  and  allo\s  including 
several  decoratne  allo\s  only 
u^ed  in  Japan.  I  his  tield 
attracb  a  lar  NnialJcr  and  niore 
speciali/ed  group  ot  collectors 
and  thc  sanie  applics  lo  Japan- 
ese prints  and  drawings. 

Ihc  collect  ion  ol  Japanese 
works  ot  art  in  the  west  today 
seems  to  underlinc  bolh  in  out- 
line and  in  detail  thc  ditference 
bctween  eastern  a\mS  wettern 
cullures.  In  spite  ol  thc  Japan- 
ese economic  miracle.  purchases 
b\  Japanese  collectors  play  a 
very  small  part  in  the  western 
market.  I  hey  arc  not  biiMng 
back  such  Japanese  treasures  as 
are  to  bc  tound  in  the  wcst  \o^w 
anv  Scale,  tconomic  prosperily 
8nd  the  collection  ol  works  of 
art  tend  to  go  band  in  band  bui 
the  most  notable  impact  ot  new 
Japanese  collectors  on  the 
London  market  has  been  in  the 
fjelds  of  mipressionist  paintings 
and  Chinese  ceramics.  When 
important  pieces  of  Japanese 
porcelain  comc  up  for  sale  in 
the  west  they  may  also  find 
Japanese  buyers.  and  this  is 
aKo  true  of  the  finest  Japanese 
prints.  But  in  the  main  such 
Japanese  art  works  a^  are  to  bc 


found  in  thc  wcsl  changc  hands 
bctween  western  collectors. 

Vct  t^urope  is  no  mcan  treas 
ure  house — nor  is  America.  Ihe 
rcason  for  this  lies  in  the  huge 
exports  of  works  of  art  froni 
Japan  in  the  late  ninetecnh 
centur\.  I  rom  1639  lo  1853 
Japan  had  virtuallv  no  intcr- 
course  iih  the  outside  world. 
Emperor  succeeded  Emperor  in 
the  direcl  family  line  trom  the 
Sun  goddess  Amaterasu.  ihough 
thc  Emperor  with  his  glittering 
imperial  court  at  Kyoto  was  no 
more  Ihan  a  nominal  rulcr.  J  he 
leal  power  was  vested  in  t!ie 
Sbogun.  or  military  rulei.  aiid 
the  feudal  system  of  govein 
ment  was  run  by  the  military 
class.  Each  local  baron  had  his 
own  Samurai  to  enforce  his 
authority.  The  upheava!  which 
followed  the  arrival  ol  thc 
.American  Commodore  Perry  in 
1853  and  the  reopening  <)[  reia- 
lions  with  thc  outside  world 
saw  the  Fimperor  restored  as  a 
rulcr  in  fact  as  well  as  nanic 
and  thc  disbandmcnt  of  loc 
privileged  class  of  samurai.  I'^c 
economic  trials  that  tiiis 
brought  in  its  train  torad 
many  familics  to  seil  thc  wcrs- 
uics  liiai  ihey  hat!  acquired 
o\ei  the  centurics.  and  a  i\o<K\ 
of  Japanese  works  of  art 
poured  into  Europc  and 
.America. 

On  the  vvhole.  Japan  did  not 
pari  with  ils  fmcsi  treasures— 
or  at  least  thosc  which  were 
most  pri/cd  in  the  countrv 
itselt.  Ihus  thc  finest  Japanese 
paintings  arc  hardly  to  bc 
tound  in  the  west:  ihe  ancieni 
potter\  icabovvis  which  passcd 
from  master  to  master  of  thc 
traditional  lea  ceremony  it 
mained  vviih  thosc  who  valued 
them  most  highly.  and  thc 
finest  and  most  ancieni  Japan 
cse  sword  blades  are  hardly  to 
bc  found  outside  Japan — while 
rumours  spread  Irom  Japan 
itselt"  o'i  leabowls  and  bladcs 
that  can  today  change  hands 
loriSOorilOO.OUU. 

Ihus  the  flood  of  works  of 
art  that  reached  the  west  was 
largely  made  up  of  examples  of 
Ihose  arts  and  crafts  which 
wcrc  less  highly  considered  in 
Japan  itself.  fn  so  refined  and 
highly  civilized  a  society  tre 
mendous  artistry  was  lavished 
on  the  daily  appurtenances  ol 
litc.  J  he  art  of  lacquering  was 
very  highly  deveioped  and  con 
sidered,  and  great  masters 
turned  their  hands  to  decoral- 
ing  the  inro — though  this  was 
still  a  minor,  domestic  app/ica 
tion  of  a  great  art.  Netsuke 
carving  was  definitely  consid- 
ered a  lower  form  of  art. 
Japanese  prints  were  made.  for 
thosc  who  could  not   afford   to 


purchase  paintings.  for  a  cheap 
populär  market.  In  a  military 
society  great  care  and  crafts 
manship  was  laxished  on  sword 
fiilings.  but  It  was  thc  blades 
themselves  that  were  most 
highly  pn/cd  in  Japan  and  the 
sword  filtmgs  rather  than  thc 
blades  that  reached  the  west  in 
such  quantities. 

Japan  had  been  sealed  o\\ 
from  the  rest  oi  the  world  for 
more  than  two  centuries  and 
thc  importance  o\  their  artistic 
achievements.  suddenly  rc 
vcaled.  had  a  trcmendous 
impact  in  Europc.  In  I  rancc 
Japanese  prints  were  a  great 
new  inspiration  to  the  artists  o\ 
the  Impressionist  school.  And 
by  the  end  of  the  Century  there 
were  already  many  great  collec 
tors  of  Japanese  art.  who  had 
mastered  the  complicated 
Japanese  language  and  made 
themseKes  familiär  with  thc 
history.  myth  and  legend  that 
lie  behind  this  art.  and  the 
rcligiou.s  and  symbolic  signif 
icance  associatcd  w  ith  the  ireat- 
ment  o\  cven  thc  most  common 
subject. 

Ver>  large  and  important 
collect ions  of  Japanese  works 
<^^\  art  were  for  med  at  ihis 
period.  Sonic  o{  them  are  now 
in  museums :  thc  rest  form  thc 
basis  of  the  present  day  market 
in  Japanese  itcms  in  l'urope 
and  America.  Ihe  most  strin 
genl  regulations  ^re  now 
applied  to  the  export  o\  works 
ot  art  tri)m  Japan  and  ver\ 
little  currently  finds  its  way  out 
oi  thc  country. 

Ihe  most  outstanding  dcvel 
opment  oi  the  l96Us  has  been 
thc  spread  o{  interest  in  collect- 
ing  netsuke.  culminating  in  the 
sale  over  ihrce  years  of  the 
Hindson  coJlection  at  Sothcby's. 
which  not  only  saw  the  first 
netsuke  tetch  more  than  il.OOÜ 
at  auction.  but  the  last  of  the 
scven  sales  in  which  prices 
steadiiy  rose,  saw  one  liny  carv- 
ing make  as  much  as  £2.800. 

While  netsuke  were  originally 
used  as  buttons,  it  is  thc  tre 
mendous  artistry  that  they  dis 
play  as  miniature  carvings  that 
atlract  the  present  day  collec- 
tor.  Ihe  l"imcs-Sotheb\  index 
shows  them  on  avcragc  four 
and  a  half  timcs  more  valuable 
in  1970  than  in  1960.  Ihis  is  in 
a  sense  an  Understatement.  At 
the  beginning  o\  the  decade 
there  were  very  fevv  sales  and  a 
very  limited  number  of  collec- 
tors. As  the  years  pas^ed  more 
and  more  people  became  inter- 
ested.  books  about  netsuke  were 
publi.shed,  and  collectors 
became   increasingly   selectivc. 

The  finest  examples  have  in- 
creased  hugely  in  price  while 
modest     works    arc     not     much 


inm  up  S  timc^ 


-^  \etsuke  up  4  titnes 


Left ;  a  modcl  of  a  kirin  b>  Tomotada  sold  at  £1,800  last  ycar.     Ihc  same  netsuke  wassoid  in  Germany  in  1962  for  £204.  Centre  :  a  reclining  cat  by  Kwaig^oku  Masatsugu 
sold  last  >ear  for  £2.800,  thc  highcsf  prive  over  paid  for  a  netsuke.    Rlght  :  a  reclining  ox,  a  subject  much  t'avoured  by  Tomotada  and  his  schooh 


more  expensivc  than  they  were 
10  years  ago.  Since  modest 
works  are  more  common  thc 
avcragc  multiplication  in  pricc 
is  not  so  great.  Ihe  best  net- 
suke felch  perhaps  10  times  as 
much  as  thc>  did  in  i960.  In 
1962,  \oy  cxamplc,  a  brilliant 
tiny  model  o\  a  reclining  horsc 
by  kwaigyoku  Masatsugu,  on^ 
o\  thc  most  sought  .ifler  mas 
lers.  sold  at  Sothebys  tor  oni\ 
116.'^  ;  today  a  piecc  o\  this 
qualit\  b\  this  mastci  would  he 
worth  around  £2.500. 

Present  dav  coIlector>  tcnd  to 
pii/c  abose  all  the  decorative 
qualities  ot  netsuke  ;  lhc\  aie 
perhaps  Icss  academic  in  thcir 
approach  than  thc  great  collec 
tors  o\  the  turn  of  thc  Century. 
Ihe  netsuke  carvers  tackled  an 
immense  \ariety  ot  Nubjecis. 
1  herc  are  man\  figures  .md 
events  from  the  rieh  minc  o\ 
Japanese  m\  th  and  legend  . 
there  are  man\  mythological  as 
well  as  real  animals.  in  addilion 
to  fruit,  flowers.  shells.  fish 
and  other  subjects  drawn  from 
nature.  Even  such  naturalistic 
subjects  tend  to  be  imbued  with 
religious  or  symbolic  attributes. 
Ihus  the  study  ol  netsuke  alone 
richly  illustrates  the  main 
facets  of  Japanese  lifc  and 
thoughi.  Ihis  was  ol  prime 
importance  to  the  early  collec 
tors.  fascinated  by  the  discove^v 
of  so  essentially  foreign  a  cul- 
lurc. 

Western  art  forms  are  gen- 
erally  collected  for  their  aes- 
Ihetic  qualitics  and  it  is  this 
approach  that  the  new  gencra- 
tion  o\  western  collectors  take 
in  their  search  for  netsuke.  The 
highest  prices  today  are  gen- 
crally  paid  for  animal  net- 
suke-a  type  to  which  no 
particular  importance  was 
attached  by  the  older  gcnera- 
tion  o\  collectors.  Research  has 
also  singied  a  number  o\'  artists 


who>e  netsuke  are  oi  outstand- 
ing    orjginality     and     qualitv 
thei     work   is  naturally   particu- 
hirU  sought  after. 

Kwaigyoku  Masatsugu.  ah 
artist  who  worked  in  Osaka  in 
the  ninetcenth  Century,  is  one 
o\'  thc  most  highly  considered 
ant^  several  süperb  examples  o\ 
Ins  work  have  been  seen  at 
au*.lion  Mention  has  already 
neoii  made  o\  a  reclining  horsc 
whch  brought  1165  in  1962  ;  in 
I9(s  another  example  o{  his 
uo'k.  a  pupp>  holding  a  bird 
whistle,  brought  a  new  auction 
rec\)rd  for  a  netsuke  ;il  £900 
and  in  1969  a  reclining  c.tl  a 
rare  Mibject  made  i.2.80(i.  1  Ins 
reiiiam>  the  highest  auction 
pnce  on  record  for  a  netsuke. 

I  herc    is   a    special   complica- 

tion     with     some    o\'    ihe    great 

eighteenth-century  masters  since 

iheJ!     >ignatures    tended    to     be 

idded  to  pieces  b\    many   pupils 

and  follow'crs.     Ihe  wi>rk  ol  thc 

niosler     himself     can     onl\     bc 

distinguished  by    itv  quality.   An 

example  of  this  i>    I  omotada  ü\ 

Kyoto.  One  of  his   best   known 

subjects  i>  that  oi  thc   reclining 

o\  :    an     a\erage     pnce    for    a 

school  work  is  around  £150.  In 

1969     an     example     o\     süperb 

quality,    clearly    b\    thc    master 

himself.  came    up   for   sale   and 

nvide    £950.    Ihe    ^ame    quality 

combmed    with   a    less   Standard 

subject  can  fetch  cven  more.  A 

splendid   carving   o\    a    mxthical 

creaturc  known  as  a  kirin  made 

11,800   last    ycar:    in    a    sale    in 

Germany  in  1962  the  same  net- 

siike  had  brought   1204. 

Ihis  is.  of  coursc.  the  too  o' 
thc  market.  1  he  majority  of 
netsuke  still  fetch  bctween  £20 
and  £200.  Ihe  field  has  not  yet 
achieved  so  wide  a  popularity 
aiiong  collectors  as  lo  make 
e\en    the   modest   examples   cx- 


collectors  who  had  been  buying     worked  in  the  early  eighteenth 

Century,  and  the  niiieieenth-cen- 
tury  master  Shibala  Zeshin.  In 
1961  an  unusual  sheath  inro  by 
Ritsuo  from  the  Kitson  coUec- 
iion  made  only  £38  ;  when  the 
Hindson  inro  were  sold  in 
October  \%9  another  very  fine 


netsuke  with  thc  idea  that  it 
was  an  inveslment  and  those 
attracted  to  the  field  by  the 
glamour  of  thc  Hindson  sales — 
it  is  rare  for  a  major  collection 
to  come  on  thc  market  and  this 
caused   unprecedented  interest — 


may     have  dropped   out    o\'  the     example    of    the    artisfs    work 


market  for  a  time. 

Ihe  enthusiasm  for  these  tiny 
ear\ings  m  thc  west  seems 
hardly  to  have  aftecled  the  Ira 
ditional  Japanese  vievv  thai  net- 
suke are  a  lower  form  of  art. 
Inro.  on  thc  other  band,  were 
traditionally  more  highly  con- 
sidered .  from  thc  carliest  times 
lacquer  was  grcatly  admircd 
and  the  techniques  of  lacquer 
work  were  deveioped  to  a  higher 
degrcc  of  artistry  in  Japan  than 
anywherc  eise  in  the  world. 
While  inro  weie  perhaps  a 
minor  application  of  a  grcal 
art.  most  of  the  greatest  masters 
of  lacquer  turned  their  hands  to 
them  from  the  sixteenth  Century 
on  wards. 


made  in  die  form  of  a  Icather 
pouch  brought  £1,250.  Ihis  was 
rhe  first  occasion  on  which  any 
inro  passcd  the  £1,000  mark  at 
auction.  A  record  price  for  an 
inro  was  established  in  the 
same  sale  with  an  example  by 
Shibata  Zcshm  decorated  with 
chestnut  husks  and  nuts  at 
£1.900;  this  inro  had  been  sold 
togethcr  VMth  another  for  £11 
in  1947. 

On  the  whole,  however,  inro 
still  fetch  lower  prices  than 
netsuke  and  interest  fewer  col- 
lectors. This  is  one  of  the  many 
curious  reversals  of  artistic 
Standards  born  of  the  western 
inieresL  in  Japanese  art — the 
netsuke  \Kas  originally  an  unim- 


I  he  last  fevv  years  have  seen  portant   appendage  of   the    inro 

a   major  increase  of  interest   in  H'^ed  to  suspend  thi^  sumptuous 

this    field    in    the    wcst    and    a  item  from  the  waist. 

small  but  significant  number  of  Another   startling    reversal    ot 

new  Japanese  collectors  starting  Standards  lies   in  the  compara- 

to   make   purchases.    Ihe   result  Ove    prices   of    Japanese    prints 

has    been    a    rapid    increase    in  and  drawings.    Prints    began    to 

pricc.   Ihc    I  imes-Sotheby  index  be  produced  in  the  late  seven- 

shows    inro    on    average    eighi  teenth  Century  as  a  cheap  alter- 

times    more   expensive   in    1970  native  to  paintings  for  the  pros-     similar  objects  in  previous  sales. 


And  there  are  as  many  keen 
collectors  in  Japan  as  anywhere 
m  the  west 

Drawings.  on  the  othci  hand, 
atlract  \er\  little  interest.  .^n 
average  drawing  bv  Hokusai 
may  cosl  13-500.  while  one  o\ 
bis  finer  prints  may  cost  £2.000. 
fhe  very  low  prices  that  fine 
Japanese  drawings  command 
slem  in  pari  from  thc  diffi- 
cultv  of  finding  them  -there  is 
only  one  dealer  in  London  wh*) 
speciali/es  in  this  field.  Mr. 
Sawers  of  Kegan  Paul  And 
collectors  lend  to  make  for 
belter  publici/cd  fields. 

Note. 

lor  this  special  arlicie  the 
1  imes-Sothebv  index  method 
has  been  used  to  calculate  the 
rise  in  average  prices  of  netsuke 
and  inro  since  i960.  Ihe  prices 
recorded  in  sales  in  1959,  i960 
and  1961  were  averaged  to 
establi.sh  a  level  of  prices  in 
"around  "■  i960.  This  level  of 
prices  is  compared  to  the  prices 
recorded  in  sales  m  1965  and  in 
1970.  Ihe  price  of  a  piecc  is 
only  Used  in  deiermining  the 
average  irend  when  it  is  re- 
corded by  a  pholograph  in  the 
auction  catalogue.  In  this  way 
account  can  be  taken  of  the 
relative  quality  of  each  picce  in 
relation     to    its    price    and     to 


than  they  were  a  decade  earlier 
Ihe  increase  is  larger  than  that 
measured  for  netsuke  since  a 
number  of  very  high  quality 
came  up  for  sale  in  around 
i960 — and  as  for  netsuke,  it  is 


perous  artisan  class.  Ihey  were 
never  looked  on  as  anything 
other  than  a  cheap.  populär 
form  of  art  in  Japan  until  the\ 
began  to  be  so  greatly  admired 
by  western  artists  and  collectors 


the   best   ihai  has  advanced  so    in  the   late   nineteenth   Century 
much  in  valuc. 

Inro     are    also 


today  most 
prized  for  their  artistic  merit 
and  for  the  orginal  and  difficult 
effects  achieved  wilh  ihe 
medium  of  lacquer.  1  wo  artists 


Poday    the    graphic     work     of 
great    artists   such    as   Hokusai. 


pensive.  In  fact  this  ycar  there  whose  work  is  now  parlicularly 
has  been  some  fall  in  price  for  prized — and  which  has  shot  up 
less    outstanding    pieces.     Ihose     in       price— arc      Ritsuo.      who 


Hiroshige.  Utamaro  and  Shar- 
aku  can  command  several  thou- 
sand  pounds  for  a  single  print. 
The  same  sort  of  price  must  be 
paid  for  "  primitive "  early 
prints  of  the  late  seventeenth 
and    earlv    eighteenth    centurv. 


Auction  prioes  tend  to  be 
irregulär — it  is  perfectly  possi- 
ble  for  twice  as  much  lo  be 
paid  in  one  sale  a5  another  for 
very  similar  objects.  The  index 
averages  these  variations.  Preci- 
sion  of  measurement  is  impossi- 
ble  and  the  figures  in  the 
accompanying  chart  should  be 
considered  as  rough  Orders  of 
magnitude.  A  larger  number  of 
netsuke  than  inro  were  sold  in 
thc  three  years  on  which  thc 
Chart  is  based :  they  were  not 
of  exceptionally  high  quality 
while  Ihe  inro  were  outstanding. 


vA^>.      ^^^T.-^'J<Zc 


?     R 


PAG 


'fhe  oae  hundred  three   objeots  desorlbed  In  thl« 


pieoe^s  In  192,5  aad  v/^ 3  bullt  up  in  nearly  f  i  ^ty 
yearn# 

In  i:)42,ilurl  i.i  the   iori^iU  oocup;l^ion  of  tno 
IletheTlanäSfOur  proper t/   ^ao   etol^'/i  '^'j  taa  notorious 


nnd   oniy  fi  i*ew  pleaoc  0)uW   bc  r'^jfiinfnu 


'''h5.1e  tne  inen  fir;*    tho    :,unßf^i.tn   bacIIö  ^neoB   .>l«o06 
raraainüd   oeriiaa   in  thn  atuiu  of  tiio  üouoe    «mere  t»ic 


iaad  had  tfietr  l^rrt  quarter «• 


'4>^  of  tne  obj«otö  ox   o*r  ooil^;Ci*ion  :uid  bocn  brouont 
-^    ./oiu  travelu  in  thc  ?ar  niad  :iear    vi^itt«    ;  ow^ver 


iJLvcf?   •^^]^:,ar    -oroii,- o^^^c  ^rUoner,^rof»  :fici.::el,  af.  ^7cll       v 


fro-i  re^cAO'vn  oollectioas  ,to  .aentiou  oal-  tl:e  ooujite^^ 
::oido  and  Otani^r^r.^.  ^leuor»  \ 


In  this  wö^    ^M   üUü»iöOvied  in  ouiidincs  uj 


)•.    Do;:ie   »'r^taOii^^a  oi 


^iX 


2i    a-'all   tnit 


in   ^-hich   1   ;:ad   iieoo-i©   inter«i»tea    ilr©iid^  ^t    t.'u>  eail 

tiaDa/toB«   coni7ai   ^ub^^^v  JacoV?y   ^/ith  rds  rerK^aji  ooA.leo~ 
•?  Ion  of.   t»a  i/^ne!^#»^    >rtt?ntor  tnr     ri^e  oi"  taie   '^üBtaei-u- 

tho  uaturnl  oe  a^**«^  ^'"^iiGre   ix  »•täs  por.Gibi<?   to   i>«ooi.e 
Honuainted  «»ith  m^  Xc     sef^t^o   ^^*-J-  ^'  *-   eju^onoo  of 
the    'ar     >^iQt»  rn    irtfao  **«il  ai-i  to  ;uet:i   nunDlartSf 
artlBtCf con loiijöcurs , i*ad  collectorü« 
Mer^        iaict  t\s^   found:;tlon  to  ny  »uio^led^e     tloh 
eimbieu  r-^  ^o  <':5l  -*  ot   an  my  trivel»  Xvw     t>rkB  of 
arx»     >^re   i   riet  tho  dxrer.rjor  of  the   '* J8ta4ji;.tiu.Gne 
i^unjitabteilunfi;  aer    Beniner  ^iUB€on'*  and  i^r   ..er-i>cr, 
>^t%o  c  iUr;r:el  <?nd     iiliai^    'olmtto  *iie;;^ion  xht:    c  na -^eü 
onl\%   jr.'John^iow  ciircGtor   >r  the     uoeuia  of  ^•:aatorn 
.rt^'and  aüviivcr  to   i'.t'  w...iv'x-lxy  in  I::-1^n  3  id     ^ar 
.  a«tern  -rt  dt  Oxford. 


Thuß  1  enternd  a  oirole  to  vhiah  X   ^'1  >aii^t>tea  xor 
inuiena©  3tii:*uJL^ition«   i  baon  ^e  u  .iit..;/c*    ..,   tLo 
*»'.Xi><.rt   Co  v:i..cion  x^f  ti.e  u^^^  iX   'rt'b     oHatnieit 
at  titie    .töte     iU3f*a:i,  n?rlln'*   (1924-133  0   «nd 


co-iou-u'.-cr  au  v 


7C«  I  ^ 

<  v<    Ju  ->- 


iiuücr  ü 


-•» 


xhe 


bO* 


rii 


♦  V«, 


dircutore  cf  the   *»  Jf  ^v  /L^uhuft  f  :r  Jata  latiBcho 
Jiunef*  Berlin  (Ii26-lj5^). 


\ 


XI 


/U 


a 


If6d<^d 


pai:itiiv:B  a«  v?ell  ^-^  tlie  lacquoru  h^v».   .•!,  ;oot; 
iMitrsiike  ani  color  priatr    r  c  n  lost   for  cvor. 


The  rao^iory  ^>-:   so'^ie  of  cur  lo!:t  ^^rkj?  o:f    »rt   v^ 

1912  ••AU":^tolluiit;  ^?1^^^  oata  l'^tlüoher  ;  VLif^t" 

H' rlla,  ^»Jr.T'rtnio     rr    linste 
1929  ?Aa^7etellan^j  Jhlntr^jincticr  Kuriit*  vor«n- 

der   '.Uiüte» Berlin 
13'55   "Intcr^^ation-l  K.'hi^.itio.-  of  •^Jtlucße   Art" 

IMö    Virulkl  on    '•vja  0o8t-;.2:iatli^cne  •^UIk^:t" 

.luüuu:^  Vau     ;5i  ;tlüohe    .u-i^irt^  ^'ifcittrd^t:!^:  olinrui ) 
'Auroteiluivi;   ^^^r  ..a.ct  dot.   alten  *r^:-»ant:'' 
^iüiöt,;e";erbe     u.eoiut ^öfc^€?iC  v?itÄorl'^iui; 

:#oa  :*n;>eloB  .:ou:it^  .u^ottinC California) 


.J46 


--.5b 


\>r€r»t    Hü 
ljt>l 


•  -  • 


Liebe  Erika,  Es  wäre  gut, diese  Inhaltsangabe  auf  einer  Seite  zu  haben. 

Schlage  vor, alles  etwas  nach  oben  zu  rücken. 

Die  Seitenzahlen  müssen  entsprechend  Deiner  Zählung  abgeändert  werden, l ! l ! 


ü  0  S  T   K  ?l  T   li 


I 
11 

ILl 
IV 
V 

VI 
V   I 


A*  aiiiriA 

Anoient  Chi.*  .  e  Bronr-r 
^   1-21? 

Anclent  Oni:ifuie  Carviii^a 

^uxuleat  Ciiiiiocu  Oerwriicc 

Aaclent  Oniuoee  i'öiiittrvts 

^  52 

Anolerit    >hlne««  r*?icquer 

moieut  Chi.iete  AUt;!; 

'     3  '^-.>  / 


1 

7%r  n 


0 


IX  Anolerit  Jtpaii^bi)     'ottory 

X  Aaolent  .f^-^iiPrirfRe  ''.aci.u^r 

7G 

^    77 
XII     ^ajleat  Jopan»^i3e   r.*u  itiurj 


7a 

CHI   Anclerit  Jr    •'        ( 


wolor  PxiaXB 


0.     I:<:;IA 


\IV     .vnoieiit  Aiuliuii   \rt 


94- j7 


:',H  K4;T 


13? 


voo 


r.'.^^ 


eu-xec'    r^jnX^   'tfj« 


Qcr 


-^.tlPuiiil    aw'^Sb.^U'^,    O'-i::^/    f>>l 


f5X±lln    ^>d.'ll 


.IX  y-f  4...    ... 


ilSCfi 


j  i    P.l: 


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A.    G    n    I    II 


I.    A:iomnT      qiiin:^c£     broi^zes. 


Some  not es  on  early  Chine oe  bronzes. 
Et     Veuaels     -     Utensils» 


The  anoient  Chinese  oeremonial  broriae  vessels,recovered 
froui  tombs  or  iinearthed  in  building  modern  roads, attain 
the  liiijheet  ar'"''  tic  perfection  and  belong  to  the  works 
of  craft  vihich  procured  ^-^orld  value  to  the  Chinese  Art; 
2hey  are  imique  in  the  art   iiiotory  of  the  woild., 

They  are  nonuimmtal  in  the  very  oense  of  the  v/or|d 
(Webster:"  of  the  nature  of  a  monunent;   heace  inasoive, 

loBtlngfirapreBsive.    "    ) 
They  speak  their  o\m  lan.^uage  clear^, and  mi^^Ktypthey  teil 
of  the  reli^i^ion  and  the  belief s  that  inspired  them. 

Nature  itself  oared  afrectionately  for  theee  works  of  i^n. 
Peculiarity  in  the   oomx:)Oüition  of  the  bronzes  as  ^toII  ao 
in  the   -'liinese  e(jrth,v'hich  prfM^erved  theae  treut'ures  00 
loa,3  a  ti2ne,euriQhed  tiien  \vith  a  patination  not   tciown     to 
any'^other  bronze   art  in  the  -vorld« 


The  tr^nBition  from  oreJiistorio  to  hictory  beyina  whea  the 
Hsia  { 2201^-1766  B.C.)  are  ouccöeeded  by  tho  S  H  A  il  ^  ,alao 
callod     Y  i  H   (1766-1122  B.C.)* 

The   Ghang   (  :in)  aoved  their  capitais  five  tiaes.    .::ieir  oa  - 
pital  An-yang  near  IlBiao-t'un  on  the   üuan  river  in    lonam  /, 

has  bv^on  excavatedin  1929t  ^inoe  then  practically  the  wnole  ^^/ 
^f  our  ideas  fi^Sa^oatin^^  oi^^jarly  bronzes  hau  chan^i^ed. 

The  exoavated  bronaes  of  the^ölian^s  people   show  ao  advanced 


a  laetal  art  that  we  have  to  tjke  for   ^.^rantea  that   oenturxes 
of  art  tradition  niist  have   preoeded   ouch  porreotion. 
Or  as  Karlcrecn  putBit:    "   Our  Material   proved  that  the  i^ilTGt 
ßreat  olai^aical  art   in  China  ^vas  mature,finiehedtready  in 
all  detailG  and  in  all  iafinitive  v ^ricties  already  in   /in 


tline,aud  there  ^vas 


bat   llttle   to   aad  in  early  Chou  tinie.'' 


The  vesnelß   dhov/  .^reat  variety  of  fora,  size,uecoration. 
There  are   lar^^e   roctan-ulnr  vesüele,  oo-.plotely  covered  with 
elaborate    orariaentatiensi^with  f langes  and  bold  relief^ 


flamboyant  of  a  oertuin  barbarous  beriuty» 
Axid  there  or©  vesBels  oimplo   **Bevore"   in  straoturo  ^^th  a 
quiet  .lobility  in  linetthe  aooor  roütricted  to  umall  frlo- 
ses  arouad  e  ihanoin^  the   boauty  of  a  plnia  enooth  rurfaoe. 
Xo  quote     ;>rl  ;reen  0^;^^^^   :"  Decaratlon  of  the  body  of  the 
veae^is  raajeo  fron  oxtreme  airiplioity  to  overioaded  rich- 
ueos«    '/©  havo  eatirely  piain  body   ;  aori  the  leao  far  fron 
•  priiiitivo  S on  the  ooutrriry  very  elQ;3aiit»*' 
Ox  Priest:    '*  Frora  the  bO(:;in:iiag  the  tendeaoy  wna  to  elabo- 
rate  t:i*?  aoTipllomted  oonvoiitioiialiaed  and  a^/nbolio    i©rjif>iio 
uatil  the  objecto  wcro  oonpletely  oovered  vdth  a  deej>ly 
c:.it  ar^ui  brtliaatly  ercecutod  pnttern  in  a   style  thet  bear© 


A 


a  ramarkabl©  lik^möas  to  that  of 


the  tenples  of  Central 


h^  1®  amplo  GVidoxioe  th:^t  e^z.  tho  :najulfioo:;t  plecos  of 
QUiiptaouB  cip^^eiraaoo  füll  of  aoouiiuleted  po'ver  aad  oonpres- 
eed  eumti'^p^^yüi  Kilertoa  Iiodcje  acquired  for  the  aeorly 
Inooinparable  ^ei^v  Collccfcioii  ia    /aolilatrbontorijlnatod  ia 
the   ea.a©  cpoch  as  the  veoB^le  of  3ia|)le   oeauty  wliioh  are 
deeoribed  ^n  the  followiag  pa^^oo» 


Altlioußh  little  io  knomi  about  tne  oereiaoalai  of  the  an*- 

aestral  oiiltfit  ie  tiniinputed  thut  thr   veaaoi©  "?ero  usod 

for  food  arul  dri^k  offeriiigB« 

^'or  ^'/ine  Hbations  tiiree  noBt  appreoiated  broase  typeo 

•vere  e.iaployed    :    lU  f    lu  1    'hdoh  • 

The  nillot  -^dae  v/3  8  brou.,/ 1  to  the  oereiioay  ia  tho  oovered 

coataiaer  jallod  ''xU**. 

2o  toaüt  the   r^piritü  of  tha  dojirted  a  oertaln  anooiit  of 

the   s^oriflGiai  ^'lae  v/00  „»ured  fron  the    lU  lato  thc'^Ku'* 

nhich  vmo  thea  owdui^  ia  the  differeat  'Ureotioao  whero  ;y 

the   ni(;h  ri:a  prevoatod  opüiia^^iYt/ie  wiae» 

xO  zXye  pied,;e  to  the    opiritSfWiao  /gfeo  poured  iato  the 

tripod  libt^tioa  oupioiille*  ''  ChLleh  *».        litt.le  of  the  00a- 

teat  4iB  pQ'Kired  out  ^t he   f:pout»vto  the  ^arthj   the   ro!:rt   n^}(d 

to  eva:jorate  lato  tho   ßky   vhlle  the  vesGel  '-ns   oet  ovor  a 

f  Ire  • 


in  the  folloiving  deeoriptioa  I     ati  .suiaod  h^  the  fuadanea-' 

tal   ütudiee  of  Karlorf?ea,I:iaiiwaife  alrtm<ly  quoted. 
.uirl/:roea  illvidoo  the  early  broa^^s  lato  foar  epoohs: 
!.•    fri   (**  mcuan  the  aane  aö  v^luing  ")  1766-1122 


\ 

2-n:U0  fOU  («   »^fir^t  half  of     eBtcra  Chou»')ii22-  947   '\0. 


'moans  th  t  the  Chou  time  art 
was  otlll  eüceutial  the   same 
art  of  the    ;nin   '?ith  but  amall 
iariovationsa ") 


4*nUAl  («  Ir^e 


Ohou ) 


946-  771  i^.ß. 
7  70-255     H.C, 


T^l^?..^...4  ..^  T  foiio'-^d  Knrl(:reen  in  his  atieiapt  to  oxj^lain 

ti*c  oriy;i.ii:ntatioii# 

The  OHIlAIitl^^jiTATIOll  is  oa;nbined  with  the  parpoae  of  the  veo- 
i^cl:    Aa^^eetral  oult     i»e»     to  appe'ißefto  reiiaer  i^avorablo 

tho  aiioe^jtral   spirite  "-ho  ni;;'it  be  ahie  to  av^/rt  diBostf^r   » 
bri^i^  .:ood  iuok  jäU^o  to  »uitural  phenoma  li>e  rain  und  har- 

I:::portarit   •Carlcreon*!'  aoditlo^i:    *'  'jChc  cult  of  tiia  dead  in 
ancieiit   Ohina  '^ms  ebove  oll  a  feciiridit  '  oult   iatcaded  to 
iiiöurr   re8urreotioa,vitality  aad  :)ror)ar;atlon  oi  tne  fainlly 
li.ie.    vT  this  is  the  re  ^öoi;  for  itö  iutiniate   ooiaectioa 
with  ti;0  fertility  cult, the   oult  of  the   aoil     —     a  hiijhlv 
antural,.>ri;.itiy0   10^:10  ao   aliown  by  paralielG  Jiil  over  the 
'vorid     •—     theii  it  is  rcMGoaa'ole  to  ex^^eot  th.3t  tho  üecora- 
tio:iß  oa  the   bxoazeB  UDcd   in  tho  aiiceGtral  ouxt   aiioald 
have  ü  votive   di^/iiricnnoe»    ** 


herefore  the   deoiratioris  of  th©  bronaes  are   ay.^VDolic  or- 
nanentot  niOBtly  aoonorphic  fi^^^uree   aet  oa  a   Si)iral  ..^rouiid- 
vvork» 
I  Q-m  here  eritor  only  Irito  oone  of  these  forne« 

1»    ;?IRAL  ?i:.'J-T3,the   8ü-oalled  ^•'::huader  ;>attern(-.ei-we  0" 
iilso  oalled       aea  ider       or     fret  pawtr:rn« 

Karlgreea  prex^cre  '^  to  oonbiric  the  whole  aeries  uridcr  the 
eiaple  .larie  of    •s:>lrBiB' **ai;d  rejeot  tho  debiü^ation  above 
ae  a     *Hjorie?mat  ri^ky  .uae;-ti:ie   six^oulation*'* 
Üoarronted  wi%h  K.*-irit;reeii'o  autnarity  I  meiitioa  taa  axpla* 
aation  of  ..dolf    larmiok, jivea  ia  his   '»V;ih  0  illEoE  Gi\Ii:?KT*', 
with   oo:::ie  doubt«    'b^Tiiack  derive::::  the  Ici-wau  fron  tUe  ol- 
de^:t  hierar:lyi)la  torn  of  thiuivlar   (i)   c!iaa-;ed  f ro  .  round  ta 
©quere  :!orn     (2)  a üd  oonblned  in  a  doub3.e  pioture  to  deco- 
rat Ive   oiirpo^e   b)  ^        ,    r-.         .    , t    ' 


-^x^^ 


Hov;ever  um  lauet  k««p  In  miad  that  the  splr«!  is  a  *very  fa 
Bpread   sviaboi  of  the   buü  naiOiio  peoj^lejf  who    'ar©  aor©  or 
lefcjö  oontemporarleö  oÄ  tiie  .>iiang«   I  /Öggyonly  tm  Te£eT  to 
•yaeTrxc^ryttttünsx^i^ri^h  ludia  X:I^ieujo-i)<iro  3250- 

2750  B«C»)  aod  the  "TÄBreTK^j^^emaörk  and  i>w0dea# 
;>inoe  •'>im  aad  Küiu  vilVir  oo^;a0loaal  ti-iuadarotorm  are  eB^en- 
tial  Tor  the  agrioulture  in  tha  wliole  worl^,  I  pT^t^T  to 
beiievo  that  the   H;>iral  is  not  only  aa  artistio  prei%reaoe, 
but    vBü  (dTsedTaloo  by  the  ^arly  ühiiieöe  as  a  luaf^lo  expadtent« 
The    Biu^  opiriioa'  ueer:ie^*$::^eL4>od  lA  the  deuolüitioa  ■'^iiec^nder- 


2.   ZOO^AORm^O  jr^jm^3 

The  uae  of    aore  or  leoe  fabuloua  beiiitjo  noütly  :5ooi:iorphio 

ia  form  lo  üo  do'^bt   partly  syrvTbolic  of  the   ':^iii:iit:itio  reli- 
,;io;i  of  the  tlne.   B;/  %j"<ici.'itf  «^^b  orUvi'acnt  they  beoone  appea- 
BC'i;   thry  irvroKo  the   pot'rucy  of  anim:»l   ^^i^irlta«   Wnat  aiilxoals 
arc  repreucated  is  often  .*  :>ioot  poiat# 

^OT     efBotorio  i)urpoa«ii>i«^''irtnT~nse-of  ''double  faoed"  aniraale,  ^  ^ 

a   peoiiliarity  v/hereby  ono  and  the   8!ane  oraainent  iii  a   oohv* 
binatiou   ''ith  h   socoud  of  the  uame  or  other  ::iud  liiitn   rp<g  nj^^r^-^ 
tt   oeooud  face« 


a 


'Tho  2'^0  -  T'IKH  «  If'he  voraoiouB  ol^itton* 


The  name  who  used  by  the   ooholar  LU  ?a-wei  üot  earlier  trjia 
232  B,  ;.and  is  taken  fron  the  aaoierit  texts  oö  oric   of  the 
four  riouöterfö  :';exitioned  ia  uoaaeotioa  w^tii  th?^   ^*^^'^i^£M>( 
eii.peror  ::»huri#    It   beoaiie  an  ucoonodatiuc^  teria  ia  %*tet^%uoTter 
oi;-«^öioh  tho  nost  diverse  eieiueatt:  h'^ve  heen  neroCd* 
JfalT  larljj^reea  putö  it:    *'  'i'he  t»ao-t*ieh  oocuxu  iu  aa  ia- 
finitive   seriea  of  varleties  fron  tha  oio^t  realifitio  aai- 
mal'fö  he>id  to  the  moot   ooiiveatloaal  va^ue  fl,;iire,c^oinetlne8 
ßo  diasolved  lato  jeonetrioal  ae  i^AB  that  oaly  the   üymra^- 
trioatiy  pl^saed  eyes  oau  h<ii>  ae  ^  de«tect  it." 
Alan   ^^iervt  oalLöji  ^     ''tho  maijuifioant  rebUB^'  and  triea 
the    Bolutioa  oi"  the  rebus  writing: 

••  Ißn't  it  the   imiiortiat  thiag  that  tkm  In  the  syi^iboiisin 
of  tho  early  Ohineoe  a   Heaöt  mid  a    >ird  i^layed  a  greot  part? 
Doee  it  .notter  lauoh  ^#iioh  birdtv\?hioh  beast?     hiie  our 
iooaO:;raplieri>  bicker  aad  ^/raa^^le  over  the   ouli  3ad*Ta:a,the 
tiefer  aaü*^ater  buXi^alOfthe   ,jhoaö?5at  ^iua  tlie  owi^noj^t  oi 
theiu  perwiut  ia  it:;AoriiM5  the  anewor  to  the  iifji:;niiicaat 
rebuo  of  the   t '  iO-t*ieh,thiit  iaterlooki^ig  oonpOBite  of  bird 
aad  beaet  vmich  is  the   s^/nbol  of  one  fand^^neatai  preocpts 
of   vhiaeBe  thiaiciag  -  the  balaaaed  duBÜsm  of  yia  aad  yaa^;, 


of  darkne»«  «ßd  lirhttof  moon  and  iiuiitof  tmwmle  «ad  a«ie."t, 

'^Creelfln  the  Dirtl:  ox'  Jhina^deiiionBtrated  moot  of  th©  *ae  - 
ia*?At8  of  thle  rebus«   i'b  pointed  out  -  üad  ao  o.ie  has  oontra- 
dicrted  him  -  ttot  if  you  biaeot  the  HUisk  of  the  froit  Sdoiati 

moaBteXf^oa  "dll  findtth.ät  the   t^'fo  h-slvea  of  tiv  deai^a  moy" 
be  read  as  proi^iie  piotures  of  bcast  fnoiji^j  beaet  noae  to 
aoBe.   fie  ait:o  di^moaetrated  that  the  same   .Profile  may  be  read 
baoKwurnetiii     hioh  oase  the  hi.idquarters  of  the  beaat   beoomo 
a  bird  f^icia^^  in  tiie  other  direction»    >nly  one  thtri/ij  re%iiiW 
ded:  xo  deiaonetrüte  tliat  the  bird, fall  faoe,with  '^da^ö  out- 
epredidtia  an  inte.^3ral   -yart  of  the  froat  f^ioinf^  niaalc.   This 
was  moBt  ably  doae  in  the  doveiabor  l')3  3  ioeue  of  tho     ntro- 
politan  :taBeu/a  of  Art   4u.lietin,*«««" 

For  the  xeo%  1  a^^roe  with  -^aony  Carter:    '^  The  aam©  of  tho 
^aoa-^ter  •'xawk  doee  not  re-^li/  '«f'^er:   what  doos  t^atter  ia  the 
faot  th:it   It  coasta/itlj  ra:ii>i)<3ar8  ia  tho  dosi^as.    .;oraötiiat)s 
the  eutiro  ora-iiicritatiori  of  3  broaitso   aoasieta  of  two  or  tiirv?e 
t'ao-t'ioh  heads  placed  ia  ni^rkod  raliof  oa  a   ^.iOCoi^oitid     of 
fino   s.)lrsle  or  :::caador  fi.jaroö«    )x  1%  :w\y  na  o-aa  or  tv;o 
realietic  hoada  plaood  ia  .1  airculor  bind«..'* 
'rhio*3  j..4^.t  r^eationed   ^'reaÜJitio  heads'*   ioo/C  :nor.tiy  llke 
bui:ijJfe'^:5e3d:%   :.>o  I  do  aot  -i^nder  at  tlie  farthor  BU.;;:eH,tiDa 
of  n    ihiiiooo   ^oholar  •-o  t':^;c6  tfie  t'fjo~t*ioh  aa  'i   ayaool 
for  tho  bull,:ii.i  ovi-r  tao   -/orld  the   s;/:abol  of  povior  aaa  j^:il« 
fertility« 

[^hB  aewej;>t  theeie   «mloa^^fi  to  Os^vnld   t>lr«n    ^^ho  explains 
"th^t  the  noaatn^^  of  the  t'ao-t'ioh  deponda  upon  itö     ooni- 
bin^^moa  v/ith  otht^r  s^r^hol n^* 'n\d  hf»  ne.itioao  an  esje  iail^ 
öl^^nilMuaut  xa  »uoh  oo.^iiiiiyjtioa  the  drfit;:oa  ^ad  the   oioada, 

b.   Tha  OICADA  p3ttorn(Gh»an-^^?^a) 

Bmaii   j*^ae   onjeotB  lii^f'^rn  ^"»f  the   clcada  h^ve  boen  u^cd  from 

©iriiT  tittioB  zo  bf    plaood  oa  the  toa^j^ue  of  the  dead» 

:-*inoe  the  oicai.a  lo  aii[hibc raa tia^^  IxiL^cct  that   ooraeG  zo  lif© 

ia  föprin^  a(;ain,thc   uoe  of  the  cioada   ia  oiai^eütioa  ".ith 

the  aaoe8trr:il  cult  os  B;anbol  of  the   rei^urrcotioa  aeede  ao 

further  explaiuntioa.   :^üVCT%l'i€l(iüB  it   veema  ^'^orthlle   to 

raeation  ;^ar  lor^ea' 

üicad^^ ,  if  produced 

wi:u-    ../vd  if^ii^ht  eacil;^  b':co::::€   comif^cted  Ia  the  f^j^oiiu^e  of 

tiie  nacieat  ^'itH  the  voioc  of  t^hoi:jts» 


acDiö  that  the  i:.hr ili  uotao  of  the  niii# 

by  thoaisaadöfiikeao  ttw   -/uiatle  of  tiie 


Karl/ween  '.       ■      '^is  damt-it  on  to  denonlnate  a  laost  ourlous 

aeo^rativc  n it    :   A  band  in  threo   -orlsontal     cctions 

vfhich  uyo.i  cioso  oxanlmitlon  ttixri  out  to  be  aa  t-  a.re  «ly 
di=  aolved  aniraal  ch8.>ci  ia  üO^  of  its  ooat  Variante  a 

row  of  "A'i.i.viullis  at  t-ve  top  aad  an  arilaal  eye  >«f  disti-iot- 


t^.. 


A-ö 


TI^:  -  Cvn}U  r^erlod  (  1.122-947  3,3.    )    :  The  Yia  tr^ditlon 
La  broas«  j?roauotioa  ii.   ooatiriued     ith  rrlttlvely  few 

SS'^LF*C!?OU  i>r;riod(  964-7/0  B.S.    )    :  liptiictive  uew  ele- 
-ieitp  corw  to  the  forc.    ■■plr.-a  »^ncl  aeandor  uaoiK,?roU!Uu-, 
cone'nlnoGt  to  -m  ead.rt-Iiei'  ie  lost?  cle'.riy  cut    «-ici  ^ha  ^ 
*'or?n«^  of  th«-.  vp <•!;-'•   s  1;«;iwi  to  b«   heavier.       »neu  i..   / /w  j,-.. 
tb-'ofjVital  iB  novecl  i'roa  iIbo  to  /^-auflif from  Uhs'.iui  to 

on-TT.,thc  art  of  oronwe  mokti^g  .äeteriorstesttr-c  t;rBaiti.O!inJ, 
acoortitiouG  becorae  ov  rloaaett  aaa  uaro.r.ie. 
■'<i4.-~i:Jj'ir  centurice  oi"  Ftrife  (■-ii.d,v.iien  f-»-aer')I  i^l«-"  ^^u„ 
fouiict;:  t.he     lUS  DlfiJAl.'i'Y  in  2v;3  «.C.  - 

^?he  iionluaticE  t- rutenoy  In  brouao  ftrt  beoonea  nor-,-  oi   .u-^ 
orcfinr  i  ir:niißity,   Henvy  rellefs  '■■■£  coisve.itfc»:iaii^:^'d  ...u- 

reiainlfhul  the-inlD-ina  of  preoioue  motals  on  orouae  jina 

uories  of  v;arriora'   charxota.     itii  tnr     ^^.rri.or  in  iUll 

e-wr.r  iuto  U'orth, L^ovivh  anu  ::ar  into  tue   .'■e^t.tü   ^^^;^^ 
jilao  t-ie  ca»5iVHa&  ulon,:  thc   üo-ualxeä    'ali..;-i-c;ja     aerobe 
.-.ula  oii  -sl.e  rouwe  'wO  trx  ivO.'ian  Knpire.   ^  v,..--i~«     •- 

Uut  it  dii;  not  lußt,I.iternril  nXxxic   -;.roKo    vno^:4a^l..t.  ^.. 
;>  ■>!   'i.';,the  'an  ,n7\ast.Y  Ciided.  »^-k— c; 

SIX  I>mAJ)'nKÖ  (   222-i>B9  .k.I>.   )  -rollov;,a  t.ni  w0mu:e  Ol 

*o  +1-     .>.rin<-    i3et-."'^fn  5'.«n  und     iit  B>id  w^.ioh  rel'-i.i.  to  tne 

Ig  in  thc  hn.arts  o,f  invaaern.    -  will  '''^SfT^:^J^^^±o  AD) 

lt]I%m¥TY"^^'8?iia''t''f  dynasty  of   short  living   splendor; 
it   is   Said   that   in  these   thirty  years  the   Chinese    population 
increased   frora  t-venty  to   fifty  millions.   But   the   dynasty 
i's  wanting  in  military   strength  to   oust   the   invaders. 


TAÜO  UrHA^^M  (613-906   A.l).  )    :   T^aug  T'ai  Touiig,  China 's 

bis  ßOBiXiok  na  foMüX^r^r  .-^f  tne  Van^^  \>yaa6ty  wlth  the   öwrd, 
!!e  reotore®  the  Kmplrc  on  ni  hrofider  and  gyandc^r  foumiatio  ri 
than  ever  beforo.onian  l^aom»«  exi>oa^^d  to  foreirj^n  ooiit.HOt, 
to  fareign  iaflu^:^noea|thr;/  are  aiBt;lnotly  visible  nleo  ia 

acnl'U    "Hit  thoir  qnnlit'j  -aad  artifitiaal  perfectioa  iö  aot 
to'^n-^pare  ^to  tna*^  of  tneir  Bpio^uild   :)r6deoeaBora  tv?o 
th^Tif55iad  yeaxa  aco» 


fanillrir  terms. 


■ul  uecor-itioae 


0  \UiO  i^aeraHj 


Gouu^g.i.iXiu*l,OAolil,^?^:CxiU    Oi?   i:.a.v:ji^   C.il.iil^i.^-^   ^Ixiuil^jL    /Abw-vi^K> 

?s  k\  17  por  oeiit  tin*    la  Hdilitioii  ta   t,hi8  tr  ^oe::  or  ailveXi 

^.4l't1.:■^.o  iv,ftia;j;nc!^5iu;n  ^-rr-   ro-.ad# 

Ja  tl^e  oaet  u^uallv  lihe   **loQt-way  (   oire  ^Kirdue    )    ^prooor^jo 
X^-^  followed*^ ''hi?-^  noauB  fir^it  ;ia]iiao  a  mix  no.iel  of  tho 
»lilre  obi*^ot,iuniuai:x2  its    >rnmaento  aud  aowriiiiz  tiiio  ^^nth 

wheti  i/»e  oojeut  '•«ae  if%il:ea   tue   hüat*eci   liquid  wax  oould  ruii 
out#    a'ter  th^  o3.ay  moael   m\B  ompty  aud  ool^ift  e  moltea 
r^iet'^l  'v;iö  i>>ure<l  iii.    '0!i3ü   thoroUijhly  iiara,t^e  nould  was 
brokis^n  aad  xne  i.>ro]ii^e  wa$3  reau^'t oxoot  lor  x'inal  retoacliia/:» 
The   teoJxiioue  o.?  vna   ;  iiaü^  metal  ror^ers  v^r       :o   p^-rreo^, 

Tlii,  oolor  of  %m  byoai^t;  iHi^ino«  iti  often  vcr.v   ^eaatlfultde- 
peadiiig  unoA  the  oo.\DOi^.ition  03^  the  ori^iaal   oronaettHe 
ol*#mioals*Had  tne  de*-^^roe  oi!  noloture   In  tho  eoil  ia  ^^;hich 
it   hHh  b^^ea  harieA^nnd  r»iich  ar©  able  to    levelop  the  hijhiy 
ef^tir    *  ö  2i  u  r  i  t  e      ^blue   bp^hlc  oarboaote  oo^i^cr)  ab 

well  nr.     n  ^^  1  a  o  h  i  t  eurrocu  bneic  carboa^te  of  ooi^per)» 


r-^ 


'^-     OHllAOt 


uire  vietner  t^e   'oron 


^"e1l•e  or-.-inßlIy  oo  .per 


oolor^aBdUMfc  :aoot  new  brcnaoB  or  -i^thor  the  eorföce  was 

treutcd  to  produoe  v^rious  color  effeuta/ *    .    (.     ,      , 

fiOGt  brouaes  that  li/ivc  been  ltme"biiricd  isre  not  ymt'j  at- 
traotive  '\'hen  e:<oavatod,a;id   liave  to  b^   fr^^ed  fron    iisturbi;i(j; 
iaorustntiono  aad  oarefully  cleaned.To  ^/fiat  eateat  the 
broiises   shonld  be   clearied  i;'  o   poii^t  of  OGatrovoray* 


8 


b«  ^%arly  Ohlnt  se  Bronze  Mirrore» 

Dlfferent  fron  th©  heroio  broase  vebBrls  the  Ciilneä^e  broiuse 
rairrors  fona  a  moet  oioijrnii.ig  j^roup  of  their  own« 

The  earlieet  wliioh  have  booa  reoovered  fron  tombe  are  thou^i^ht 
to  dato  about  the   aevonth  oeutury  B.O.(Late   :)hou  or  Huai) 
^vhioh  is  atteated  also  by  literary  evuierioe* 

The  refleotlUfi  eiüe  of  the  moKtly  round  metal  disk  is  po  - 
liBhed  bj  merlEuryt^vhlle  the  revero©  ia  usualiy  decorated 
vdth  oaatin^  ia  relief»   Tney  are  in  the  be^inning  flat  and 
ö:aall    ind  i>eco:ae  in  th»:   oourBO  of  tine  heavier  and  laxc^x* 
Ivöpeolelly  consplcouB  io  the  oäan^:;e  at  the  be^ilaiiing  of  the 
first   ceatur;^'  .Ul^   The  oiiter  rira  of  the  Tovexue   aide  is 
broaded  and  raised  eo  faXfat  to  let  the  v/hole  mirror  baok   ^,_ 
look.  llKe  &   cihallov/  dich»    At  thiö  tioie  the  k:nob  in  the 
Center  ß^ts  jB  heiiispherical   form  -vith  u  hollow^throuGh 
svhloh  oould  '|w5iotr0d  the  braided   oord  that  formed  the  riaudle 
for  holdiag  it  or  for  tJ^K?   fastenin^j  ntMaiksto  a   stand» 

The    vecorution  of  the  itirror  imok  wat^  not  an  inoidcMtal 
Ornament, but  was  i>ut  oii  for  a  purpowe«      hiie  the  ornaraent 
öhow©  always  the  art  trond  of  thf;  ootuel  period,the  foras, 
Gi^netsymbolias    >elöntj:  to  certHin  caief^oricol  ntuiber  of 
Chinese  ll«$terature  and  nytholociy  bb  weil  ao  to  their  at^^tro- 
noiaioal   oyate^-ru    i::Yen  the  round  form  ie   su /poi  ed  to  be  oy  bo- 
lioal,rei)reJ3<*nt  in^  the   heaven«   Throu-^h  it  the  importanoe  of 


the  bron^;6  nirrorß  was  ^^reatly  increased  ov^^r  the  mere  foct  - 


KX 


being  uoed  as  lookin^-^^laoa  for  the  toilet« 

There  oxif^ted  the  reli,;iouo-na4^ioal   belief  that  by  uoing 
Symbol«  rcproöe  itla,,;  the    inlverse  or  jarta  of  it  in  mini- 
Hture,it  '  ould  be    >oB8ibl     to  ^^fi.i  soine  of  the   concentrate^ 
power  of  the  .^xe^^ter  ilniveree  in  orcier   to  .;ive   Btre:*(:th 
and  :>roi*ütion  fieininat  demons  or  evil  inflaeno<?G  to  m\ 
inctividuol,   Uöinä  thie  oonception  in  the  orn:jnent**ion 
n  the  backs  of  the  nirror3,they  ore  cre  ited  with    ill 
kind  of  aa^^ioa  power  as  nügio  inatraients  that  i>ut  t?ie 
ooBmio  foroee  at  the   Service  of  the  o^ ler  and  they  ^vere 
eup^>08ed  to  ward  off  evil  iniiue  icoö»    Ui  some   cases  they 


I 


be  oble  even 


to 


Coroai^t   the  futui'e,lio  reflcot 


were  eaid  to 

the  intorior  of  the  pdtient'ü  body,enBDlin^  the  ph^/sioien 

to  iia^^nooe  diseaBet^« 

i^  it  ia  aniall  *^onder  that  the  rairrorB  orc  used  in  fune- 
ral  cereiionieöfHiiready  from  the  Ohou  tlrie  on^'-arde  all  the 
way  down  to  the  ünß  until  t^leös  uirrors  bf*oame  liandy^They 
were  put  in  the  tonb  on  the  dead  person's  ehest  ae 
proteotin^;:;    Arror  '*  or  aaded  bb  b   eymbol  of  li^ht* 


♦» 


heart 


The  mirrore  arc   adnlreü   for  tiieir  teohaic«!  perfeotioti 
In  alloy  a  id  oaste»   l^heir  broaze  conpofiitioa  ts^  uearly  of 
the   oaiie  alloj  ao   the  beli-broriaeß  used   in  ::urope  darlng 
the  iiidcile  Ages.   They  ooritain  75-0  >  iDer  cent  of  oopper, 
20-25   per  aent  of  tiu  -iud  oftca  1.4  per   cent  of  leid« 
It    18  evidetit  th'it  their   ©uperior  ^^^.^  TtaruiBhip  woo  reao?ied 
b;/  ^neaas  of  «oft    frtorie  ^r^  ittor-^aouldö  ao  dosoribod  by 
bchyl'  r  Caiirnan    :    *'  'i'he    Bmall|POiuted  bo e: i: o b t and  probably 
t   e   lar^«^  oentral  booe  ob  wellt^vere  appsr?  atiy  drilied 
iato  the  flBt   otoiie , while  the  nairi  etrit^ht  lines  vmre 
i^oar^ed  out   in  f-hallo*^^^    [Toves;   tnoa  the   aharacturö  aad  in- 
trioate  fi^^ures  of  the  baolc^roiuid  xnuot  hiive  becn  en^^raved 
with  :i   enerp  tool»   The   shapo  of  the  clviracterSfin  piirticultir, 
unquestiouably  iulicatea  euttlag  in     tone.    Probably  the 
stone   carviug  then  jjcived  bü  a  mafrter-:iould  for  a  wax  oodel 
from     hl  oh  aaoth  r  riaoula  waß  nade   by  the  10Dt-way(clre  peruue) 
proce86,for  certain  irre-uii  iritics  in  tue  innt^r  ourfaoe 
BU;^oeBt  a  *mx  rather  th-;#a  a  atone  contact  in  the  direot 
aoüid.    After  removal  fron  the  mould,tne  oeatral  boso,;jrooves, 
Bnd  riras  were  re::;ulary  bvirniched.  •  • .  *• 

Aixioaß  the  patinae  the   qo   calle*  "hei   ch'i    ru  «   ÜKe  blaok 
lacquer'*   ie  eopeciaiiy  •;'  .xiinated.    .iGcorainü  to  v/.?. Yetta 
the  quality  of  the  blac.c  iaonaer-Iike   surface   li-,   bo  jct-^ 
feot*  ^Mid  uniforn  thüt     t   oould  not  be  ?5coidei4tal  and 
was   proV>!sbiy  duo  to   ailiceous  :uittt>r  mixed    .^Ith  IrjeT  of 
the  moiild  ^^^hioh  oame  in  oontoct  with  nolten   .wtalt 


/ 


10 


flIBLIöGHIPHY 
Anoieat   "Ihinoöe  "5roas5e8 


l4iÄl'€r 


AjndcrsfinnpJ»  vU    **The  AoldBinith  in    uicleat  Chiaa"  Bullr;xia  7 

M# P#B#  A,  ,  ntoo  :holra 
Bachhof erfT.*    "A   snort  lilBtory  of  Ohiiieso   Art*'  Ile^/  York  li946 
Carte r,J>a(;ny  »•I'*our  thousand  ^earö  of  CliiueBe  Art'U'u ¥•   1943 
ir'recr  vr^illory  of  Art,.\  vteEorlptive  aad  illustrative   oatalo,;ue 

of    ;:hinoBe  x^roiiaes  acquired  duriiiti  the  adniüie- 
tration  of  Jolm  Hllerton   uOd(-;e#    ^u^y^'/ealey, 
Wa«hia,;tori  i:.«0»   1946 
.Pedderöeii,*'!iirtin  " Chine .^•^:uastt>0'A'erbe"f  '>erlla  iy39 
KelloyiO^'^^and  Qhen  ilüa^-ohia   *' JhineBe   ^roazee  £roi^  the 

Buokin^^ham  s;oiieQtioa  *•  Th©  .^rt  iastitute 
Chicago   1046 
Kümniol,0tt;o,3roü3e  "0ütaoi?iiiöah6e  :rer'lt-*  .Jberlia  1925 
KSlnL'ielf s>tto   ''Chiaeüifjohe  Kuasf  »200  llaupt^^^erke  der  .uio^^tellua^ 

der  Geh>ollBChaft  fdr  o^iiiiatifjohe  Kuant   ta  aer 
•."reucieiöühea  Akaaenio  aex  Kilustet -^c^rlla  i929« 
*•  Gliiaeöe  i.>ollaf}>ra:aöt   irroTB''  .iurii:i/jt«.:.iac^a2i»19j^u 
?rle3t|.^laa  **^vhiaese   .iroa^ea  of  the   Shaa^g  throu^jh  the  1:*miß 

Dyaastytiuti'o^iaotioa  %o  tne  exliibition  .letroiK>- 
litaa    :UBeuni»;*ew  Vork  1933 
.v^lest,Alaa  "3irds*'.truae  1947,iöBU0  of    'etropoHtaa  ::u;:5eiari 

of  Art   "ullctia  (pa^je   2G4) 
Kfirlgro an t Bernhard  ''/in  and  Ohou  in    ^iiinese  Bronaoe." 

^lulletin  of  the    tuae^in  of  ^ar  ':aötern  Aati^it* 
"^•'^*    ..toc  holm  1935/36 
/larl^p:*?en, Bernhard  ''-Je^  :  tiidios  on  Ohineae    ^.roiiaeß'V;  ulictin 

ilo*9fOto  1937 
KarlcS^oettf Bernhard  "Huai  and    lern"   iJulictin  <3tc«lIo»13*   1041 
uir0n,Oß^aid   ^»Hiütory  of  Ohlnf^ae    .rt**   1943 
üwallow,K«v;^    'Mnoieat  •3l\inc3e   ^roni^e   ..irroro"*  'eiping  1937 
UQhuyler   ^vur^nan  "T-.V  Gattern  oa  ;Jo^>i7xia  ..iirror  of  tnc   'lan 

l);faaBXy'\^fo,iTiml  of  the   aruerioan  w^riental 
'lo^^iety  Voi,63,lrf4fOot»-])ej5«1043 
Sohuyler  Carir^an  ''Jhinoöo  Mirrora  and   Uiiiaese    Uviliaation*' 

/♦roheolo^y    ^uturaa  1949   •Vol«2,  ^o«3 
2*a-<)ku  C€i-5h6   toataioouo  of  tiie  collection     uidtorio 
Toyei     hulco   •    Iliuotrated  oatalo,:;ue   of  ancient  iraporial 

TroaGary,caile4  SHOBOIII«    xok^o 
Jmenarat»^^ueji   "Shina    :odo     eikwa  or  heleoted  Iwelioö  oJl  ^^n- 

«ient   Jhineof?     ^ronzee  from  oolleotion  in 
Hurop^    aad  Anxericai'  Yjrt  II   •   1933 
Yettai  ^'f5raival**^he    loor^^e  r.;UuorfopouIoo  doliection.Vol.il« 

Bronsseet^^ellö,  ^rmüB,    trrore  eto.\ondoatlj29 
YettBti.\?roival"0!italo^;ue  of  the  Oull    Jhincse     ronaeo", iiOad,1939 
Voretoüh  "  UtoliineeiBOhe  :tronzen"   1924 


vo 


^W.    //- 


CAi'ALOyJE  ÖP  OimV&SK  BKOiZKö 


1«   Ocrvpred  Veaeel  for  fr  mmt  wine.C   'Ai  )     K.   20  cm.  j  3  " 

Body  ellix>tioal   Becxioa  -vith  orivex  sides  on    i   shaliow 
ßpreadiiig  foot.     'ithiu  faiivtl:/  3"lut':-^d  baiule  are  borders 
of  flot  Gii^-raved  orriomeatß; 

a)  Arouau  tae  bouy  ära,:on-like  aai2ial0|i>^3rhapo  Karl^:r-ou'8 
"fev^thered  ara^^oa*'   brokon  by  T^ao  t*ieh  mna^8  ia  hig  - 

b)  Arouiid  the  foat  the  two  llaee  of  tno   ♦*   üöt  a-w6a  '* 
sa  bow*8  oord  xmttern« 

q)   Arouiui  the   oover  si,i:  cirB,-^<ia-li/^e  aainirils  plBoed  aati- 
theticall/  to  2u:i5ce  up  the   aeatral  ports  of  four  t'ao 
t  'leh  moBks» 

The  tmia  ts^ouna  of  the  voüböI  reiiaiaa  piaiu. 

The  Cover  i^^  surtnounted  by  a  flutcd  laiob-hriadlct   Loopo 
oii  both  Bidee  of  tlie  body  hold  the   c^dat^-hr^ridle  ia  tiö^ 
Bhapo  of  a  twietcd  rope  'vJ^iah  oaa  nove   Diily  far  onou^h  in 
eaoh  direotion  to  per.iit  the  lid  to  be  eaßily  re  .icved. 

liiöoriptioae  of  pio1|0(5raphic  chorncters  iasicie  oa  th« 
bottoriif  of^ody  aAdr-§bver4   ia  th^i   boAy  set  l-ito  a   oar- 
touone»i^oth  aee.^e.ied  ia  the  broaae» 


to  bring  the  ^Xue 


The  purpo  e  of  the  ooatnlner  h 
to  tho  Bacrificlal  oercnoay» 

l*he  broaae  is  ©troat^ly  oovared  oy  mtiaatlonfßTGea  over 
red  Güpper  oxide  (cuprite)  with  enoruated  :  1  ioiiite  de- 
^.i  .'üitsit 

Yia  (:>haae;)  1766- .122  B.:^.. 

it#:   Karlßirnoa  '*    an  Qad  Ohou  in  Ohiaese  Broasen   " 

Kxhibition:    193l/:J2  j^epartneat  of  p'^bt  Kantern    >rt  of  the 

wUaeuiiB  of  ßerliu(  Jeriiaay) 
1933/41  ireneeate     useurif^a  l;aag  (Uolland) 


HERBERT  CxINSBIiRG:     REMAINS  ÜF  A  COLLECTION 


P  R  E  P  A  C  }C 


The  one  hundred  and  three  objects  described  in  this  catalogue 
are  the  remains  of  a  collection  which  numbered  eight  hundred 
and  thirty-six  pieces  in  1923  and  was  built  up  in  nearly  fifty 
years • 

When  in  July  1938  upon  a  summons  from  the  Gestapo  we  decided  to  leave 
bbunhouBB  linv.Serlin,  wBewere  granted  pei?inanent  iesidence  ihLHolland  and 
the  collection  was  accepted  as  loan  in  the  Gemeente  Museum,  Den  Haag. 

Ktt'^T   the  German  Invasion  of  Holland  in  I94O  we  had  to  give  up  our  home 
in  Den  Haag  and  move  further  to  the  interior,  to  Zeist,  where  about  two 
years  later  we  decided  to  go  "Underground".  After  liberation  in  1945 
we  found  out  that  the  Germans  had  also  plundered  the  museums.  Thanks 
to  the  tireless  search  of  Dutch  friends  amd  the  assistance  of  the 
Dutch  Kunstsichtingskammer  the  pieces  here  catalogued  were  found  on 
an  attic  in  a  Nazi  residence  at  the  bordertown  of  Velp  -  the 
private  booty  reserved  by  an  individual  with  some  taste  for  the  Par  East, 

Most  of  the  objects  of  the  collection,  i.e.  its  foundation,  had  been 
brought  home  from  trips  to  the  Far  and  Near  East  in  I907/8,  with 
additions  through  the  years  by  purchases  from  experts  like  Edgar 
Vorch,  Joerg  Truebner,  Prof.  Kümmel,  as  well  as  from  collections,  to 
mention  only  Dr.  A.  Breuer  and  the  Counts  Mieida  and  Otani  of  Japan. 
Thus  it  was  possible  to  build  a  small  but  adequate  survey  of  some 
branches  of  Par  Eastem  art  in  which  I  had  become  interested  already 
at  the  end  of  the  last  Century. 

The  hospitable  house  of  the  Japanese  consul  in  Berlin,  Gustav  Jacoby, 
with  his  famous  collection  of  Japanese  art  -  later  the  pride  of  the 
"Ostasiatische  Kunstabteilung  der  Berliner  Museen"  -  was  a  natural 
center  where  it  was  possible  to  become  acquainted  with,  to  see,  and 
to  feel  the  essence  of  the  Far  Eastem  Art,  as  well  as  to  meet 
scholars,  artists,  connoisseurs,  and  collectors.  -  Here  I  laid  the 
foundation  to  my  knowledge  which  enabled  me  to  collect  geniiiine  works 
of  art  on  my  travels  and  thus  I  entered  a  circle  which  provided 
constant  Stimulation,  and  pleasure. 

I  became  a  meraber  of  the  Sxpert  Commission  of  the  Department  of  Eastern 
Art  of  the  State  Museum,  Berlin  (1924-1958)  and  a  co-founder  as  well  as 
a  member  of  the  boafd  of  directors  of  the  "Gesellschaft  fuer  Ostasiatische 
Kunst  (GGKy  Berlin  (1926-1938).  WII  put  an  end  to  it  all  -  as  well  as  to 
my  collection.  Nevertheless,  with  the  help  of  the  wonderful  New  York 
Public  Library  I  have  tried  in  this  catalogue  to  give  some  meaning  to 
its  remains. 

However,  some  of  our  lost  works  of  art  will  be  remembered  through 
publications  and  catalogues  of  exhibitions  in  which  they  have  been  shown: 


1912   "Ausstellung  alter  ostasiatischer  Kunst" 
Akademie  der  Kuenste,  Berlin  • 

1929   "Ausstellung  Chinesischer  Kunst"  veranstaltet  von  der 
Gesellschaft  fuer  Ostasiatische  Kungs  (G.Ü.K.)  und 
der  Preussischen  Akademie  der  Kuenste,  Berlin. 

1934  "Sechs  Jahrhunderte  Toepferkunst  " 
Akademie  der  Kuenste,  Berlin. 

1935  'International  Exhibition  of  Chinese  Art" 
Royal  Academy  of  Arts,  London 

1935   "Ausstellung  der  Kunst  des  alten  Japans" 
Kunstgewerbe  Museum,  Basel 

1939  Netsuke  uit  de  collectie  G." 
Kunstzaal  Tikotin,  Den  Haag 

1940  "Bruikleen  G.  van  Oost-Aziatische  Kunst" 
Gemeente  Museum,  ^en   Haag 

1946   "Bruikleen  Herbert  Ginsberg,  Zeist" 

Museum  van  Asiatische  Kunst,  ilmsterdam 

1950   "The  Art  of  Greater  India" 

Los  Angeles  County  Museum,  Los  Angeles,  Cal. 


Forest  Hills,  L.I.,  N.Y. 
1951 


> 


j\t\OZ&  -  /\uivfixh)^fen  ciMtOk  \\aJlÄ(A  \mÄ  ^iOM}Lmc^ ^\%^ 


(hlk^t'^m^l^  öill^fi&r^ 


V4- 


fifCWUM^ 


/ 


M.m 


w 


[ji\\ßii^ef^ 


Oiai(Akcin^  iMr^'^ 


m 


€n^ 


^3^k 


) 


TAGEBUCH   NOTIZEN 


Autofahrt cm  durch  Frankreich 
uad  Italien 

Sommer  1959 


i 


I 


Die  letztem  Fahrten  brachten  ume  in  dem 

Fernem  s  ,  Mittleren^  , Nahem  O&tem« 

Diesmal  war  unser  ZielfToreckichtliche  Malerei 
umd  frühmittelalterliche  Kunst  Europas   im  uns 

aufzunehmen« 

Der  unermütlichem  Lenkerin  dex  '^Citroen**  , 
meiner  unendlich  fursorgenden, geliebtem 

Tochter  Marianne 
ist  diese  kleine  Arbeit  in  Dankbarkeit 

gewidmet* 


Forest  Hills, New  York 
Mai  i960 


^ 


j 


INHALT 


L 


AUTOFAHTEN  DURCH  FRANKREICH, NORDSPANIEN, SÜDITALIEI,SICILIEN 

19  5  9 


( 


Flug  New  York  -  Londo»    (TWA) 

ENGLAND 


Ayleebury  (Stross)  -  Oxford  (Williaa  Cokn)  -  London(Reifenberg)   2 
Flug  mit  Jokn  Gaul die   London-Paris  (BEA  Viscount)  2 


l,?=A_N^K^R„E^C  H 

PARIS, Hotel  Montalembert 

Citroen  Miete  -  Touring  Club  de  France :Essence  Coupons 

Printemps-Musee  de  Louvre--Jeu  cte  P  ume   -  place  Vendome 

Place   de  la  Concorde. 

SmwLC   Bar: Royal  Printemps  ,  Hotel  du  Louvre 

Mit  Lily  und  SylTie  Goldsckmid  :Rect.Lucienne,Eif lel  Turm 

"Chez  PaulV  Mit  Edi  Lackman , Marianne , Jean  Guillibert 

Ausflüge: 

St. Denis ,Chantilly(Musee  Cond*) ,Abbaye  de  Royoumont 

Chateau  d» Anet »Chartres 

Paris  -  PERIGEÜX  »Hotel  Domino 

Katkddrale  St. Front. 

Hökle  Yom  L  a  s  c  a  u  x  .   Les  Eyzier »Hotel  de  Cro  Magno 

Perigeux  -  CAHORS 

La  Bugue  sur  Viz*re :Stalaktitenköhle  Proumeyssac 

Souillac  ,  Byzant./uppelkirche »Portal 

Cakors,Pont  Valentpi 

Chateau  Mercu^s 


M  o  i  s  s  a  c,  St.Pierrt 


Gabors  -  TOULOUSE 

Kirche  und  Kreuzgang  von 

Montauban» Ingres  Museum 

Hotel  Grand  et  Tivolliers  »Toulouse 

Ba8.St.Se^nin,A;gli^3e  des  Jacobins»Kathd.St.Etienne 

Toulouse  -   ST. JEAN  DE  LUZ 
Biarritz, Hotel  du  Palais  (1?) 
St. Jean  de  Luz. Hotel  Moderne 
Biscaya  Bucht. Hause  de  l'infante »Eglise  St. Jean  Baptiste 

Baslütnkuste. 

St.Jeancfe  Luz  -  SANTANDER 

Grenz  nach  Spanien  :  Irun/Hendaye 


2/3 

5 
2/3 

5/7 
2/7/ 

3/^ 
5/7 

8 

8/9 

9 
10 

10 

11 

12 


13 


£ 


B  P  A  N  I  £  N 


II 


San  Sebastian- (Guernica) -Bilbao-  SANTANDEK, Hotel  Real 

Hökle  Ton  A  1  t  a  a  i  r  a_ 

Santillana  de  Mar: Alte  Palast e,Kollegiatkirc he  mit  Kreuzgang 

Bodega  de  Suan  Infante 

Fahrt  durch  Kantabrische  Gebirge  (Paeeo  de  Freeno) 

BURGOS »Hotel  Contestable 
Kathedrale  16/17/19 

Plaza  Mayor,Paseo  del  Espoloa.  Casa  del  Cordon 
Cartuja  de  Mirafloree.  Real  Mon&sterio  de  la  Huelgas 
Gasa  de  MirandaiMuseo  Arquelogico  Provincial 
Arco  de  : anta  Maria 

Durch  Gebirge  über  Logrone ,Tudela  in  die  Ebroebne 
ZARAGOZZA , Gr an  Hotel 

Kathedrale  San  Salvador(La  Seo) : Gobelinsammlung 

Wallfahrtskirche  Nuestra  Senora  del  Pilar 

Castillo  de  la  Aljaferia 

PAMPLONA 

Kreuzgang  der  Kathedrale 

Durch  die  Pyrenäsen:  Pass  von  Roacevalles 
Spanische  Grenze:  Valcarlos 


15 
16 


17 

17/18 
18 
19 

19 
19/20 


21 
21 


?^?^A^N^K_R^E^|^C_H 

Französische  Grenzstation  St.Pied  de  Port 

PAU, Hotel  de  France 
Lourdes 

ALBI  ,Hostelierie  de  Grand  St.Antoine 
Kathedrale  St.Cecile  {2'j>/2k) .    Palais  de  la  Berbie(Laitrec )  (23/ 
St.SalTi 

CastreSfGoya  iMuseum, Gedächtnis  Austeilung  100  Jc^hre  Jaur'^s 

C ARG AS SONNE  ,  Hotel  Terminus 

Die  Cit*:  Chateau  Comtal^Ringmauern, Kathedrale  St.Nazaire 

Hotel  de  Cit*  . 

PONT  DU  GARD   (Provence)  ,  Hotel  de  Vieux  Moulin 

über  Narbonne, Beziers. S^te  »Montpellier 

N  i  n  e  8 

Lunch  ijtt  Hotel  Cheval  Blanche;;  mphithater ,M^ison  Carr* 

Jardin  de  la  Fontaine 

über  Tarascon,St,R*my:Les  Antiques;Kloster  St.Pcul  (van  Gogh) 
Les  Baux  (27/28) 

Ehern «Beaediktiberabt ei  ilontmajour 

ARLES, Hotel  Jules  Cesar 

Kathedrale.S.a.i  n  t   T  r  0  p  h  i  n  e  und  Kreuzgang  (28/29) 


22 


24 


2k 

24 
25 


26 


27 

26 
28 


3 


III 


J 


Römiiscnes  Theeter;  Ar*ne(Afiiphithater) ;    Alyscamps 
Balkon   vom  Restaurant   Forum« Terrasse   Hotel   Jules  Cesar 


29 


Ausflug: 
Saint 


G  1  1  e  6 


La  Camargue:  Äigues  Mortes  •  (Les  Marie  ae  la  Her) 

A  T  i  g  n  0  n 

Papetpalast  ;  Sx|Dxt|Bxixxt .  Pont  d*Avignon  ; Stadtmauer 

Johnny  verlä  :st  uns, fahrt  mit  Eisenbahn  nach  Ptris, Italien. 

0  r  a  a  g  e  :  Antikes  Tr.eater .Triumphbogen 

LYON, Hotel  Royal 

Musee  Lyonnaise  des  Arts  Decorative ,Rue  de  la  Charit*  31/32 
im  ehern   ligen  Palais  ^es  Seigneur  de  Lavalj e(1739; 
Musee  Historique  des  Tis6US,Rue  d»  la  Charit*  3^ 
im  ehemalig. Palais  des  Duc  de  Villeroy  (XVIII  Jh.) 
Restaurant  ae"la  MERE  BRAZIER",Rue  Koyai  13 

Hinein  durch  die  '•  ^ote  d'Or*'  nach  Burgund 

1  a  a  g  a  • 

Stiftung  des  Kanzlers  Rollin: Hotel  Dieu 

Haus  der  Herzöge  Ton  Burgund.  Eglise  de  Notre  Dame 

la  Kapitelsaal :Fläa.Wandteppicne  '^lapisserie  de  la  Vierge" 

Lunch  ia  Hotel   de  la  Poste  (3^) 

DI JON, Hotel  de  la  Cloche 

Im  ehemal. PPalast  der  Herzöge  von  Burgund:Musee  des  Beaux  Arts 

Geschichtliches  :  Die  Herzöge  von  Burgund  (35/36) 

Kirche  St.Micael 

Hinein  nach  Lothringen 

Geburtsort  der  Jungfaau  von  Orleans  Domremy-La  Pucelle 

Langres 

NANCY, 

Place  Stanislaw  mit  vergoldeten  Gittern  und  Brunnen 

Rathaus  mit  Rokokotreppe , auch  von  Jean  Lamour 

L'Hemicycle  de  la  Carriere  mit  Kolonnaden 

Alter  Herzogspalast  mit  Musee  Historique  Lorrain 

p -rte  de  la  Caraffe 

Hinein  in  das  Elsass 

STRASSBOURG, Hotel  Maison  Rouge  aa  Klber  Platz. 

Müaster  (3Ö/39)  ;  Rohant  Schloss 

Frauenhausmuseum  (Muöee  de  l'oeuvre  Notre  Dame) 
Mit  Dr. Fr. Herbst  Abendbrot  im  '»  Au  Gour.  e  sans  Chique'». 

über  Mulkouse  nack  C  o  1  a  a  r 

ünterlinden  Museum: Grunwalds  "Isenheimer  Altar" 

Kathedrale  St. Martin: Schongaucrs  '»  Maria  im  Roenhaag*» 

Vor  Französischer  Grenze  Lunch  .üit  Nationalgericht: "Choucroute" 


29 

50 
51 

32 
35 


5h 


55 


5^ 

55/36 

57 


58 
58 


59 


IV 


i 


SCHWEIZ 


Grenze  HuniAgue  -  BASEL  ^0 

Kurz  r  Besuch  cbs  Kunstmuseums «Wiedersehen  mit  Witz  und  Holbein 

ZÜRICH, Hotel  St. Peter 

Wiedersehe!  mit  Margarete  Glicksman  und  Johnny  (aus  Be3 lin) 

Mit  Eisenbakn  nach 

BASEL  »Hotel  Schweizerhof 

Eisenbahn  nach  Thun 

Hünibacli  bei  Stenger.  Familie  Ramseier  mit  2  Kinaerm. 

Zürich  »n  uer  Airterminal  zum  Flug  nach  Italein 


^0 


^1 


3 


ITALIEN 

s  =  =  =  =  =  =  s=:  =  rr  =  =:=:xx 

Kloten,Swi66  #  300   «Flug  über  Parma iFlorenz  nach 

ROM  t Hotel  Medici-Hassler  kZ 

Marianne  Nechansky  mit  "Forsche" 

Vatican^Museo  Etrusco  Gregoriano(^3) ;Villa  Guilia(4^) 

St. Peter  »Grotten  (46)  ;Piazza  di  ..an  Pietro 

Museo  National  delle  Terme(44)  ; 

Altstadt  um  Pantheon, Piazza  Navona,Cor60  mit  Palästen  (42) 

Forum, Santa  Maria  Antique  ,Hau8kapiplle  cfes  Papstes  Johann  VII(47; 

Kirche  S.Cosma  und  Damianus: Mosaik 

Campidoglio-»^  Marc  Aurel  Reiterstatue .Capfttälini  ches  Museum 

und  Konservatotenpalast  (4?) 

Museo  Bqracco  (30) 

San  .7iovannÄ  in  ronte  ;  S»Cle:nente   (48) 

Fontana  Trevi  (49)  ;  Aqua  paola,pÄSsagiata  Margherita  (50) 

Ausflüge:   Hadrians  Villa  ;  Tivoli  m. Villa  d'Este   (43/44) 

Tarquinia  m.Necropolis  ;  Tuscania, Bas. Santa  Maggiore(45) 
Caprarola,Farnese  Palast  (45) 
Villa  Baifnaia  (Lante)  (49) 
Villa  Medici  (  4Ö) 

Alex  und  ildred  Lachman   (46/48) 
Stefan  und  Eri  Bach  (49/50) 


0 


( 


§Ü?rl?4LIEN:  NEAPEL^SICILIEN^CALABRIENjAPULI^^ 

la  Bcrchs'»v;olseley  Six  Eighty"  nack  Neapel 
überfahrt  mit  SS  Sardenia  der  Tirrenia  nach  Palermo 

SICILIEN 

PALERMO  tJolly  .lotel 

Palazzo  Normanni:Capella  Palatina  (53) 

S.Giovanni  Eremiti;  Porta  NuoTa  ;  Dom^Königsgräber 

Galleria  Nationale  di  Sicily;Museo  Nationale 

Moderne  ViertelrVia  Maqueda  ;teatro  Massimo.  (5^/5t>) 

Villa  Giulia. 

Kathedrale  von  Monreale  und  Kreuzgang 

Tempel  von  Segesta 

Bolcstrate  am  Golf  von  Cc  stelamare 

(j  #  f  a  1  u  ;Dom  San  Pietrp 

über  Nicosia  nach  E  b  n  a  (Ca8trOfc?;iovanni)  57/5Ö 
PIAZZA  ARM£NIRA,Jolly  Hotel.  Villa  Romana  di  Casale 


K 


7/5Ö 


SygACÜS, Hotel  Villa  Politi 

Latomia  del  Capuccini.  Dom.  Amphitheater ^Griechisches  Theater 

vj. Giovanni, K<-*takomben.     Restaurant  Bandiera(5Ö) 

Catania,Dom  (60) ; Restaurant  Gemarino 

TAORMINA, Domenico  Paiace.  (6o/62) ;Griechisches  Theater(62/ 

Messina  (63) 

CALABRIEN,A1^lIEN 

Co£enza,Jol  y  Hotel.   Ponte  Alerico 

TARANTO,Jolly  Hotel.    Dom, Kastell 

Gioa     del     Celle  flu.^tschloss  Friedrich   II 

Manduria,Plinius  Quelle  (6^) 

iL^?„c.?  «  »Kirche  S.Croce;  _San  Nicolo  e  Cataldo 

Tancred  von  Lecce 

BrindiBi:   Säulen  am  li^öd^  der  Via  Appia, Hafen  , Kastell 

OstuBi  (Dom),Fasano  (P.  l.Comi.unale)  ;Trulli,Albarello 

BARI, Hotel  des  Nations* 

Ba.silika  di  San  Nicola  {66/67)  ;Kastell  (67/68) 

ß  i  t  o  a  t  o  tliathedrale  San  Valentino  ;Palz.SulOo  Labini 

Ruvo  di  Puglia, Kathedrale  ot«nta  Maria    (68) 
C.  astel  i  ^  l     Hont  e 
TranitKathedrale  San  Nicola  p  llergrino 


52 


55 
5^ 
55 
56 

57 


5b 
59 


60 


63 
64 

6V65 

65 

66 

66-60 
68 

69-70 
71 


< ) 


VI 


l 


r 


BARLETTAfJolly  Hotel.  "Der  Colussus"  •Kaiserbiiste  72 

T  r  o  i  ff  ,K  thdrgl^  ^^n   f\f^.cQnd±no  72/75 

Benevento:   Porta  Aurea  (73) 

NEAPEL, Hotel  Royal  73 

Salerno , Hotel  Jiana  .plendid 

P  ä  »  t  u  a  (74) 

Museo  Capo  di  Monte (7^)  ;  National  M^seu«   (75) 

"Lecture'^  Stefans  in  der  Aula  -^dell  Intituto  Fisiologica  '      75/7^ 

in  der  voä  Friearich  II  1224  gestift  ^em  Universität  Neapel. 

Restaurants  am  Hafen  Santa  Lucia:  Ca  Teresa^rransatäintico ,Ciro 

Cctserta  Veccnio,Doin   t.Michele.  76/77 

Capua  .   Cassino ,hotei  Canon  (Kloster  Monte  Cassino)  77 

ROM, Hotel  M'dici-H  ssler 
Viterbo  »Papst  Palast  (77) 

SiENA, Hotel  Excelsior 

PinacoT:ieca  di   Siena  im  Pc^lcszo   Buftsignore    . 

Campo»        Piazza   del   Duomo.      Dom. 

Vol terra    (79/8o) 

San  Gimignano/  Lunch  im  Hotels  Cisterna 

Appeninfahrt«  Durch  ilorenz. 

BOLOGNA  Hotel  Majestic-Baglioni 

lorre  Asinelli  und  Garisenda.  Restaurant  ft^w   Papagello(Öl) 

Autostrada  nach  Mailand  und  Como. 

Lunch  im  Hotel  rietropol  am  See. 

Fahrt  am  Corner  S'-e:  Villa  d'Este.  Villa  Carlotta. 

Italiensiche  Grenze  in  die  SCff^EIZ  am  Luganer  See. 
LUGANO, Hotel  de  La  Laix. 

Stefans  bringen  mich  im  Auto  nach  Mailands  Flufcplatz  Malpensa 
Air  Ff^ance  nach  Parie-Orly 
TWA  Paris-New  York 


78 
78/79 

8o 

81 

81 

82 


83 


{ 


c 


( 


Autofahrten  durch  Frankreich , Nordspanien »Italien. 

Sommer  1959 

Freitag  10. Juli;  Einsteins  bringen  mich  nach  Idlewild,da  Marianne  unab- 
köm.  lieh.  Im  Cafe  gesellt  sich  Johnny  zu  uns.TWA  noch  im  alten  Teil|da 
eignes  Gebäude  noch  im  Bau, aber  von  der  T\wA  Lounge  direkter  geaeckter  Gang 
zum  Flugzeug. Angenehm, da  .chwüle  in  Regen  sich  lost. 

Flug  #  700  im'^Jetstream,Ambassador'»  mit  Turboprqp,Antivibrationspropeller 
ist  mein  ae  Luxe  Abteil  ganz  hinten. tun.<-tlich  lb:CC  ab. Bin  erstaunlicher- 
wei3e  der  einzige  Passagier  im  Abteil. Senr  comfortabel. Runiger  Flug. 
Um  8  Uhr  gutes  Dinner .Lötr che  zeitig  Licht. 

Samstag  11. Juli:  Rasiere  mich, um  ungestört  zuain,in  der  Nacht. Viel  heis- 
s  s  Wcsse  ,das  aber  kein  Scnaum  erzeugt, 
ße^omüie  vor  richtigem  breakfast  Saft  und  Tasse  Cafe. 

'.Vie  ich  mich  überzeuge  »Tourist  und  Economy  class  ,die  vor  der  Anrichte  lie- 
gen,gedrängt  voll. 

Pünktlich  nach  12  stündiger  Fahrt  an  London, Ortszeit  10:50. 
Bus  bringt  Pascogiere  zum  alten  Airport  Gebäude. Es  ist  kühl  und  es  regnet. 
Dort  erwarten  mich  Wilnelm  und  Gert  Stross  mit  ihrem  Auto. Formalitäten 
minimal.  Im  Auto  zum  Telegrapnenamt  ,i>lanni  meine  Ankunft  zu  melden, und  zum 
gros;.en  modernen  Terminal, um  gleich   bei  der  BFA  meinen  Flug  nach  P.  ris 
am  l^.Juli  zu   "checken". 

Die  hübsche  Fahrt  durch  grünes  England  leider  durch  Regen  und  Kühle  nach 
Aylesbury  KHBt(Buks)  ,wo  mich  im  Hayden«  Hill  House   ro^rses  nimmer  mit  .veiter 
Sicnt  in  Landschaft  erwartet.-  am  Nachmittag  lerne  ich  zum  ersten  Mal  Kor- 
resiondenz  durch  Taperecording  kennen, die  mit  Sohn  in  Bombay  geführt  wird. 
Dadurch  auch  möglich  farbige  slides  vorzuführen , die  von  Toms  eigner  Stimme 
erklär  lend  begleitet  werden. 

Sonntag  12. Juli:Kahle  macht  Erwärmung  in  meinem  Zimmer  und  im  //ohnzimmer 
notig.  Gemütlich  geplaudert ,Strossens  indische  Reise  eingehend«  besprochen. 
Nacn  einem  high  tea,der  Abendxbrot  unnötig  macht »bringen  mich  Strossens 
zum  Hote-L  Randolph  nach  OXFORD, wo  nach  Beendigung  .ler  "Fair"  Zimmer  für 
mich  bereit  Steht(No  ,1^2  mit  3ad  h   2) 
Wie  brieflich  veraoredet , erscheinen  vVilliam  und  J -.a  Cohn  am  8  Uhr  zum  Cafe, 

Als  postalische  Lesitung^nzuarkennen:  Ein  nacn  Aylesbury  , erichfetter  Expresi 
Brief   Manni's   wird  mir  noch  heute  ausgehändigt. 

Montag  13. Juli:  William  holt  mich  zum  Spaziergang  ab;Auriol  und  Park  von 
Worcester  College.-  Lunch  oei  Jsa.-  Dinn<-r  im  Randolph  mit  Willi^ms;zum 
Cafe  erscheinen  Schlesingers. 

Dinestag  l4.Juli:>lit  Taxi  zum  ßahnhof.  Aber  vorzeitiges  Kommen, da  Eug  nicht 
von  Oxford  abgeht , zwecklos. Im  ankommenden  Zug, auch  die  erste  Klasse  sehr 
vol].Hein  grosser  Koffer  bleiot  im  Gang;d  e  viitfahrer  helfen  mir  sehr 
hilfsbereit  meine  T^-:Schen  im  Netz  zu  verstauen. Ab  Oxford  9:07. 


( 


An  London  lü:15.  Diesmal  sind  Träger  und  Taxi  sofort  zur  Hand. 
Taxi  bringt  mich  ä* st  zum  n^uen  Air  TerminaliWest  Terminal  Cromwell  Road  , 
ganz  mo  lerner  umfan»Areicher  ßau,wo  ich  mein  Gepäck  nicnt  gleich  aufgeben 
kann  -  nur  drei  ^tunuen  vor  Abflug  -  ^  ondern  in  Verwahrung  geben  muss. 
Ich  habe  Taxi  /;arten  lassen;Chauf  f  eur  verlangt  für  ganze  Fahrt  »einschliess- 
lich der  Fahrt  nach cfer  Upper  Richmond  Road  1  fc  ,w  s  ganz  angemessen  ist. 
3ei  Reifenbergs  besonders  nette  nufnahme »raffiniertes  Eßsen »dessen  Bereitunf^ 
'»Tergif»  besonders  Vergnügen  macht.  Angenehm, das-s  Wetter^erlaubt  im  Garten 
zu  plaudern •uöciKMMkM]^da6S  Taxi  zar  Rückfahrt  zum  Airpe*^^ telephonisch  be- 
stellt werden  Kann  .  Am  Air  f^t^  treffe  ich  Johnny  »wie  verabredet  »mit  dem  ich 
20:^0  den  Air  Bus  zum  Airport  besteige.  Dort  wertet  unser  ein  Viscount  der 
BEAwer  London  22:Üü  verlässt.  J-der  Platz  besetzt  »recht  eng;spielt  aber 
keine  Rolle »da  wir  bereits  25:05  in   PARIS   landen.  Da  Omnibus  besetzt »nehmen 
wir  Taxi  zum  Air  Terminal  Invalide  »um""5or€  unser  Gepäck  zu  erwarten. 
Ich  denke  erst  daran»dass  heute  der  l^.Juli  1769,aer  Tag  der  Erstürmung  und 
Zerstörung  :r-r  B^astille^ist^  als  ich  auf  der  fahrt  Beste  des  feiernaen, tanzen 
den  Paris   ^w^+re  und  aif  ^em  Place  de  1-  Concorde  o.^n   verlas- enen  Riesenaufbau 
für  G-n.de  Gaulle  stehen  sehe, die  seiner  Auffc^ssung  von  "glcäre''  entspricht. 
Unter  Ziel  ist  Hotel  Montalembert »5  rue  ae  Montalembert  aifif  .er  linken  Seite 
der  Seine,  „s  liegt  neben  *m  eleganteren  Hotel  lont  Royal»wo  wir  keine  Zimmer 
bekamen.  Ab«r  auch  unser  notel  .nacnt  anständit^en  Eindruck;kleines  Foyer  mit 
winzigem  Frushtücksraum  und  kleinem  Esssaal;kleine  saubere  Zimmer  mit  Bad  . 
Preis^alles  incJ.pro  Zimmer  6»C00  fr.  ,aa  1  Oollat  neute  ca.^ö^  Fr. kamt  = 
ca.  ^^  6 . 

Mittwoch  13. Juli:  i'arianne  hat  beim  Autoclub  in  New  York  ein  Auto  für  unsere 
Peise  bestellt  und  bereits  %   ^Uü  an,  ezahlt.  Mr  haben  als  Adresse, wo  wir 
das  Auto  anzufordt,'rn  haben  »Neuilly  »Rue  Perronet  121.  Dort  führt  uns  ein 
netter, ,^"ut  deutsch  ^rechender  Elsässer  mhs  den  neusten  Citroen  (1959)   vor 
und  schwärmt  von  «inen  Eigenschaften,  /vagen  nat  ori  inelle  Form  mit  einer 
Art  Walfischschnauze  »sient  xe..  egant  tas  »ist  schwarz  und  führt  die  Nummer 
'*  7341  -  HR  -  73  -  F  ".   Für  Gepäck  reichlich  Platz. 

Mit  Taxi  zurück  zum  ^Varenhaus  Printemps»wo  im  gro  sen  Stil  Einkäufe  von 
Parfüm  (Lanvin)  »vor  allem  für  i:rJiditTung  Ma's  Auf  träge  »machen.  Da  alles 
gesondert  eingepackt  und  abgere  hnet  weraen  muss  ,at  Laciiiert  man  uns  eine 
nette  Dame  ,die  für  entsprechende  Abwicklung  sorgt.  Für  Ool] arzahlung  er- 
halten vdr  20%  Rabatt. So  kostet  z.B. eine  Flasche  lanvin  '»Arpeche'  statt 
Fr.  2  »700  nur  2,l6c  =  ca.A-y.  Dollar. 

G/£gendber  eine  4rt  ■  nack  Bar  "Royal  Printemps'^   wo  wir  amüsant  lunchen. 
Der^^MÜ  Club  de  France  »wo.vir  g-p:  n  Vorzeigung  d?r  Autopapiere  Eesence  Coupons 
erhalten  können^dDmiciliert  Blvd.des  Italiens  no.i9,im  «  ersten  Stock  des 
Credit  Lyonnais.  Vir  können  zunächst  nur  Coupons  im  Werte  von  i^r.24.000 
kaufen. Auch  hier  brinn^t  Doi:"  arzahlung  .wesentliche  Ermässigung rAir  haben  in 
Dollar  nur  den  Gea:enwert  von  Fr.  19.^^0  zu  zahlen. 
Tee  im  tiotel  auf  unseren  ,i^i  mm.rn. 

lim  7  Uhr  holt  mich  Edi  Lachman  »Pariser  Vertreter  des  hollandischen  All/^,emen 
Handelsblaat, mit  seinen  kleinen  Auto  ab.   ir  essen  in  einen  kleinen  ausgezeich 
neten  '»echt'»  französischen  Restaurant   "Chez  Faul'»,  Place  Dauphin  '<U   ^uai  des 
Orfevres,  -it  Ausgang  nach  beiaen  Seiten.  Dann  fährt  er  mich  in  (*n  ma.risch- 
t  en  Teil  von  Montmartre »wo  noch  echte  Weingarten  ä.nd  und  wo  hxt    in  ^inem 
kleinen  bictro  aen  Abend  mit  einem  Cafe  beschliessen.  Reizender  anregender 
Abend! 


( 


c- 


< 


Donnerstag  l6.Juli:  Will  heute  beginnen  Johnny  Wesentliches  von  Paris  zu 
zeigen,  underschönes  W-tt-r  hält  an.  Beginnen  im  American  ' xpress  ander 
Place  de  1* Opera  zwem  Ausflage  zu  buchen:  Chartres  und  Chantilly. 
Wandern  über  Plage  Vendome   (Hotel  Ritz) , durch  Rue  Royal  zur  Rue  de  Rivoli 
Hier  ist  eine  uns  empfohlne  Buchhandlung  für  Reiseführer.  Da  meine  vorc.us- 
gesandten  nicht  aigekomr.en  sind, kaufe  notgedrungen  bei  Galignani  ,224  Rue  de 
Rivoli, einen  "Guide  Bleu''  von  Frankreich  und  cBazu  einige  von  aen  ausgezeich- 
ten   grünen"  Michelins ;  vorhanden  leider  nur  :.rovence  und  Bourgogne. 
Lunchhn  am  Rlace  Royal c  in  aer  Snak  Bar  des  Hotel  du  Louvre.  M  n  sitzt  an- 
genehm halb  im  Freien  mit  blick  auf  aas  Palais  Royale  »Auswahl  und  2;Ubereitang 
der  Gerichte  entspricht   ganz  unserem  Geschmack. 

2:15  geht  die  Coach  vom  Am. Express  ab.  Program:Gare  du  x.ord , St  .Denis  ue  la 
Chax3elle,Chantiily  j.^bbaye  de  Royournont. 

3t. Denis  de  la  Ghapelle:   Von  dieser  Kath  drale ,die  sLcn  ub-r  dem  Grab  des 
Hl.Dyonysius  erhebt  habe  ich  schon  viel  gehört  und  auch  vieles  gesehen, #asÄ 
hier  enstande8xlst''SSS''^?izf'' durch  die   elt  zerstreut  ist:  "Der  Thron  des 
DagobertVJetzt  in  Paris ,Cabinet  des  r.edailles.  Ebendort  äxkä  der  sog,Ftolemäus 
3echer  aus  orientalischem  Sardonix  mä  die  :  hhhle  des  oassanidenkönigs  Chosroed 
II(590-628)als  "Tasse  de^^  Salomo"  im  Schatz  von  St. Denis. 

Im  Louvre:  "J^sta"  Bergkristail  in  »^ugers  Kassung,von  .demselben  die  Adlervase 
auf  Porphyr  una  ein   Silb.Wasserkanne ;  Inder  National  Gallery  of  i\rt  in 
Wsnin,~ton  (früh  r  im  Besitz  von  »<Vidner)  Suger»s  Sardonix  Kelch, 
jrosse  Rolle  in <fer  Geschichte  Frankreichs:  Im  V. Jh. wurde  hier  eine  Kirche  und 
ein  Klo  ter  erbaut .Dagobert  I  (+638)macht  reiche  Stiftungen  und  wird  hier 
beigetsetzt .  ieine  um  7^0  begänne  Erneurung  wurde  unter  Karl  d.Gr.  vollendet . 
Abt  Suger  -  über  den  Erich  Panofsky  eine  ausführliche   Arbeit  geschrie-ben 
hat —  i8t  der  Vertrauensmann  von  Ludwig  VI(1137  +)  -In  seiner  Amtszeit (1122- 
1151)  wird  der  grossartige  Neubau  begonnen, der  erste  gotische  Monumentalbau 
Frankreich».  Hier  wurde  die  königl .Krigesflagge ,die  "Criflagge"  am  Altar  auf- 
gehringt .  Hier  übergab   768  Pippin   einen  Söhnen  Farl  und  Karlmann  das  Reich; 
1^29  hängt  hier  Jean  d'Arc  ihre  waffen  .  uf,hier  trat  Heinrich  IV  1593  zum 
Katholicismus  über  und  hier  wurde  lÖlC  Napoleon  mit  Marie  t ouise  getraut. 
Jetzt  ist  (*s   hier  still  geworden  und  nur  seltene  Besucher  fragen  nach  aen 
zum  Teil  senr  w  rtvollen  kanstleri^c nen  Grabmählern 

Wir  treten  nur  in  die  Vorhalle  durh  das  recht  schlecht  restaurierte  Tor 
D-S  Halbdunkel  der  von  3Dhv<^  ren  Säulen  ;-etragnen  Vorhalle  ,noh  ais  Sugers  Zeit, 
steht  im  age,^^  ansatz  z\x  der    leichten  Eleganz  und  Klarneit  d?s  aus  em  XIII  Jh. 
stamiienaen   it  relschif  f  s. 

Mit  diesem  flucntigen  Eindruck  mü  :en  wir  usns  begnügen. 

Schöne  weitere  Fahrt  durch  '^al-.er  nac;h  CHantilly  ,das  ich  cfes  letzte  Mil  hä^ 
Olly  be  achte  und  in  seiner  Lage  so  eindrucksvoll  in  Erinnerung  geblieben 
ist,dass  ich  es  John  jeuenfalj-S  zeigen  wollte. 


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Eintritt  durch  g^o.^  es  Gittertor.  Rechts   jenseits  des  Wassergrabens  ein 
nüchterner  Bau, das  1770  als  Chateau  d'Enghien  für  Gäste  errichtet  ;vurde  . 
Beim  Writ. rgehen  sieht  raan  das  Reiterbild  Anne  * s  de  Hontmorency  auf  einer 
Terrase  von  aer  man  bes.schöenen  überblick  aber  l-ark  hat(lö66).  hr  baute 
hier   den  vorhandenen  goti^-chen  Barn  im  Rtnaffi^sance.  til  um  und  fugte  später 
ein  Erweiterungsbau, das  sog.Chatelet  hinzu  (1^<:J9»1^67)  ♦ 

Anne  de  Montmoreny's  Enkel   verliert  I632  im  Aufstand  ^egen   die  Krone  Leben 
und  Güter, die  an  ^^einen  Schwager, den  Prinzen  Heinrich  von  ßourbon-Cond* 
kommen,  Sein  Sohn  Ludwig  II  von  Cond*  , wegen  seinet:  Geistes  und  Kriegstaten 
als  aer  "Grosse  Cond»  "  bekannt , macht  Chatilly  Schauplatz  glänzender  Feste. 
Den  Eiipfang  Louis  XIV  im  Jahre  I67I  kennen  wir  aus  Beschreibungen  in  Brie- 
fen der  iMme  de  S*vign* , worin  sie  auch  erzählt, dass  sich  der  Leibkoch  Vatel 
wegen  Ausbleibens  des  für  die  Festt::  f el  bestellten  Seefisches  sich  das  Lgben 
nahm. 

Während  der  Revolution  wurde  dcs  HauptschlOoS  gänzlich  zerstört. 
Der  moderne  Bau, in  aen  /vir  jetzt  eintreten ,  stammt  vom  aera  Erben  des  letzen 
Cond*,dem  Herzog  Heinrich  von  Aumale ,  vierter  Sohn  des  FÖnie-s  Louis  Philipp, 
ÄÄr(lo22-lö97) ,d^r  ihn  I876-ÖI  erbauen  liess.  Die  Kunstsa-nmlungen  stanmen 
meist  ais  altem  Familienbesitz , soweit  sie  interessant  sind, und  bilden  heute 
den  I  nhalt  des  ''Mus*_e_C_ond*  "  ,das   durch  Erbschaft  in  den  Besitz  des 
Institut  de  Fran  e  kam.  Es  wurde  sehr  gewinnen  ,//enn  eine  strengere  Auswahl 
unter  den  Bilaern  gemacht  würae.  So  muss  man  dem  Fahrer  durch  eine  Reihe  on 
Sälen  folgen, bis  man  endlich  zum  eir.entlichen  Kern  der  D^mmlung  gelangt. 
..ieser  besteht  aus  den  im  Sanctuario  vei-sammelten  ."iilaern:  Raffael  "Madonna 

aus  aera  riause  Orleans''  (1507)  und.dLe  drei.^bracien"  .sowäi  kt   Miniaturen, 

T     n-     4.  -.  •        •     ,.  tiy?:e  d^Heures;  .  ,   .  ' 

von  Jean  pouquet,die   us  einem  GebetDucn  heröusgenommen  woraen  sxnd,dae 

far  Estienne  Chevalier  »Scnatzrneister  unter  Vark  VI  J^^2-60  gemalt  worden 

sind.  Anstossend  eine  «jallerie  mit  grau  in  grau  gehaltenen  Glast-;emäluen 

die  nach  Kartons  aus  cfer  Schule  Raffaels  f  .r  das  ochloss  Ecouen  gefertigt 

wurden, das  ursj ranglich  für  Anne  le   t4ontmorency  l^Hl  erbaut , später  in  den 

Besitz  der  Conae  überging.  Ge;.,enübvr  diesen  renstern  nervurrc. genae  Portrait 

Zeichnungen  des  XVI  und  XVII  Jh. besonders  von  Clouet(Jean  +  15^0) 

In  .ler  Bibliothek  Sammlung  wundervoller  Grollier  Einbänae  und  Handschriften 

darunter  als  Hauptobjekt  "  li^Les  Tr*s  Riches  H^ ures"  >es  Herzog  toon  Berry 

von  iaul  von  Limburg  und  sfinen  Brüdern  (141)-l6)  ;  kann  beim  Ausgang 

ein   usg  zie  hn-  ts  i   chlein   ;iit  12  Reproduktionen  daraus  erwvcben. 

Aus  dem  XVITI  Jh.reizenuer  i^aum  "Salon  des  Singes"  .-.  r  f en  in  Kleidung  und 

Haltung  der  vornehmen  G  .eelischr  f t .   ;ohl  aus  deselben  Zeit|Wie  die  pracht 

vollen  Pferdeställe  ,tie  ein  Mineiter  Ludwig  XV.  ,J-einrich  von  Bonrbon-5Zonde 

errichten  liesüen  und  aie  ich  d  s  letzte  M?-l  nit  Clly  oesichtigte ;  diesmal 

begnüo;en  wir  uns  niit  Blick  von  d  r  Ferne.  Dies  ist  leic-erduch  mit  dem  Park 

o.er  F-^ll,der  Ursprung}  ich  von  Je  ^^otre  angelegt ,  spater  im  enli-cnen  Stil 

gewandelt  wurde.   ber  schon  d-r  Blick  über  die  7as^:er  umgegben  Grüns  mit 

aem  W.^ld  im  Hintergrund   ist  dessen  "esuch  wert.  Kommt  bei  dsm/trahlenden 

Wetter  natarlich  zur  vollen  Geltung. 

TY 

Durch  schöne-  Wald  zur  Abbaye  ae  Koyoumont , die  Ludwig  der  Heilige(122b-4o* 
ge':rünriet  hat; von  der  i^. irche  nur  grandiose  Ruine  übrig. Vom  Kloster  ßchlaf- 
sale  und  Refectorium,  uche.  leute  z.T. für  Konzertauf fahrun^en  Genutzt. 

Um  7  Uhr  sina  wir  wi   er  in  Paris.  Lohnender  Ausflug. 


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( 


Sylvie  Goldschmid,die  INichte  von  üohn,holt  uns  mit  ihrem  kl-inen  Auto  um  8  Uhi 
ab.  billy  una  die  Kinoev  wohnen  jetzt  in  AuteiiLil,59  Rue  Boileau  »Paris  XVI, 
Hübsche  wohnung  mit  Blick  ins  Grüne.  Lilly  übersetzt  und  arbeitet  har*-. 
Gepflegtes  Abendbrot,  Auf  .<era  Rückweg  fährt  uns  Sylvie  an  der  angestrahlten 
JMotre  )arne  vorbei. Herrlich. 

Freitag-  17. Juli;  Her  aicheo  Wetter  hält  an. Es  wird  wärmer. 
Zeige  John  .esentliches  vom  Musee  de  Louvre:  Lange  Gallerie »Cabinette  um 
di»  Medicisäle, Griechische  Plastik.  Dabei  lerne  auch  ich  etwas  Neues  kennen: 
X)ie  Schenkung  von  Luise  de  Croix,eine  ausgezeichnete  Sammlung  meist  orienta- 
lischer Kunst  ,byzantini.  che  XMKiSt  Malerei  »Ikone  ... 

Jeu  de  Paum;  Die  Sammlung  der  Impressionisten  ist  wieder  nem  •  eordnet .Monets 
Studien  der  Kathedrale  von  Rouen  sind  nun  in  die  vVand  eingelassen. 
Blick  von  'Ȇllys  Sank"  auf  Place  de  la  Goniorde , fascinierend  wie  immer, ob- 
wohl die  mitten  parkenden  Autos  den  Eindruck  etwas  mindern. 
Abends  sind  Iiilly  und  Sylvie  G. unsere  Gäste  im  Restaurant  1  ucienne ,12 ,rue 
succouf,da£  sie  SBlüst  vorgeschlagen  haben. Charmante  Unterhaltung  nit  Sylvie. 
ßssen  nicht  aufregend. 

Sa>nstc.g  l8./Juli:  Unsere  zweite  Coachtour  vom  Am. Express  aus  ist  ein   ganze 
Tagestour,  begleitet  von  derselben  Fuhrerin,die  durch  ihr  posi^:j.jjes  /vissen 
den  Ausfläg  besonders  reizvoll  machte.  Hauptpunkte  sind  Chateau  und  Chartres  , 
Bidet  aber "auf  dem  ÄÄg  Hin=  und  Rückweg  noch  vieles  mehr, was  man  ebenü  nur 
auf  einer  Autotour  wahrnehmen  kann. 

Ausfahrt  über  die  Avenue  de  la  arande  ^rmee.  Unwahrscheinlich , wie  sich  aich 
hier  Paris  ausdehnt  iModerne  Sportsarenen  , Ausstellunggebäude  ,j^'abriken(SimkaO) 
Natürlich  auchdie  jetztaufder  ganzen  .Veit  unvermdeidlichen  Hochhäuser. 
Schlo:  s  iMalmaison  bleibt  hinter  den  Bäumen  des  Parkes  verborgen. Furzer  Halt 
vor  Schloss  St .Ger.nain  ,das  Francois  I  und  Henri  II  gebaut  hat.  Hier  wurde^ 
Louis  XIV  geboren.  Leicht  verständlich  ,dac~:s  er  sidh  ctenach  Versailles  ertramte 
und  nur  von  hier  die  Wasser  für  seine  neue  Schonung  xMxkiKr  bezog  durch  die 

■^   Madine  de  l-arly'». 

Aufenthalt  im  Chateau  d'Anet,von  Jem  ich  noch  nie  etwas  horte. 

Es  ist  eigentlich  ein  Jagds  hlöeschen,da8  Henri  II  1552  für  seine  Geliebte 

Diane  de  Poitiere:  , deren  Erinn  rung  in  den  groi^sen  Schlössern  von  Fontaine- 

bleau  undaideren  verewigt  durch  die  verschlungenen  Initialen  D/H.  , erbaute  , 

die  Maria  vcn  Medici  nach  Möglichkeit  nach  Henrichs  Tode  durch  C/H  xä  er- 

setzfeH.XÄKXÄKktex  Der  Charakter  als  Jagdschösscehn  wird  gleich  durch  die  Lir 

sehe  und  nunde  über  dem  Eingangstor  festgelegt  .Diana  wc.r  eine  grosse  Jägerin 

von  stattlicher  Schonneit  ,die  sie  aenr  pflegte  und  war,v/ie  die  vielen  Bilder 

zei'^enjbesonaers  stolz  auf  ihre  makellosen  Brüste. 

Das^'schloss  ist  heute  im  besitz  des  ComteaeDreux;  da  es  unt  r  National  Schutj 

steht  ,muss  er  Besichtigung  zü^Bes* ruimf  en  *agen'und  Stunden  gestatten. 

Die  Anlage  zeigt  den  aus.serordentlichen  Geshm.ack  von  Diane  ;alles  in  guten 

Mssan,die  es  noch  heute  bewonnar  machen. Junaerschones  Tl^eppenhausI  Überall 

Möbel  und  Kostbarkeiten  aus  ihrer  Zeit , selbst  dsr  Silberauf satz  auf  dem  Tisch 

im  Speisezimmer,. es  en  /^änSe^^fdn  die  :en  Platz  gewebten^  Gobelinsgedeckt  weraen 

Schlafzimmer  mit  dem  Originaloett  und  Bettdecke, in  dem  sie  angeblich  starb 

Sie  ruht  in  einer  von  einem  Dom  gedecKten  Kc.pelle  gegenüber  dem  Schlo.-s^ 

die  Reliefs  von  St.Goujon  zieren. 

An  das  Schloss  schliesst  sich  innerhalb  des  Gitters  einschier  unübersehbarer 

Park  .Mit  herrliche  Bäumen;ausserhalb  des  Gitters  ein  grosses  Jagdrevier, 

der  dichte  vVald  von  Dreux,in  dessen  Mitte  ein  Rendezvous  H^us  für  die  Jäg^^ 

zur  Zeit  Louis  XV  stent. 


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( 


Anfahrt  auf  CHARTRKS.  Die  Kathedrale  ists  sahon  von  weitem  achtbar .Klar 
erkennbar  diTTIid^  Turme  .Biohfesder  ge,:en  1170  vollendete  Sudturm  mit 
geschlossenem  Spitzhelm  und  TUitkt   links  aer  Nordturm, der  ert^t  um  150? 

c;fin  unruaieces  Ende  erhält.  .  ,. 

Salt  unweit  der  Kathedrale -Gutes  Lunch  bei  Cazalie.Wir  lernen  bei  dieser 
fie^eaenheit  zwei  be  onaers  sympatische  amerikanische  Damen  kennen. 
?ch  bin  «it  Slly  öfters  hier  gewesen.wohl  zuletzt  im  Juli  1926. Nie  schwächt 
sich*r  Sndruck  dieses  beaterhaltenes  Beispiel  französciher  Früh-Gotik  ab. 
Immer  wieder  zerstört, wird  deser  Bau  119^-1220  unter  Dach  georacht. 
IZ  uZltLrt.1    (lorte  Royal)  mit  meinen  drei  Eingängen  hat  .^iguren.die  sich 
St  ihrln  .astreckt7ncS7pern,ihren  abgeflachten  üesichtern.den  ornamental 
^ffuhrten  Farallelfalten   ihrer  gewänder  der  Architektur  absichtlich  unter- 
ordnen. ?ür  weitere  Entwicklung  der  ilastik  vorbildldah,  deren  .Veit.rent- 
wIcK^^Ag   an  den  etwa  20  Jahre  spateren  Vorhaben  d.r  ..  itenportale  ver  olgt 
CerdeHannzD.  r   til   er  grossen  Statuen  wird  reifer  .ihreAusdruckskralt  er- 
staunlich: grossartit^e  Beispiele  der  gotischen  Monumnet^-lplastik. 
o'sSner;  ist  in  Raum.bmessungen  höchst  eindruckstooll.Aber  aen  Bauptein- 

d^Lk Tachen  immer  wieder  die  farbigen  Fenster.die  f ^--^-^^f ^.J^^^ait^r- 
121C  und  1260  entst  ndensind  und cfen  grossartigsten  riesttnd  an  mittelalter 
lieber  Glasmalerei  ä^rstellen, den  es  gibt.  Besonders  .«hön  die  ^>nster   .er 
drei  über  113^  m.hohen  Rosen.  Wahre  Juwelen.wenn  die  Sonne  sie  dirchleutet . 
011»  und  ich  haben  oft   rmi  diese*  Farbenspiel  genossen.  T«v^a.ai- 

Diesmal  zum«-sten  Mal, dank  *r  vortrefflichen  Führerin, schenke  ich  dsmlnh^t 
der  Darstellung  mehr  Aufmerksamkeit . In  den  unteren  Fenstern  sind  «esit  bib- 
Jlchen  Scenen  Snd  neiligenl.genden  dargestellt, in  den  Hochfenstern.die  im 
Langh.-us  zu  je  z    ei  gekoppelt  und  von  *n  Rosen  bekont  sind.hinzelf i.uren  von 

mäcntiger  ?;irkung.  t  k  „  /-v,,.-io-n. 

Tm  mittelfen=ter  über  dem  Heuptportal  Svenen  aus  dfsm  Leben  Christi, 
Tod  der  Maria  ,.  ti.tung  der  Schuhmocherzunft  ,'^ie  r.an  aus  dem  Schuhmacher 
anct>r  Arbeit  .-m  unteren  1'eil  les  Fensters  sieht.  Im  Schiff: 
Legende  des  Hl.Sustach.GL  ichnis  vom  verlornen  .iohn.vom  barmherzi^^en  Sama- 

Siftu^gder  Bäcker:^.ei  Ho  hfenster  des  .Mittelschiff  esj«»aria  mit  *m  Chri  tus 

kind.  Der  Apostel  Jacobus.  _.        -jn^« 

Schliesslich  iarf  ich  nicht  die  "  Belle  Verriere"  vergessen, die  das  sudlicn 
Seitenschifr  de.  .hors  schmückt:  In  Mitten  schwebt  •^"^^««'^«(heiliger 
Geist)auf  Maria  mit  holdesten  Anlitz  nieder, aie  Christkind  auf  ochoss  halt. 
üii^  Übrigen  jelaer  von  r,ngeln  gefulJt.  ,  .  . 

öti  au  die  en  .  enctern   beherr.chenue  Farben:  Rot  und  blau.  Das  Hot  scheint 
Rubinen  in  aie  .ammerung  der  .-athedraie  zu   schütten, das  Blau  m  ver.cniedene 
NuanSen  Sapphiere.Dazu  helfen  ,rüne  und  Goldfarben  diesen  unbeschreiblichen 

Effekt  schaffen.  ■     ,  j.  -„^^^ 

Ich  wpiss  nicht, ob  man  weiss, wie  die. e  Farbenef iekte  erzielt  wuraen.  oicher 
ist  daFs  ««n  selbst  nit  .-.itteln  der  modernen  Wissenschaft  nicht  im  Stanue  i^t 
diese  translucide  .irkung  zua:h.ffen.  Be'  ei^.  die  beiaen  Fenster, die  '«r 
^venigen  Jahren  von  reichen  Amerikaner  gestiftet  in  einem  Atelier  von  Ch.rtres 
angefertigt  wurden, aie  viel  besjer  Bind,als  das  meiste,.,   man  im  äLl£emeinen 
zus=nen  bekommt , aber  an  die  alten  .lei.  ter>-.erKe  niciit  neranreicht. 
Hinter  iem  Chor  aer  Kathedrale  eine  Terrast-e  mit  hübschem  i^lick  hinunter  au« 
die  Unterstadt.  Daneben  steht  aer  eheffii-lige  t^i  fjchpf  sptilast  aus  dem  XVII  Jh. 


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Inf  dem  i-ückweg  nach  Paris  interessante  Blicke  auf: 

Schloss  Maintenon>das  d«  fthemaligg  trzieherin  der  Kinder  Louis  XIV  und 
der  Mme  de  Monte span.gMKkMklxisfeSÄm  und  die  er  schliesslich  heiratete. 
Renal.  snceCharakt^r  und  der  Wassergraben  sind  erhalten 

Schloss  Rambouillet:  Es  liegt  hinter  einer  grossen  Rasenfläche  breitgelagert. 
Franz  dex  I.ist  hier  gestorben »Napoleon  lebte  hier  und  es  ist  heute  der 
Sommersitz   des  Präsidenten  der  Republik. 

Fahrt  durch  ßois  o.e   ßoulogne  bringt  uns  vorbei  am  neuen  ganz  modern  gehalte- 
nen Unesco  iebaude  . 

Um  6  Ihr  sind  wir  wieder  an  der  Flc.ce  l'Cpera. 
John  hat  h  ute  ßilJ  et  zu  den  Tanzender  Baker, die  wieder  fruf  tritt , um  far 
die  vielen  Kinaer,die  sie  adoptiert  hat, sorgen  zu  können. 

So  bin  ich  froh.dass  ich  zu  Hause  bin, als  MARIANNE  eintrifft.  Überraschend, 
veil  ihr  cabel  uns  nicht  erreichte. Glücklicherweise  macht  es  keine  Schwierig- 
keit ihr  ein  Zimmer  mit  Bad, sogar   uf  un-erem  Flur,  zu  vfr  chaffen. 
Soupieren  zusammen  bei  '»Chez  Paulis  das  ich  erst  vorgestern  dirch  Eddi  kennen 
lernte.  Ausgezeichnet »besonders  eindrucksvoll  aie  Riesenartichocken. 

Sonntag  19. Juli:  Wuncerba-res  ''etter  hält  an. 

Mit   a  und  John  durch  Tuilerien ':..rten;beide  wandein  dann  stadt  A-arts  ,um  im 
Cafe  de  Paris  einen  drink  zu  nehmen.  Ich  han,:e  auf  Cllys  Bank  auf  der  Terrasse 
üb  r  der  PI ade  de  la  Concorde  ein  wenig  sentimentalen  Erinnerungen  nach. 
Ein  freundlicher  Franzose  kann  nicht  umhin  sich  i;iit  mir  des  schönen  Bildes 

zu  freuen  und  dem  Ausdruck  zu  g  ben.  •,-,-,.  u   4- 

Im  Hotel  zurudtgekenrt, erwarte  ich  Dora  horwitz' ..cnwiergersohn  Jean  Gaillxbert 
ie   la  L.nzipre,aen  ich  gern  kennen  lernen  wollte , nachdem  ich  viel  Gutes 
überihn  gehört.  Kr  er^-cheint  mit  Blueim  far  Ma^mir  bringt  er  einen  Katalog 
d.-r  Versteigerung  Langweil. War  ein;nal  aie  berühmteste  Händlerin  fhr  Ostas^en, 
der  mein  Fr^-und  Consul  Jacoby  Blumen  sc  hie  Kte  .1^5  ach  ibiem  Toae  \^jurde  ihre 
Privatsammlung  versteigert ; sie  hatte  zur  ckbeh.lten ,was  ihr  und  ihrer  Zeit 
das  Beste  erschein.  Beim  Durchsehen  des  K  taiog.  sehe, wie  sich  mziBchen 
der  G^scrimack  geänaert  hat.  a  ist  z.S.ein  Byobu  auf  Gold. rund  ,aen  ...Z. 
Morgan  .c^rn  erwerben  ^llte. Sie  lehnte  ab  mit  dem  Bemerken  :  Sie  sind  nicht 
recih  genug!   'A^elche  Verkennung  von  »«Werten". 

Zu  viert  dinner  wieder  bei  "Chez  Faul", weil  'iiir  nichst  besseres  und  echt 
französiches  einfällt.  Jean  macht  aisgezeichneten  Eindruck, so  bedaure  ich 
ausserordentlich,das:.,wir  mo-enaiderr  Verabredungen  »keine  Zeit  haben  nachdem 
Essen  noch  zusammenzubleiben. 

Marianne  hat  bei  ihr  m  Studium  in  Paris  viel  im  Hause  von  Erwin  und  Lilly 
Goldschmid  verkehrt. So  ist  der  begreifliche  Wunsch  ein.ndBTzu  sehen. 
Lilly  hat  als  Treffpunkt  das  Restaurant  oben  im  Eiffel  Turm  vorgeschlagen 
So  kommen  wir  an  abend  noch  zu  dem  schönen  blick   von  der  Terrasse   des  Turms 
-uf  Altzeit:  Dom  des  Invalides  und  Ecole  Militaire  von  breiten  Rasenflachen 
gtrennt  -  und  Neuzeit : Palais  ae  Chailiot  im  Halbkreis  gelagert  mit  schönem 

Wasserspiel  .  .   , .   .n  •    u   4. 

Das  Restaurant  ist  geschickt  rnit  gewi^ier  Elegance  m  die  Terra.se   eingebaut 
Gutes  ii:ssen,aber  nicht  billig.  Unser  "Surpiise  Eif f el"(=Baked  Alaska),  ein 
iiberbackner  Schaum  mit  Eisfi  innen,  e.re.t  durch  seine  Riesigkeit  das  Schmun- 
zeln uer  um  uns  . itzenden  Gäste. 


8 


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Autofahrten  durch  Frankreich  und  Nordspanien , 
Besuch  der  Hohlen  von  Lascaux  und  Altamira. 

Montag  2v  .Juli:   Früher  Auf bruch ,wir  haben  bis  Perigeux  510  km. zurückzu- 
legen. 
Punkt  8  Uhr  brin^',t  Mr. Bollos  '»unseren"  Citroen  von  1959  (73^.HP.  75.F) 
und  gibt  Marianne  di   nöti£;sten  Instructionen , die  später  durch  Erfahrung 
erweitert  vi,'erden  müussen. 

Ausfahrt  8:31  durch  die  Porte  Orleans. Mit  Rücksicht  auf  den  weiten  Weg 
bleibt  nicht  viel  oeit  uns  unterwegs  grüridlidher  Umzusehen. 
So  bleibt  von  der  Stadt  Orleans   nur  in  Erinnerung  ihrer  Lage  an  der  Loire ,  ,| 
einer  hochragenden  Kathedrale  und  Auffrischung  der  mit  ihr  verbünd  nen 
geschichtlichen  Ererigniöse:  Befreiung  der  btadt  von  den  englischen  Beset- 
zung durch  die  am  6.Jam.l^l2  in  Domremy-la  pucelle  geborne  Jean  d*Arc,  die 
"Jungfrau  von  Orleans"  8,Kai  1^29. 

In  Limoges  hätte  wohl  die  Kc>thedrale  St.Etianne  mit  ihrem  gewaltigen  West- 
turm  einen  Besuch  verdient.  Vir  begnügen  uns  mit  uem  blick  auf  die  Brük- 
Ken  aberdie  Vienne  und  der  Erinnerung,dass  dies  die  Stadt  ist, in  der  die 
Herrlichkeiten  mittelalterlicher  Emailkunst , die  heute  Zierde  grosser  Mu- 
seen sind(u.a. London, New  York, p&ris) »vorn  5. Jahr. an  hergestellt  und  im 
13.0c h. ihren  höhepunkt  erreichten. 

Die  letzten  100  km. führen  erst  am  hüb  chen  Vienne  T0I  abwärts , dann  durch 
Heideland  und  reizvoll  gelegne  ^.rtschaften  vielfach  mit  alten  Schlössern 
und  Türmen.  Die  guten  Stras^^en  sind  von  herrlichem  I^^aumbestand  eingerahmt. 
6:30  erreichen  wir  PgglOEUX.Das  Hotel  Domino  liegt  am  Place  Franc heville 
Gute  .immer  mit  Bad  unl"Äü~Jsicht  aif  den  Platz  sind  far  Hgs^ggs^^vi^^"^  • 
Ein  etwas  altmodisches  Haus .Angenehm, dacs  man  im  geräumigen  Hof  im  Freien 
essen  kann. 

Unser  Hauptinte  esse  gilt  den  Trüffeln , die  in  Perigord  zu  Hause  sind  und 
"fois  gras"=  fette  Leber, die  durch  gewaltsame  uberfütt  rung  von  Gänsen 
erzeugt /in  Mitten  .rit  ein  r  ocheibe  Trüffel  geäiicjckt  ist. 
Fois  gras  des  Hauses  ist  nicht  ganz  so, wie  sie  ei:^entlich  sein  sollte  und 
die  grotien    schwarzen  Trüffeln, die  hier  in  Eichenwäldern  von  Schweinen 
gÄicMKÄÄÄXKSXXaus  dsr  Erde  gewühlt  we  den, und  aie  ich  am  liebsten  ohne  Zutat 
gekocht  iiiit  fri.-cher  Butter  esse  »erscheint  hier  mit  Traffelsauce  übergös- 
sen. Seltsam.  Aber  das  sind  nur  kleine  i.inwände  gegen  cfes  sonst  recht  gute 
Essen, das  mit  einem  ^-usgezeichnetem  Souffle  schiiesst  und  von  einem  sehr 
guten  .-OS*  aus  <ier  Gegend  begleitet  ist. 

Dienstag  21. Juli:  Nachts  angenehme  Abkühlung.  Wir  brechen  früh  auf , da  der 
Andrang  zu cfen  Höhlen  von  Lascaux  stark  ar in  soll. Wir  haben  8^  km.bergauf  zu 
fahren, um  bis  zum  Parkplatz  im  untrren  VezereTal  nahe  bei  dem  Städtchen 
Montir^nac  zu  gelangen.  Der  Parkplatz  iot  oereits  stark  oesetzt  und  wenn  wir 
eine  Kurze  Strecke  zu  Fuss  zurückgelegt  mitten  durch  v.aldiges  Hügelland, 
finden  wir  viele  Besucher  wartend  vor  unter  einer  weiten »gedeckten  Laube. 
Die  Besucher  w  rden  nur  in  Gruppen  hineingelassen. Man  hat  letztes  Jahr  die 
Höhle  airconditioned  in  einer  Art, die  bei  Unterseebooten  verwende!  wird 
und   ie  mit  doppelten  Bronzetüren  verschlossen, um  die  feuchte  Luft  auszu- 
schliessen,die  diese  Höhlnebilder  zu  verderben  drohte. 

Der  erste  Eindruck  ist  überwältigend, wenn  man  die  Türen  durffeschrittenhat . 
Mai  kann  sagen  veilleicht  ähnlich  der,  enn  rnan  zum  ersten  '^'^al  die  Chartres 
Käthe  irale-^etritt. 
Hunderte  von  Tieren  scheinen  über  die  Wölbung  der  Höhlen  zu  huschen.   Der 

Realismus , die  erhaltene  Färbung  ist  um  so  verblüf f en aer ,wenn  man  weiss,  ^, 

aass   IGCO  Jahr  rpätei'  die  Nachfolger  der  Cro-Magnons  hinterliessen  nur 
rohe  symbolische  Zeichnungen. 


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i;8  tnftt  mi«rh  nicht  unvorbereitet.  Die  farbigen  Bilder  in  Skiras  »»Prehis- 
toric  J:aintings'»,'»Lascaux  or  the  Birth  of  Art"  geben  eine  gute  Vorstel- 
lung.Ic  h  habe  natürlich  aich  gelsen,wie  zuf:Äliig  diese  Hohlen  19^0  ent- 
deckt wurden, wie  äLie  Zweifel  an  der  Autencität  und  Unberdhrtheit  der  Far- 
ben von  cfen  esten  bachverständigen  beseitigt  wÄrxtn  sind. Die  Entstehung 
schätzt  maa  15.000  Jahre  vor  unserer  Zeitrechung  in  die  Ende  der  Eisperiode 
Die  Künstler  waren  a:a{i.er  des  späten  Paläoliticums,die  mit  die^sen  Bilder 
nicht  üeabiacntigten  "Kunst"  zu  schaffen  oder  Freude  zu  machen, sondern  die 
mit  ihnen  eine  Art  Magic  ausüben  wollten. Viele  der  Tieren  an  len    Vänden 
der  Höhle  sind  mit  i feilen  oder  Lanzen  durchbohrt ; ofienbar  glaubten  die 
höhlenmen.schen  damit  das  ef f ektitoeTöten  leichter  zu  machen.  Hie  ineiiten 
abgebidleten  Tier  sind  weiblich  und  chwanger. 

In  besonderer  Erinn  rung  bleibt  ein  grosser   chwarzer  Kopf  -ines  Stiere 
mit  gros^en  Hörnern, eine  Reihe  von  schwimmenden  Hirschen , eine  springende 
Kuh; darunter  eine  Reihe  von  ponieartigen  Pferdchen. 
Der  x^achteil  der  Massenf ü:irung  macht  es  unmöglich  die  p:anze  Ausdehnung  der^ 
Höhlen  zu  dirchuringc  n. So  sehen  wir  z.B. nicht  den  toten  jMbnn,d^n  Anette  Lamingj 
in  ihrem  Buch  "Lascaux ,  :  c.intings  aid  i;ngravings"(Pelican  Book)  erwähnt  und 
nicht  das  h:hinoceros  ,das  dicht  dabei  abgebilaet  i,_t. 
Gleichwohl;  Lin  grosser  Eindruck  bleibt  abrig. 

vVir  nehm-n  den  Rückweg  üb-r  Les  Eyzier.  Di-  Landschaft  der  Dordogne  i.t 
hi  reinfach  zauberhcft  :Kalkklippen  , Steineichen  »Pappeln  in  .^e wo  11  teil  Eerrain 
Das  Hot.rl  üe  Cro-M.gnon  hat  den  Stern  im   ichelin  wohl  verdient  .Hier  ist 
aie  iate  de  fois  x;ras  unübertrefflich , ebenso  wie  .ein  canard  truff*  . 
Dazu  sitzt  man  wunderschön  im  chattigen  G  rten  una  die  Bedienung   ist  eben- 
falls, wie  Mian  es  sich'b  nur  wünschen  kann. 

Nachmittag  sehen  wir  uns  in  der  Stadt  perigaedxein  w  nig  grünalicher  zu  Fuss 
um. Lebhaftes  Städtchen  mit  viel  Neuoauten.  Hauptort  aes  Department  DordQ_gne 
Die  Kathedrale  St. Front  hat  daa  Grundriss  eines   griechsichen  ■  reuzes 
und  wird  von  fünf  hohen  Kup  ein  überragt , was  ihr  ein  orientalisches  Aussehen 
verleiht.  Das  ist  äDe   auch  alles , was  an  ihre  Nachahmung  der  Apoi^-fe^elkirche 
in  Konstantinopel  heute  noch  erinnert. Von  dem  Bau  des  12. Jahrhunderts  ist 
nicnts  übrig, ausser  dem  Kreugang  an  er  Süaseite.^in  romanischer  Glockenturm 
überra  t  die  r.ingangshalle.  Das  rings  um  die  Kathedrale  alte  Viertel  ist 

leider  im  Abbruch. Es  muss  recht  malerisch  .^rewesen  ein. 
Keben  unserem  r.uto  vor  dem  Hotel  ist  ein  grosser  Rolls  Roys  eingetroffen. 
Und  fällt  die  Nummer  auf:  "CD  no.2".  Ein  wenig  i^ufmerksam  zeigt  uns  den  Ei- 
gentümer: Hohe  schlanke  Gestalt  in  vorgeschrittenen  Jahren, der  seinen  Wagen 
ohne  Cheuffeur  selbst  versorgt.   ftin  FfiStu    sient  ebenso  distinguiert  aus. 
Ms^  hoher  engliicher  Beamter  oder  Botschafter  sein. 

Gutes  Abendbrot  im  Garten  des  Hotels.  ^Marianne  und  John  lernen  "Ayala"  ken- 
nen,eine  Chatapagner  M-.rke,die  etwa.-  ausser  i- ode  gekommen  ist  .  Guter  Jahr- 
gang. 

Mittwoch  22. Juli:  Den  eiterweg  nehmen  wir, auf  Empfehlung  des  Wirtes ȟber 
Le  Bupue  sur  \STere ,  reizend  gele,>:ner  Ort, in  dessen  Nahe  wir  aen  iiingang  zur 
St^titen"Höhle  von  Froumeyssac  finaen.  Ich  begnüge  mich  von  einer  firt 
Balkon  in  die  Tiefe  und  auf  die  malerisch  beleuanteten  Stalkktiten  zu  schauen 
wanrend  Marianne  mit  John  unter  Führung  die  eler<:triöch  beleuchtete  "Cathedralc 
de  cristal"  aurchwandelt . 


10 


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Fahrt  weiter  durch  ungewöhnlich  reizvolle  Landschaft  mit  schönem  Vald  und 
romantischen  alten  Schlössern  auf  den  Anhöhen, von  denen  besonders  Montfort 
in   ^Jrinnerung  blieb. 

Wir  halten  in  Souillac  zu  gutem  Lunch  im  Grand  Hotel  und  zur  Besichtigung 
der  bgmanisch-byzentinischen  Kuppelkirche , deren  Entstehung  wegen  aer  nahen 
Verwandtschaft  mit  den  Sculpturen  von  .oissaclll2-ll4o  gesetzt  wird. 
Die  Kirche  ist  einer  grandlichen  vViederherstellung  unterzogen  worden. Dabei 

wurae   das  Nordportal  mit  dem  Tympanon  einer  Himmelfahrt  vermauwrt ,das 
Westportal  »soweit  e»  noch  verwendbar  war, in  das  Innere   der  einschiffigen 
gekuppelten  Saalkirche  verlegt. Zwei  Figuren  stehen  rechts  und  links  vom 
i-ortal.von  denen  äD  r  nur  noch  lesaias  deutlich  erkennbar  ist.  Aus  dem 
Tympanon  ist  das  jüngste  Gericht  darüber  eingesetzt.  Der  Türsturz, der  früher 
als  i'littelpf eiler   aiente  und  für  den  kein  Platz  mehr  ist, wurde   als  Trag- 
pfeiler auf  der  rechten  Seite  und  als  Fentterpf eiler  (Opfer  AbrahmasC ! ) 
verwenaet.Die  Arbeit  .rinnert  an  byzantinische  Blf enbeinarbeiten  und  ist 

äusserst  ausdrucksvoll.  ,  ..   ^   ^   • 

In  annlicher  Weise  ist  ein  interes  antes  Giebelfeld  des  12. Jahrhunderts  m 
den  verfallenden  Glockenturm  aer  ehemaligen  Kirche  St. Martin  eingemauert. 
Unser  Endziel  ist  heute   CAHÜRS  ,cl.  s  wir  nach  Zurücklegung  von   17ö  km. 

erreichen, wenn  auch  unserl'üH^erkunft  in  einem  etw  s  weiter  ausserhalb  der 
Stadt  gelegnen  enemali^•en  ßi&ctofsschloss  vorgesehen  ist. 

Die  Kathearale  St.Etienne  ist  eine  einschiffige  kuppelgedeckte  Saalkirche, 
die  nur  -us  zwei  i<uppelraumen  üe.-teht,die  hell  und  ungeschmuckt  sind. 
Sie  wurde  1119  geweiht  und  von  dem  ehemaligen  Schmuck  zeugt  nur  noch  das 
Nürdportal,das   z.T. in  der  Erde  steckt. Hier  im  Bogenfeld   Himmelfahrt  Chris- 
ti und  Leben  (tes  Hl.btefanus.  Am  Westende  ist  ein  gotischer  Rsum  mit  hübschen 

Fenstern  angebaut.  .      -      m    tu 

Schloss  Mercu^s  stammt  ursprünglich  aisdem  IJ. Jahrhunaert  und  wurde  im  17^Jh. 

als  3i-chofssitz  umgestaltet.  Heute  ist  es  ein  Hotel. 

Wir  sehen  es  schon  von  mtem,als  wir  die  7  km. zu  ihm  zurücklegen , hoch  über 
die  Landcchaft  der  Lot  hervorra  .en  mit  ainen  Türmen  und  Mauern. 
.Vir  halten  vor  dem  Tor ;  der  einstige  Gr.ben  ist  nun  mit  einer  Steimbrucke 
zu  überschreiten. Grost^er  ef eubewach.-ner  Schlosshof.  Marianne  und  ich  bekommen 
eine  -uite  bestehend  aus  Turmzimmer , einem  Rie.enraum ,in  aem  ein  Riesenbett 
steht  und  einem  Ankleidezimm  r  mit  Bad.   Jonn  einen  normaleren  Raum  mit  einem 
echten  Empirebett.  Über  eine  Terrasse  gelangt  man  in  den  grossen  Garten  mit 
einem  pool,in  aem  sich  das  Schloss  mit  einen  Türmen  spiegelt ; weit  r  unten 
gKiÄHxtschliesbt  sich  in  völlig  verwilderter  Garten   eine  vorsprin,,enae 
Bastion.  uDerall  schöner  Blick  hinab  in  oia.-  Tel  der  Lot  und  die  weite  Land- 
schaf t  .J(^aenfalls  vielachoncrr  und  amüsanter  als  in  einem  Hetel  der  kleinen 

Stadt.  Das  Dinner  ganz  ausgezeichnet .Tadelloses  foix  gras  und  eine  "loularde 
en  deuil'»  ,aeren  Truff elbelag  unter  der  Haut  d  s  ganze  .fleisch  durchzogen 
hat.  Unterkuntt  für  uns  drei&Fr .3-Ö..G=  ca.S  7  an .  (fes  Dimner  a  2.500-ca.5  S. 

Abends  das  erste  Gewitter  auf  unser  Fahrt  mit  Gewitterregen. 

">onnerstag  23. Juli;  Der  Regen  hört  aaf. Temperatur  abgekühlt. 
7  km. zurück  zur  Stadt  CAHGRS,um  die  Font  Valentrj  ein  berühmtes  Beispiel 
einer  mittelalterlichen  Verteidigungsanlage  zum  Schutz  der  Brücke  aber  die 


Lot  mit   drei  Türmen  aus 


dem  l^.ürhrhunaert.  Daneben  Rste  der  alten  r-tadt- 


auer 


und   die    alte   Stc.dtwache    aus      em   15 .  J'-hrhundert . 


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11 


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Zu  der  kleinen  Stadt  MOISSAC  ist  es  nicht  weit, ein  unbedeutender  Ort  von 
etwa  lO.COO  Ein^A;ohner  »dessen  Bedeutung  die  Kirche  und  der  Kreuzgang  von 
von  St. Pierre  ausmacht;beide  gehörten  zu  einer  im  ?• Jahrhundert  gegrUnde- 
ten,1790)  aufgelösten, Bennediktiner  Abtei.  (Tarn-et-üaronne) 

Es  ist  sehr  lange  her,dass  ich  im  Albfeu.-^smuseum  des  alten, inzwi  sehen  abge- 
rissenen »Trocadero  von  Paris  vor  dem  Abguss  des  pprtals  stand. Seitdem  be- 
stand bei  mir  der  dringende  Wunsch  das  Original  zu  sehen. 

Heute  ist  es  endlich  soweit  und  ich  muss  sagen, es  übertrifft  noch  meine 
hoc)5estimmten  Erwartungen.  Es  ist  sicherlich  mit  5.einem  rit^ur^^nschmuck  das 
schönste  in  Sudfrankreich. 

D:S  Portal  steckt  heute   als  Südeingang  in  der    befestigten  Vorhalle  des 
Glockenturms , der  um  einen  älteren  im  12. Jahrhunaert  erbaut  wurde. 
Ob  dies  Hauptportal  ursprunglich  als  vVestportal  diente  und  erst  nach  dem 
Brana  von  II88  anleine  jetzige  Stelle  versetzt  wurde, ist  zweifelhaft .Der 
Skulpturenschmuck  stammt  jeaenfalls  einheitlichxaus  der  Zeit  um  1120. 
Das  Giebelfeld  zeigt  die  Majestas  Domini  'rdt  den  vier  Tieren  der  Evangelisten 
stRBx  belegte  Engel  in  kunstvollster , weicher  Modellierung  und  die  , ältesten 
der  Apokalypse , wie  ich  las, nach  Apok.l9.^  unter  Einwirkung  der  Visionen  des 
Ezekiel  und  Isaias. Darunter  Rosetten, die  nach  galü  orötnischen  Vorbilder  kopieri| 
sein  sollen, auf  dem  Türsturz, der  von  einem  Mittelpfeiler  t_ietragen  wird. 
-ieser  Mittelpfeiler  zeigt  auf  der  Vorderseite  drei  verschränkte  Löwenleiber, 
seitlich'  Je  einen  Apostel  und  Propheten,  uf  ..en  beiden  Seitenpfeilern  links 
St. Peter  mit  aen  ochlüsseln , rechts  aer  Prophet  Isaias  ,die  dieselbe  Bewegung 
wie  die   ngel  im  Tympanon  zeigen.  Die  Löwen  des  Mittelpfeilers  erinnern  an 
Elfenbeinarbeiten  des  IC . Jahrunderts  ,aie  na; h  byzantinischen  Vorbildern  für 
den   Kalifen  en^eferti,  t  ..ein  sollen. 

Auf  den  Seitenwänuen:  Rechts  die  -ollust  und  der  Geiz;der  Tod  des  Geizigen, 
die  HölJe,der  reiche  Prasser, der  Tod  des  Lazarus, das  Paraaies.  Links  die 
Verkündigung  und  die  Heimsuchung; die  Anbetung  der  Heiligen  drei  Konige, die 

Fluciht  nach  Ägypten. 

Die  Kirche  wäre  die  frühste  der  KuppelKirchen(einschii f ig) ,wenn  die  Weihe 

durch  len  Abt  Durandus  I063  die  Vollendung  voraustietzte.^^/^hrscheinlicher 

Bezieht  äLch  (iis  spätere  Vveihedatum  ll8c  alf  .en  heute  erhaltenen  Bau,desse3cn 

Kuppeln  im  l4. Jh. durch  gotische  Gewölbe  ersetzt  wurden. 

Der  Kreuzhang   zei^t  aoa  /-.ittelpf eiler  des  Vestflügels  die  weiheinschrift  des 

>,btes  Ansquitilius  aus  dem  Jahre  llCO.  Aus  iies^:r  Zeit  stammen  die  Bilder 

des  geannnten  .^btes  und  ob s  .-btes  Curandus  »sowie  Apostelreliefs. 

Die  Sogen  ruhen   abwechseln  auf   einzelnen  und  Doppelsiulen  und  haben  Kapital 

von  un;nirri.ich  reicher  Gestaltung.üm  nur  einige  Beispiele  zu  nennen: 

Opfer  Hbrahc^ms  ,der  miracuJ.öse  Ei  chzug, Daniel  in  der  Lö^engrube  »Apostel 

Johannes  wird  durch  Jen  Angelder  Apokalypse  geweckt, das  -^eib  von  Samaria 

(La  Samaritaine)  ,Samson  schlägt  den  Löwen, Löwin  tiräbt  ein  Kalb, David  und 

Goliat, Löwen  und  Tauben, die  Hochzeit  von  Canaan Daneben  fincien  sich 

stilisierte  Blumen  und  doppelköpf ige  Tiere »die  von  orientalischen  Teppichen 

Geweben  kopiert  asin  .nassen    , neben  Arbeiten  rein  georaetrsichen  Charakters. 

In  einen  kleinen  Büchlein, das  ich  kauf te »werden  88  verschiedene  Darstellungen 

aufgezahlt. 

411es  befindet  sich  in  einem  ausgezeichneten  Erhaltungszustand! 

Wir  sind  allein  im  Kreuzgang  ,der  im  ::chatten  einer  grossenalten  Cypresse 

seine  undlich  friedlich  beruhigenae  ^irkung  ausüben  kann. 


( 


12 


I 


i 


Vor  der  Kirche  ist  ein  Platz  mit  Cafe, wo  es  aber  nichts  zu  essen  gibt. John 
holt  frisches  Weissbrot »däzu  eine  taste  vom  Flei  eher, was  mit  aera  Expresso 
ein  ausgezeichnetem  Lunch  ergibt. 

Durch  das  breite  Tarntal  aufwärts .Von  Montauban  bleiben  in  Erinnerung  die 
Ziegelbauten  uno  die  Terrasr enf ront  an  der  Brücke  über  die  Tarn.  Dichtbei  der 
Pont  Vieux  das  ehemalige  bi.-chöfliche  Palais  von  16^)9, das  als  Museum  aient 
und  unter  anderem  das  Vermäcnnnis  des  hier  gebornen  Malers  Ingres(17Öl>lö67) 
enthält.  Es  sind  neben  einif^^en  Olgemalaen  im  wesentlichen  Z.  ichnungen.  (^OCO) 
Nach  Zurücklegung  von  insgesammt  150  km. erreichen  wir  unsere,,  heuti  e  Endziel: 
TOULGlJSEjden  kulturellen  Mittelpunkt  Südfrankreichs  , das  seit  125C   Universi- 
!?!«lÄlt  und  fünftgrbsste  Stadt  FranKreichs  ist.iLS  liegt  an  der  Garonne,über 
die  die  tont  Neuf  führt  zur  Rue  de  Metz, an  der  un.-er  Gr^nd  tiotel  et  Tivolliers 
liegt. Trotz  seiner  3  .terne  im  Fahrer  recat  alt'nodii.ches  Haus. 

W'ir  nehmen  sofort  ein  Taxi, um  wenigstens  einen  flQGhti.^^en  Eindruck  der  äusserst 
lebhaften  Staat  zu  gewinnen. 

Am  Ende  der  R\xe  de   Metz  liegt  die  Basilika  St  .Sernin.  Imponierender  Bau, den  wir 
zunächct  umwandern. ÄrMitKKXÄaHXMxtx!^ÄÄrxlBRgHÄÄKE4±6i^6xgKJiEiktii:MitxfkHfxraÄxaten 
||RWEikt:4imxi2xikxxHtiRHXÄtBe:.onders  cchön  die  dirch  neun  I<apellen  reich  geglie- 
derte Chorpartie  und^dgr  über  die  Vierung  in  sechs  Geschossen   sich  verjün- 
gender nochstreSender^5urm.  Chorpartie  wur  e  1075  begonnen , aber  er  t  im  12. Jh 
"vollendet. Am  südlichen  Seitenschiff  Porte  Mi^geville  mit  Plastik  aus  dem 
12. Jahrhundert.  Im  Tympanon  grosFartig^ , besonders  ätrenge  Majestas  mit  bart- 
losem Christus. Massig  der  vVestbau  mit  Vorhalle. 

Seit  Zerstörung  von  Ciuny  bt.Sernin  ist  jetzt  die  grösste  romanische  Kirche 
Frankreichs. Dus  Innere  der  kreuzförmig  angelegten  Kirchehat  eine  länge  von 
115  m.bei  21  m. Höhe .Tonnengewölbe  aber  L  nghaus. 
Im  Chor  Hochaltar  üoer  Grab  des  Hl. Saturnin. Im  Chorumgang  Marmorflachreliefs 

aus  dem  XI. JahrhunaertCChristus »einzelne  Engel  und  Apostel) ,aenen  eben  im 

,.  .  gesennenen  ,. 
Kreuzgang  von  MoiHsac  verw.^ndt. 

Die  Krypta  berühmt  wegen  ihrerbedeutenien  Reliquien   z.T. in  alten  Schreinen, 
wie  z.B.  die  Reliquie  vom  heiligen  Kreuz   in  wundervollem  LiTiAges  .t^maille 
Kasten   des  XIII. Jh.  Einige  schöne  Holzplatiken  des  XIV. Jh. 

Weiterer  '^eg  nach  Norden  führt  über  littelpunkt  der  Stcdt:  Place  du  Capitole 
mit  dem  1755  erb.uten  CapitoK,:  enannt  nach  den  Capitols,  en  Bürgermeistern 
der  Sti.dt).Dae  Rathaus  eleganter  Barockbau.   estlich  cfevon  aer  Zriegelbau  der 
zweiscndifiigen  b^lise  des  Jacobins   um  125^  begonnen  ,l:?ö:?  eingeweiht  .Gewölbe 
ruhen  auf  hohen  Rundpreilyrn,aie  die  Kirche  teilen , erstes  Beispiel  aer  zwei 
schiffigen  Kirchen, aie  die  nouxnikaner  oevorzugen. Seitlich  ein  schöner  Turm. 

Die  Kirche  in  Verfall,  zur  Zeit  in  HieaehrPsteliung. Im  eheamligen  Kapitel- 
saal aes  Kloöters  und  cer  Kapelle  St.--^ntonin  Fresken  des  XIV. Jh.  sehr  beschä- 
digt. Reste  eines  Ereuzganges. 

/nieder  ganz  nach  Süaen  zur  Kathedrale  .it.Etienne  auf  weiaCträumigen  Platz. 
Das  dreischifii"e  Innere  in  kuhn-r  nordfranzosis-  her  Gotik  war  Ende  de.-^  XVII 
J&nrhuncierts  mit  19  m.Spannw  ite  cier  breitette  überwölbte  Raum  Europas. 
Fenster  des  XIV-XVI .Jh. Schöne   Bildtetpiche  (XVI-XVIII)  aber  gutem  Stuhlwerk 
des  Chors  (1611)  und  im  langkkus. 

Zum  Besuch  aer^  Musee  des  Augustins  ,  -as  viele  bedeutenae  Skulpturen  aus 
Toulouser  Kirchen   enthält  ,leiaer  zu  spät.  Es  liegt  dicht  bei  unserem  Hotel, 
in  das  wir  zurückkehren.  Oinner  im  Speisesaal , der  ebenso  reizlos, als  das  Essen 


15 


c 


Freitag  24, Juli:  Heute  haben  wir  309  km ,zuracteulegen,um  nach   St. Jean  de   uz 
zu  kominen,wo  wir  einen  Huhejjunkt  einlegen  wollen. 

Ab  Toulouse  9  U/it. Leichter  sea  mist.Gute  Wege  durch  schön  bewaldete  Land- 
scnaft.  Durchfahrt  durch  t_a.  u»wo  wir  uns  erst  auf  dem  Rückv/eg  aufhääiten  wol- 
lifen,zei  t  noch  viele  schone  Privtabesitzungen-Bayonne  zeigt  sich  d»m  Auge 
als  bedeutender  Hanaelshafen , begünstigt  durch  seine  Lage  an  dfer  Einmündung 
der  Nive  ±n  den  breiten  Adour, unweit  des  Atlantischen  Cceans«  Vorher  Lunch 
ixxSxÄKKitxin  kleinem  Bistro  am  Wege , das  seine  <^ualität  durch  die  vielen  hier 
haltenden  Lastwagen  anzeigt. 

Halt  in  Biarritz   im  cour  d'honneur  vom  Hotel  au  Palais tehemals  Sitz  von 
Napoleon  III  und  Eu^enie , deren  Initale  kokett  noch  immer  die  'äse he  zeigte, 
als  ich  im  Juni  1913  «lit  Olly  hier  wonnte.Das  erste  Mal  ^var  ich  im  iMärz  19C6 
mit  m  inen  .vltern  hier .  unge.iein  fashionable  Gesellschaft  um  Eduard  1-rince 
of  *Vales( spater  E^^uard  VII)  und  .-ir  Ernpt  Cassel.   Die  Lage  und  Einrichtunng 
des  iCfSsa-ls  und  der  G;  sei.  schaf  tsraume  ist  noch  immer  äusserst  elep:ant;wie 
schön, wenn  man  die   tuien  in  den  Esssaal  hinaosteigt  und  sich  der  Blick  auf 
die  schäirnnden  Flippen  durch  die  i^'ensterrunde  öffnet  1 

Neu  ist  drau  sen  der  Swimtriingpool.  Neu  ,daso  aid^  re  Hotels  der  einst  abgelgnen 
Jage  auf  den  leib  geruckt  sind.  Trotz  einiger  Solls  Koys  niit  Chaiüfieur  .nacht 
das  Hotel  ausgestorbnen  Eindruck. 

Kein  ,>  undei' ,wann  wir  im  Orte  sehen ,  wie  sich  der  ^.^anze  Ch  rkkter  verändert  hat. 
Coach  Touren  beherrschen  d.  s  Eeld. 

In  Windungen  ber-^an  und  bergab  auf  dem  Steilufer  der  Cote  de  Basques  mit 
Ausblicken  auf  Meer  und  Pyrenäen.  ;)urch  die  kleinen  Seebäder  Bidart  und 
Gue*thary  erreichen  wir  unser  heutiges  ^iel:ST^JBAll_BEiM_LUZ. 
Dieser  Badeort  hat  sich  .eitdem  ich  cfes  letzte~~äI'"Eier'"seRf  "vorteilhaft  ent- 
wickelt .Viele  mo ierne  Hotels;wir  haben  das  Gluck, dass  unser  Hotel  ilodern, 
das  wir  nur  wählten, weil  wir  keinen  aiueren  jrlatz  bekamen, zu  dan  besten  gehört. 
Offenbar  ganz  auf gefrischt , wird  es  seit  l^^b   mit  4  Sternen  ausgezeichnet. 
Wir  bekoto-aen  ganz  ^noderne  Zim.ner  mit  i3ad;aass  mein  Zimmer  2?  nach  t^er  Strasse 
Tixckwärts  .^eht, stört  ,^ar  nicnt.Vor  aem  Hotel  klt-iner  Platz  im  Freien  ait 
Blick  auf  Strand  und  .-ieerjden  rnan  auch  von  cen  Gesellschaftsräumen  und  vom 
Speisesaal  hat.  ...usgezeichnetes  Essen  gut  serviert. 

Samstag  2$. Juli;  Zauberwetter  hält  an.  Mari^^nne  und  und  John  gehen  baden. 

Ich  genie:.se  umherwanderna  die  wunderbare  L^ge  an  der  Biscaya  Bucnt. 
Rundgang  durch  C'rt  zei-vt  auffallend  viel  Lebensmitl  elgeschaf  te  ,viele  Bade- 
gäste. Es  gibt  sof.-ar' historische  *ÄxJtR  Plätze  im  Ort;  Df^r  kleine  Hafen  mit 
kleinem  Schlösschen , wo  Louis  XIV  abstiefe, um  seine  spanische  Braut , Infantin 
Marie  Theresa,die  wir  xn  vielen  Entwicklun^/^sstadien  von  den  Velasquez  Por- 

tialts  im  Kunsthistorischen  Museum  in  vien  herkennen, zu  empfangen.  Oie  Infantin 

stieg  in  einem  kleinen  Haus  ab, dass  noch  heute  ^'Haus  der  Infantin'^  heisst. 

In  einem  Memoirenbuch  lass  ich  vor  kurzem, dass  Louis  es  sdcth  nicht  nehmen 

liess , sich  seine  Braut  incognxto  vor  der  Hochzeit  anzusehen.  Die  Trauung  fand 

in  der  tyrdschen  baBkischen  Schifferkirche  mit  Gallerien  statt   mg.Juni  l66ü 
Die  wundervolle  vergoldete  Alt«Rwand ,  die  man  gern  mit  diesem  "reip-nis  zu- 

samrr.en  bringen  möchte  , stammt  erst  aip  dem  iS.Jahrhunaert , während  die  Kirc  rie 

xg±fetSt.Jean  Baptiste  selbst  aif  dea  XIII. Jh. zurückgeht . 

Reizend  ist,v.xe  am  ir^trand  für  das  Vergnügen  der  Kinae   gesorgt  ist!  Die  El- 
tern können  ungestört  sich  sonnen. Auf faliedd  -  f.r  mich  -  die  vielen^Bikini" 
xxMi5t5^$til  deren  völlige  Entblössung  sich  *  eit^entlich*  viele  Oamen  nicht  leistea 

können. 


'  ) 


l^t 


( 


Nachmittag  vergnügen  sich  Marianne  und  John  auf  einem  Tretboot. Ich  geniesse 
den  Chaam  des  Ortes.  Nachher  treffen  wir  uns  zur  Jause  auf  dem  Platz  vor 
dem  Hotel. iAusgezeichnetes  dinner. 

Tonntag  26.  Juli;  /virhäben  beschlossen  bei  diesem  Zauberwetter  auch  noch  den 
Vormittag  in  St.Je^n  de  Luz  zu  geniessen,erst  nachdem  Lunch  aufzubrechen. 
Abfahrt  1:30«  Fahrt  ander  Baskenküste  entlang  schön  und  abwechslungsreich. 

'übertritt  nach   S__F A__N__I__^E__N   an  der  Grenze  Irun-Kendaye  ohne 

Schwierigkeit  ^nacH9em"3ürcH""][5wef  füng  der  Peseta  (  6c  Pes  =  1  1i)x3t&xtxxi3^fty 

jede  Beschrankung  fortgefallen  ist. 

Hinter  San  Sebastian , dem  gröbsten  spanischen  Badeort, der  sich  seitdem  ich 

hier  war, weiter  ausgedehnt  hat,verlässt  die  Strasse  das  Meer.  Das  Städtchen 

Guernica ,im  Burgerkreig  zerstört , wieder  aufgebaut  und  durch  Picassos  Bild 

(Mas.of  Modern  Art , New  York,  berühmt   fworden , bleibt  nördlich  liegen. 

Bei  Bilbao  erreicht  (Tian  wie j er  das  VVrSser  .Es  hat  sich  durch  seine  Erzlager 


zu  einem  bedeutenden  Industriestadt  und, durch  en  breiten  für  Seeschiffe 
fahrbaren  Nervion  , Hafen  entwickelt , wie  der  Augenschiän , sogar  mit  Wolkenkrat- 
zer beweist. 

Gegen  7  Uhr  nach  Zuracklegung  von  28ü  km. ist  unser  Heutiges  Ziel  SANTANDEK 
erreicht. Die  Fahrt  war  herrlich  trotz  vieler  Kurven;gute  otrasten7scEone 
Wälder. 

Santander   urde  19^1  nach  einem  ivirbelsturm  durch  Feuer  fast  völlig  vernich 
tet  .Seitdem  ,' natürlich'  mit  ..Volkenkratzer  moaern  wieder  aufgebaut  .Under 
Hotel  Real  ,ein  Kiesenbau , liegt  am  Rande  aer  Stadt, hoch  über  aem  Meer 
mit  weitem  r-,lick  über   '*E1  Sardinero"  ,aen  Badestran,  ^^ir  müssen  uns  zu  ihm 
durcnf ragen. 

Sin  netter  Schweizer  von  der  Oirection  v»eist  uns  gute  z.immer  mit  Bad  und 
schönem  Blick  anfs  Meer  weit  unter  uns.  Oas  Hotel  ist  gut  besucht, wie  man 
beim  Dinner  sieht , meist  von  Franzosen  und  Spaniern. 
Es  beg:innt  zu  regnen, 

Montag  27*Juli;  Zu  der  Höhle  von  Altamira^dem  eigentlichen  Grund  unseres 
Hierseins , wobei  unser  Absteigen  inx Santander  nur  ein  Notbehelf.  Eigentlich 
wollten  wir  in  dem  der  Höhle  nahe  gelegnen  Städtchen  Santillana  del  f-^ar 
im  Parador   Gil  Blas  (ehemals  Palais  ßarreda)benannt  nach  aem  Helden  des 
Sc.:elmBaro.mans  von  1707  »wohnen.  Es  ist  wp<^en  Umbaus  leider  zur  Zeit  ge- 
schlossen. So  müt'sen  wir  dorthin  20  km. von  Santander  zurückle^^en.  ^in  mo- 
derner 'Veg  fahrt  zu  ihr,  die  l866  durch  Zufall  durch  einen  Jäger  entdeckt 
wurde.  Die  prähistorische  Malerei  in  ihr  wurde  eret  1Ö79  durch  die  Tochter 
vom  Madrid-^-r  Professor  Sautuola,dip  ihren  Vater  zu  Grabungen  in  der  Höhle 
begleitet  hatte  ,KÄtatHKkic  und  um  sich  schauend  plötzlich  die  Bilaer  von 
Bisons  an  dem  Felsen  wahrnahm,  «eitere  Ufli|schau  in  der  Höhle  ergab  Bilder  von 
Hirschen, primitiven  Pferdchen , alles  Tiere, alles  Tiere, die  einst  in  der 
Gegend  von  Altamira  gelebt  natten,wme  petrifierte  Knochen  bei  Grabungen 
in  der  Hohle  bewiesen. 

Die  Echtheit  der  Bilder  wurde  lange  bezweifelt , endgültiger  Beweis  der 
Echtheit  wurde  erst  192^  durch  Prof  i\ivi*re   in  F:  ris  bei  der  Acaaeraie 
der  Wissenschaften  geführt .Gleichzeitig  Zu  eisung  an  die  Palaolitische 
Periode, die  frühe  Steinzeit. 


V  '^ 


Präriistori:  che  Z-iten  messt  in  3  Perioden  eingeteilt: 

Pilaeolitische :  >infang  unbekannt  endet  um  Ö.OOO  Jai.re  vor  uns.Zeitrechng. 
Neolitische(FoJ.ierte  Steine)  :  endet  um  3i^'^0  vor  uns. Zeitrechnung 
Zeitalter  .  ei'  .etalle:  a)Bronze  i  eriode  bis  etwa  8gO  v.Ch. 

b) Eisen  P-riode  bis  etwa  200  v.Ch. 


15 


( 


Wie  ich  aus  dem  kleinen  Bachlein  von  Dr. J.Carballo  sehe,dcis  ich   an  Ort  und 
Stelle  kaufte  jSch^Ac  nken  die  Schätzungen  über  Entstehung  der  Maleria  von 
Altamira  zwischen   25.000  und  12.0C;0  flahgen  vor  unserer  Zeitrechung. 
Ich  lernte  ferner, dass  die  fiir  die  Bilder  irebrauchten  Farben  Ei^^en  Oxygen 
(Ocker)  , Pflanzen  Kohle  v  rinischt  nit  Tier  fett  und  Blut  sind,  woraus  dann 
rot, gelbe  und  braune  Effekte  entstehen;  schliesslich  wird  die  notwendige 
Beleuchtung  der  dunklen  Hohle  durch  Verwendung  von  Tierfett  erklärt. 
Naci^tm  wir  vorher  die  brixliant  erhaltenen  farbi'  en  Bilder  in  den  Höhlen 
von  lascaux  (s^Seite  8)kennen  gelernt  haben , enttäuscht  die  Malerei, die  wir 
hier  sehen. Die  Farben  sind  viel  verblichner  ,die  Bilaer  schwerer  wahrnehmbar. 
Grund  dafür  w^hrr :Cheinlich,aas6  Altamira  viel  früher  entdeckt  ,lc.nge  ungün- 
stigen JLinflüssen  ausgesetzt  war, bevor  notwendige  ocriutzmassregeln  getrof- 
fenwurden. Trotzdem  freue  icn  mich, hier  ge>;esen  zu  sein.  D^-r  räumliche  Ein- 
druck vor  allem  bleibt. 

Und  dann  vor  allem: Es  gibt  Gelegenheit  das  nur  2  km. entfernte  alte  Städtchen 
Santillana  de  Mar  kennen  zu  lernen, das  ä.lein  eine  Reise  lohnt. 
Um  die  raoster  und  die  Kirche  der  Heiligen  Juliana  iXfixatxiixkKHXsKtjt — 
das  Kloster  stammt  as  em   6. Jahrhundert  mit  schönem  Kreuzgang, die  Kollegiat 
Kirche  au^s  cfem  12. Jahrhundert  —  hat  sich  ein  Städtchen  von  einigen  tausend 
Einwohnern  geb  ilJet  mit  vielen  wappengeschmückten  alten  Adelshäueern  ,die 
dem  (  rt  einen  ganz  einzigartigen  Charakter  verleihen  und  ein  Bild  des 
bescheidenen  spani-chne  Adelsleben  des  XVIII  Jahrhunderts  geben. 
Wir  fahren  durch  ;ie  mit  Kopfpflaster  gedeckten  Strassen  zum  Platz  vor  der 
Kollegiatkirche ,zu  der  eiöe  Plattform  mit  zwei  Löwenwächtern  leitet. 
Die  Kirche  ist  aussen  innen  vielen  Veranierungen  unterworfen  worden  ; der 
wesentliche  Eindruck  bleibt  romanisch,  "^ie  prächtigen  Reredos  sind  l$.Jh., 
der  ^Itravorsatz  -  us  getrieben  Silber  ist  eine  interessante  mexicanische 
ArbeiJ,  uieDon  Louis  Sanchez  de  Tagle,der  erste  'arquis  von  Altamira   l686 

l'^r  Kirche  stiftete.  Das  Haus  der  Familie  mit  Dopi  cleinjängen  ,mit  Batons 
im  ersten  Stock, dazischen  das  i<amilienwappen  und  eine  Gdlerie   im  wrxtÄn 
im  z\weiten  Stock  sahen  wir  beider  Einfahrt. 

Unvergesslich  der  Kreuzgang  mit  einem  achier«  unvorstellbaren  Reichtum  an 
Erfindung  und  Abwechslung  in  den  Kapitalen  seiner  Doppelsäulen. Hier  haben 
die  mittela:.  terlichen  Steinmetzen  tvebmuster , symbolische  ocenen,  ie  Eresig  - 

nisse  ccus  dem  neuen  und  Alten  Testament  mit  ausserordentlichem  Gesfafcck  dar- 
gestellt,wie  wir  bisher  nur  ähnliches  in  Moissac's  Kreuzgang(  s.S .  11)  Sr^hen. 
"es  gelingt  uns  in  einigen  der  alten  Paläste  Einlass  zu  linden.  Dd^  der 

Kirche  näihst-^^elegne  war  ursprünglich  ciis  Haus  aes  Abtes;  es  gehört  heute 
der  Erzherzogin  ,':argarita  von  Osterreich , die  xzk^k  den  alten  ßc^u  durch  viele 
moderne  Einrichtungen  mehr  bewohnar  -eraccht  hat .Seltsamer  Eindruck  sich  im 
vi/Qhnzimtoer  von  gespentigen  Eamiliembilder  umgeben  zu  finden, darunter  der 
'»junge"  Franz  Joseph  mit  seiner  schönen  Elisabeth.  Ganz  grossen  Stil  finden 
wir  im  epfhbumwachsenen  Piilast  -er  Velarde  Eamilie  , dessen  grossen  Räume  Ur^t.«*! 
Rahmen  für  eine  Hochzeit  mit  einem  Putschen   ristokraten  bildete.  Er  liegt 
hinter  der  Kirche  an  der  Plaza  de  las  Arenas  ,HH5i  von  deff  manaich  einen 
schönen  Blick  auf   die  eine  Apsj-S  der  Koliegiat  Kirche   -  rein  romanisch- 
hat. 
Wir  lunchen  in  der  "Bodega  de  J^ue^n  Infante'»  ,die  einen  strohgedeckten  Hof 
hc;t.Die  ■:ame,aie  die  honneurs  macht, sieht  aus  als  ob  sie  zu  den  Palastbe- 
sitzern gehört ,jedenfal] s  repräsentiert  im  Ausseren  und  M  nieren  besten 
spa nisc h«-c? r is t okr at i s c he n  Typ . 
-  Es  ist  schwer  wirklich  gutes  Petrol  zu  finden, wie  überhaupt  die  Tankstellen 
äusserst  selten  sind.  F.s  glückt  schliesslich;  scheint  irgend  ein  "raci-et" 
damit  zu  aein. Nachmittag  regnet  es  Auf  /.immer  geothrieben. 


16 


( 


(^ 


Dienstap:  28. Juli:  9  Uhr  ab  Santander.  Um  Burgos  zu  erreichen  haben  wir  l8ü  km 
zuräc^ulegen.  Die  Fahrt  nach  Süden  geht  erst  durch  leicht  gewdlte  Lanaschaft.| 
Dann  duixh  *s  Kantabri^che  Gebirge  ,d.;.s  yein  vienig  dramatisch  gestaltet/ an  den 
Gran  Canon  von  Arizona , allerdings  ohne^eine  Farben ,erinnert«  Gleich  nach 
P£.6sierung  des  Ebro  Staasee  dringt  die   onne  aurch  und  von  nÜn  an  ist  über 
uns  wieder  blauer  Himuiel. 

Nach  ; em  Poso  de  Fresno  (1028  m)geht  es  abwärts , immer  auf  guten  Strassen  hinab] 
in  das  Talbecken  des  ..rlanzon  und  ilald  sieht  man  in  rer  Ferne  die  Türme  der 
Kcthedrale  von  BURGOS* 

Unser  Hotel  ContlesfaBle  hat  seinen  Eingang  von  der  Galle  de  Vittoria  ,aber 
seine  Hauri'front  nach  äsm  Fluss  Arlanzon  zu, nicht  weit , wo  die  Fönte  S^üaria 
auf  cfeio  andere  Ufer  für.rt. 

Es  hersciit  Wat  ermängel,so  ^nacht  es  nicht  viel  aus,dass  nur  Marianne  ein 
Doijplezira.'aer  mit  Bad  hat ; schlimmer  ,dass  akch  der  lektrische  ot  rom  und  cfemit  der 
Aufz.^g  zeit'K)ilig  unterbrochen  ist. 

Nach  gutem  Lunch  fanren  wir  gleich  mit  einem  Taxi  zur  Kathedrale  ,die  ich  im 
Mai  1913  mit  Olly  sah.  Sie  hinterlässt  diesmal  einen  grösseren  Eindruck.  Man 
muss  nicht  vergessen, dass  30C  Jähre  §n^inr  gebaut  mrde  und  man  muss  den  Fi- 
gurenschmuck als  "Juwelierwerk"  ( '»plateresk'^,nicht  als  Zucfcerwprk  einschät- 
zen wozu  man  bei  nianchem  Figuren  und  Verzierungen  leicht  verfahrt  wird. 
Der  Weg  führt  vorbei  am  Denkmal  des  Söldner  fuhr  ers  r:odrigo  Diaz  de  Vivar(102b-| 
1099)  , der  clen  ;::paniern  durch  seine  Siege  über  die  Araber  als  "Cid"(araD.=Herr) 
zum  Nationalhelden  geworden , hier  geboren  und  seit  1921  mit  seiner  Gattin  Jime-I 
na  unter  der  Kuppel  der  Kathedrale  beigesetzt  ist. 

Die  Kathedrale  lehnt  sich  ai  aie  grossen  französischen  Kathdralen  aes  XIII  Jh. 
stärkeran,als  ich  m  r.inner-^ung  natte.Kier  endlich  mal  prachtvolle  .H:leichartig| 
vollendete ,ÄMZÄkariaÄkmÄ  Tarme  mit  durcnbrochnen  Helmen, erst  ä4^2-^8  von  Hans 
von  Köln  ausRefünrt;wie  in  F;pankreich  ,aber  dem  Mittelportal  prächtige  Fenster 
rose  undxHÄÄ  eine  Königsgallerie. Schöner  marmoratiger  Kalkstein. 
Das  Innere  als  Gesammteindruck  licht  und  hocjj   .-.n  das  25  m.hcfeite  dreischif- 
fige  Langhaus, schliesst  sich  d:;S  59  1.  v<)uerschiff  ȟberragt  von  Vigranis  1559- 
1567   e.  richtet»  "2£l£il2il"  decsen  Kuppel  mit  ihren  Rippen  einen  ;tern,daB  sog 
"Cimborio"  bildet. Es  ruhtauf  vier  ge»valtigen  i-f eilern  und  ist^  nach  meinem 
Geschmack /mit  Wappen  und  Figuren  überreich  geschmückt ; es  gilt  als  ein  Meister 
wrk  der  "plate;  e' ken'*  Kunst  ,4ciifi  ich  oben  erwähnte. 

Der  Coro  um  15uO  erbaut. In  ihm  das  eemiliierte  Denkmal  des  Gründers  der  Kathedrl 
drale  des  Biscofs  Mauritius  (+  12^0)  ;die  prachtvolle  Reja  (ßronzegitter)  ist 

von  l6c2. 

In  der  Capilla  Major  ein  reich  vergoldeter  Hochaltar   von  1577  in  Renaissance-I 

Stil. 

Dahinter  führt  vom  Umgang  ein  durch  ein  prachtvolles  ßronzegitter  (Reja)  abp:e- 

schlossenes  Tor   in  die  Capilla  del  Condestable , für  mich   einer  der  Hauptreize 

Simon, der  .' ohn  des  oben  genannten  Hans, von  Kön  hat  sie  seit  1^62   errichtet. 

uftraggeber   Pedro  Hernandez  Velasco  »Greifen  von  H^^ro  und   eine  Gattin  Dona 
Mencia  de  Mendoz^ ,Conaeza  ae  haro.Der  Condestable , der  auch  Vizekönig  von  Kati- 
lien  war, starb  1^92, sine  Gattin  15C0.   ^in   eite  grosszagige  Schöpfung  im 
reichsten  plateresken  Stil  .Hierist  aber  noch  rtaakes  Vorwiegen  reiner  Gotik, 
j^rachtvolle  Einfassungen , wie  Spitzenarbeit , aas  bewöibe  durchbrochen.  In  den 
ienstern  alte  üiismalerei; darunter  Inder  Mitte   ein  Retablo  mit   lebensgrosseh 
Figuren  ,in  uen  I\-»-schen  rechts  und  links  die  Wappen  von  überaus  dekorativer 
'/.irkung.  Hechfesiidcivon  ^eht   der  überaus  reizvolle  Altar  der  Hl. Anna, für  mich 
der  behönste  der  ^':anzen  K.  theurale  /  und  dan-  Den   ein  feines  anmutiges  Trypicho 
des  Gerard  David: Verkündigung, GeburtCnristi , und  Kuhe  aif  der  Flucht.-   


17 


i 


Nach  cfem  To^e  des  Contestable  xiat  die  überaus  reiche  Witwe, die  dem  Francisca- 
ner  Orden  nahe  öband  — daher  an  dem  Stbdtpalais  das  'nit  aem  Franciscanergdr- 
tel  seltsam  verzierte  Hc-^uptportal-   die  Kapjieile  voliendt.  Nun  ruhen  beide, 
iem  R^bl«^o  ;ait  gefalt:  ten  Händen  zugewandt ;  fleissi^'e  , aber  nicnt  ergreifen- 
Marmordenkmäler • 

Zu  erwähnen  wäre  noch:  Dir  hoch  oben  aider  Mauer  befstigte  Koffer  des  Cid, 
den  er, mit  band  gefallt, len  Juden  Rachel  und  Vidas  als  Sicherheit  für  ein 
Darlenen,das   er  für  einen  Feldzug  orauchte , hinterlegte.  Nach  Eroberung  von 
Vajencia  löste  er  sein  pi.and  aus.  Ich  mochte  gern  wiöeen,wa6  die  Spanier  hierl 
am  meisten  bewundei'n. 

In  uer  Capilla  gel  Santisr.imo  Christo  ein  ebeneo  verenrter  ,als  acheusslicher 
aus^r- topf ter  Christus  aus  Baf  feihaut  mit  angenahten  '^  enschenhr«.aren,'*El      I 
Christo  de  ßurgos".  Da  ist  mir  ochon  aie  Capeila   di  Santa  Tecla,die  173^ 
Chuirit^uera  im  RokoKOstil  erbaute , trotz  ff;ewisüer  UÜertreiDungen  lieber. 
.Vir  haben  die  ürbeitan  und  masslosen  Übertreibungen  seiner  Schüler  m  Mexico 
gestehen  und  wissen , woher  der  schlechte  Kuf  kommt, aen  er  eine  Zeit  lang  ge- 
nossen hat. 

Restlos  festlich  und  achbn  ist  die  Escalera  Dorada,die  zur  lorta  de  la  Coro- 
neria  hinauffuhrt  und  heute  nur  noch  für  gro.be  ceremonielle  Angelegenhei- 
ten Denutzt  wird,  s  ist  eine  1^19  erbaute  Doppeltrepce  von  ^9  Stufen  mit 
reich  vergolaeten  '.-elänaer  und  vcippen  des  Bischofs  Fondeca,des  Stifters. 
Diego  sKÄÄf  de  Siloe  schuf  sie.  Sie  würde  besser  in  einen  prilast  pausen. 

x^  ur  aen  Claustro  ist  es  zu  spat  ^^eworaen.  Oafür  gelingt  es  unserem  ^anz  gut 
englisch  sprechenen  H"ührer,ühne  den  wir  in  keine^KÄpelle  hineinr-ekommen  wäre 
uns  einen  Blick  in  c^n  Tresoro   werfen  zu  las.senjder  viel  grosse  Silberstucke 
schöne  Kirchengewänder  , aber  nichst  wirklich  aussergewohn] iches  enthält. 
!ch  freue  mich,dass  Marianne  so  hier  ihre  Kenntni.se  von  spanischer  Kunst 
erweitern ,  John  eine  erste  Vorstel.:ung  gewinnen  konnte. 

Entlang  des  Flussufers  geh^t  eine  hüb.tche  Promenade , der  paseo  del  Fspolon, 
mit  hübschen  Anlagen  und  vielen  5^afes.  Hier  scnauen  wir  den  Promenier andeniu^ 
beobachten  fas  leben  in  den  Cafes  -n:i    begnügen  uns  zum  Abendbrot  init  einio:en 
Sandwiches. 


•o 


Bevor  wir  un^er  .otel  zurückkehren  noch  einen  r.j  ick  aaf  die  Ilaza  Major 
mit  dem  Rathaus  (Casa  Consistoriai  )  un.t  dem  von  /rkaden  eingefa^sten  Fünf- 
Eck  mit  viiien  Läaen.In  ar  y'itte  das  Standbild  Karl  III. 

Mittwoch  29*Juli: Der  "Servicio  ae  Autobus  de  Burgos ,Itinrario  Turistico^^* 

gibt  uns  die  iioglichkeit  das  Wesentlichste ,  .as  grosse   ntfernungen  ein- 

schliesst , kennen  zu  lernen.  Heriliches  Wetter! 

Abgang  um  9  Ühr  unweit  unseres  Hotels.  Bequem  llatz  im  Autobus, -ler , um  zuerst 

den  dbolz  aer  St  dt, die  liodernen  c]  ortplatze,  zu  zei;  en^weit  herausf  anrt  ,danr 
aüer  in  die  Stadt  zurückkehrt  und  auf  der  Flaza  de  Calvo  Sotello  vor  der 
Cafea  del  C^rdon  hält. Ich  erwähnte  d  s  .tadthaus  des  Constable  schon  oben 
mit  seinem  rranciecanerst .  ick  als  Portalu.!irahmung,das  Ende  des  XV. Jahrhund, 
erbaut  wurde.  Hier  h  ben  die  katholischen  Könige  1^97  Columbus  öei  seiner 
Ruckkent  empfangen , hier  aber  auchstarb  ^hiipp  der  Schöne  I506  und  liess 
eine  untröstliche  Gemahlin , Johanna  die  .ahnsinnige , zurück , die  von  hier  mit 

der  i  eiche  im  Glassarg  unstät  umher-vandern  wird. 

Schöner  scnattiger  iVeg  hinaus  zu  der  5  km. entfernten  Cartuja  de  Miraflore.s 
König  Johann  II  hat  sie  c-n  -teile  eines  .Schlosses  begründet  ;nach  einem 

Brande  wurde  .je^  lk[-)k   von  Haas  und  Simon  von  Köln  wieder  aufgebaut. 

Grander  des  ^  arthäuserordens   ist  dsr  Hl. Bruno  (1032-J.lCl)  ,der  zuerst  in  der 

Chartreuse  bei  Grencble  wirkte  und  das   chwei  egebot  einführte. 


( 


18 


( 


In  einer  Kapelle  sehen  wir  fein  von  Manuel  lereira  1667  geschaffnes  äusserst 
lebensnahes  Holzbildnis. 

Auch  die  Vorschriften  f^.r  die  Besucher  sind  sehr  streng. Der  antierende  Mönch 
gestattet  selbst  Herren  nicht  ohne  Rock  einzutreten.  John , der  ein  hemd  -^'lit 
kurzen  armeln  an  hat,vvird  der  Eintritt  erst  gestattet  ,aJ-S  ein  liebenswürdiger 
Spanier  ihm  mit  einem  Rock  ausgeholfen , seine  "Blosse"  bedeckt  hat. 
.Jh  t^x>   gotischen  Kirche  ist  einschiffig  und  in  drei  Teile  geteilt:  der  west- 
liche für  das  Volk, der  mittlere  für  aie  Laienmönche ,aer  östliche  für  die 

Geistlichen. 

An  L er  Nordwind  der  Kirche  in  einer  Nichs^  das  Grabmahl  des  Infanten  Alfonso 


( 


von  GilBt  de  Siloe;der  Infant  starb  l6  jährig  1^70  und  sein  Tod  machte  den 
Thron  von  Köstilien  für  Jsabella  frei.  Derselbe  r^ünstler  schuf  aen  stark  ver 
aoldeten  Hauptaltar ,  ^er  mit  aem  uberreichtum  an  Figuren  etv.as  verwirrende.- 
hat, wie, auf  Bestellung  von  Jsabella  ,1409  das  r-iarmor  grabmahl  ihrer  Eltern 
Koni^  Johann  II  und  Jabelia  von  Portugal, das  vor  ihm  aufgestellt  ist. 
Auf  einem  achteckigen  unterbau  ^ait  unzähli,-en  Nischen, Balaachinen  und  Statuet 
ten  runtn, durch  eine  Marmor brüstung  getrennt, aer  König  mit  halb  geöffneten 
Augen, einen  Kin/C  Inder  Hand, die  Königin  in  einem  .ebetbuch  leeend.  Genau, wie 
beim  hauptaltar  zei<2,en  Einzelheiten  herrliches:  Die  oben  sitzenden  Statuet- 
ten cfer  betenden, die  schvveDenden  Engel  ,abpr  als  Ganzes  zu  unruhig, wenn  aucn, 
wie  Bädecker  schreibt  "viellei  ;ht  dao  reichste  Kunstwerk  dieser  Art  in  Spa- 
nien." 
Schönes  Henaissancegestahl  von  155Ö,das  mir  stark  von  i^ichelangelos  beein- 

fluset  zu  seinscheint. 

Das  Real  Konast. rio  de  la  Huelgag^^Melgas=  Erholung)  wurde  ajs  einem  Lust- 
schloss  ier  kastilischen  Könige   in  ein  vornehries  Zist-^  rienserinnenstif t 
ura|ewan§eli  ,in  dem  die  Äbtissin  als"Senora  de  horce  y  cuchillo"  besondere 
Hechte  ein^^eräui/it  ,die  otiftsdamen  nicht  "Schw*-  ter"(sor)  sondern"Senora 
dona"  genannt  wurden.  Es  ist  unser  nächstes  Ziel  und  liegt  k   km. südostlich 
von  ßurgos.  Man  betritt  zunächst  eine  Vorhalle , über  die  ein  mächtiger  Turm 
aufragt, udt  Sacrophcgen  von  Santiago  und  Calatrava  T^ittern. 

In  der  12^9   erbauten  j3:oti.schen  Kirche  d  r  Coro  le  los  Capillanos  mit  einer 
den  M  uren  1212  in  ler  3chlacht  von  Las  Navas  de  Tolosa  abr-enomen  Fahne 
und  >en  knieenden  Statuen  von  Alfons  VIII, dem  Gründer  Klosters  , und  SE^iner 
Gemahlin  Eleonore  von  England.  In  einem   nderen  Raum  eine  türki-che  Fahne, 
die   1573  bei  Lepanto  erceutet  vurde   und  eine  Sammlung  von  hochinteres- 
santen ;.toffresten  de-s  XII  bis  XIV  Jahr  hundert,  die  :nan  in  Gräbern  gefunden 
hat. In  der  Papilla  de  -antiagö ,die  unzugcm^lich  wur, solange  aas  Kloster 
an  sie   bestand, KiHsdie  Holzfigur  eines  Santiago  .sitters, ein  Schwert  m  der 
Hand, mit  dem  er  mittelst  eines  .-lechanismus ,  aen  Ritterschalg  erteilt.  I-h 
konnte  leider  nichts  näheres  darüber  feststellen.  Anatos.-end  an  die  Kirche 
ein  Stimmungsvoller  romani  eher  Kreuz^^^ang. 

Zurück  zur  St<^dt.In  uer  Gaiäe  de  Calera  no.b^  die  Casa  ae  Miranda,ein  15^5 
erbautec  stattlicher  Adelspalast  Einfache  Front  mit  reicher  Tarumrahmung; 
an  den  Enien  Rundt.irme  mit  vVas£:erspeiern  oben,  i  rachtvoller  Säulenpatio  mit 
reizendem  Fries; reiches  Trepi  enportal  mit  nmoret^en  fuhrt  zur  Tonnentrewölbe 
ge.ecirtes  Trep  enhaus.  Als  ich  mit  Olga  1913  hier  iv..r,war  das  Ganze  im  Ver- 
fall und  zu  verkaufen.  1955   hat  jie  i  rovinz  es  ffeKauf  t  ,\viede  hergestellt 
una  das  Museo  Arquelogica  Frovincial  in  die  eehr  t^eeignetf^n  Räume  verlegt 
Es  entnalt  herrlicne  fruhiittelalterliche  Geräte  ,wie  JtxixxiiaspcÄxeinen 
golaenen  Altarvorsatz  mit  E  f:ailleeinlagen  des  vll  Jh.  , arabische  Elfenbein- 
kästchen d  rselben  ,eit;die  Bildersammlung  ist  w-niger  beaeutend.  


--  i 


19. 


I 


Wir  verlassen  den  Ajtobus  bei  den  Arco  de  Santa  Maria. Er  ist  153^  erbaut  und 
besteht  aus  einem  von  zwei  Türmen  flankierten  Tor  mit  vielen  Fii^'uren  ,die  wie 
Körrikaturen  wirken. Cid  ist  darunter  und  das  ganze  gekrönt  mit  der  Statue 
Karl  V.  ,deii  die  Stadt  nach  dem  Aufstand  der  Comrnuneros  ,den  3egaBe  des  Ein- 
heitstattes  , versöhnen  wollten. 
Die  ^jtrasse  durcn  dsn    Bogen  fuhrt  geradezu   zu  einem  Platz  mit  dem  erzbischöf- 
lichen Palast  und  zu  der  kleinen  F-laza  de  .anta  Maria, wo  mtn   vor  der  gross- 
arti:2:en:^X3ixKMtKKxtBÄxtKiixi5^^&xiiÄxieKHxixÄMKKxtiixMMgKkaÄt«H3(Fas8aae  j^K^^RKkiBÄr 
KJCÄktxder  Katnedrale  steht, der  wir  gestern  unseren  Antrittsbesuch  machten  unadi 
wir  jetzt  ^ern  num  zeiten  Mal  besuchen. 

Die  groteske  l-'igur  aes  "Fapa-Moscas"  ,der  über  aer  Uhr  die  Stunden  schläe;t| 
zeigt  an,aass  bereits  12  ühr  vorbei  ist , was  aber  nicht  hindert, dass  unser 
Führer  alxe  Kapellen  für  uns  offnen  kann  und  wir  manches  sehen, was  uns  gestern 
entgangen  ist , wie  z.B. die  Capilla  de  la  Visitacion  mit  aem  von  Gil  de  Siloe 

1-^17  errichteten  Grabdenkmal  de^  Gründers , des  biscofs  aIohbo  de  Catagena,der 
14^6  ..estorben  ist.  Leider  bleibt  uns  auch  diesmal  die  ge^^-.enüberliegende_Tur 
zam  Claustro  verscnlossen  ,die  aus  dunkJ em  Holz  wie  eine  Bronzearbeit  wirkt, 
und  herrliche  frugotischeir^  Schnitzwrrk  zeigt.  Aus  meinem  ersten  iJesuch  1913 
erinnere  ich  mich, dass  der  Kreuzgang  hervorrc.gende  'Grabdenkmäler  enthält. 
Die  Führung, wie  überhaupt  der  ganze  Ausflug  gab  uns  viel; er  endet  1:30; wir 
Wc-ren  ky^   Stunden  untervvegs. 

''/ir  lunchenvan  einem  kleinem  Restaurant  unterhalb  der  Kathdrale  mit  Blick  aif 
iSire  malerischen  Türme  . 

Nachfem  wir  auf  aem  Paseo  del  Espolon  wieder  der  flanierenden  >ienge  zugeschaut 
haben, wo  sich  anscheinend  ein  gut  Teil  des  gesellschaftlichen  Lebens  der  Stadt 
abspielt, und  un  eren  Cafe  getrunken  heben , kehren  wir  zum  Dinner  in  unser  Hotel 
zurück. 

Donnerstag  30. Juli:  Das  ffihöne  Wrtt-r  hält  an.  dir  besciiliessen  lamplona  nur 
auf  dem  Rückweg  zu  berühren  und  heutedirekt  die  330  km. nach  ZARAGOZZA  zu  fah- 
ren,eine  Stadt  berühmt  für  inre  JBKxklii&tKH  Verteidigungen  und  die  Wallfahrts- 
kirche Virgenilft  Fillar.  /^eg  führt  durch  Gebirge  über  I.ogrona  ,Tudela  in  die 
Ebroebne  ,die  dank  weiter  Jewa  .-erung  xn  uppigr  Fruchbarkeit  prangt  .Vunaerbar 
Blick  über  das  aragonische  Tiefland , über  welchem  die  ganze  kette  der  meist 
schneebeaeckten  Hochpyrenäen  aufsteigt. 

^Vechselreiche  Geschichte  .Rö.nische  Gründung,  ouwtia  ,^Vestgoten  wechsln  ab, bis 
es  in  die   ande  der  M-.uren  fällt .Scheikh  ouleiman  ruft  ^  arl  aen  Grossen  gegen 
len  iL'mir  von  Cordoba  zur  Hilfe. Karl  kommt, mds  aber  Belagerung  aufgeben  und 
we^ven  des   uf Standes  der   achten  nach  Franken  zurückkehren. 

lllö  entreisst  Alfons  der  I  von  Aragonien  die  Staat  aen  Mauren  und  macht  es  zu 
Residenz  der  Aragonsschen  Könige, bis  diese, nach  Heirat  mit  Jsabella  von  Kasti- 
lien  die  Hauptstadt  nach  Ddxfltrifltxdem  mehr  central  ^.elegnen  Kästilien  verlegen. 
Heute  ist  es  eine  Grosstadt  von  300.000  Einwohnern , einer  Universität  und  Fchon 
bei  der  einfahrt  merkt  man, dass   eee ine  lebhafte  Stadt  mit  bcieten  Strassen 
vielen  Neubauten  und  Hochhäusern  ist. 

Ein  PDakat  an  <Vege   hat  uns  auf  ..as  ganz  moderne  Gran  HoteKjedes  Zimmer  mit 
Bad)aufmeiksam  gemacht.  ;ir  finden  es  unschwer  in  derCalle  de  Costa  S, dicht 
an  einemder  ^roesen  Boulevard   und  bekommen  aucti  sofort  die  gewünschten  Zimmer. 

anz  mo-ern  «iJtxJdXÄx  ingerichtet . 
Sofort  mit  Taxi  af  den  /»'eg,um  die  HauptsehenswurdiKkeiten  zu  besichtigen. Sie 
liegen  dicht  an  &bro:Nostra  Sen.del  riljar,oder  unweit  vom  Flus6,wie  die  ehr- 
würdige gotische  Kathedrale  San  Salvador  «kuiz  La  Seo  ;  enannt,d±e  Wi.r  zuerst  be- 
suchen. Sie  lügt  an  Ostende   Er  z.T. mit  /.nla^-en  geschmückten  Klaza  del  }  ilar 
und  wurde  an  Stelle  der  maurischen  Moschee   erlebtet  und  hat  einen  schlanken 
lurm  von  l6ö6.  Es  dämmert  bereits, als  wir  durch  aas  gro - se  Nordwestportal  von 
16<d3  die  ?irche  betreten.  Grosser   indruck  in  der  Dam  lerung  die  LChlank  auf- 
steigenden Bünaelpf  eiler  mit  uionnigfachen  Kapitalen  »Gewölbe  mit  vergoldten 


n 
U 

n 
O 


20 


I 


kleineren  Azule joskup^e 
welcher  die  h. Jungfrau* 


( 


Rosetten;prachtvoller  Reja  am  Chor ;marmorner  Fusfcboden. In  Sacristei  schöne 

g  stickte  Gewänaer »Kopfrej iquiare  und  ^rocessxonsf i^uren. .. .leide   keine  Zeit 

mehr  far  Details.  Denn  »IjÄRHauptreiz  im  oberen  otock,zudBrn  wir  auf  Treppen 

hinauf steiferen, eine  Art  Museum  gebildet  aus  aen  Entwürfen  Goyas  und  Bayeu's 

für  Decken.i^emälde  in  der  Caplla  de  Nuestra  Senora  ,die  wir  nachher  sehen  werden^ 

und  einer  schier  einzigartigen  Sammlun.^  von  32  Gobelins, die  gut  aufgehängt 

und  De-euchtet  sind,  ie  Mehrzahl  l^.und  15 . Jchrnuniert . Ich  notiere: 

l4.Jahrh;'Schiffe  auf  Expedition  aes  ßrutus  nach  Aquitanien" 

l^.JhVOie  Passion"   und  die  Kreuzigung. 

I5.J  .  .'»Glorification  .arias"  Seide  mit  Goldfäden. 

IJ.JhVGeschicnte  des  Jef ta";  "Erhebunt<  der  Ecter  zur  Königin  von  Fersien" 

Die  Wfcllfahrtskircne  Muestra  Senora_del_Filar  liert  zwischen  der  Plaza  del 
Pilar  und  ctem"^;brouf  er ;  siesteigt  'lalerit.ch  mit  ihrer  grossen  Kuppel  und  den 

In  aber  dem  Lbro  auf.  Sie  enthalt  die  Siule(pilar ;  ,ai^f 
gern  *  nac R   antiago  ziehenaen  .\postel  Jc-.cobus  erschien  . 
Die  j^^zige  Kirche  wurde  an  Stelle  einer  kleinen  K&pelle  befc,onnen(l6öl) von 
Herera,:.eit  1753  von  Venura  Jtodriguez  fürt.;eführt  und  ist  ein  ausp:ezeichne- 
tes  Beispiel  des  -tiles  Louis  XVI;sie  bildet  ein  dirch  zwei  Säulenreihen  in 
drei  Schilfe  geteiltes  Rechteck  mit  einem  die  p.anze  Kirche  umgebenden  Kapel- 
lenkranz. 

Der  westliche  'ieil  der  Kirche  enthält  den  Coro  mit  einem  gotischen  Petablo 
aus  Alaba  ter  z.'r. farbig  behandelt  mit  Keliefdarstellungen  überragt  von  einem 

feinen  Baldachin. 

Im  östlicnen  Teil  die  ''Capilla  del^uestra  Senora  del_rilar". 

Edxer  Marmor , vergoldete  drönze*  von  einer  auf  .Marmorsäulen  runenaen , mehrfach 

durchbrochnen  Kupi  el  überdeckt  .Die  Kuppel  (iirüber  von  Antonio  Velasquez  — 

hat  nichts  mit  Diego  Hodriguez  Velasquez(1599-lC)6c)  —1795  ausgemalt , während 

die  Kuppeln, die  aie  Kspelie  umgeben, von  Goya  und  Bayeu  17ol/o2  ait  Fresken 

fereschmackt  wurden 

An  cfer  Westwanj.  dieser  Kpelle  5  Niechen  mit  Altären;über  em  mittleren  eine 
Marmor gruppe  im  pompösesten  Barock, die  Madonne  auf  volken  von  ngeln  umgeben, 
links  der  r.Hl.Jacobus  Jiit  seinen  ochalorn  und  rechts  die  K^^   von  einem   trah- 
1  rikranz  umgebne  aus  dem  XV  Jah.  stammende  Alabasterf  igur  der  Jun^-^frau  ai^ 
'^der'^riit  >Dilber  beschlagnen_Saul£  (s.oben).  Von  der  Jun-frau  ist  nicht  viel 

zu  sehen, ^in  reicii  gestickter  Kantel  Dedeckt  sie  fast  bis  oben. 
.6ine  kostbare  silberne  Balustrade  hält  die  Betenden  im  gebührenden  Abstand. 
Loch  werden, wie  wir  sehen ,  feSbtlich  gekleidete  Kinaer  von  .horkaaben  zum  Bilde 
selbst  geleitet, um  dort,  ihre   ndacht  zu  verrichten. Für  die  Frwac»-senen  dKK  ist 
auf  cfer  Ruckseite  .er  Altarwand  eine  ;■  teile  freigelegt  ,v;0  sie  die  Säule  küssen 
können, wovon  zaiilreich  Gebrauch  üecßc.cht   wird. Diese  Madonnü  ist  ebenso  reih 
mit  Schmuck  versehen, wie  ihre  Kollegin  die"Srnora  >.e  los  Desamparados»»  in  der 
Capella  ae   Fiudriö  zu  Valencia.  .Vie  dort  sind  Beispiele  inres   chatzes  ausgstell- 
(Valencia  l':>5^  »'^gb.S  .  6I) 

Ganz  im  iVe.ten  ;er  St  at  die  Plaza  del  iortil.o  mit  dem  Hronzestendbild  des 
'»Madchen  von  Zara-oza" ,die  neben  ihrem  Geliebten  gegen  die  Franzosen  lÖOÖ 
kämpfte  una  als  er  zu  lo  egetrofien  zu  -.OAen«nk,an  -einer^s-att  di-  Kanone 
abfeuerte. Durch  Lord  Byrons  Verse  im  "Child  Harola  1,5^  ff .unsterblich  gewor- 
den. DiCiit  dahinter  das  "Castillo  de  la  >>.ljaferia^,d^  s  heute  wie  eine  /,aserne 
oussieht.was  es  auch  zuletzt  war.  Ursprünglich  Sitz  des  nirbauers  Scneikh  Abu 
:£Cr.afar  .hrned  , spater  ocnioss  der  Aragonischen  Könige  aus  Jgren  Zeit  noch 
einige  schöne  Raume  eraälten  sein  sollen.  Es  ist  nur  .lit  besondeier  Erlaubnis 
zu  besuchen  und  befindet  sicn  offenbar  im  zustand   er  , Wiederherstellung.  


21 


I 


Sin  gefälliger  Aufseher  läset  uns  hinein, wo  eben  aus  dem  Umbau  die  alte 

pa]ac,t,rpQschoe  herau^  geschält  wird. 

Unser  Taxi  bringt  uns  zurück  zur  breiten  Promenade  des  Faso  de  la  Indepen- 

denci3  mit  /  rkaden  ander  V»est<*seite  und  einer  Unzahl  TC  f  f  ehäuser  ,wü  wir 

uns  erfrischen.  Ich  gehe  zu  Fuss  zurück  in  unser  nahes  Hotel »während  Mar. 

mit  John  noch  Shopping;  gehen. 

Gutes   inner  im  Hotel. Kellner  überbieten  sich  im  Eifer, als  sie  ^-ariannens 

spanische  Kenntnisse  entdecken. 

Freitag  31. Juli;  Heute  geht  es  über  1 ampelona  und  den  pass  von  Ronceval 
zurück  na  h  Frankreich.  Im  Ganzen  39^-^  km.  Daher  früher  Aufbruch. 
Abfahrt  Zaragossa  8  Uhr.  Oas  schöne  wetter  halt  an.  .^uf  der  Ebrobrucke  schö- 
ner Rückblick  aif  die  Stadt.  Interessante  Fc^hrt  an|alten  Städtchen  una  Schlos- 
sern (Tudela,Tafalla)  vorüber. nach  PAMir-LONA. 

^Ur  natten  urspr^n-iich  diese  öcaat  (Pompaelo=Stadt J.  s  lompejus  in  roemi^ 
.eher  Zeit)als  Nacntquartier  im  Auge.  Auf  iarem  Mittelpunkt , der  } laza  del 
Castillo  sitzend, freuen  wir  uns  Zara.<ossa  aen  Vorzug  gegeben  za  haben. 
Eindruck  einer  Kleinstadt , die  frahert.inmal  als  Hauptst.  dt  von  I^  varra 
Bedeutung  hatte.. -ir  bemerken  aen   pc  seo  de  .arate,der  aaran  erinnert  ,iass 
aer  r.ro.  oe  üeip;enkunstler (lÖ^H  -  IgOö)  ,den  ich  in  meiner  Jugend  :üit  Begeis- 
terung in  b-rlins  Pnilharmonie  öfters  horte, hier  geboren  iet. 
Und  hierräctit  sici.  einmal, dass  meine  spanischen  Bädecker  mich  nicht  er- 
reicht haben. Die  moüerne  Fast^aae  der  Katnedrale  nimmt  uns  die  Lu^fe  weiter 
uns  umzusehen  und  cfemit  versäumen  .vir  einen  Blick  hinein  und  in  den  anscnlicf 
sen..en  Kreuzrang  aus  cem  XIV  zu  tun, der   -  nach  BädecKer  -  einer  der  sciön 
sren  Spaniens  ixtxsein  soll.  Marianne  holt  Post  aus  lem  Hotel  La  Ferla, 
das, wie  rie  sagt  ,äs«^  keinen  guten  vmndruck  nacht, und  dann  geht  es  nordwärtj 

weiter. 

',ie  Fahrt  über  die  waldigen  Pyrenäen   ehört  zu  den  schönsten  Lö^ndschaf ts- 
bildern,aie  >nan  sich  nur  wünschen  kann.      rinter  aem  alten  Marktplatz 
ßurguete  schlängelt  sich  (tr  .eg   talaufwärte , zwischen  den  Vorhohen  der 
im  Hintergrund  aufrtgenaen  Pyrenäen. 

Am  FinPang  aes  beranmten  i^yrenäenpasses  Poncetoalles  eine  HauserKrupre  um 
eine  im  xll  Jh.gCc^rundete  .  ugu röin^  rabtei.  und  eine  goti;?cne  Allfahrts- 
Kirche  Zum  neiligen  Geist,  iie  an£;eblica  Karl  d.Gr.a  s  Grab  lar  meinen 
PiO&iinen  Roland  erbaut  hab-n  soll. 

Die  Fortstezung  der  Stresse  führt  durch cfen  Pass  von  Roncevalles(1207  m) 
und  an  Ort  und  Stell   begreift  man  leicht, wie  f.s   möglich  war  hier  üie 
Kachhutdes  von  k^arago.ssa  zurucmarschieren  len  Heeres  unter  defehl  des 

kaiserlichen  p.  ladins ,abzuschneiaen  und  zu  vernicnten  (77Ö.cf.auch  S.19) 
Ein  fuEnz.Epos   aus  cem  11  Jh. feiert  aen  i^effen  Karls  des  Grossen  Roland 
im  "Chanson*  Holand',der  in  der  ital. Renaissance  icntung  zum  Ideal  des 
galanten  Ritters   wird  und  dessen  s-ili^xeite  Statuen  »»Rolanassaulen'^  in 
norddeutsch'-n  Städten  zum  Zeichen  cer  GerichtsbarKeit  .  eraen. 
Die  spanische  Grenze  ist  Valcarlos.  Bevor  wir  sie  überschreiten  haben  wir 
dort  r-utes  Lunch   und  eine  nette  Unterh  .tun:.;  mit  einem  Spanier  imi  dortiger 
Gasthaus.  In  StPied  ae  Port  überschreiten  wir  dann  die  franz  osiscne  Gren- 
ze.  An  der  sp.:<ni&chen   erfreuen  icn  die  Zöllner  an  r4arii-nnens  Sprachkenntni.- 
~na  an  beiden  gibt  cs  nic.t  die  geringsten  ::«;  hwierigkeiten. 


() 


Dieul^  foy  "Kunst  in  Spanien  ,S . 1^0 :  "Auf  dem  Gebiet  der  Sacralarchite  ■  tur 
ragt  ier  Kreuzgang  der  Kathedrale  von  i-amplona  hervor,  oein  sehr  reines 
gotisches  lasswrrk  und  zarte  Ornemantierung  der  Arkaaen , Wimpergen  und 
Kapitelle  machen  ihn  zu  einem  einzigartigen  -Verk." 


22 


( 


Wieder  in  F__R__A___N__K__R^_E^^I^_C^_^H 

Um  6  Unr  erreicEen"wir  PÄÜ  •"März  I9Ö6  war  ich  mit  meinen  Eltern  hier, 
//ir  haben  z^immer  im  HQteI"cie  i^'^^ance , dessen  Hauptfront  nach  den  Pyrenäden  geht 
und  sonst  an  die  Place  Hoyale  angrenzt.  Mein  nimmer  hat  herrliche  Aufsicht 
weit  ins  Land, unter  mir  lauft  der  Boulevard  des  pyren^es.  Geblieben  ist  die 
prächtige  Lage  , aber  sonst  ist  das  Hotel  arg  heruntergeKommen.  b  in  Publikum, 
die  früher  reichen  ijngländer  und  küssen  sind  ausgestorben. 

«.ir  weraen  uns  mit  diesem  Blick  begnagen  und  auf  das  Scaloss  und  Geburtshams 
Henri  IV  ,das  aiii  aideren  Ende  des  Boulevard  liegt^  verzichten.  In  Pau  ist  der 
harschall  Bernadotte  176^  geboren, der  Ahnherr  des  jetzigen  Königshauses .dessen 
Portrait  ich  zuletzt  im  StocRholmer  Schloss  an '^unauffälliger  Stel±e  bemerkte- 
Die  vVasas  hatten  die  besseren  Pl^itze .  ^leichwonl  ich  hätte, bei  genügender  Zeit/ 
g.rnain  .Geburtshaus  besucht  mit  RacKsicht  auf  mein  persönliches  Verhältnis  zuiri 
jetzigen  König  Gu-tav  iiaolf.   Aber  Marianne  und  ttohn  wünschen  sich^Lourdes 

isennen  zu  lei-nen. 

Un-er  Hotel  Kann  sich  kein   eigantliches  Pestaurant  mehr  leisterg.'^e  einzige 
Stel.ie,wo  man  noch  essen  kann, ist  ist  im  üntcrgeschoss; vermutlich  die  einstige 
Br, jetzt  "La  Cremaillaire"  benannt.  Langweiliges  Menü, das  wir  durch  eine 
Fiische  Ayala,  aufheitern.  Oas  einzige , was  an  alte  Z  iten  .rinnert  ,ist  der  er- 
graute Kellner, der  im  besten  Stil  serviert. 

Samstag  I.August:  Das  schöne  .Vetter  bleibt  uns  treu,  ^/ieder  früher  Auf^iii,da 
wir  heut  wieder  über  3CG  km. zum  ■  ndziel  Albi  zurückzule^ren  haben. 
Der  Umweg  aber  Louraes  kostet  etwa  eine  c^tunde.  Es  ist  uer  R-rosste  katholische 
rValifahrfesort  mit  Ja  rlicn  iiehrere  Millionen  Pilger. 

Die  wallfahrt  verdankt  ihren  L^rsprunp:  den  Ao.   rienerscheinungen  ,die  das  Hirten- 
mädchen Bernadette  Souoirous  lö^^  in  der  Grotte  von  Massabielle  hatte. Auf  Ge- 
heiss  der  i^ia.ia  u'e  ,rabne  >)uel-.e  gilt  als  neilkraftig. 

Durch  Strassen, die  voll  vmn  "Andenkenlacien"  sind  .vir  parken  unter  der  Bracke, 
Hinter  der  die  KspT  na_ -e_  d e s  iroc^:ssions  beginnt  .Hier  , an  dsr  einen  Seite  das 
Asile  i^otre  Dame  de 'Lourd'iS , eines  der  beJden  grossen  Krankenhauser  , an  der  ande- 
ren Seite  die  unterirdische  Kirche  ±  lus  IX ,  angeblich  eine»  i^iesenraum,der  2l.0(C 
Menschen  f asst .  Ich  habe  mich  mit  uem  Blick  auf  die  Betondecke  beKUagt. 
Am  Ende  der  hsplanade ,als  Point  de  Vue,die  Rosenkranbasiliky  (I005  romanisch- 
byzentinisch)  mit  Hampen  an  beiaen  ceiten,ciie  zu  aer^  aufc^ier  Höhe  des  Jrotten 
felsens  "Ä^kaS4:en,  Basilika, aie  bereits  l86^-71  erbaut  wurde  , führen. 
Ich  begnü..e  mich  mit  der  unteren  Basilika , die  überreicn  mit  Goldmosaik  etc 
verziert  und  wo  sogar  die  einzelnen  Platten  unter  den  -.osaiken  von  Gläubigen- 
ge^ü/  entsr^recnen.e  Gebunr  natürlicn  -  mit  Goldinschriften   versehen  sind, wie 
z.b. eine, auf  die  mein  Auge  fiel  '»Zwei  arme  New  Yorker''. 

Eindrucksvoller  für  mich  ist  die  Menge  um  die  Grotte  von  Massabielle  mit 
Lichtern  und  Pilgerchören  und  vor  allem  durch  die  Kranken, die  von  freiwilli- 
gen Helfern  zu  dg»  Wasserin  aer  Höhle  gefahren   .erden. 

Meine  beide   egleiter  lassen  sich  nicht  nehmen  zur  Hohe  auf  c:ien  Rampen  zu 
klimbem;ich  setze  mich  auf  eine  Bank, beobachte  die  ^^enge  und  bewundre  mit 
welchem  Geschick  und  LieDenswurdigkeit  lers^^nen  ^er  höheren  G-  istlichkeit 
in  lila   alle  Anfragen  --  in  allen  Sprachen--  beantworten, Retschläge  geben. 
Wiederlich  bleibt  das  Schachenn  der  Händler  und  die  .esc  iimacklosigkeit  der 

angebütnen  V aren. 
•ir  kaufen  an  einem  offnen  Stand  ProvisQon  für  die  Weiterfahrt ;  vvir  wollen 


so 


unter.v  i^-'^s  an  einem  netten  Plätzchen  lunchen. 


i 


23 


I 


I 


W 


terfahrt  durch  waldige  Gegend. An  einem  reizenden  Plätzchen  verze  ren 

t.John  gelihp;t  es   in  einm  nanen  Haus  eine  Flasche 


.chöne  Vei 
ir  den  gekauften  I rovian 


Wein  dazu  aufzutreiben 


Eine  ß-anze  Kolonn 


e  von  Zigeunern  versperrt  den  v'eg,a 


ber  nicht  mit  den  alten 


von  Pferden  gezognen  vVohnwagen 


Die  Herrschaften  fahren  in  L^anz  moaerne 


n 


Station  v.'agons  und  w 


rfen  uns, als  wir  ena 


lieh  ^urchfanrt  erzwin^^en  »finstere 


Blicke  zu. 
wurde  und  von  jer 


ufälj.iK  las  ich  später  inaer  Zeitung, dass  die  Kolonne  angehalten 
Polizei  viel  Diebesgut  in  geräumigen  > utos  gefunden  wurde 


Der  Weg 


lünrr,  über  Toulouse  , wo  wir  un 


s  ^  :^r  nicnt  aufhalten. Es  ist  5  Uhr, als 


wir 


in   A  L  B  I  einfahren, so  fahren  w 


ir  gleich  weiter  zur  Place  Vigan 


aorl'aiEen, gehört  zu  dbn  -rotsen  Überraschungen  der  Rei-.e 


i/Vas  wir 

Der  Platz  wird  beherrsct 


t  von  den  määntigen , festungsartigen  Ziegelbauten 


XHR  der  Kathedra 


le   t.Cecile  (1262-1390)  und  des  Er zbiüchof liehen  Palaxs  de 


la  Berbie ,ein 

Diese    f estunasartige 


mäcr.tiR^er   Wehrbau   des    XIII    Jahrhundert 


ilbiu?nser    den 


isiFmen 


auten  orinR-en  zum  B 


ewustsein  .dass  ^.Ibi  aer  Sekte  der 


zu  aeren  Ausrottung  blutige  Kreuzzage 


o 


ie  sind    die    letzten    we 


ste    -ierw^i^^v^y'brfi^  tpi^n   jjrnichaer      ekte  yCtenen 


;efuhrt   wur  »en 

der 


ti 


sute   Gott    reiner    "veis 


g 

be    ist'*.  •  i'^  öbanaen 


t    ist.aem   nichts  schlechtes    anhaftet    un 


d    dessen  \Vesen   lie- 


alj en  kirchlichen   Lehren  mn 


d    In    titutionen    ablehnend    fegen- 


der 


üb 


er.,  ie    t;:laubten  »dass    die 


elt   schlecnt   ist,dass   ÄÄÄrx^fiKXXXKxMKHXKkBHxiiKii 


göttlichen   Funk^ 


sxs 


Kenntni 
Ketzer, die  aue; 


s(gno 


aera  ab;-r  einige  Menschen  ^^eheime 
daher  Gnostiker)hatten.  ie  galten  der  K4rche  als  Häretiker 


en  einlese. 'ilooc^en  sexR,von 


zurottr-n  seien, obwonl  treibst  e.in  ■•■ann , 


W 


ie"  -ernhard    von   Clairvau 


-1153)    der   I  rediger    des    2ten  ?;reuzuge6/,einma 


( 
"nichts   christlicheses 


m- 


l1    zu^^eben  muss.dass   es 


gäbe, als   diet  e    Häretiker ^ä.«:»..a 


eh 


Das  Paliis 


de  la  Berbie  ^nit  seinem  grossen  Turm  und  allen  Zeichen  sr 


mkm 


ni 


ehrhaftigkeit, Client    heu 


te    friedlichen   Zwecken;  die    l'M.vallung   wurde    zu  Ter- 


•assengärten   im   1?. JahrhunJert  urage • a 


ndlt   und   seine    grossen   Säume    dienen    im 


w 


e.sentlichen  der  i^u^stel-ung  aer 


rbe 


ten  .-e;i  hi  r  geöornen 


ün^tlers   enri 


de 


oulouse  lau 


trec(peb.löb4,gect.l9   l)aiseLn  Museum.      i 


r   hc^ben   ;:lück;e^    ist 


bi, 


Uhr   offen 


ir    lernen   nici t    v 


i    1   iveues.da   Mariann 


e   und   ich      eit    langem 


en   "  un 


5tler   sch-iten    und    ..   ric-nne   sog^ 


r   alt  einzigen   SchmaCK   ihrers    ..ohnzinmer 


ei-nige    seiner    berä...:ten    •  ithogr&pnien   an    aen 


änaen   hat,d   runteraie    farbige 


•La   iertie    de   Gampagne 


b:r 


s  ist  p'ut  .^uf  ai 


oe 


ise  e3.niü^l  eine  über,  icht 


über  sein 


samm 


t.verk  wi-der  einmal  zu  gewinne 


n 


iiin  gefälliger   ärter  öffnet  un^.  eine 
-i  p  .  fii-ras.sen^^arten  una  auf  das  j_ 


a  •  <.  I"  a  

haben. 

Die  .  athtarale  ocinte 


ur,von  aem  wir  schone_  blicke  hinunter 
lusetal-.er  Tarn  aiit  ^:einen  ^li^en  rücKen 


^cile  ist  ein  wahres 


/unaerwerk  der  südfranzö  ischen 


Gotik,  i-n  maCxjtiger   ehroau  n 


it  4x  Metdrhohen  cue 


rn  una  einem  Kev.altigen  Turm 


von   7ö      -ter 


.öhe 


ine   ireT)"i  en 


flucnt    lai.rt    aurcheamfi   i-rt    ^ingangstor   zu 


der   reichen  -Vrirbr  Iap 


^^ 


Miit 


1  nag 


iiocn 


m 


enannt ,zum  Sü 


dportal.  .  rin.'.ert,  an  plater^o  e'/.Wfe 


m.'Dreit 


von  kj-  ich 


Jas  JjQlL-l.S__einc  weice  einsChiiiiKe 

XXXiXHXBXXRH8K> 

von   itali   nitj^n 


alle    lit      eitefl'  ap^e 


g^ä 


'\ 


en 


ohe 


♦  o 


ff'.^nz   aus    emahlt 


KiftSßHgßmäiifi-  an   dßx  *ÄxtxÄHEtxxiSÄ.  itaiiEÄXSKU&xxxÄÄXtiKrM 


en      ünttlern'v Anfang    aes    Ib 


Li  . 


aas  ■^jiinp'-^tft  Gprichf  an  der 


■stwand .ein  Hies-ngemäliefranzo 


siccher  .rbeit , vielleicht  von  rOger  van  der 


/eyaens  ..i 


beit  im  --otex 


de 


.>r'«-'»^ 


Das  chiff  wird  von  einem  i e 


;ieu  in   eaune  *trw-*-^* 
ttner  ^reteilt,  er   Is  uerschonste  F^nkreichs  gilt, 


f 


2k 


Üiine  i.ircne  in  cer  Kirche  ...eiche   infdi-.sung,'.'vxe  Spxt .  env^erk  •  2.ntzuckende 
rnusiecierenae  En.;  el;am  '  ingang  veiKandet  einc^r  <>er  .ladonna  aber  aen.   Gang 
hin  :g, was  öie  zu  erwarten  hat.  Gro^.sartig  die  i  ortraitf  i^mren  ,aie  Esther 
und  ouditl^^trophet  ^saias  und  Jeremias  genannt,  einfach  zeitgenössige       ^ 
1  ersonen'^v.ieaergeben.  ohl  aie  schöntften  .  rbeiten  burgundisciier  bildhauser    ^ 
i.unst  vürdera  vei-fail.  tXV.uh. ; 

Nur  ung  rn  verla  sen  wir   ie  ivöt  riearalfc  .r.in  Trost, aass  v;ir  sie  noch  einmal 
besucnen  uönnen. 
unsere  nestelie/ie  ae^iGrand  St .  Antoine  ,15  Rte  St.Antoine  mit  einem  reizen- 
den Teufelchen  als  Zeichen  vor  dem  .fiingang.Ein  adaptiertes  Kloster, seit 
1734  in  der   i?""amilie  Rieux. Nette  Zimmer  mit  Bad. Wir  wei  den  in  verschiedenen 
Etagen  des  verschnörkiitfin  alten  Baus  unteo-eDrahht.  Das  gute  Dinner  wirdim 
angebauten  Speisesaal  bei  offnem  Fenster  serviert, der  nach  dem  Garten  geht. 
Ich  ziehe  mich  zeitig  zurück; Marianne  und  John  erfahren ,dass  nachts  die 
Kathedrale  innen  erleuchtet  ist',ein  grosser  Genuss,der  mir  entgeht. 

Sonntag  2. August: Ein  grosS'  b  Vergnügen  bei  prahlendem  Wetter  im  Garten  zu 
frühstücken. Brechen  zeitig  auf  und  parken  noch  einmal  auf  dem  Platz  Vigan 
So  komme  auch^ich  BQ  einem  zweiten  Besuch  von  St .C^cile ,der  meinen  Eindruck 
vertieft . 

Zu  Fuss  zu  einem  kleinen  malrischen  Kreuzgang  der  romanischen  Kirche  St  .Sa2 
vm.  Dabei  Gelegenheit  Blicke  auf  einige  alte  Häuser  zu  tun. 

Auf  aer  '.Veiterfahit  nach  Süden  berunren  wir  das  malri.£chai  aer  Agout  gelegne 
Städtchen  Castres  ,wo  uns  wieaer  eine  kleine  Überraschung  narrt. 
Im  ehemaligen  Biscnof spalast  von  1666  -  Jetzt  Kathaus  -  andern  sich  ein 
schöner  Garten  in  französischem  Stil  anschliesst »befindet  sich  ein  joya 
Mu p eum . X}giiJ!l::i^älLlig.hÄftxn  .UermXAhtaJ&J^Be ginnt^a £  rüseum  mit  spanischen  i-rimi- 
tiven,hab,och  arrangiert  und  beleächtet  ,2ifeammen  mit  Messgewandern  ;es  XIV 
und  XV. Jahrhundert. Es  folgen  einige  rortraits  des  •  eisters(17^6-]|.828)  ,darun 
ter  auch  an  ausgezeichnetes  Selbstportrait ,  schliesslich  ein  gross  anvele^^te 
-;Verk:  Oie  Junta  der  Jrhilippinien(lÖl4)  ;charakteristisches  /erk,von  dem  ich 
noch  nie  eine  -bbildung  san  und  das^^XÄÄKXtxxKKxxiKkxHxiHHHXK ,Loga  nxKkt 
KXMXKxtxxxK^EZÄiß:iiÄfitßy-Ailai2ixw[(2[kÄxsKXHar>.R2.iiXißriiHgKH  nur  im  Verzeichnis  der 
«verke  erwähnt:"  Sitzung  der  fünf  G^e.nios  in  G  genwart  König  Ferdinands. 
Gast  res,  Museum  ,Stiftung  ßriguiboul .  Aus  der  Sammlung  O.Angel  M.s.ria  Terradil- 
los.='  Ausgezeichnete  Abdrücke  seiner  Radierungen  fehlen  nicht : Desaet . de  la 
Guerra,Carriccio. . —  anschliessend  eine  Janrhundertau-setllung   des  in 
Castres  gebornen  Jean  Jaurfes  (1059-191^)  -  ^n  wunderberer  Mensch  und  Redner, 
der  vor  j-.usbruch  des   Krieges  von  Chauvinisten  ermordertwurde,den  ich  sehr 
bewundert  habe .}  hotographien  zeigen  die  Schar  Mier  BeruhmthBiten  ,die  die 
Aus.-tellung  besucht  haben ,  darunter  sene    ich  den  Ceiliöten  Casals  mit  seiner 
hübschen  jungen  Frau. 
Zuerst  urch  das       , 

in  ?  ne  rebenreiche  ..bne   bis  in  der  Ferne  die  Cit»  ,die  StaflAburg  CARCA|- 
SONNE   erscheint. 

Trotz  frühzeitigen  chreibbns  war  es  air  nicht  möglich  dort  oben/ im  Kotel 
Citft^Zimner  zu  oekommen. Ich  musste  mich  oegnügen  für  uns  im  Hotel  Terninus 
unterzukmmmen.it.£  liegt  ander  ^ahn  undwxrkt  entsprechend.  I.:t  aoer  durchaus 
ordentlich  in  Zim-ierndnit  Bcd)  ,wie  im  issen,das  wir  gleich  im  Restaurant, 
das  v/ie  ein  Bahhhofr estaurant  wirkt  ,einneh'rien. 


jare..que  Tal  aann  bergan  zu  finer  i  asshöhe  und  wieder  abwärt 


t)ie  Idee  sich  einer  -^Tour''  anzuschlissen  wirkt  tich  ungünstig 


ms 


daj^d 


le 


Da-'ie,die  die  Fahrung  übernommen  hat, auf  eine  sich  stark  verspätende  aneri- 
kanische  Gesellschaft  2.u  varten  hat. 


25 


$ 


3 


Cbwonl  in  rieinera  franzosiüchen  ''blauen"  Fahrer  ausdrücklich  d  rauf  hinge- 
wieen  «.rd,dftss  die  öesichtiijung  der  FestungswerKe  der  Cit'^nur  mit  Fuhrung" 
möglich  ist,  wäre  es  wahrscrieinlich  besser  ge\^  ben  mit  un.  erem  Wagen  hin  .uf- 
zuf3h^en,anstatt  den  Nachmittag  mit  vVarten  zu  verluuern;ich  bin  f  st  sicher 
dcxss    es  uns  geglückt  wäre, auch  ohne  Fuhrung  aas  Weseritlichste  zu  sehen. 
So  istberet£.1i  5  ühr,als  wir  -iit  unserem  n'agen  der  Coach  folgen  una  vor  der 
Forte  Narbonnaise  ,aie  in  die  CitI'  funrt , parken. 

Die  Cit*  hat  .ie  beaeutendsten  Festungsmauern  be^^ahrt,die  vom  Mittelalter 
in  tiiuropa  hinterlassen  wurde; wir  können  sie  nur  mit  aer  Kitterstaat  in 
Rhodos  vergleicnen.nier,wie  dort  sind  es  Peconstructionen  ,hier  von  Violet 
le  Duc(  101^-1879)  ausgeführt;  er  hat  bei  dieaem  vVieolBKaufbau  nicht  so  viel 
Scnaden  anrichten  können, wie  bei  rein  kunstlexischen  Dingen. 
^yvir  beginnen  mit  dem  Chateau  Comtal,das  sichai  die  innere  Qmwallung  lehnt 
und  als  Bollwerk  far  sicn  verteidigt  Verden  konnte.  Unter  einem  schattigen 
Baum  sitend  1  .  sen  wir  einen  Votrag  über  uns  er.k;- hen  ,in  d^m  die  Führerin 
die  Entwicklung  dieses  Mauerwerks  be. chreibt  von  d?n  Westgoten  des  6. Jh., 
über  Ludwig  den  Heil-gen  xmxii  ,i hilipp  d n  Kühnen  im  1^. . Jahrhundert . 
Anschliessend  wandern  wir  über  die  Kingmauern  mit  ihren  ^4  Türmen  und  lasse 
uns  die  raffiniert  ausjekJ.a  elten  Verteidigungsmöglichl  eiten  erklären, die 

er  Cite  den  Ruf  aer  Uneinnehmbarkeit  verschafften. 
Hint-r  dem  Tor  von  St.Nazaire  ist  eine  Freilichtbühne  eingabaut  ;  hier 

hat  der  Gesst  im  Hamlet  Gelegenheit  a  f  einerrichtigen  Mauer  seine  Er- 
scheinung zu  machen. 

Die  Führung  endet  oei  (fer  Kathedrale  St.Nazaire  (XI-XIV  Jh.)Da6  im  Jahre 
ir96  besonne  Schiff  ist  ein  machtiger  romanischer  Bau  ..it  schönen  korin- 
thischen Säulenkapitalen;:;juerschiff  und  Cnor  1- 70-132C  entstanden   zahlen 
zu  (^n  .-elun.  enaten  /erken  cter  pjotischen  Architektur  des  Nordens. Im  ..)uerschif 
schöne  i ieta;im  Chor  bl  iben  Statuen  in  Erinnerung ,Ai*  von  Künstlern  aus- 
gefahrt  (Phoino-n  ,die  von  cen  schulen  von  Reians   und  Amiens  angeregt  »u  sein 
scheinen. Die  letzten  Strahlen  erleuchten  die  pracntigen  Glc smt lereien  im 

Cnor. 

An  Jen  Kirchplatz  stösst  das  Hotel  de   Cit»  ,inaem  wir  leiderkein  Unterkommen 
fanden. 'sin  durchwj  nuern  der  Gesei  jschaf  tsr  iume  zexct  ein  naus  ersten  Ranges 
Im  Garten  nit  hubscrien  :.lick  nehmen  wir  einen  drinK;im  E^iSScial  wird  be- 
reits ainiert. Elegante  Gesei-^schaf  t . 

Hinab  durch  die  Sawirr  winKliccr  Gassen  zurück  zu  unserem  uto. 
Von  der   Pont  Vieux  haben  wir  nocheinen  schönen  umfassenden  Rückblick  auf 
aie  Festung, bevor  .ir  zur  Ville  Basse  zurückkehren,  ir  ziehen  vor, nicht  im 
Sveises.ai  unseres  noteis  zu  e  sen,sonaern   ^hlen  die  Terrasse  des  Hotel 
Bristol  im  Freien  um  die  Ecke  ,'A'O  es  ai.^:e nehm  zu  sitzen  ist  und  wo  wir  mit 


c 


taunen    die   Menge    der    cjuartiersuchenden   Besucher    beobachten   können. 


: 


Montag  3.Aug:ust:Heute  beginnt  ,>er  Rückweg  wieder  nordwärts  durch  Frankreiche 
Gstse-.te.  Zunächst  in  die  PROVENCE;  über  Nimes  nach  Pont  du  Gard  2^1  km. 
Der  Weg  fuhrt  übor  N^rbonne  ,eine  zur  KÖmerzeit  mit  ..  em  Meere  verbundne  Stadtj 
vorbei  an c^ra  malerisch  aif  einer  Höhe  gelegnen  Bezi . rs  dufchübcCheH  Land- 
sci.aft  racn  Sfete,v\o  \aLr  ^as^eer  erreihhen.  Ich  hatte  keine  -  hnung,dass  dies«| 
von  Kanälen  durchzogne  Stadt  nach  Marseille  der  beaeutenste  französische 
Hafenan  .ittelmeer  ist.  n'xr   passieren  Monty  ellier  nitau  ial-nd  vielen 
Aael6=und  Kaufmannsplaitästen  des  aVII  und  XVIII  Jahrhundert  und  .veraen  von 
unserem  ruidbook  daran  erinnert ,dass  di^se  Staot  Sitz  einer  viel  besuchten 
Universität  war(seit  1209)  , die  Petrarca  u.31^  ,R- bexais  1530  be.  uchten. 


u 


26 

Mittags  erreichen  wir  Nimes>  Lunchen  ausgezeichnet  am  Place  des  ArAnes 
auf cter  Tarrasse  des  Hotel  Cneval  Blanc,aes6en  Froschschenkel  und  der  aus 
Riesenflasciie  ge.'.penaeter  Cognac  Fine  Champagne  ,E.Remy  Martin(V.S  .C.P. ) 
besser  in  ii^rinnerung  naften,als  dierömischen  Vermächtnisse,  Zugegeben  ,dass 
Amphitheater  (l.Jh.n.  ch  Ch.)  besonders  im  Oberteil  besonders  gut  erhalten 
ist , was  au  hvom  Jrodiumtempel  ,.iem  Maison  Carr^,  (20-12  v.Ch)  p;esagt  weraen 
kann. Aber  v/ie  provincial  ist  das  alles , auch   aas  -iWe  des  ^ntiques  im  Innerer! 
wir  kennen  zu  viele  aer  Bauten  in  den  klassischen  Ländern  an  trt  und  Stelle,! 
um  diese  Fremdlinge  richtig  zu  goutieren.  uanz  anders  ist  cfer  Fall  mit   dem 
Jardin  de  la   ontaine;hier  ist  FranKreich   auf  das  beste: Eine  stim.uungsvollel 
i:'rkanl;..ge  mit  Kanälen  auf  aes.  en  grünen  .'/assern  yei^ie   Schwane  leise  i-i«i^^ 
ihres  Weges  ziehen  una  dalBstraaen  zärtliche  i uttengruppen  halten. Zeit/17^0. 

ntike  Ruinen, ein  sog. Die natempel ,ist  die  Anlage  noechst  passend  einbezogen. 
Die  vVeiterfohr  gehtdurch  mnderschöne  landschc.ft  über  üz*s  mit  altem  Herzogs 
Schloss;hier  gent  die  Strasse Vnach  dem  Hotel  du  Vieux  Moulin  am  linken  Ufer/ 
hoch  ober  der  Gardon  :it  sem  schönsten  Blick  auf  aen  Font  du  Gard, eigentlich 
fein  Aquaduct.  Ein  entzückendes  llatzclaÄn  una  so  viel  schöner  hier  zu  ver- 
weilen,als  in  der  Stadt  und  in  einem  alltäglichen  Hotel. 

Dies  Hotel  i.st  aus  einer  Mahle  entstanden  und  seine  Zimmer  sind  kurios  ^^e- 
.scnachtelt  z.T. mit  antikem  Material.  Mi-rianne  bekommt  ihr  Zimmer  und  John 
teilt  sich  ait  mir  ein  Doppelzim^ne  ^  ,dem  sogar  ein  C abinet  de  Toilette  mit 
Dusche  angegliedert  ist;  das  J^C    nicht  allzu  weit  entfernt. hIso  ganz  comfor- 
tabel. Amüsant  John's  Kampf  nit  dem  Drachen(Wirtin; ,um  ein  zweites  Zahnputz 
glass  und  um  ein  anderes  nandtuch! 

Agrippa,ocnwiergersohn  und  Mitregend  des  .Augustus  hat  disen  Aquaduct, der 
das  tief  eingeschnittne  rlusstal  k6   m  hoch  und  277  ^   lang  in  einer  dreistöcki 
gen  ßogenreihe  überspannt  15  v.Ch .ang-legt ,um  Aer   Stadt  Nimes ,d. i.der 
Augusteishen  Gründung  Colonia  Augusta  Nemausus  Vvasser  zuzufahren, das  auf  der 
obersten  bOkenreiae  in  einem  ged  ckten  K  nal  verläuft. Es  ist  einer  der  ge- 
waltigsten und  bec terhaltenen  Römerwerke  der  Erde  und  nur  dem  Aquaduct  von 
SeROvia  vergleichbar , der  auch  aas  der  Augusteischen  2/eit  sx-ammt  und  den  v^ir 
auf  unser  loeri.-^chen  Heise  195p  oewundern  durften. 
Marianne  und  John  erklimmenden  Aquaduct, ich  beschränke  mich  zu  ihm  hinzu- 

andern  und  von  dort  die  läge  unseres  Hotels  f hotographisch  festzuhalten. 

l'Vir  dinieren  recht  gut  auf  der  Terrasse  mit  Blick  auf  den  Aquaduct  hin,dery 

als  die  DunKelheit  heräinbricht^angestrahlt  v/ird. -loechst  eindrucksvoll. 
Es  könnte  nicht  s:höner  sein. 


Plans  tag  4.  August;  »fetter  bleibt  veitei  herrlich.  Zeitiger  Aufbruch,  unser 
abendliches  ^^iel  Arles  ist  nur  35  km. weit, aber  wir  liol^^Bn  auf  dem  W^ge 
wesentliche  Funkte  der  rrovence  besichtit.en. 

Es  geht  über  ßeaucaire  am  r.^  hten  Khoneufer  nach  Tarascon  ,das  am  linken 
Shoneufer  liegt. Jed^r  kennt  aie  §o  hübsch  erzänlte  Gescnichte  Dcudets 
■'Tartarin  von  Tarasaon'' ,der  in  iNimes  geboren(lÖ^C-lÖ97)  »seine  Südfranzosen 
gut  Kennt  und  sie  in  Gestalt  dieses  französischen  Münchhausens  schildett. 
VöJlig  unbekannt  dagegen  war  mir,dass  hi^r  ein  Schloss  des  Königs  Ren* 
staht , der , durch  Heirat  mit  der  Erbin, xhm  i othringen  mit  seiner  Grafscjiaft 
Provence  1^31  und  seinem  Titularkönigtum  von  I^eapel  verbindet. 
Er  ist  der  vorletzte  Herr  der  i rovence(l^C9-1^8o)bevor   diese  Tandschaft 
an  Frankreich  kam.  Das  xhloss  hat  im  letzten  Krieg  stark  durch  Bomben 
gelitten. bs  steht  oberhalb  der  Hängebrücke ,üie  aber  die  r häne  führt. 


C  ) 


27 


O 


( 


Wir  pasoieren  St.P»my;l  km  weiterkam  Fuss  der  Voralpen('»Alpilles) die  Stätte 
des  k6o   AD  von  ten  'A/'estgoten  zerstörten  griechisch-römibchen  Siedlung  Planum 
(2,Jh.v.bis  3.n.Ch.);ein  Wegweiser  deutet  '*Les  Antique6".Sie  befinaen  sich 

rechtfe  von  der  btrasse  und  bestehen   aus  einer  Art  Triumphbogen  und  einem 
Cenotaph(EhrenKrbmahl)  .  Der  Bo^en   ist  ,8Äiel^hend  von  lenen  in  Kom,keine 
Erinnerung  an  mirrh  Triumph  eines  siegreichen  Feldherrns  »sondern  4JdiLi5&4?t  / 
um  aie  Errichtung  der  St  dt  und  Taten  d?r  Legionäre , die  aie  Sttdt  schufen, in 
aer  Erinnötung  f estzufealten>  Obwohl  6t4r«rk  zerstört , sind  schöne  Einzelheiten, 
i^rucntguirlunüe, Kassettendecke  im  Bogen, Reste  von  Säulen  und  Skulpturen  gut 
erkennbar. Das  Ehtengrabiiiahl  ist  ungewöhnlich  iiut  erhalten  und  wmp  e  errichtet, 
wie  die  neaaten  ünter.;.uchtungen  ergeben  haben, um  die  Erinnerung  an  Enkel  des 
l^aisers  Augustus  festzuhalten , die  frühzeitig  9;estorDen  sind. (Anfang  des  IJh.) 
Seltsame  Idee  hier  fern  von  Rom! 

Von  diesen  Antiquitäten  wusste  ich  nichjts.  -lir  ist  der  Name  St.R^my  ausschlie, 
lieh  in  Erinnerung  im  Zusammenhang  mit  dem  Leben  und  Sterben  dea  Malers  van 
Goghjriech  der  starben  geistigen  Störung  in  Arleslööb  ,;vo  er  sein  Ohr  abschnitt, 
fin  ,et  er  ünterkomaien  in  dem  Asyl, das  damals  in  dem  ehemaligen  Kloster  St. faul 
de  Mausol^  untergebracht  Wc-r.Hier  bleibt  van  Gogh  lb6ö    und  I889.  .<  r  malt  die 
7^~t"alt;aoer  vor  allem  entstehen  hier  die  wie  brennenae  Fackeln  gen  Himmel 
flackernde  Cypressen ,die  Olivenbaume  unter  glahenaer   onne  gespensterhaft  be- 
wegt und  jtilieben,  .ie  aie  Iris  in  einer  Vase, die  heute  in  :}rucken  über  die 
gonze   elt  verbreitet  sind,abe-  damals  kejg^p  Beifall  fanden. i^ach  einer  be- 
sonders schweren  -ttacKe  verl  i.^st  er  St.Remy  und  be  ribt  sich  nach  Auvers,wo 
Dr.aachet,d-csten  eiil5nlV' er" -ifalt^^m  -i^.Juli  erscnies  t  e:-  sich  und  wird  in  Au- 
vers  beigesfe^zt.  Daran  muss  ich  denken , als  ich  die  kleine  rumänische  ?  ircjie 
dee  e:;emaiiKen  Klo.:ters  beir^i^dä-f^e ;  sie  liegt  auf  der  linken  S-ite,aan  wenig 
abseits  es  Weges.  Das  . immer, d.s  der  Maler  aamals  bewonnte  ist  nicht  mehr 

zu  besichti-en. 
Nun  hinein  in  die  '»Ali  il  tes  '  ,zerK_L  ii  tete  wei  se  Felsen  von  ver  tein  rangs- 
reicnen  liozänkalk^ie  ein  phantastisc .e  Landschaft  ^geben,in  der  sich   seit 
aem  ll.uanrhunaert  die  "Seigneurs  de  Baux''  eine  ebenso  phattastidhe  Residenz 
erbauten. Sie   ehörten  zu   dem  uiäcntisgten  Lehnsherrn  des  Südens.  Im  13» Jh 
wird  sein  L-ebeshof  nit  Jen  Troubadours  berühmt , ebenso  wie  die  Untaten  des 
Raymond  ue   Turenne,der  1372  Vormund  seiner  Nichte  ,A :  ix  d?  Baux  ,berüchti^:t 
cind;AeT)von  ;^n  vereinten  Kräften  aes  in  ..vijvnon  r^  siaierenaen  i  apstes  u] 
de^  franzosischen  Königs   sc  .liesslihch  unschädlich  gemacht,  #*r^. 
Nach  dem  Tode  von  Alix  ,princesse  de  Baux  ,±x±±twird  die  Her- schaft  der  Pro- 
vence und  schlisslich  Frankreich  angegliedert , die  eien  Besitz  an  verdiente 
Männer  verleiht,  o  ist  I53Ö  der  conti  töble  Anne  de  ..ontmorency  ,dera  wir 
zuletzt  in  Chantilly  begegnet  sind , damit  oelehnt.In  den  riänden  der  Familie^ 
i'janville  wird  es  ein  Sbmi'ielpuni«  t  des  Protestantismus  .Louis  XIII ,  schliesslich 
dieses  unruhi^.en  und  ^^derspenstigen  Vasaj  len  üb  ■rdrässig,lässt  Schloss  und 
Verte  .digungswerke  XK^Eif Knzerstören , legt  den  Einwohnern  eine  Ungeheure 
Ents..hädi.<ungEumme  auf, die  aus£:erdem  aie  Kq  ten  der  Zerstörung  bezahlen  müssen 
Ich  muss  an  die  "Kristal] nacht"  Hitlers  denken, der  die  ou.en  für  aie  von 
.seinen  Leuten  zerstörten  Fen  ter.  heiben  zahlen  liess. 

Die  Ruinen  liegen  auf  einem  deilen  Vorgebirge ; wir  halten  auf  dem   davor  lie- 
genden Larkplatz  und  treten  durch  die  Porte  Eyguiferes   in  die  Reste  der 
Stadt  ein.  s  genügt  uns  bis  zum  ilace  St. Vincent  vorzudringen;kleiner  Platz 

von  Bäumen  bescnt^ttet  anu  Deherrscht  von  der   rojiani^cnen  Kirche  r^it  ihrem 
gracieusen  Glockenturm , der  so.,.  "lanterne  des  -^orts"  im  Renaissancestil. 
Die  bei  en  Schiffe  im  Inneren  sind^roiianisch;  ich  freue  mich,dc.ss  die  junge 
Dame, die  mit  uns  die  Kirche  oetritt/ihre  kurzen  shorts  mit  einem  Rock  be- 
aeckt,Jen  sie  in  einr  Tascne  De  i  sich  trägt .  r.ub«rsciier  Blick  vom  Platz  ninab 
indie  TaWde  la  Fontaine  und   de  l'  nfer.  "  "' 


und 


28 


V 


<  ) 


Zurück  durch  die  Grand  Rue. Viele  iixiitRRHaiuöer  aus  oem  XIV  -  XVI  Jahrhunder. 
Aufi  l'^nd  viel  Versuuhe  der  Wiedeherstellung  .Die  grandiosen  Ruinen  aer 
Burg  bewundern  wir  von  unten.  i\ahe  unseres;  Parkplätze:^  Blick  aber  die  Mauer 
hinunter  a\k^   das  liotel  üu;r.teau  de  Baumani^remit  Swimming  pool  davor,  mitten 
zwischen  den  Felsen, dessen  orsKlassiges  Restaurant  im  i?'ührer  erwannt  ist. 
Sprachmässig  interessant  ist,dass  der  ^q-^^   Les  ßaux  sich  vom  provencalischen 
Li  Baus  d.h.j?elsen  ableitet , das  aich  dsii  zuerst  iö^:;^   gefundenen  Tonei-cie ,  die 
für   j  Uiiiiniumgewinnung  wichtig  ist  , als  "Bauxit'*  den  l^iamen  gab. 
Die  grot-sartifi:en  Ruinen  der  im  X.J  hrhundert  gegründeten  e  .emalmg:en  Beneaik- 
tinerabtei  Montmajour ^auf  ^inem  Felsen  gelegen, sind  schon  von  v either  sicht- 
bar.Sie  beherrscnt  die  Ebne  von  Arles  una  bestehen  ais  zwei  imposanten  B'U- 
teilen:Das  eine  ausdem  -iittelalter  ,da:  andeie  ^us  ctem  lÖ.üyhrhun^ert . 
Der  letzere  Teil  verdankt  seine   ntstehung  dem  setzten  i.bt,viem  Cardinal 
xNohan.der  in  aen  Halsbandskandal  Marie  Antoinettes ^verwickelt  w»r.  Der 
erboste  Louis  XVI   unterdrückt , um  ihn  zu  bestraf en, die  Abtei. 
Es  ist  kurz  vor  12  (Jhr,  Is  wir  eintreten  und  müssen  dem   arter  ein  gutes 
Aort  geben, um   enigstens  einen  fluchtip-en  olick  in  die  romani  che  Kirche 
und  in  dsn  Kreuzgang  ais  ijsm  12.o&hrhunjert  zu  'ver(fien.  imponierend  der  mächtige 
Donion  aus  dem  l4. J. hrhuna^rt »der  dem  Ganzen  einen  f estungsartigen  Charak- 
ter verleiht. 

Fs  gent  uoer  die  Rhone  nach__A_.F_L_F_S  hinein. Gleich  bei  dar  hinfahrt  beuier- 
ken  wir  .las  Cafe, wo  van  GogR~~5ei'seinem  Aufenthalt  I887/Ö8  ver  .ehrte  und 
daf  er  versciii  dentlich  gemahlt  hat. 

Wir  halten  auf   em  Forum, Mittelpunkt  der  römischen  >"olonie  und.  noch  Mittel- 
punkt .er  heutigen  Stadt.  Na  h  Zerstörung  Marseilles  durch  Cesar  w.ra  es 
e-tn  wichtiger  Knotenpunkt  von   Kanaelswc  v  en  von  ItaliinK  und  Spanien  ,aie 
aii  en  luxus  des  Orients  hier  zu  /larkte  bringen,  nit  dsr  See  durch  Kanäle  ver- 
bunien.iieute  ist  o  s  ijorum  ein  von  Bäumen  oestandner  i  iätz  mit  dem  DenKmal 
aes  rrovenca.en  Dichters  Mistral  und  umgeben  von  Hotels  und  Restaurant», 
/'irnahlen  d'S  Restaurant  du  j  rum,wo.ar  im  Freien  tut  seinem  Balkon  angenianm 
luncnen  können, bevor  wir  unser  Hotel  Jules  Cesar  aufsuchen. ,das  am  breiten 
baumbestana  nen  Boulevöira   ae   Lices.  p:elefrren  ist,undwo  uns  gro.;se  '/»immer 
rnit  Bad  erwarten .Gut^r  Findruck! Dieser  ßoalevara  Liebiingspromenaae  a. Staat. 
V/ir  rac  chen  uns  zu  Fuss  gleich  eui  den  :^eg. 

^m  tlace  de  1-  Repubxique  mit  Obeliken  in  seiner  Mitte  aus  ..  er  äiemaligen 
Rennbahn. Gegenüber  dem  Rathaus   die  Kirche  St.Trophine  .Gegründet  zu  Ehren 
des  iipost'-s,der  xrovence  das  Christentum  brachte^hat  viele  'A-^ndlungen  durch- 
gemacht lUrsprunglich  karolingisch  wird  sie  im  11. ,12. und  15» Jahrhundert  um- 
gestaltet .Barbarossa  empfangt  hier  die  Krone  vun  /^rles(llVÖ)  ,aer  König  Ren8 
heiratet  hier  Jeanne  de  Laval,die  Königin  Je^nne. 

Die  vVestfassade  aufs  reichste  :iiit  Bi]/3iissen  ges  hmückt  entstammt  dem  Ende 
des  12. J  nrhunaerts. Auch  //enn  wir  wissen, dass  nie  Fassaje  von  ot.Giles,die 
wir  morgen  Srhen  wer;.en,als  Vorbild  gedient  hat, so  bl-ibt  sie  doch  eincV^^ 
bedeutend^fe/t  erkiiofe'r  gallo-romanischen  Spätantike  .Die  Fortalumrandung  füllt 
die   anze  Westseite .Zwei  Sockel. Darüber  in  Wandnischen  stehenae  Heilige. 
Davor  je  3  Säulen^ein  gewaltiges  Gebälk  tragend. in  der  Pöhe  ctes  Tursturz,der 
von  einer  die  Tur  teilende  Säule  iietr^p^en  Wird, der  seitlich  vorkragende 
Hauptfries: Bilder  der  Aj;ostel,das  jüngste  Gericht.  Im  Bogenfeld  aie  Majestas 
mit  d»m  bärtigen  Christus  mit  den  :,vangelistensymbolen.  ber c/er  .nrchivolte  ein 
leicnt ansteigender  Giebel. 

Vom  Jmneren  Rammen  Langhaus  aus  der  ersten  Hälfte  des  12. Jahrhunaerts ,der 
Chor  noch  jünger.Fs  bleibt  in  Erinnerung  ein  Sacrophag  aus  dem  ^. Jh., der 
als  Altar  dient. 


29 


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( 


Der  zur  Kirche  gehÖrenae  Kreuzgang  höt  aeinen  j.irisang  von  der  Rue  de  lyioitre. 
Hier  wechain  Jrf'^iler  mit  gekop  elten  Säulen, deren  ?{' pitele  mit  i>cenen  aus  ä 
dem  ^Iten  und  Neuen  lestament  aufs  feinste  skulptiei-t  sind,  T  e±^.er   ist  die 
L'rhaltuni  nicht  die  beste;anden  Pfeilern  riguren  von  Aposteln  una  Heiligen^ 
dazwischen  Reliefs  der  Christus  und  Heiligenf^eschichte  «Besondere  Aufmerk- 
samkeit verdient  der  Nordv^estpf eiler , wo  man  das  Datum  ll8ü  findet  ,HRtaKK 
.iß  i'iguren  von  1  etrus  »Trophinus  »Johannes  nahen  j.er  i)  rsteliung  cfer  ufer- 
siexiung  ..hristi,aer  i^raaenan  Grabe  .  .  •  .".as  Datum  bezeichnet  den  /tbf.chluss 
der  Arbeit  am   nördlichen  RreuzgangflÜK;el. 

Ifliclitraassige  Blicke  in  üds  römische  Theater  »da-  schon  frühzeitig  a^s  Stein| 
bruch  ^j^iente  und   das  /.mphithe  ter  (ar*ne),das  im  ^Mittelalter  c^ls  Festung 
diente ;sie  bieten  nicnts  Neues. 

Be  jaiy.erlich  ,dass  uns  die  Zeit  nangelt  hinaus  zum  A.lyscamps  (^efilcie  der 
Seeligen)  ,  eine  Grabersteasse  ,die  iiir  von  'h  inem  let^^ten  Besuch  1933  s^lß 
besonders  äbimiiiung  voll  m  ^.rinnerung  ist.  Ich  finde  in  meinem  Tagebuch(VII , 
Seite  30)  "Ur-_  anglich  röuiircne  ,  später  christliche  Begr  .bnissstätte  ,die 
sogar  Oante  erwähnt  •  bleute  hinter   reizvolaern  Hest  ein  s  ,fx;otischen  Torwegs 
eine  mnder  volle  ßaumallee  mit  skulptierten  Sfeeinsärgen  ,die  ,wie  Olly  richtig' 
bemerkt, wie  eine  ophinxallee  zur  Kirche  St.Honorat  geleitet •£   sind  wun- 
dervolle Re.-.te  d.ner  verlassenen  '^irche  aus  dsm  Anfang  des  XII  Jh. von  ergrei- 
fender Einfacnheit ;ung  heure  oäulen  tragen  das  Gewölbe." 

Die  ßegr.Abnisst  itte  war   im  >iittelalte   .  o  berühiät  ,dass   man  die  Toten  zur 
Beste  ttung  von  i-veither  brachte. 

;'bendj.icJiefc  Dinner  auf  der  Terrasse  des  rotels  Jules  Cesar  ,wo  man  angenehm 
sitzt .Unerfreulich ,dass  das  Essen  langweilig  ist  und  alles  auf "Nepp"  ange- 
legt ist.o  kostet  eine  Flasche  normalen  Bordeaux  l^^d.    Fr. 


iMittwoch  3  «August:  Das  prachtvolle  vVetter  hält  an.  Den  Vormit-cag  benutzen 
wir  zu  euner  .Rundfahrt. 

Der  erste  H&lt  in  St .Giles ,ein  kleines  Städtchen  um  eine  vom  hl.Agidiis 
(+  721)  gegründeten  Abtei.  Die  j^bteikirche  der  BenediKtiner  ward  im  ö.Jh. 
errichtet ; aie  jetzige  :\irche  stammtaus  dem  12. Jahrhunaert jßaubeginn  1116, 
wie  eine  Inscnrift  an  dsr  sudlichen  Aussenwand  meldet. 

Von  der  Kirche  selbst  ist  nicnt  allzuviel  abrig.ReligionsKrige  und  xKinxxxs- 
xxxöch  die  franz. Revolution   Hessen  schlies  lieh  nur  aäe  im  17- Jh. restau- 
rierte Schiff  und  ..en   Ostteil  d*^B  Krypt^sowift   die  Gruft  aes  Heiligen 
(1116  qe  onneü  und  get-en  ii8u  mit  merkwürdigen  Spitzbogen  veioeb^n)   abrig 
ImyChois  die  berahmte  'Vendeltreppe  des  hl .  A^idius  ,die  im  Mittelalter   als 
aa  .;€  or ^entlicnes   Mütter,  erk  der  Lehre  von  iinn  Körperschnitten  galt- 
ich  gestehe  ,dö.:S  ich  die  Bedeutung  dieses  "Meister//  rKe  nichtverstanden 
hdbe. Dagegen  verstehe  ich   gutj^ass  die  mächtige  Fassade ,die  für  St.Tro- 
phine  vorbildlich  ist, das  bed.utenste  Garae  ist, das  die  monumentale  Bild- 
hauerkunst der  romanischen  rchule  der  .  rovence  hinterla   en  hat, bei  Nach- 
hmung  römircher  Vorbilder  besondere  bei  Anordnung derB-uteile  und  bei  den 
gros  en  Figuren  der  Apostel.  Sie  istsicher  llk2    in  Arbeit  und  umf:\sst  drei 
Fortale  von  Säulem  umrahmt,  die  ein  ,ai-<;  einen  aulfalend  bewegten ,  figuren- 
reichen Fries  im  Gebälk  tragen.  Die  Kunsthistthrik  hat  darauf  hingewiesen, 
dass   ander  Ausführung  mehrere  Schulen  (Toulouse  ,Ile  de  France  etc.)  be- 
teili  t  sind  und  das   am  Fries  die  i-.inwirkung  des  -tils  des  Bischof sthronee 
m  StNicola  zu  Bari  erkennbar  sei. Zwischen  den  portalen  W/^ndnischen  mit 
Fipjuren.  In  den  Bogennischen  über  den  lortaleniMitte  Majestas  Christi  mit 
den  .Symbolen  der  ..vangeiisten;Iinks  anbetung  cfer  .^lagier , rechts  Kreuzi^-ung. 
Ganz  grosser  Eindruck! 


30 


I 


I 


Man  bekom/nt  alLnählich  Verständnis  da.tür,wa&  so  vif^e  KUn.'?tler  in  der 
Provence  finden.  ">a  sind  Cypressen  , Oliven  Haine  ,vVeinpflanzungen  »Farmen 
und  reizenüe  Dörfer  mit  honigfarbenen  Hausern, g  deckt  mit  orangefarbenen 
Zieffeln , überragt  von  Kirchtürmen. Oas  alles  in   iner   schön  bewegten  Land- 
6Criaft,die  an  Van  Gogh  und  Cezanne  denken  läset •  Darüber  aie  im.ner  wecnse.n- 
de   ßeleucntung. einer  starken  Sonne. 
Als  wir  jetzt  ntch  Süden/der  Küste  zu  fanrenylernen  wir  einen  neuen  V.ug  der 
Provence  kennen:  Schill" durchv.achsene  Sümpfe, darre  Salzfl^ichen  und  Dünen, 
cUf  denen  hier  una  .a  :chirm.  ini' n ,/?' cholaerbäume  unj  T  marisken  wachsen. 

Wir  sind  im  ./estteil  der  Camargue  »die  vom  Rhonedelta  gebilaet  j.ird. 
Untere  i-ahrt  erst  an  .er  Petit  t^hone  entlang, beru.rt  aen  E  ang  de  :^camandre 
und  kreuzt  xen   Hhonecanal^  oevor  w4h?  twa*  Ucs  eigenartige  Bild  xxHXHreiner 
umwallten  Stadt  vor  uns  liegt:  Aigues  Hortes. 

Seinen  Na.nen  ''lote  nasser"  v^^.-rdankt  es  seiner  Lage  /zwischen  Sümpfen  und 
Teichen.  Die  oampfe  sind  im  19.  Jh.  z.'.l.  trocken  :-elegt  und  mit  .ein  bepflanzt. 
r:.inmal  .:  ag  die  Staat  am  Meer. Ludwig  (^r  heilige  gründete  sie, um  einen  riafen 
auf  eig-nem  ßoden  zu  haben, auf  dem  er  sich  nach  >em  iieili^^en  Land  einschiffen 
Konnte.Als  benutz  des  aafens  baute  er  aätH  Tour  Gonstance.  124ö  schifft  er 
sicn  hi  r  für  den   i:ieDetvnten  rreuzzug  nacn  Ägypten  und  f ar  aen  achten  1270 
nach  Tunis  ein, wo  er  sterben  sollte. 

Luawigs  Sohn  ihilipp  der  Kühne  ksxt  fügt  dem  Turm  Constance  die  ümwallung 
ab  127l  hinzu, ein  fast  rechtecKiges  j: -^ralleJ  loe:ram  mit  20  Türmen  und  10  To- 
ren;sie  ist  unversehr  eraalten, wie  sie  im  I3. Jahrhundert  war.Lin  einzig- 
artiges Statdbild,das  uns  an  Carcasonne  aenken  lässt, obwohl  hier  dee  «^^«t' 

f.,anz  anders  ist. 

;.ir  machen  eine  kleine  Rundwanaerung   um  die  iWauer , treten  zu  elnm  Tor  hinaus 
und  la  .  en  uns  schliesslich  am  Place  St. Louis  im  Vorgarten  des  Restaurant  des 
Voyageurs  zum  lunch  niederi^^Ds  gibt  Mut:cheln  und  ,  chnecken  ,auch  prachtvolle 
grosse  rote   eintrauben. 

Eine  reizende  Legende  hatte  ..lir   en  Besuch  von'^Les  St. Marie  de  la  Mer'^* 
wünschenswert  .emacht :  unsere  weiteren  llane  erlr:.uben  uns  das  leider  nicht, 
"o  will  ich  wenigstens  die  Legenae  festhalten:  Auf  der  r lucht  von  Judaa 
landen  hier  im  Jahre  ^5, um  Wie  irovence  zum  Ciiristentum  zu  bekehren, 
iMaria  Jacobaa,dxe  Schwester  aer  hl..-iunp:frau  ,:varia  Salome  , Mutter  cer   Apostel 
Jacobus  und  Johannes  ,  und  Maria  Magdalena , die  .-iüsserin.  Mit  ihnen  war  die 
schwarze   Diner  jn  oara.  Ich  höre,aat.s  im   ai  und  Lktober  grorse 
v^al.i  fahrten, der  ^-.igeuner  öesoniers , hierher  kommen.  Ob  die  schwarze   S  -ra 
dafür  ein  Desonaerer  '.rund  istV 

Zurück  dir ch  einen  anaeren  Teil  dgr  Camargue, der  noch  exotischer  wirKt,nach 
Arles,v;o  unser  Reisekamerad  John  seine  machen  packt;  er  reist  heute  abend 
von  Avif^/non  nach  Paris  und  äer   >.cnweiz. 

vir  bringen  ihn  auf ^"^^ gn ,  Denutzen  ab  r  gleichzeitig  die  Z.eit  uns  wieaer 
einmal  Avignon  anzusenen.is  wird  vom  Papstpalast  beherrscht , in  aem  sieben 
Papste  .m  l4.Jh.aer  Lnsxcnerheit  von  Rom  entflohen. Die  Anlage  imponiert 
aussen  dirch  de  Vucht  cfer  J  inien.D-  s  Innere  wirr-it  in  einer  Massenf unrung 
viel  entt  uschen^er,als  ich  es  von  meinem  letzten  x^esuch  nit  Ol.  yy  1^3# 
in  Erinnerung  hatte. Leere  Ri :  senhalien  ,nur  iuiponierend  in  ihren  ^.usmassen 
Charkteristisch  für  Jie  r.angelhafte  iührung,dass  iskiner  der  ^xxxkKHxxxx 
Säle  gezeigt  wurde, die  mit  Fresken  g.:  schmückt  sind  . Z.B.  Im  Au.-ienzsaal  von 
Matteo  Giovanetti,wie  im  'rbeitszimmer  Clemens  Vi,^em  sog. Chamber  de  C^rf 
mit  )arstellungen  von  Jagd  und  i-ischfang  etc.(Tgb  VII, S. 55  ^^) 


31 


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Hinunter  zum  vr^^ai  du  Rhone  zur  Pont  St«Benezet  aus  c  iter  Anh  inglichkeit  an 

das  Kinderlied  "-ur  le  pont  d'j^.vignon  l'on  y  aanse  tout  en  rond..'* 

Dabei  iöt  >ie  anrucke  daiur  viel  zu  eng;  der  Platz, wo  die  Einwohnersi- h  erholer. 

ist  unter  den  erhaltenen  ß05en.Es  sind  nur  nocii  Vi^^r.  Der  iieilige  Benazet 

der  Jien   BcU   aer   Brücke  aui"  Geheiss  eines  üngels  veranla;  üte  1177ikonnte 

nicrit  veriiinaern ,  lass  sie  aeit  1669  "^^ur  HäJ  f  te  zerstört  ist. 

Sie  fahrte  einst  hinaber   zu  Villeneuve  Les   vignon  ,eins.t  von  Philipp  dem 

Schönen  als  ÖolJwerk  gegen  die   apstre.'L  idenz  angelegt , dann  ''/ohnort  vieler 

Kardinäle  •-ioll  noch  heute  »obwohl  verarmt ,  von  meinem  alten  Charme  bewahrt 

haben. leider  keine  Zeit  sich  aavon  zu  ubeizeu  en. 

Wir  bringen  John's  Gepäck  zum  -;ahnhof  ,der  jenseits  der  gros  :en  Stadtmauer , 

die  noch  heute  Avi^non  umzieht , liegt  ;par.K.en  dort  unser  Auto  und  wan  ern  zu 

Fusstln  die  Cours  Jean  J&ures  hinein , Beginn  der  Raupt stra.^se ,  die  die  ganze 

btadt  bis  zum  Papstpalais  durchzieht . Im  matten^edeckten  hof  des  Hotel  Cril- 
Ion  essen  wir  ausgezeichnet  zu  Abend;  das   bscniedsinahl  für  unseren  Roise- 

a.  je  i  adelndem  wir  rnit  Asti  Spumante  -merkwürdige  Wahl  Mannis  und  Johns  in 
Frankreich!-  weiter  gute  R-  ise  wünschen. Erst  später  fäl  t  :air  ein,d&ss  Olly 
und  icn  19:>3  auch  in  diese.u  aehr  fe'-;epflegten  hotel  gewohnt  heben. 
John*  s  Schlafwagen  geht  erst  serir  spät  ab;Marianne  möchte  nicht  den  Lieimv^^eg 
bei  tiefer  Dankexheit  aatreten.  :0  nehiien  wir  am  Bahnhof  .  bschied.  >  s  war  eine 
in  j  -  der  ..-eise  gelungne ,  e:neinsarrie  Reise. 

Ruckfahrt  nach  ;.rles  ohne  Schwierigkeit ;  es  ist  ^ni  Verkenr  und  die  Vegschil* 
der  selbst  in  der  Dämmerung  und  herembrecnendeu  Ounkeiheit  gut  bu  lesen. 
/vas  für  eine  herrliche  Luft!    #ir  lieben  xieute  mit  Runafahrt  und  dem  Hin  und 
H>r  nc^ch  i^vi  .non  Cci.26^  kii.  zurückgelegt . 

Morgen  gibt  es  eiHBn  c.nderen  ^btchievu.Wxr wer^.en  die  Provence  verjuatsen  una 
in  das  Department  cfer  r^hone  übergehen. 


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Donnerstag  6, August;  Ein  herrlicher  Morgen!  Heute  geht  es  ohne  weitere 
Abschweifungen  genau  nach  Noraen. 

Vor  ier  Ausfahrt  bei  cter  Banque  de  France  kaufen  *ir  für  20  $    Benzinschei- 
ne.Langwier%iges  Unternehmen , das  die  Kühe  di  .ses  würdigen  Unternehmens 
erheblicnstört . 

Auf  der  Karte  sehe  ich, das  unser  v'i'eg  uns  nicht  entfernt  von  Chateauneuf 
du  laye  voraberführt .Angenehme  Erinnrung  an  einen  der  feinsten  V/eine  aus 
Khonethal  ,der  von  einem  Booen  stammt  |der  ursi^rünglich  im  Besitz  der 
Papste  in  Avignon  war.  Durch  zart  getönte  lanaschaft  ifiit  Blick  auf  die 
breite  _^hone. 

In  Orange   gro- eer  Marktb^ trieb , so  d^ss  wir  sfakwer  auf  dem  Ilace  de  la 
Republique  Platz  zum  Parken  finden. Oann  drängen  wir  unsdurch  die  Menge 
zum  antiken  Theater  ,::!esen  Besuch  sich  i-irklich  lohnt;es  ist  eines  der  schön-l 
s  ■  en  und  besterh.  Itenen  Thef^ter  aer  römischen  Antike.   ntstanden  um  Beginn| 
der  ]•  aiserzeit.' .it  seiner  ^us  mäcntieen  SteinbJ  ocken  aufgeführte  mehrge- 
schossige Bahnenrackw. nd  (103  m. breit, 3b  m.hoch)  , sowie  nit   einen  sich 
an  den  Berg  anlehnenden  Rängen  und  ätzstufen  far  etwc<  7,C00  Besucher  gibt 
eine  vortreffliche  Vorstellung  von  einem  römit^chen  T  eaterraum  .  Tm  nneren 
sind  an  der  kuckwond  wieder  Säulen  aifgerichtet  und  es  ist vohl  das  einzige 
Iheater  Inder  Welt, wo  selbst  noch  die  Kaiserstatue  des  Augustus  in  der 
grossen  Mittelnische  erh-lten  ist. 

Orange  war  einst  Hauptort  aes  kleinen  Fürstentum  Ürenien,das  1§31  an  die 
nieaerlandische  1 ini-  des  Hauses  Wassau  kam, wonach  die  Königin  der  Nie- 
aerj&nde  nocri  heute  oen  Titel  einer  iirincessin  von  Oranien-Nassau  fahrt, 
obwohl  Orange  1713  an  Frdnkreich  cbgetretn»  wurde. 

xÄÄi'A'ir  versehen  uns  vor  der  Ausfahrt  -r.it  Proviant, um  unterwegs  zu  früh- 
stücken. Bei  cfer  Ausfahrt  passieren  wir  auch  noch  die  zweite  römische  Sm.k 
Sehenswürdigkeit , einen  Triumphbogen , der  nachdem  Siege  Caesars  ^9  v.Ch. 
eriichtet  wurde.  Er  ,=  ilt  trotz  Verwitterung  als  riner  der  schönsten  in 
Frankreich:  Drei  Bo^en  mit  Kassettenwolbung  bilaen  die  :)urchgänge  .rries 
init  kämpfenden  Kriegern-,wohl  f  ine  (^allierschlcht  .Gefangen , die  wohl  die 
Gefangennahme  eines  gallischen  Heprfuhrers  symbolisieren ; gallische  Schiff 
trophäen  etc . 

Der  weitere  Weg  f,.hrt  ins  untere  ^^onetfeaf^^lo  km  vor  Lyon,ancfem  wichtigen 
Verkeiirsweg  von  der  i-roven  e  nach  Burgund.Zur  romi-.chen  3'aiEerzeit  4ie 
Vienna  die  zweite  Haui.tst  dt  Sudgalliens  und  besitzt  aus4ieser  Zeit   und 
Mittelalter  noch  bc^leutende  Baudenkmäler , deren  Besichtigung  uns  aus  Zeit 
mangel  unmöglich  ist. Wir  können  uns  nur  kurz  umsehen, ei-n  berühmtes  Nougat 
kaufen, das  Inder  Nähe  fabriciert  wird  , und  Cafe  trinken 

3:3C  fahren  wir  in  LYON  ein ,  aes.ben  prachtige  Lage  zwischen  Phone  und  So^ne 
uns  schon  bei  der  nlnfährt  deutlichwird. 

Hauptsitz  der  französischen  Textilindustrie »Hauptstadt cfes  Department  Rhone 
staatliche  und   frei  Katholische  Univer^ ität  ,techni.  che  Hochschule  .... 
mit  etwa  700.000  Einwohnern  die  dritt£<,rosste  -tadt  Frankreichs. 
Um  zu  unserem  Hotel  zu  kommen , fahren  wir  über  aie  örücke  zu  der  Schwemmland 
Insel  zwischen  H^iösne  und   oane  ,..o  MBeen  und  Behöraen  li  gen.  In  Mitten 
der  scijonste  Platz  der  Staat:Plaee  Bel±ecour  ,Qer  l6l7  c^geJ  egt/ in  .er  Mit- 
te ein  :,ro-  es  Reiterstandbild  Louis  äIV.  Hier  liegt  aicn  unser  Hotel 
Royal  ,aas  seine  Krtskla^sigkeit  nur  durch  unverscnAmte  i reise  beweistund 

keine  -apfealung  verdient . -Vom  Platz  aus  hat  man  einen  schönen  Blick  hi- 
nauf zur  Höhe  von  Fourviere  mit  der  K<- tne:.rale;hier  stc  nd  eiBBt  die  Haupt 
stadt_  lugduneum   dei^tffrovinz  lugdunensis  seit  42  v.Ch.         


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Zwei  suseen  interessieren  mich  aehifbeide  sind  nur  bis  5  Uhr  offen.  So  ist 
es  lar'\'nich  äusserst  angenehm  ,dass  diese  difaht  bei  unserem  Hotel  liegen. 
Jrüher  waren  die  ,::chat^e  im  Calais  du  Commerce  vereinigt.  Jetzt  sind  sie 
in  zwei  ir  lais  es  XVITI  Jn.  übersiedelt  und  beideliegen  von  meinem  Hotel 
um  die  ucke   in  aer  Rue  de  la  Gnaritfe. 

No. 30-32  ist  das  ehemalige  lalais  des  Seigneur  de  j avalle  von  1739. Hier 
im  echten  x^ahmen  sind  die  Schatze  des  Musee  Lyonnais  des  Arts  Qecorative, 
pr&chtvoile  Möbel  jBilatec-L  iche  ,j?  htyencen.  fr&nz  .AquareiJ  e  una  Zeichnungen 
stilgerecht  untergebraäät . 

N0.34  enthalt  das  liusee  historique  des  Tissus.  im  wun  ervollen  Rühmen  des 
I-alais  des  r  c  de  Viileroy , einst  -ouverneur  von  Lyon;  ::(sM:iiat  auch  ais  dem 
aem  XVIII  Jahrhundert , ist  abr  natarlic  h  a-ineiaTSTstimmung  anp:eT>aPst. 
Die  Seidenw  berei  wurde  erst  von  Italinern  im  15. Jahrhundert  in  Lyon  ein- 
geführt ;yLe  hatte  ihre  Bliitez^^it  im  17. und  I8  .Jahrhundert .  i;brr  ie  reichen 
C-eidenweber  üaben  verstanden  einen  weltweiten   berblick  üb  r  die  Webe^-^unst 
von  ihren  ;\nf^änr;:en  bis  in  die  Gegenwart  zusamnenzubringen- 
r)a  sind  Kirchengev/änaer  aes  VII .  Jh .  ,byzantiniche  vebereien  des  IX. Jh., far- 
bige 5;arf]tweberei  de?  XV.Jh,wie  man  sie  in  tersien  nicht  -riehr  .sehen  kann, 
engli'^^ihe   tickereine  m  i^^arbe  und  Cold  auf  Weberei  rund  aus  d?m  XIV  Jh.. 
Itaiieni:  ne  -amte  de   XVI. Jh.  und  naturlich  aucri   ine  vol  ständige  über- 
sieht de^;  ei-'nen   rzeu  nifse  anter  louis  XIV,Iouis  XV  bis  zur  Gegenwart. 
l;nmö,.slich  ±n   k -.rzen  iVorten  diesen  Reicntum  auch  nur  anzudeuten. 
i;s  w„  r  vÄieder  ein  .anz  grobcer  Genussl 

Marianne  treffe  ich  wieder  im  Hotel.  Der  Friseur  hat  sie  inzwvischen  in  eine 
Französin  verwandelt. 

Kin  Taxi  bringt  uns  in  die  Rue  Royale  13,eine  en^e   Gasee  in  der  Altstadt. 
Hier  läägt  das  Restaurant  der  'Mere  Brazier".  um  es  genau  zu  sagen , aj.es  iöt 


nur"  Jhr  Sohn, der  im  Gui  ^e  Micheiin  'La  v>ualit^  .e  la  lable"  nur  2  Sterne 
nct,aeren  Bedeutung  aefi^nieit  ist :  ^^H^rvorragende  Ku  he, verdient  einen  Um- 


w  e  R-  i^ 


■  ^ 


agegen 


die  yxUtter:.Lie  ist  d±e  einzige  i?r..u,aie  im  Guide  MicLieiin 


dreier  oterne  wardig  befun  <en  wurae  una  dies  -;eit  30  Jahren! 

3  Sterne  werden  aef  inie^-t ;  "b-i-n^  aer  be  ten  /  uche  FranKreicn- ;  eine  Reise 
wert  'on  y  mange  parfois  merveilleusement . 

0  s  Restaurant  cer  .-utter  liegt  aber  lö  Kl. von  Tyon  entfernt  auf  einem  Hügel. 
Grund  genug  uns  mit  dem   onn  zu'»begnugen" , zumal  aas  I^'enu  das  gediehe  ist, 
wie  oei  cer  »nutter..  )as  unveranderlicn  gleiche  Menü  erklärt  die   utter  mit 
den  Worten''Nur  so  könn  ich  gcrfection  e  j-eichen. 

iiis  bestedt  aus  :  Fonds  d'artichauds  aux  fois  gras;  -uenelles  au  i^-ratin  = 
Hecntklosschen  .lit  Rahmsauce;  Volaille  demi  deuille=  Roularde  ,cter  unter   der 
naut  vorsichtig  danne  Traf  i  elscheiben  einc^efugt  sind, deren  vorh  ri^e  Be- 
handlung eine  Sac  e  für  sicri  ist  und  hier  zu  weit  fahren  werde,  -ch  werde 
das  Kecept  am  Knde  des  Bandes  beifigen. 

■'<ir  beenden  unser  E'sen  rait  frischen ,  duftenden  -Valderbeeren . 
Fine  alte  BedienerinxiBÄXKRut  -maa  kannes  nicht  ano.ers  nennen-betreut  unj; 
sie  emptienlt  uns  ai  h  den  pr^^chtvol.  en  Bordeaux  1  uilly  zu   nserem  Schlemmer 
mahl, das  erstaunlich  preiswert  ist:  Rechnung  mit  IQ))'-  Service  Fr.!7,^9C  = 

S  11. 

Oas  Ganze  war  ein  ebenso  guter  Beweis  hoher  französischer  Kultur, als   nur 

eine  der   grossen  rornani  oben  12  uten,diewLr  in  letzter  Zeit/ahen. 


^^ 


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Freitag  7.  August ;  Ausfahrt  ais  Lyon  .era   aufe  der  Rhone  folgend,  tleg^nte 

vVohnvie  tel  werden  von  schönen  Landhäu^:ern  in  grossen  i^arks  abgelöst. 

Über  dem  Rhonetal  liegt  leichter  Nebel.  Impressionismus  musstt  in  Frankreich 

entstehen. 

^ir  sind  Mitten  im  Land  der  berühmten  Burgunderw^ise .3eau jolais  liegt  ein 
>A^enig  abseits. von  unoer  Poute  , ab:  r  sonst  lesen  sich  die  Namen  der  i.rtschafter 
die  wir  berühren  o..er  nahe  komnen,wie  eine  v\/einkarte:Fcuilly-fuisse  ,Macon , 
Puli:^ny-Montrachet  ,Volay  »Fomiriard.  .  .um  nur  einige  zu  nennen,  von  den  berühm- 
ten Namen  der  "Cote  d'or". 

Gegen  Mittag  halten  wir  in  Beaune.Es  liegt  inmitten  des  berahmten  burgun- 
dis  hen  ÄxkiRt^Wiinbaugebiet  iMxkaixHxMs  ehemalier  Sitz  des  Herzöge  von 
Surgund   besitzt  es  zahlreiche  mittel- Iterliche  Bauten, die  einen  Besuch  sehr 
lohnpn.-.vir  halten  vor  dem  Hotel  de  1.-^.  Poate  ,Blvd.Clernanceau ,  .essen  Küche 
berunmt  und  vom  M:|Chelin  mit  einem  Stern  ausgezeichnet  ist. seine  Ecrevisseß 
a  la  crne  und  sein  Volnay  geoen  dieser  Auszeichnung  refaht.Man  sitzt  ;-Jue- 
seriemaehr  angenehm  im  Garten  vor  dem  Hotel  bis  der  Besuch  des  Hotel  de 
Dieu  um  2  Uhr  wieder  mö-:lich  ist. 

Das  Hotel  -Dieu  ist  ein  Krankenhaus »des -en  Entstetmng  einer  Stiftung  des 
I30Ü  in  Autun  gebornen  K-^nzl  rs  Nicol.  s  Rollin  und  seinerFrau  Guigone  de 
talin  zu  aanken  i.'it.i^s  wurde  1^4^  bis  51  erb.  ut 

Durch  eine  Vorh:.lle  tritt  man   in  einen  .'.hrenhof  ,dar  mit  seinen  zweistocki- 
k«n  von  Turmchen  gekrönten  HolzarKaden  und  seinen  vielfarbigen  Dächern, dem 
Ziehbrunnen  und  Kreuz  ein  äusserst  wirkunsgvolles  Bild  :^rgibt,das  keines- 
falls an  elnan  Hospital  aer  Armen  denken  lässt. 

Die  Fuhrung  beginnt  mit  dem  gros.sen  72  m.  langen  Krankensaal , aer  seit  kurzem 
nicht  megr  benutzt  wird. 26  Betten, durch  Gardinen  von  einander  abgesonaert, 
stehen  parallel  d^r  v,and  und  können  von  beiaen  Seiten  erreicht  werden. 
An  jeaera  Bett  ein  Tischchen  mit  altem  hübsch  geformten  Kupferfeerät. 
In  Mitten  eine  Kanzel  fo±    Biblevorlesungen. 

Anschliessend  ist  die  Kapelle; wir  haben  das  Glück  die  Schwestern  beim  Got- 
tesdienst zuaehen;sie  tragen  noch  heute  die  beider  >^.ründung  vorgeschriebene 
Tracht;  ie  erinnert  mich  an  beguinen  in  .  echeln.riier  hing  früher  der  in  da£ 
'luseum  aberfuhrte  grosse  P.oger  van  der  veyden. 
Es  .:<'eht  über  cfen  Hof  in  die  Küche:  Altes  Kupfergerät  durch  mo:ierne  Herde  er- 
gänzt,^ms  denen  das  neue  Hospital  versorgt  Wird. Der   piess  im  Riesenkamin 
wird  durch  einen   utomat  in  Form  eines  N^annes  gedreht, der  "Messire  Betrand'». 
Die  i^potripke  hat  ihre  mittelalterliche  .-inrichtung  voll  bewahrt. 
Im  sog.Museumssc.al  wird  die  Langswand  ganz   von  ctem  riesigen  Flu^elaltar  ,den 
-vQcrer  van  (fer  veyden  für  die  Kapelle  14^2-5C  schuf,  eingenommen;  Das  jungdte 
Glicht,  äusserst  farbenprachtige  Oar£  tellung.  In  -itten  ein  mjestatischer 
Christus  tronend  auf  dem  liimmelbogen  aitten  unter  a-n  nackten  v^estalten  als 
höchster  Hichter.Von  iiingeln  umgeben  stosst  der  Erzengel  -ichael  in  die  Fosau 
ne.Die  Jungfrau  und  Johannes  aer  Täufer  erflehen  die  i'Iilde  des  Herrn. Dahmfer 
in  Gestalt  von  Aposteln  etc  Fortraits  Gekannter  Persönlichkeiten. Natürlich 
ist  aer   aftraggeber  Kanzler  Hollin , wie  ahi  „ohn  der  Kardinal  und  die  i'rau 
des  ranzlers  darunter ,.  ber  auch  Fapst  Lug®  IV  und  Philipp  aer  'K:^x^.^^Z^ 
Gegenüber  ein  kleinerer  Flagelaltar  mit  ..en  tiervorrag^enden  Fortraits  des 
Kanzlfrs  una  seiner  Frau^begleitet  von  den  Heiligen  Sebastian  und  -ntonius, 

Schutzheilige  des  no. pitals ,und  cenen  aus  der  Verkundung. m  Grisaille. 
Pn  aer  Fin.=rangswand  erdbeefarbne  Gobelins  mit  Wappen  und  Initialen  der 
Stifter  G  und  N.  ,aazu  die  Devise  "SEUL'»  ,in  welchem  Wort  der  Kanzler  seine 
trfrue  Ergebenheit  für  s^me  : ebensgefanrtin  auszuarüken  wünschte.  Diese 
vVandteppichte  hingen  früher  .n  hohen  Feiertagen  vor  ien  i:>etten  im  Krankensaa 


~frv  w^'^\  *^j» 


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Vom  Fhrenhof  schaut  :ian  in  einen  Stilgarten  init  geschnittenen  Hecken. 
Das  jetzige  Krankenhaui-  wird  nicht  gezeigt .man  hört  aber  mit  Genugtuung, 
w±e  klug  (fer  Kanzler  Hollin  für  die  Krhaltung  una  rarsorge  d  r  ?:ranken 
voraujrsch  uend  ;^esof:t  hat. Er  hint^rlies,  statt  eines  Vermö^:ens  ,das  wahr- 
scheinlich im  Laufeder  Zeit  verloren  ge  angen  wäre, ein  grosses  Areal 
da*  besten  Weinberge , die  noch  heute  ^^roc.^^e  Einnahuen  bringen.  Die  irn 
Novekrnoer  stattfinde  Auction  der  hochwertigen  Weine  ist  jedes  Jahr  eine 
Sens  tion  und  far  die  Preisentwicklung  des  Jahres  masfLgebend.E.s  ist  an- 
zunehmen,  das  s   die  ^ieine  des  J  hres  195>9  ein  besonders  gutes  Resultat  in 
Güte  und  ireis  bringen  \^/prden. 
Im  ehemaligen  Haus  aer  Herzoge  von  Bur^und  ist  ein  IVeinmuseum   urtler-^gebrach 
\vo  aie  .anze  Geschiente  des  bur^^undi^chen  Weinoaus   una  eine  Übersicht  der 
daiiiit  zusaminenhängenaen  Geräte  '»pichet ,  b.>ateil  i  es  ,tastevin'»  ausgestellt 
sind.'vVir  begnu.ien  uns  in  aen  äusserst  malriochen  Hof  des  im  15.una  ib.jn 
entstandenen  Jebciudes  zuschauen.  Es  liegt  dicht  bei  der  Eglise  de^fto.tre 
Dame  mer  Kircce  des  XIV  una  XV.  Jh.  mit  dreischii  ^iger  Vorhalle;in  einem 
Saal  aes  a-schliessenaen  ehemalir^en  KapitelgebaU'ies  flamische  "andteppiche 
die   v.m  Kardinal  Rollin  für  die  Kirche  in  Auftrag  g  geben  wurden; 
"Tapisseries  ae  la^Vier^^'   um  ISGC  .Schonfarbige  narstelJung  ^es  Lebens 
der  oun  laru  im  Leinen  und  Seidengewebe . 

Der  '^^eiterweg  setzt  :ie  '» Veinkarte"  fort.  Ich  erwähne  nuriNuits  -t. George, 
Vosne  Romanee ,Chambertin. . .  bevor  wir  MJON   erreichen. 

Unser  lotel  de  la  Cloche  liegt  am  Place  Darcy  einem  grossen  Garten  gegen- 
über. Wir  legen  nur  unser  Gepäck  ab  ,|carkR»und  fahren  gleich  durch  die 
hier  abgehende   Ru  de  la  Liberty   zum  holbkreisföririigen  llace  de  la  1  ibea^e 
tion(l68b)  vor  aem  e..emc>iigen"iogis  du  Roi", jetzt  Rathaus,  m  den  Barockbau 
Vön"Harduin-  .ansard  :ind   veile  des  aes  mittelalterlichen  Palasf.es  der 
Herzöge  von  Burgund  einbezogen. 

Hier  be.inaet  sich  auch  das  ..usee  des  Beaux  ..rts,   im  Ostflugel  aes  Her- 
zogspal-;.stes,zu  oem  man  von   er  Place  de   aiiit  Chapelle  /.ugang  hat. 
Der  Platz  heisst  nach  (tr  Kapelle  aes  alten  Laiastes, auf  die  wir  gleich 
nach  Lintrittstossen..i.xn  hoch  gewolb^pt  Saal  ais  dem  l4.Jh.  ,in  dem  der  Crdeja 
vom  goldenen  Vlies  seinen  Sitz  hatte. ^inge  Erinn-run^sstucke  sind  noch 
hier;die  Hauptsachen  befinden  sich  heute  m  aer  Weltlichen  Schatzkammer 
in  cfer  iienier  Hofburg  als  sog.  "Burgundenschatz'»  ,der  jedes  Mal, wenn  ich 
Gelegenheit  habe  ihn  zu  sehen , meine  höchste  .^.ewunderung  hat. 

Einige  geschichtlichen  Anmerkungen  zu  r  eignen  Klärung: 

Konig  Jonann  von  Frankreich  gibt  13^3  -einem  jüngeren  Sohn  PhilippXEKXXaig^^ 
"Le  Hardy'U Kühne)  das  Herzogtum  Burgund, der  d^mit  die  burgundische  Neben- 
linie des  Hauses  Valois  begründet. Er  regiert  von  136^-1^^^  und  feERMKÄKt 
erwirbt  durch  Heirat  mit  dsr  Erbtochter  der  Grafen  von  Flandern   die 
Niederlande  ;als  Ruhestatte   eines  Hauses  begründet  er  13^^  die  Chartreuse 

de  Champ'iiol. 

Ihm  folgt  Joan  ^^Sans  Peur'^  l^C^-1^19. 

Unter  Philipp  "Le  Bon"  {ikl9'lk67)    erreicht  das  Herzogtum  Burgund  den 

Gipfel  ff;iner  Macht;es  umfasst  auoser  Burgund  grosse  Teile  Holland , Belgiens 

Luxemburg, Flandern.  Er  vermehrt sinen  Reichtum  w.iter  durch  Heirat  mit 

Jsabell  von  Portugal  l429. 

Philipp  le  Don    ist  oranger  des  Ordens  vam_ Goljenen_ Vlies , dessen  Messornat, 
Schwurkreuz, WapT:enkette  etc   heute  in  der  wiener  Schatzkammer  ruhen  ; 
Maximilian, Erzherzog  von  Osteriieich  ,liess  sie  dorti.in  nach  seiner  Heirat 
mit  M  ria  von  ßurgun   überfahren. (1^77)  -    -  


36 


(.' 


( 


Charles__^'Le  T*in*raire"  ( aerTolikahne)1^67-1^77  ist  cfer  letzte  der  Herzo,.^e 
von  Bur.^:und"  aus  cera'  Hause  Vciloi6,ein  von  i^.hr^^eiz  verzehrter  Mann.^r  ist 
dauernd  in  Kriege  verwickelt  •  Bemäcritih,t  sich  Lothringenswird  o  ber  ,al6  er 
sich  1^76  auf  die  öchweiz  stürzt, bei  Granson  und  Kurten  geschl:  c>;en  Die 
Schweizer  -nachten  grosse  Beu^e,aie  im  ..  richer  Historischen  !4useum  von 
dem  ß:rossen  Luxus  zeugt, xit  dem  sicn  dsr  herzog  umgab. Der  Herzog  von  '  othrin 
gen  erobert  niit  Hilfe  der   chw  izer  sein  Land  zurück. Charles  fällt  1^77 
bei  der  Belagerung  von  ^;ancy. 

r.r  hinterlässt  eine  Tochter , Maria  von  burgund,die  reichste  ^:rbin  Europas. 
Ihr  vVunsch  das  Erbe  sicherzustellen  stimmt  mit  dem  Wunsch  der  Habsburger, 
durch  Heirat  ihre  H  ausmacht  zu  vermehren  überein.  So  heiratet/^en  :.ohn 
Kaiser  Friedrich  III, den  Erzherzog  Maximilian  von  Habsbur^  1^77. 
Ihr  ;iohn  aus  der  Ehe  ist  Fhii  ipp(  der  .-^chone)  , Erzherzog  von  Österreich. 
Auch  er  vermehrt  aie  Rabsbur^^ische  Hausmacht  aurch  Heirat  mit  Jonanna  von 
Kastilien, Tochter  von  Js^bella  von  Kastilien  und  Ferdinand  von  ,^.ragon, 
dTe'~"I'binkier  spanischen  Monarchie.  Nachdem  lode  von  Jsc^bella  von  Kastilien 
kommen  Ihilipp  und  Jon  nna  nach  Kastilien, um  aie  Regentschaft  von  Kastilien 
zu  übernehmen, als  Philipp  pkotzlich  ^ tirbt . (15ü6) .Jonanna , schon  früh  r 
schwermutig, v  rfalat  in  Wahnsinn, lebt  bis  zu  ihrem  Toae  1!>S5  im  Schlosse 
Tordesilias  in  Kastilien. in  Gefangenschaft.  ^ 

Aus  aer  Ehe  sind  zwei  ..ohne  hervorgegangen.  '''''i£v^i^|§||)ISH!i(ig8i^i  ^JS^^ 
König  CEE  veremi,  t  n  Spaniens , erbt  1!?19  von  KäiBe?  MxiiiiiliaA  dl^  fictüöbur- 
Tischen  Erblanoie  ,ust  er  eich  ,K  ernten,  St- iermark  ,  Vor.. e  roste   eich, Tirol  und 
die  Wiederlande.   arl  _:ibt  aiexKxfaixHiiK  östreichis  hen  ^rblande  an  j^ inen 
Bruaer  Ferdinand. (1521) ,tier  durch  Heirat  Böhmen  und  Ungarn  seinem  Reich 
ninzuf agt • 

Doch  zurück  in  das  Mus^e  des  Beaux  rts 

/u  gezeichnete  Gemildegc::  1.1  erie  n  ch  -  hulen  geordwat . 'Jnter  aen  frühen  Fla- 

men'^bleibt  besonders  "die  Anbetung  da|ri.MjAr3:itej^''^9ieuö^4ßS^5i¥0^y6ilS§'^^®  ^^ 
Erinnerung, von  .^en  deutschen  cmr    unbekannte  Bil  ;er  von  Konrad  >itz. 
Im  Salon  Cond^  ,aer  ^Is  Gouv-meur  hier  residierte  Jastellie  von  La  Tour 
und  andere  französiehe  Meister  des  XVIII  Jahrhunderts. 

r,er  einzige  e?'haj.tene  Raum  aus  der  Zeit  der  burgundischen  Herzöge  ist  der 
S  .gie  des  Gardeg  .  Philipp  ler   Gute(1^19-l^ö7)  hat  ihn  als  Festsaal  ge- 
scnaffen.  Heute  dient  er  den  aus  der  179^  zerstörten  Chartreuse  de  Cha 'p- 
-;.ol  g- retteten  ßrabmahler  und  Kunstwerken. 

Grabmahl  Philipp  Le  4ardi  vvur.e  l3ö:?-l^ll  von  Jean  ue  Karville  »Claus  ..luter 
far   ie  Chartreuie  gescnaf  f  en.  Der  •'»acntige^Tote^das  ÖgV^Kalfen^'" /^''^^'^ 
raht  mit  gefaltenci^  n  Händen   von  geflügelten  H.nr.eln  behatet  ^^^^§J"^^^ 
scnwarzen'^Marinors.-.crophag,a-r  unten  von  einer  Art   gotichem  kKKUxyuHR  um- 
geben ist, in  dem  xji^^m    die  -JicxaHMrMitgliea -r  des  Trauergefolges  circulie- 
ren.  Das  Gr^ahl  far  s  inen  Nachfolger a^c4-19) Jean  sans  leur  und  .^ine 
Frau  Margarete  von  ß.-.yern  vvurüe  l^^jj-7-  nali\  demsieben  j-luoter  c-usgefahrt. 

Hier  sind  auch  zwei  prachtvolle , vergoldete  und  farbige  . cnnitzaltare 
aas cfer  Gnartreuse  ,die  ihilxpp  Le  Hardi  be  teilte  und  ie  1390-1^99  geschaf 
fen  wuraen.  ..chlies  lieh  hän^^t  hi^r  auch  ein  Portrait  von  rhilipp  dem  Gu- 
ten,dem  .chöplar  des  Saal  s, das  in  sein  r  Qualität  von  Roger  van  der  'Veyden 

sein  Könnte. 

Auf      em   i^ückweg   merzen   wir    noch  dnen    Hlick   in    die   Kmc^ensäle    des   alten 

Herzogsschlosses   ,it  mächtigen  Kaminen  ..nd  Pbzugsvorrichtungen. 


/<i-H^      tr     CX  J 


1>1 


Y 


c 


4u6  dem  'luseurn  ko.'nrnend ,  f  ilÄ  t  and  ^r  Blick  auf  eine  interd^" '-nte  Fös  c^de 
am  Knde   ter  Rue  Vaillant;sie  ist  eigen  rtig  horizontal  gegliedert  mit 
aufgestzten  Turmenden,  fcs  ist  die  Kirche  St  «Michael , die  im  l^).  Jahrhundert 
gotisch  begonnen, im  laufe  d^r  Zeit  eine  Renaissancef ä.sade  bekommen  hat. 

Die  Zeit  erlaubt  leiaer  nicht, uns  nachanaeren  interes.^anten  bauwerken  um- 
zusehen »an  denen  die  Staat  noch  reich  sein  soll.  Vergecliches  shopren  in  der 
rtue  ae  la  Libert* ,  eine  der  Maupt^j  schäfts8tFa?ssen,n.'Ch   "tastevin" /vVeinKOster 
von  cfenen  wir  selbst  ein  besondersschöne:  Exemplar  in  ^-.ilber  besitzen. 
Was  uns  aigeboten  wird, ist  meist  hisslich  und , wenn  eLni^ermossen »viel  zu  teuer 
C.1S  kleine  Aufmerksamkeit  unseren  Freunden  mitzubring  n. 

So  kehren  wir  in  unser  hotel  zurück, wo  inzwischen  eine  grosse  'Tour''' angekom- 
men sein  nuss«  /'llesist  aberfüllt  ,:^uch  cfias  Restaurant.  ;;.o  ziehen  wir  vot^ 
lieber  im  Grand  Cafe  gegenüber  an  d?r  Ecke  de^i  Blvd.de  Brosse   Sandwiches , die 
mit  v.iner  aiTs^ e ze ic hn  ten  .'taste  beie.t  sind, zu  verzehren  und  ein  Glas  Bier 
dazu  im  Freien  zu  trinken. 

Samstag  8.  Aur^ust ;  Heute  ist  für  die  '»normalen'*  Gaste  des  /lotels  ein  Frühstück 
Raum  serviert , was  gesten  abend  eigentlich  auch  der  Fall  hütte  sein  iiüssen. 
Die  "Tour''  f ulJ  t  Jen  Speisesaal  voJlkommen. 

Schönes  //etter.Oer  '.'eg  vveiter  durch  Lothringen  führt  dicht  bei  'Pomremy- 
la-}ucel3  e  (Vogef.en)  bei, dem  Geburtsort  der  Juni/frau  von  Orleans, der  wir 
dort  uf  uns  rem  Hinweg  nt-ch   üden  gedachten.  A'ir  ;  a&,-:ieren  I-  ngpesC  Ht  .Marne) 
Prächtige  Lage  auf  einem  Bergsporn  des  Plateaus  gleichen  Namens  mit  tlten 
Befestigungen  und   Iter  K:^thedrale.  Icü  gestehe, da?s  icn  noch  nie  von  aiesem 
Ort  gehört  habe  und  auch  nicht  ..-Uo^.te  ,dass  hie   aer  grosse  Philospoph  Dide- 
rot (1713-Ö4)  geooren  ist.  Das  GanÄ  hat  aber  etwas  so  einladendes  ,dass  /ir  be- 
dauern,die  Zeit  für  einen  besuch  nicht  sparen  zu  können.  Unser  Hauptziel  ist 
ja  heute  Nancy. 

Es  ist  die  alte  Houptstadt  Lothringens  .iNlach  dem  polnischen  '.rbf  olgeKrieg(17j/3 
-j^5)tgat  F'rsnz  von  Lothringen ,  ier  •.:latte  ;,aria  Theresias, im  /Viener  Friedeten 
sein  Herzogtum  an  den  Schwiergervater  Louis  XV' ,aen  enthronten  polnischen 
König  Stanislaw  Leszinsky,ab . 

Er  hat  aus  Nancy  ein  Juwel  gemacht.  ;4ein  alter  lang  ver.-torbner  Freund, Prof. 
Kurt  Giaser,vom  Berliner  Kupferstichkabinet  nat  mir  zuerst  von  aieser  Stadt 
vorgeschwärmt . 

Der  neue  inerzog  legte  ciie  Neuschaffung  in  die  Hänae  des  hier  gebürtigen 
Emanuel  H<^r*iUen  17!:2-6l  schuf  er  j.ie  einheitlich  abgelegte  Flatzfolge  von 
f  stiicher  Schonneit  und  hoechoter  Eleganz. 

Mittelpunkt  ist  die  Place   tamislaw  ..  it  dem  ?^eiterdenkmäl  des  neuen  Herzogs. 
Er  steht  vor  iem  grö.-^ten  }alais,dera  Rathaus  »Fassade  im  klassicistischem 
^til;innen  fuhrt  eine  Treppe  nit  i:r.AChtigem  Rokkogelinler  in  den  •  rsten  Stoci? 
zu  einem  Festsaal, in   enw-r  von  auf  en  hineinscheuBn. Vier  weitere  sttatliche 
mit  Balkons  und  Laternen  geschmückte  Palais  an  ein  an  eren  S  iten  fassen  den 
fast  quaaratirchen  Platz  ein. Die  ab gestumpften  ^cken  desPlatfeees   —  unddas 
ist  einzigartig  --  sind  mit  wundervollen  vergoldfTen  Glt'E'ern  von  Jean  laraour, 
von  dem  auch  das  Gelanaerim  Fatliäus  stan;iiit,versenen;z'-  i  dieser  Gitter  umrah- 
mit  Bleifiguren  ;eschmuckte  Brunnen. 

Die  Nordseite  begrenzen  einstockige  Gebauaebauten , die  sich  in   er   Llace  de 
la  Carri^'re  fortsetzen.  iHxxHxxXxtteZu  ihr  kommt  man  durch  einen  Triumphbo- 
gen,a:r  i7!?7  zu  Ehren   ouis  XV  errichtet  wurde. Eine  langgestreckte  Allee 
in  cer  Mitte  f jhrt  zu  cfer  ovalen  1' Hemicycle  de  la  Carri^re  mit  Kolonnaden  und 
dem  Gouverneiuenthaus .  -  - 


59 


O 


Sonntag  9.AuKUst;  Frdhstü.ke  im  Freien  aif *r  Terrasse  vor  dem  Hotel, als 
Ti^^TUnnT^^Zrd^   ßhn  zurückkehrt  .wohin  sie  Dr.H  .begleitet  hat. 
Abschiedsbesuch  vom  Münvter.  Die  erneuerten  fi.,uren  von  *r  W  stfassade^ 
di   Statuen  cfer  Propheten  .Statuuen  der  ^rügenden  und  Laster. der  klugen 
und  törichten  Jungfaru«n  zeigen  schon  «ieder  starke  .-Cha.en.ts  ist  gut/ 
die  (ripinale  in  Sicherheit  zu  wissen.   Umhergehen  im  Munster  durch  Got- 
dienst  behindert. Gut, das.-  wir  gestern  unoehinuerten  tindruck  gewonnen. 
Ebenso  verhindert  der  Sonntag  den  noc  :mali,sen  Besuch  des  Kaison  de  iio 
1 'Oeuvre  de  Notre  name;es  öffnet  «-st  um  12  Uhr. Schade. 

^Veiterfaart  über  .ylulhouee -.dort  hatte  mein  Vat-r  einen  Freund, den  er  von 
der  >bschule  kannte; als  gesettelter  ; extilfabrikant  haben  wir  ihn  vor 
ians-en, langen  Jahren  in  seiner  schönen  Villa  besucht.         _ 
Oamals  war  Colmar   Mt  a-inen  Schätzen  noch  kein  Begriff  far  mich. 
Mit  s.^inenTitill  Fachwerkäusern  ist  es  si  her  die  schönste   tadt  des 
Flsasacnach  £tr  .ssburg. Im  14. Jahrhundert  *r  Colmar  eine  be  ieutende 
Handelsstadt, in  *r  Kunst  und  Wissenschaft  blühten.Martin  Schongauer 
akH^-91)    ist  hier  geboren  und  Katthias_Grune.;_ld  .eigentlich  Mathis 
Neidhardt  aus  Wurzburg(geb  .um  l'+VO  .gest .  in  Halle  a.d.S.ale  1^2»)  n-.t 
hier  Bewirkt, wovon  das  hier  bewahrte  Hauptwerk  zeugt. 
Am^tadfrand  liegt  das  im  XIII  Jh. gegründete  Dominikanerkloster  Unterlindec 
in  teinen  Jlostergebäuden  und  Inder  1269  «.«K^c^^Ht^geweihten  frugotischen 
Kirche  ist  das  Unter linden  Museum  untergebrabht.In  ihr  vortrefflich  auf- 

«estert  eine  Sammlung  von  Bilaern  der  rheinischen  ..chule  des  l^.Jahrhun- 
aerts  mit  ihren  hauptsachlisten  Heprasentanten  Schongauer . Menmann  und 

Matthias  Grünwald.  .,    ,  .  ,  ^  .  ,,      itic 

im  Mittelpunkt  naturlich  der  Isenneimer  Altar.  Grunwald  nat  ihn  um  1515 
für  das  Klester  Isenheim  bei  Geb^eiler  gemalt. ..s  ist  eines  der  erscnut- 

t^rnsten  Werke  der  deutscnen  l'alerei  in  glühenden  Farben  und  ubermachtm- 
ger  Phantasie,  ts  ist  in  voitref ilichem  <iuet*na .nach  dem  letzten  5 rieg 

zrLrgehlrend'slnd  -..   Ende  des  Chors  die   Iculpturen  des  Altars  von  Nico- 

ui^aen^KreÜzganrin  p.anz  moderner  Aufstellung  sind  gute  tlastik  des  ik   und 
15.Jahrnunaert6  verteij t .alte  Glasfenster  in  die  Wände  gelassen.... 
in  =e'  Kathedrale  .'t.Martin   am  r.ingang  des  edlen  hoch.'otischem  Chor  - 
^^,^^^M.n    h. leuchtet  -  MJTtin  Schonsauers  "M.- ria  im  Rosenha^'  von  1^*73, 
eines  seiner  fruhstens  Gemäße  und^chon  ^volj^endet  .Bezaubernd! 

Vor  der  schweizer  Grenze  er'Jisc"ht  uns  einliewitter  »i\ «i'^«». '-"If  ^J^^^f ' 
der  uns  zwingt  in  einer  Wirtechaft  an  "ege  Schutz  zu  mchen.  Hier  lunchen 
wir  gleich  und  machen  Bekanntschaft  mit  dem  e:.säsi-chen  Nationalgericht 
"ChoScroute"  .d.s  aus  Sauerkraut  mit  Kessler  und  ..rfefcchen   sich  zusammen 

setzt .Ausgezeichnet •  . 

Dann  fahren  wir  .als  daB  R-::  gen  »ich  beruni  t  nat, der  Schweizer  Grenze  zu. 


( 


ko 


t 


J 


wir  treten  ohne  Schwierigkeit  in  die   §_C_H__^_E_I^Z   über  die  Grenze 

Huningue  -  Basel. 

jetzt  sehen  wir  zum  er.^ten  Mal,.vie  nahe  Elses  Wohnung  in  der  Rämelstrasse 
der  französischen  Grenze  ist.  Unser  Besuch  dort  ist  für  spater  vorgesehen*, 
J'  tzt  hat  M  rianne  den  vvunsch  wieaer  einmal  das  Kunstmutseum  zu  besuchen, 
VVieaersehen  a.  t  >.en   Konrads  v'"^itz  und  Holbeins   zu  begehen. 
Auf  bekanntem  schönen  /'eg  nach  Zül^ICH  ,ao  unsere  Autotour  mit  dem  Citroen 
ihr  Ende  finde  t.Afir  hr.ben  mit  iHin'efwa  4,100  km,»  ?-ur  uckgelegt .  Morgen 
wird  der  .Vagen  verrbredungs.cemävss  abgeholt  wer-^en. 

Ifn  Hotel  St. Feter  er.warten  uns, wie  immer , /nimmer  mit  Brd  nachdem  Garten. 
Diesmal  sind  es  ZL^   und  2C6.  und  wie  angenehm  ,da3'  man  hier  im  Garten  essen 
kann,vo  uns  "unsere'*  Kellner  freu  lig  begrd  -en.  Lei  ler  müssen  wir  feststel-| 
len,dacs  unser  Freund, der  alte  Direktor , seines  Leidens  wegen^ sich  zur  ick- 
gezogen  hat;oein  Ersatz  raacht  auf  donarr-ten  Blick  keinen  -llzu  günstigen 
Eindruck. 

Montag  IG. August:  Am  Morgen  wird  uns  ein  eing-^schriebner  Brief  überreicht, 
der  seit   ochen  auf  uns  wartet. Der  Portier  vom  Hotel  Montalembert  hat  ihn 
an  die  einzige  Adresse  gerichtet , die  ihm  bekannt  war.  In  dem  Brief  teilt 
er  uns  .nit,dass  das  von  mir  to  ahnsüchtig  erv-rtte  Bucherpaket  mit  allen 
Reiseführern  einen  Tag  nach  unserer  .-breise  angekommen  ist. Lech, die  recht 
zeitige   nkunft  hatte  mir  viel  *>ger  erspart.  Aucin  jetzt  gibt  es  noch 
Kumplic^'^tionen:  Kr  kann  ;ie  Weitersendung,  eil  eingeschrieben , nicht  ver^n- 
la.  ^3en,fagt  -ber  gleich  einen  :  ntwurf  hinzu, wie  er  sich  unseren  Antrag 
an  -ie  zuständige"  teile  denkt. Mein  Trinkgeld  hat  sich  wirklich  ^elonnt. 
Du  auchcUrch  die  Lagerung  Unkosten  enfetanden  sind  von  einigen  hundert 
Francs, füge  ich  cfer  Sicherheit  halDer  ..^leicn  einen  tauend  Frc.nkschein  bei. 

üblicher  Rundgang  in  die  St.^^t:  Geldwechsel  in  aer  ?  reditc.n::  talt  ,Lrufunng 
meiner  Llugreservationen  bei  S«vit-.s  Air,  Air  l^rance  und  T"A  »Bestellung  des 
Bectenbiliets  für  mich  ,fiackfanrtkarte  für  >iari:.nne  nach  Basel  , aa  wir  ja 

ab  neute  ohne  Auto  p.ind. 

Mitta>^s  er^.cheint  ver  breaungsgemäss  4arp:arete  Gliksman. A'ir  es.-en  zusam- 
men Mittag, die  traditionelle  Forelle/ bei  /rl.Anna  im  '(eplerhof »trinken 
Tee  auf  UBBerexm  Zimmer, da  es  gie-st  und  essen  aicn  abenis  zusammen  im 
Hotel. 

Dienstag  11. August:  Jonnny  ist  wieaer  da.  Bringt  div.^hokola Je  aus  Berlin 
mit  ,aie  wie  namanns  dünne  Platten, Most  Iralinen  aite  trinne/^ungen  auf- 
frischen.mit  ihm  besorge  Hausanzug«mit'»Weste  ,was  hier  kein  }  roblera  ist, 
hole  das  Ferienbillet  ab. Zum  hchluss  suchen  wir  eine  goldene  flache  Arm- 
banduhr (Eterna)  ,di   sich  J. schon  lanf.:e  wünscht,  und  eine  kleine  Damenuhr 
bei:'iegrist  in  der  Oetenbachgasse  26  aus, bevor  ±ca   mich  r'iit  '"arianne  bei 
Feldpaus  treffe, wo  wieaer  gute  iink^ufe  gelingen. 

Der  übrige  Tag  i.  t  j-Urgarete  Glicksmann  gewidmet .  Zunächst  dinieren  wir 
allein  auf  (ter  Terr  cse  d  r  Congresshalle , trinken  C  fe  im  :7c.rten  des  Hotel 
Baur  au  lac  ,w  s  sie  sicu  lange  gewünscht  hat  und  plauaern,was  die  Haupt- 
sacne  ist.  --   oenas  wieder  Gewitterre  en.^so  bi  iben  wir  im  Hotel  und 
essen  zu  vi-  rt  im  Bauei'nstübel . 

Mit-i^'och  l^.y.ugust:  ,Ur  sind  wieaer  allein. Mit  Marianne  zum  Ihutogr- phen 
ge.schaft  inaer  Storchengasse  13.Erf.  hren  ::iit  BedauÄrn,dess  uns'^^r  alter 
Freund  sein  ..eschäft  an  z.r^i  junge  ..eute  verkauft  hat, die  jetzt  firmieren; 


kl 


I 


1 


c 


"3ril] enigntitut  Hoehn  und  Zehnder". //ir  vertrauen  oer  neuen  Fa.unsere  Ne- 
gative an  und  hope  :or  the  best,  Einkäufe  bei  Locher  Lederwaren  am  Münster- 
hof mit  ans-^chliec-^endem   Bummel  die  Bahnhof  ^tras.se  hinunter  ,w.simm^^r  amü- 
sant. Mittag  noch  einmal  bei  Fr  I.Anna  und  der  tr^ aitionelien  Foreile  im 
Kr  pJ)l^-rhof .  -  W  chmittag  im  Kinä;  '^  vir  i\/un^erkinaer"  c-musante  Satire  auf 
Oeutschlan^js  Entwicklung  , euch  na  .  h  Hitlers  Sturz. 
Abendbrot  im  "MoewenpicK"  am  .i  ar.  deplatz. 

Oonn-^rstag  1^.  August;  Heute  benutzen  wir  die  SBB  zur  Fr-^hrt  nach  Basel  zu 

B;lseund  Anne.narie  üinsber^^Die  neuen  Aluminium  iVa^en  I. Kl. bieten  wirklich 

<ien    liochc:ten  Comfort,sie  nahen  sogar  reclininr  seats. 

In  Ba  el  geb-  n  wir  er.:t  mein  GepacK  im  Schweizerhof  ab.  Ich  bekommen  aiesmal 

mit  no.l(j5  einen  uberrau^hend  schonen  modei'nen  Rcum  mit  einem  3yd  der  lezten 

Finessen.  rt'eSiter  Blick  aber  daß  Anl  ;  en  des  Bahnhof  splatzes .  Freue  mich,dass 

der  Küum  aucn  Nlarianne  gefällt. 

Zu  Ti.-ch  in  dar   Ramelstra-  se  ^.  Besonders  reizende  Aufn.  hme 

9:35  fahrt   o-rianne  uit  der  Eienbahn  zurack;ich  be-leite  sie  naturlich  zum 

/,ug  und  sie  gesteht  .jir,iass  sie  froh  ist  , meiner  Anregung^  laitaer  Bahn  auch 

zurückzuf«nren , gefolgt  ist. 

Freitag  l^.bis  Montag  17«Augu.st;  Vormittag  bl.=^ibe  meist  fdr  mich , schreibend , 
._.eitun^T:  lesend  --  intar  ssant  einmal  ciie  deutschen  :^eitungen  in  Puhe  durchzu- 


se 


iien      ittags  und  abenasbei  ü'lse.  'mmal  mit   nne  narie  im  Kino, um  einen 


alten  Daney  Key  ^'ilm  ^'F<^ustkampf ^'  anzusehen.--  Von  Zürich  Telephon;  Das 
yaket  iFt   luCkiich  da  und  ai  Stenger  g; sandt  ,  ^o. eit  ich  ^ie  Führer  für  wei- 
tere Keise  noch  brauche. ^as  traditionelle  Festmahl  »das  meinen  .-,uf ent- 
halt abi:Chj.iesst ,  diesmal  vor  cfer  Stc.it  im  Sc  bloss  Henningen  ,  zu  dem   man  mit 
Tr^ra  7  bequem  -el  ngt.  Ku  1 1  iviert'-s   aus  mit   rovser  lerr'se, Garten  .  'ir 
ziehen  vor  in  ocr    r'onsternii-che  mit  31ick  in  cfen  Garten  zu  speisen.  VortreffI  id. 

Dienstag  lö. August;  Anneuiarxe  begiftitet  nie  ., wie  iratiier,zur  Bahn. 
Ab   Basel  9:31  ^"^   dire/ten  vv.^gen  nach  Thun,wü  mich  mein  alter  :**^eund  Konrad 
Stenger  erwartet  und  mit  Taxi  hinauf  nach  Hünib -ch  .Riedstrc sse  fährt. 
Übervaschende  .inwesenheit  von  ax^u   Ramseier  mit  2  Kinaern  als  logierbesuch, 
was  die  Junggeselienatmosphäre  wesentlich  veränaert.-  Telephon  von  Marianne 
aus  Iv'ntresina  ,die  gute  /^nkunft  dort  im  ^uto  melaet. 

Mittwoch  19 «"Freitag  21. August;  ;,' eiderwieuer  meist  beuecktes  Vetter  mit  ge- 

witter  und  Kuhle, -o  dass  Konraa  die  Centralheizung  in  ^wwegung  etzt. 
Kcbnrad  zeit';t  jiir  farbi,^-e  i^ufnahmen  von  seinen  Rei  en  in  Griechenland  und 
Ägypten  jAfobei  auch  meine  Tennins,dxe  in  i^orest  nills  aufgenommen  wurden,  far- 
big auf  der  Leinwand  erscheinen,  it  gro.sen  Gewinn  sehe/mit  riinblick  auf  die 
Kommende  Reisemit  BachS/ durch;  Decker  "Italia  Homanica"  ,Schroll  ,vVien. 
V  ttavo  Vol.  des  i  ouring  Club  Itaiia:  I  uglia,Iucania  ,Caiabria..:ilano  1937»-" 
Freue  mich  von   arianne  Kechansky  Nachricht  zu  erhalten;sie  ist  mit  dem 
"FORSCüE"  in  Klagenfurt  auf  dem  Wege  nach  Rom. 

SaiQstag  22.Au>ust;  Gestern  sp-at  abends  i.st  Hans  Rü^mseiermit  seinem  Auto  g-  kom 
men  und  ich  habe  mich  gefreut, ihn  \Afenisg.  tens  Karz  zu  sehen. Morgens  , als  wir 
mit  seinem  vVagen  ::.ur  r^ahn  fahren  vollen , stellt  sicii  hera\^dass  :;ein  Vagen 
einen  Fiat  hat.^in  herbeigeruf nes  T^rxi  schafft  es  gerade  noch  und  >- ogar 
mein  ..epäck  kommt  auch  noch  in  meinen  2'/Ug,dank  nans  R.Riesenkräf  t^  ;Habl , 
behalte   -ntel  an.  9:^^  ab  'ihun  , umsteigen  auf  selbem  Bahnsteig.  11;  4^  an 
Zürich, wo  im  neuen  Airterminal  bei  S  viss  Gepäck  nach  Rom   ufgebe  .  13*  55> 
bringt  mich  Omnibus  nach  Kloten,wo  nette  Hostess  mir  frühzeitiges  Einsteigen 
ohne  Wettlauf  ermöglicht .Swias  #  300  ab  Zurich(Nur  Tourist )15:00. Im  dichten 
Nebel  über  Larma , Florenz  ;]Siv  bei  licnteTsich  trst  bei  Annänrung  auf  Rom, wo  wir 
mit  leicnter  Verspatung( statt  17;20)  erst  gegen  lö  ;00   im  Airport  landen. 


kz 


ITALIEN 


I 


a)    ROM 


(  ) 


Samstag  2^> August;  Vom  Airport  Ciampino  bringt  mich  der  Bus  zum  Air 
Terminal  im  Hauptbahnhof , wo  ich  SDhaBll  mein  Gepäck  erhalte  und  mit  Taxi 
hinauf  zur  Trinita  dei  Monte  zum  Hotel  Medici-Hassler  fahre.  Empfang 
als  geschätzter  Besucher ;werde  von  jungem  Schweizer  hinauf gf?leitet  zum 
obersten  -tock  ,wo  unsere  Zimmer  reserviert  oind.  Die  Schiebetür  zwischen 
den  Zimmern  steht  off en; discret ( ! )  fragt  mein  Begleiter, ob  mir  das  Recht 
sei( ! ) •  Marianne  Nechansky  ist  bereits  da, mit  ihrem  '^Forsche"  von  Wien 
glücklich  herübergekommen« 

Unsere  Zimmerlie^-en  so,dass  die  Turme  von  Trinita  dei  Monte  den  Lärm  von 
unten  abschirmen , den    eiten  '^lick  aif  Rom  und  die  frische  Luft  freilassen 
Unsere  Bäder  liegen  an  Eingangskorridoren, die  durch  die  oben  erwähnte 
Schiebetür  abgeschlossen  werden  können. Ideal ! 

Beide  Zimmer  sind  vom  Hotel  mit  eiumen  geschmückt.  Wir  sind  sehr  glücklich 
und  machen  far  beste  Verwendung  anderes  auf  1^  Tage  bemessenen  Aufent- 
halters Pläne.  Freue  i-nicn,dass  Marianne  Rom  nicnt  gut  Kennt, WcS  die  Auf- 
g.  be,inr  amegewählte  Teile  der  ewigen  btc^dt  und  ihrer  Umgebung  zu  zeigen^ 
besonders  reizvoll  macht. 

Das  Terrasfc^enrestaurant  unseres  Hotels  ist  aif  'unsei-r  *  Etage.  Als  wir 
um  ö  unr  dinieren  liegt  nur  das  näcntliche  Rom  mits  einen  Licntern  vor  uns 

Sonntag  2^. August ; Marianne  ist  von  ihren  bekannten  gewarnt  worden, ihren 
vVagen  in  der  Stadt  zu  benutzen.   ir  haben  von  unserem  Hotel  den  sehr  beque- 
men Zugang  über  die  jriazza  ael  Bopclo.Ich  zeige  ihr  das  Mausoleum  des 
Kaisers  .KUgustus  und  den  Ära  iacis  zur  würdigen   inleitung, bevor  unser 
iiuto  zwi  chencfen  Kirchen  in  den  Corso  Vittoare  Emanuele  einbiegt. 
Der  Palazzo  Regis  mit  dem  xMuseum  Baracco   ist  leiierbis  Anfang  September 
geschlossen.  Ich  entschädige  Mar.  durch  Besuch  des  Fal. >icissimo  alla  Colonne, 
Betrachtung  der  Cancdleiia  und  Änderung  über  die  Piazza  h    squino  zur 
Piazza   Navonajum  meiner  Begleiterin  gleich  eine  Idee  des  alten  ^oms  zu 
geben /'^yyir  Ifahren; weiter  zum  Pantheon  und  gehen  durch  die  "-^este  der  Alt- 
stadt bis  zur  '  irche  Gesu.  Zurück  über  die  fazza  Minverva   and  lunchen 
unweit  in  d.ner  Trattoria  ,diedurch  Ausstellung  herrliche-r^Fruchte  zum  Näher 
tretn  einlädt.. Vir  lunchen  ausgezeichnet  und  beschliessen  mit  ^^Cranje'* 
Pfirsichen, die  von  Zandvoort  m  guter  Erinnrung^ind. 

Am  Pantheon  besteigen  wir  wieder  d-^s  parkende  Auto, das  uns  über  Monte  Cito- 
riOjiikazza  Colonna,Via  Tritone  zurück  ins  Hotel  bringt. 
Es  gab  nicht  die  geringste  Schwierigkeit. 

Nachmittag  wiedermit  Auto  über  den  Pincio  zum  Bor.  hese  Garten. Blick  in  das 
Casino,wo  uns  für  allen  Ungetchmack  ein  besonders  reizvolles  Frauenbild- 
n±c    von  Carpaccio  entschädigt. 

Die  Jause  in <^r  Via  Veneto   ibt  Mar. keine  rechte  Vorstellung. Die  eleganten 
Röe^jund  was  mit  ihne  zusammenhangt , scheinen  alle  v  rreist  zu  sein. D- ruber 
k-nn   auch  der  Coupe  Ooney  nicht  hinwegtrösten.  Wohl  äD er  unser  Dinner  auf 
'»unseier  "  Dachterrasse , wo  wir  bereits  anfangen, wie  Srammgäste  behandelt 
zu  wer-aen. 

Montag  2^. August:  Angenehm ,dass  ich  Inder  Via  5xstina,ohne  die  spanische 
ireppe  zu  benutzen , Geld  wechseln  kann.  Ich  bekam  heute  für  >  ICO  Traveller 
check  Lire  bl,ö5ö.  —^ 


^3 


1 


« 


Mit  dem  Auto  zum  Vatican  zy  kommen, meht  keine  Sc hwierif'jkeit  »schon  eher  das 
tr^r  en  dort.I  h  will  heute  [Marianne  la^  neu  a-eordnete  Muneo  li.trusco  Grego- 
riano  zeigen,  xr  erhalten  unten  iie  ".itteilung,das.  .Sammlung  geschlossen, 
ginauffahrt  zur  Direktion ;  uer  Dirner  bringt  meine  'lit^.-li^  dskarte  des  'e- 
tropolitan  Museums  mit  m  iner  Visit en.vc.rte  hinein  ,^7orauf  sofort  Erlaubnis 
zur  Besichtigung  erteilt  und  wir  zum  lAngang  aer    Samnlung  geleitet  werden. 
Mir  liegt  vor  allem  daran  die  Fun.e  aus  dem  R^lini-Galassi  Grab  bei  Cerve- 
teri   zu  zagen. /^n  der  /icnd  ist  ubersicntlich  dargestellt , wie  alles  im 
Grabe  stand^als  man  einarang.In   einem  Glatschrank  sind  die  ^'^^g|g|?h^Si^" 
zerate  versammelt , die  die  Tote  bedeckten. De  ist  vor  allen  die  t^ofM   Fibel 
mit  dem  T  öwendeKor  u-rinr;t  von  Palmettenranken; Verbindun-sdecor  und  Schlie- 
se  mit  granulierten  Zjickzackmotiven  una  Greifen. Die  Granulationsarbeit  in- 
"teressiert   arianne  naturlich  besonders , weil  Arnola,iar  lann, diese  selte 
ne  lochnick  in cer  Kunststhule  gelehrt  hat. Sie  kommt  ursprunglich  vom  Osten. 
Ich  sah  sie  vor  kurzem  in  der  Koreanischen  Ausstellung  in  Kew  York  auf  eineml 
frühen  chinesi.chen  ,  chmuckstuck.  '^ann  ist  da  ein  breites  goldenes  Armband 
mit  getriebenen  .iguren  von  Göttinnen , die  Palmblatter  trtgen.Auch  hier  ist 
wieder  die  Granulationstechnik  ver  .^ndt.  (Zeit  für  beide  6!pO  v.Ch.) 


war 


und   -stark 


( 


Aufgestellt  ist  d^s  ßronzebett e  ,auf  der  uie  lote  gebettet 
aus  Re-ten  zusaminengesetzt  und  ergänzt-  ein  - hron  und  ein  und  ein  zwei- 
radrii':er  Staatsw^^^'-en>  -  Aus  demselben  Grab  stammen  interessante  reliefierte 
:älbc:rsch  len  von  Ihöniciechen  Ursprung. Ganz  herrlich  ist  die  Vasen- 
sammlung im  anstossenden  H^um  meirt  griechischen  Ursprungs, Athen ,Corinth    . 

8-5  Jahrhundert  v.'Ui. Danach  2Bige  ich  nur  noch  die  auc;sergewohnlich  gute 

Ikonsammlung  am  Eingang  in  ciie  Pinakothek. 

Um  nicht  noch  einmal  einen  ai.iren  Fli^tz  zum  Parken  des  Wagens  .-suchen  zu  müs- 
sen,lunchen  iir  gleich  in  einer  nahen  kleinen  Trattoria. 

N^,chm;ttag  bummeln  wir  zu  Fuss  durch  die  Staü(tt:  •  pc^nische  Treppe  hinunter, 
Vii  Condotti,Corso  und  jaussen  im  nftien  elegc.nten  Cafe  Al±emagna  nah  an  der 
Piaz/.a  Venezia. T)inner  wieder  auf  unse^  Dachterratee. 

Dienstag;  2:>  .August :  Fr  iohtwetter.  otrahlenae  Sonne.  So  recht  g  eignet  zum  Aus-| 

flu?:  nach  Tivoli. 

Wir  fahren  gleich  zur  '^Villa  Hadrians^^  , eigentlich  eine  :e  alaststadt  ,aie 
Kaiser  zwischen  llö  und  l^ö  A.n.  rricnten  liess  mit  Bauten, die  er  ahn  erin- 
nern sollten  an  bauten, die  er  auf  s  inen  Reisen  in  Iriechenland  und  Agyy-ten 
gesehen  hatte.  I::  .ittelalter  nat  ::ian  die  Knla^,e  ..Is  Steinoriich  aisgeplun^ier ^^ 
s^e  ging  weit  über  die  heute  freigelegte  Fläche  hinaus. 

üeim  ;^Lin;.ang  ein  guter  platischer  ^rientierungsplan  ,auch  ein  .^uter  gedruck- 
ter Führer  erhältlich. 

Die  Namen»die  heute  den  Ruinen  beigelegt  sind  willk  ^rlich. Besonders  em- 
arucksvoli  noch  heute"das  XKXxInsel  Wymphaum"  ,auf  uac  sich  an^^eblich  der 
i^aiser  zurückzog  ,..v-nn  q:"  allein  sein  wollte;eine  gute  Reconstruction  in  Gips 
steht  in  ein  r  Vandnische . 

er  "Kanopos"  ist  acner  eine  Erinnerung  an  d.s  berahmte  Serapis  Heiligtum 
in(ir  kl^Anen  Stadt  Kanopos  bei  Alexandrien.  -^oS  vorgelagerte  Wasserbecken 
soäil  an  dpn  dort  vorgelagerten  Kanal  erinnern. 
Während  die  mei-ten  ler  ^^unstwerke  ,die  bei  (fen  'Grabungen  hier  gefunden  wurden 
in  vi-len  Kuf  een  c^r  W^lt  zerstreut  &ind,str-hen  hierum  das  .Vasser  T^olonnaden 
und  eine  Art  og-xia  mitsechs  Karyatiien  »Kopien  der  berahmten  F^  echteion 
Koren, sov./ei  einige  Gipsabgüsse  \H-s  jetzt  gefunden  wird, bleibt  hier. Im  Ge- 
bäude seitlüch.':es  W^-^sserbeckens  i.-^t  aafur  ein  kl-ines  Museum  eingerichtet. 


kk 


I 


1 


i 


\l.s   wird  weiter  gegraben  und  stark  restauriert  at^»^  wesentlichen  Bauten, auch, 
«s-cs  wichtig, 'A'asser  in  tiecken  und  Fontänen  zurucijgeleitet . 

H&uptsacne  und  was  besonders  in  Srinnerung  bleibt:T)ie  landschaftliche  Schön- 
heit .ieF  p.anzen  Anla^re, 

Wir  fahren  zurück  und  halten  in  Tivoli  vor  dem  T^in^ang  zur  Villa  d'Este. 
Auch  hier  ist  wieder  wesentlich  die  landschai tliche  Schönheit , ier  Jark 
mitsrinen  sprin,2;enien  W-SKern,  Blick  :-\xf    die  S  bimer  Ber^e  von  jer  Terrase. 
Hierist  jetzt  eine  kl  ine  Bar  ein  .erichtet ,  so  cii^-s  wir  /snd^>.j.ches  und  Expres 
so  inichönster  Umgebung   haben  können. 

Ich  h  be  meinen  phOLO.p].  rat  im  Vagen  gel.;  en.So  1  >o.  en  wir  uns  bei  ar-r 
Fontana  della  Sibilla »der-n  JVasfcer  hinter  uns  herabfallen ^photograpnieren ; 
dts    Bild  können  wir  gleich  iiitnehTien, 
Recht  befriedigt  neim. 

Wir  können  uns  niclit  entschliesi  en  ein  anderes  Kestaurant , an  denen  in  Rom  ja 
kein  Mangel  ist  »aufzusuchen.  Jir  haben  es  auf ''unserer"  Terrasse, ant  unserem 
Ecktisch  so3:hön.A'ir  könnten  es  nir.-.ends  besoer  haben. 

Das  Publikum  ist  gut,&b-r  kaum  Abendtoiletten.  So  koumt  !4  riannens  Abend- 
toilette,die  sie  sichauf  meinen  Wunsch  hat  machen  la.ssen,  nicht  zur  Geltung 

Mittwoch  26.  August;  Die  l:;^)^  ^-^Is  päpstlichen  Sommersitz  gebaute  Villa  di 
Papa  ;.iulio  (Papst  Julius  ill  von  Vignola  erbaut  :.it  Stuccos  von  Taddeo 
Zuccari)  enthält  als  Mu-eo  ai  Villa  Giulia,die  modernste  una  reichste ^^ 
etruökische  Sammlung  in  Pom, deren  Hflipt^ucke  aus  pal«^:strina  »Falerii  ,Ve  ji 
etc.otammen.oae  ist  mir  seit  vi  len  u:^hrzehnten  lieb  und  hat  in  neuster 
Zeit  eine  moa  rne  Auff.tellung  bekommen ,  wo  bei  gleichzeitig  aus  den  überrei- 
chen Hestänien  eine  gewisse  Auswahi  getroffen  'urae. 

So   sind  jetzt  von  den  Terracotten  n.r  ein  h^rvo  ragendes  Beispiel  eines 
11x1^1x1^11  mit  einem  Ehepaar  aus  Caere  Ueute  Cerveteri)  (  6. Jh.)  neben 
dem  Apollo  von  Veji  (um  50C  v.Ch),von   oben  beleuchtet,  «virkungsvollst 
aufg   teilt.   Im  Oberstock  .-ind  die  iironzen  vereinigt  .Hervurra.^end  die 
überschlanken  ganz  modern snmutenddpn  Votivfiguren ,di  schönsten  eisten  mit 
ihren  reizvolJ en  henkelfi^uren  und  feinsten  Gravierungen.     y^^.^^ 
Neu  hinzup-;ekommen,seit  meinem  letzten  r;esuch,eine  hervorragende  ^  S;,mmlung 
griech.  ichen  und  etrupkischen  Ursprungs. 

Mir  schien  es  passend  ein  Besuch  -es  Museo  Nationale  delie  Terme  anzuschlit 
sen,in  iem  die  ahön^ten  griecniichen  Originale  ,aie  Rom  besitzt , versammelt 
sind.  Oie  3  e  hatschon  wieder  ein ,sicherbei  einem  .  chiffbruch  versunknes, 
Kunstwerk  hergegeben  und  a.mit  wieaer  einmal  eine  gewis^r-e  ümordnung  nötig 
gemacht. ,.ir  genie&sen  aie  Herrlij^hkeita^n  grosser  Kunst  wieaer  ^ehr  . 

Im  .ßerstock  Gemal  e  und  ,:tuccaturen  .  Däe  hierher  übdüö^gne   FresKenraum 
aus  cter  Villa  Julia  vom  Kapitol  inte.e  -iiert  i-l  rianne  besonders; sie  dankt 
in  -aieser  M^^nier  einen  i^aum  in  ^mtter^am  far  ihren  Enkel, Gabys  Sohn,auzu- 
malen.  Merkwürdig  ,aass  niemand  ^f  J|g  ^g^J'f  l^cfes^^.irK^?^^^^  Sammlung  dem 
Thron  mit  ^er  Geburt  aer  Aphrodite  einen  besseren  platz  einzuräumen. 
^iiin  viel  zu  kleiner  ^aum  umschlier.stiiar  zusammen  mit   -r  schalfenaen  Erinys^ 
dem  Kiesenkopf  .veäner  Juno  aus  ctem  6. Jh. und  ihr  von  Goethe  weit  überschätss- 

tes  Gegenstuck  die^Liiovisi^uno  *.ius  dem  Anfang  aes  Römischen  Kaäserreichs . 
Wie  bei  allen  römi:.chen^Si§x^M  Sich  einem  Ide^ltyp  des  griech.^. Jahrhunder 
ist  Glätte  an  Stelle  der  Belfbtheit  getreten. 
Hübsche  >inlagen   vor  dem  -:useum  mit  einm  Cafe  locken  uns  im  Schatten  s  chcm 
Bäume  uns  niederzul^..sien  und  ein  leichteF  Lunch  mit  Sandwiches  und  Cafe  wie 
kälten  G<^ tränken  einzunehmen.  


^f-r 


) 


Donnerstag  27 «August;  Heute  habe  ich  ein  i^unafahrt  von  198  Km, geplant 
Unser  erstes  Ziel  ist  die  alte  Ltruskerstodt  Tarquinia  und  ihre  Necropole 
Ich  bin  1957  das  letae  r  al  nit  meiBBPK  Tochter  dort  gewesen  und  habe  im 
Tagebuch  1957(  3.21-27)  |Wc.s  wir  dort  gesehen »ausführlich  beschrieben, 
i/ifir  f in  ien  diesmal  <fen  iralazzo  Vitelleschi  mitten  in  einer  gründlichen  IVie- 
derherstelxung.  .an  hat  ab:r  die  Hauptstucke  cfer  Sam^nlung  provisorisch  sicht- 
bar ,<emacht.So  Kann  Marianne  w^nisgtens  de«  Sacrophag  des  ilcgistrats  und 
einige  Skulpturen  sehen. Besond'^-reH  Eindruck  empfängt  sie  von  ien  mittelalter-l 
licn  wirkenden  Grabplatten  ,aie  sie  im  Stehen  in  ihrem  Skizzenbuch  ausge- 
zeichnet festzuhalten  v«eiss,wa8  ien  sehr  bewunde  e. 
Um  Ja   12  versaminelt  der  Custode  die  anwesen^ien  Besucher , die  äL:e  mit  ihren  Wage: 

hier  sind, meist  Italiner,zum  /.ufbruch  nach  der  Necropole» 
Wir  haben  damals  mehr  Gräber  besucht, aber  was  er  zeigt  ist  durchaus  genügend 
eine  gute  Vorstellung  zu  vermitteln  .SoWeit  ich  mich  erinnere  w  ren  es  dies- 
mal :lomba  della  Caccia  e  iesca,'iomba  della  J,eone,Toraba  del  Tori —  ich  wunder 
mich,aasci  er, im  Geeensatz  zu  unserem  damaligen  Führer  und  trotz  der  Anwesen 

heit  zweier  Damen  -  auf  die  Stark  obscenen  Bil  ..erhin.  eist  --  Tomba  del  Baro- 
ne,'jomba  ael  Corsa  et  cavalli   una  schliesslich  auch  die  Tomba  degli  Auguri. 
Die  MalerelÄXElaxlKÄ  enstanden  z*,'-ischen  53C  und  510  vor  .hristi. 
Ich  hoff  e  SBhr  ,dass  d-cr  Neubau  Jes  iiuseums  uie  betternaltene  Fresken  des 
Tricliniuuis  von  4lG  v.Ch.   und  vieliicntaucn  die  Tomba  di  rolifemo  mit  dem 
reizenaen  Kopf  des  Mädchens  Vels^  vor  weiterem  :-icha>.en  gesichert , sichtbar 
machenwird« Ich  werae  jedenfalls  nicht  verfehlen  nach  meiner  Rückkunft   mei- 
ner Begleiterin  das  hüböHhe  Buch  aus  aer  Piper  Bucherei  "Tarquinia'^  zuzusen- 
aen, dessen  Heproductionen  erstaunlich  aen  Cri^^inalen  nahe  kommen» 
Alle  Italiener  waren  üdriKens  zu  uns  von  einer  ganz  Desonderen  Kücksicht  und 
Aufmerksamkeit,  'lan  sient  <iber,aas-  bereits  wieaer  neue  Gräber  gelunaen  sind 
wexG-  aoer  nocn  nicht, ob  die  Aus -rabunt,  lohnen  wird« 

Vvir  lunchen  im  kKtacMatraxlTrattoria  Bersaglieri  sehr  or  entlich.im  Freien 
auf  einer  kleinen  Terrasse. 

Hinab  ins  Tal.  zu  einer  mitce  j  ^ulterlich  wirkenden  Stadt  Tuscania.mit  'äij.en 
und  Türmen,  usserhalb  die  überbleibsei   aes  alten  Tuscana,bezw.Toscanella. 
Die  U  ite  öde  Fläche  Jer  einsti^-en  etruskischen  Acropolis  wird  vom  Dom  San 
1-ietro  beherrscht , dessen  aus  dsm  8  und  11.  Jahrhunue,  t  sta-amenden  Apsiden  '/;eit 
über  dc'S  Land  schauen.  Unsere  Zeit  erlaubt  leider  nicht  zur  Anhöhe  hinauf  zu 
fc  hren.  Vir  be^nü^^en  uns  mit  Besuch  der  näher  liegenden  Basilika  Santa  /lag-fc^ion 
Sie  geht , wie  ich  lese, auf  das  8. Janrhundert  zurück, stammt  aber  in  der  jetzi- 
gen i^orm  aus  dem  12.  Jahrund<:;rt , wobei  aöFr  Teile  des  früheren  Baus  verwendet 
wurden,  ir  sehen  es  sofort  an  der  fast  unvermittelt  in  die  Haupttorlünette 
versetzte , fast  freiplatische  Sitzraadonna  und  die  fli^nkie  -enden  Apostelf  urstei 
mit  uen  orientalisch  anmutenaen  Frucntcrnamenten  .arunter. 
ochön  ist  aucii  der  ^Rückblick  auf  Tarquinia  's  hochgelegne  Stadtshiluette, 
mit  bchlocs  und  ..urm. 

ir  machen  auch  nicht  in  Viterbo  halte  ,sdindern  fahren, am  kleinen  Lago  di 
Vico  vorbei,  durch  achöne  vjälaer  direkt  nach  Caprarola ,  exn  kl  ines  Stadtchen, 
an  c:es5.en  :.nietier,al  e|^  uberrogenie  ,PäLäazzo  Farnese  liegt. 
Es  iit  bereits  ^  unr  vorbei;  ro  nat  en  wir  rte:ienkkn,ob  ^tbr  noch  itinlass  finaenl 
würben,  .vir  haben  aber  ;luck.Drausoen  ,oben  am  x^and  der  Terrasse, zu  der  wir  em-l 
porsteigen , sitzt  eine  alte  Frau; sie  ruft  auf  unsere  Bitte  den  Custoden  her- 
bei, ler  bereitwillig  di   Fuhrung  übc-rnimmt. 

Cardinal  Alessandro  i?arnese,der  A'effe  des  Papstes  Faul  111(15^7-^9) r^ab  153o 
kKrazxx  den  .-uftrag  Üb^r  das  fearterre   iner  Festung    einen  Palast  zu  erriebfti 
ten.Vignola   löste  die  .lufgabe  j.n  einem  Fünfeck  und  mit  einem  dsr  grossartig- 
sten lalä'ote  der  Renaissance,  im  Inneren  ist  ein  runter  rtof,eine   otonda  mit 
Arkaden, in  dessen  Lanetten  die  Faläst   der  Farnese  dargestellt  sind. 


^6 


I 


c 


Auch  die  in  die  Hauptsäle  hic^-nuf führende  Treppe  im  grossartigen  Treppen- 
naas von  Tempesta  geht  in  überaus  elegantem  irichwung  in  die  ?:unde. 
Die  Säle  sind  von  den  Zuccf.ros  ais.5emalt. Themata  die  Gesahichte  des  Hauses 
Farnese  nit  Betonung  der  Glanzpunkte , wie  die  leirat  eines  Farnese  mit  der 
Tochter  Karl  V,der  "Madame^"  , mit  einer  Valois  ,'vonzile  ,i.  ef  f  en  mit  Franz  I 
Ein  Saal  zei,ft  die  Ansichten  der  Hauptschlösse'^  der  Familie, ein  anderer 
die  damals  bekannte  Welt  in  Karten  —  Australien  fehlt  noch. —  die  Decke 
dazu  mit  d^n  figarlich  dar^':eEtellten  Sternenbilrtern. 

Auf  einigen  f aminen  ihoto6,die  die  Käume  möbliert  zeigen  ,als  Mr. and  Mrs 
Meyer  aus  ;ashin-ton  sieben  Jahre  immer  2  Monate  hier  wohnten.Als  Clly 
und  ich  20.9-1936  clen  Palast  besuchten , wurde  die  Linricntun/^  gerade  weg- 
geräumt und  ich  erinne  mich, wie  vvir  beide  aber  die  Idee^  enjtsetzten  im 
Piesensaal  nit  den  Karteny\A/ie  Mrs  Meyer  ,zuswhlafen,aen*.'ternennimrael  über 

sich. 

Herrlüich  der  ßlick  hinunter  auf  das  malrische  Städtchen  ,v;eit  aber  das 

Land  nach  tutri »Civita  Casteliana  bis  zu  den  Bergen  cbs  .ppenin. 

Gern  hätte  ich  Kcrianne  auch  den  hinter  dem  Palast  ansteir^-enden  Garten 

gezeifAt  .Lei  ler  ist  jetzt  cazu  eine  oesonaere  .rlaubnis  nüti,,was  ich  nicht 

wusste.  19:^6  konnten  wir  ungehindert  durch  einen  ^tilga.ten  niit  geschnitt 

nen  Hecken   durch  einen  parkartigen  Teil  hinauf  zum  palazzino  hinaufwandei 

den  1625  Vignola  anlegte. jbin  gaiz  besondre  charmanter  ßau  mit  einer  Fül±e 

von  pnac|t«s tischen  ^A'asserspielentiLS  strömt  in  weixenf ormigen  liecken  iawx 

abwärts , Putten  fangen  es  in  Schalen  auf  und  Delphine  speien  es  weiter 

hinunter. 

i'Vir   verabschieden   uns    vom  Custoden  un:;    der   alten   Frau, die    inn   herbeirief 

una    aadurch  cfen   Besuch   möglich   mcichte.    '^s   hatls^e    sich  aich   onne    :ien     iarten 

gelonnt . 

Unten  --eitlich  an  ctem  Pl^tz  vor  dem  pal  st  ist  ein  kleine-;  Cafe.  Hier 

können  wir  das  "Leben"  beobc-chten  .  Um  einen  amerik  nii:chen   a^en  drängen 

sich  bewundernd  Verwandte  de^^  stolzen  3esitzers;:2-efolgt  von  z  ei  Bläsern 

tanzt  ein  herausgeputzter  Alter  gleichzeitig  den  Takt  schlagend,  ie  aus 

einem  de  ;,ica  Film, und  sammelt  von  aen  .achenden  Umstehenden  Abgaben  ein. 

Von  der  Landschaft  und  .ten  Wal  ern,die  A'ir  neute  durchfuhren , kann  gar  nicht] 

genug  f-eschwirmt  .veraen.  Römische  Landscnaft! 

Zum  Dinner  sind  wir  wieder  aaheim  auf  der  Hotelterriisse . 

Freitag  26,    ugust:  Oas  1  eale  /«etter  hält  an. 

Zu  Fusshmunter  zur  i  iazza  Barberini  und  Via  Veneto,v*/o  die  meisten  Flug- 
linien ihre  Bureaas  haben, um  meine  Flugret^ervationen  Kontrollieren  zu 
1  a  y  s  e  n :  -K  i  r  France,  TW  A . 

v\Jir  lunchen  in  unserem  Sotelgarten,wo  man  ausnehmend  ang.^nehm  sitzt. 
Abends  sind  Alex  und  nildred  Lachman,Qer  zur  /.eitder  amerikanischen  Bot- 
sc  laft  attachiert  ist , unsere  Gaste. oben  auf  der  Terrasse  .i.ach  dem  Cafe 
unten  im  Hotelgarten  ,fänrt  uns  Ali  noch  in  .:eine  ,ohnung,Via  bosio  2^, 
auf  die  er  hit  recnt  stolz  isttGanz  modernes  Haus, grosse  Räume  mit  pracht 
vollen  Kaminen  und  umlaufender  Terrasse  mit  :ilick  in  die  nahen  grünen 
rnlaf>;en.  n  cen  Vänden  Ge  nalle  d  r  .ausfrau,aie  von  ihrer  Be,f;abang  zeugen. 


(  ) 


die 


r. 


Grotten 


von  St .1 eter  , 


Samstag  29»AugB5t;  Ich  zeiRe  heute  '-aritnne 
dxe  Zu  einem  i-iu^eum  des  alten  Peterdom  -ewor..en  xXÄBl,f  r  nich  immer  em- 
druc  svoll  sina.  -nschliecsend  ein  kurzer  -esuch  oben  in  Uc s  Riesenhaus 
selbst,  das  nar  bei  grossen  Festen  und  gef  ulJ  t  seine  VvirKung  ausübt.  So 
wirht  selbst  die  wunaerschöne  lieta  MicnelanggJ os   alizu  klein. 


47 


r» 


Piazza  di  San  Pietro  ist  dagegen  e±n  r-bsolutes  Meisterwerk »Dank  Berninis, 
aer  1657-03  die  Colonnade  von  6b    aoris. hen  ;:äuien  ,mit  dem  Obeiiks  von 
Neros  Circus  in  .er  Mitte  , schuf .  Ich  f  in  te  die  Farbe  d-s  Tr^-vertin  wird 
imuer  schöner. 


imuer  scnoner.  ^  r  u    ^ttt 

±r    haben  eben  indn  ..rotten  d.-s  MosaiKportrait  von  Papst  Johdn  VII 
(7^5-717)  gesehen.  Vir  fahren  hinunter  zum  Forum  anö  gehen  hinüber 
SanctaMaria  Antigua, die  des  Papstes  HauskapeiJe  war.  Man  benutzte 
die  bibJiothek,die  dem  Tempel  des  Augustus  zugehörig  war. Si< 


zur 
^nutzte  dazu 

die  üiD '  lotneKjOxe  uem  j.ciuijcx  >jco  nkx^,»«^>,v>^  „„j^w..-.-,,  e  e    ^ 

interessante  Fresken. dea  im  ti. Jahrhundert  von  Byzantisnischen  Mönchen 
ausKefuhrt  *uraen;man  vermutet ,d..ss  diese  Mönche  Byzanz  in  folge  Jer 
ikonoclstipchen  Unruhen  verlas.-en  und  hier  Asyl  gelunden  .ihre  Kunst  wex- 
t-r  ausfuhren  konnten,  'n  einer  Nische  im  Vorhof  ein  interessantes  i-'.r- 
trait  eines   rztes  mit  langem  ,veissem  aart.der  mit  seinen  langen  Fingern 
.;n  einen  grossen  Chirurgen  (Frof  Israel  in  ,5erlin;  erinnert. dem  xch 
Ollys  wegen  zu   rosem  "Dank  verpflichtet  bin. 
ünwext  steht  die  i  irche  der  Heili,en_Cogrna_un_^,DaaiianüS_.in  uer  ich  ^ 
M  ricnne  -leich  el^Tr   der  schönsten  una  fruhatens  Mosaiken  m  Rom  zeigen 
Kann  aie  °2b-:5C  tnttanden  sind.  Die  vom  geistlichen  oerextwi  ixg  ein,  e- 
sc haltetet,  e.v.riscne  licnt   bringt  den  FarbenKlanz  und  die  ..anze  Compo- 

s  tion  in  ^er  -  ribuna  und  am  xriu-aphoOften  zur  vollster  Geltung. 

Lunch  in  einer  kleiner  Trattoria  auf  cer  .naeren   eite  der  Via  I.aperiale 

Am  Nachmittag  kleines  Shopping  um  aie  Via  Sistina  und  abends. wie  immer. 

Dinner  auf  unser  Terr^ASse. 

Sonntag  5Ü. Au, us t : Heute  ist  aler  erste  schwule  'lag. 
«Vir  parken  unteThalb  de.   Campidoglio.   arianne  muss  doch  die  Reiter- 
statue Marc  nur eis  sehen. der  Ibl-löl  regierte. Ks  ist  für  .nich  eine  der 
schönsten  i<eiterstuen  der  .«lelt  .besonders. wenn  m..n  sie  von  Seite  betrach- 
tet ;tie  oonne  lässt  Spuren  aer  alten  Vergoldung  aufleuchten. 
Diese  Statue. die  fruhervor  dem  j ateran  Stand  verdankt  ihre  Krhaltung  dem 

Glauben, dass  sie  aen  ersten  christlichen  Herrscher .Konstantin  darstelle 
Sie  wurde  15Jö  hierher  uberfanrt  im  .usammenh,  ng  ,mt  Rrricntung  der 
beiden  Faläste  die  nach  ,  dnhelangelos  -ntwurfen  erichtet vurde .  Ihr 
StandT;unkt  Konnte  nicnt  oesser  gewählt  werden.  ,,.,..  4.   4. 

Das  Cap.toniniscne__us9um  enthält  nicht  viel  .wa.  den  i^esuch  lonnt,  trotz 
der  Capitonitxhen  Venus  und  eini-en  anderen  beraumten  rfildwerken. 
Der  Konservato.enpalast  ist  dagegen   eines  ausführlichen  Gesuches  wert. 

teit  meinem  letzten   esuch  vieles  verändert , verbessert .Herrliche  htrus- 
kische  Sa^nnlung. viele  ausgezeichnete  Vasen, die  schöne  Bronzesammlung  m 
neuen   ^3en  modern  auf gestellt . Hi:r  ist  die  Esquilinische  Venus  und 
eine   anze  rlucht  scx.öner  Hepräsentationsraume   der  Konservatoren. 
Reste  de   Jupiter  Tempels  .veiter  freigelegt  und  im  ;arten  n  ue  Funde 

versammelt.  .         ^.^   rr.   i--i-„„^  = 

Mit  Hilfe  eines  gefälligen  Schutz^nanns  finden  wir  eine  nette  Irattoria 

Fanz  inaer  Nähe :Giovagnoli  al  Campidoglio. 

Nachmittag  oe^annt  es  zu  regnen,  bo  blei^.en  *ir  oin  unseren  .  em  tiichen 

naumen  zu  Haus. 
Montag  31.Au^mst:  Marianne  hat  sich  ine  leichte  Erkältung  zugezogen 
und  bleibt  im  Bett.  I. h  leiste  inr  Gesellschaft. 


(') 


^8 


( 


T\- 


( 


•ienstar  1 .  .optember: Wieder  schönes  Wetter. 

-  ir  f'^hren  hinaus  zum  Ic-teran  .der  unerwarteter  Weise  heute  geschloasen 
i  =  t  -o   tnu.-s  ich  mich  oegnugen  Marianne  San  Giovanni  in  Fönte (Bgjgtisteriui 
die''laufkirche  zu  a-.i-en ,  die  aas  .loaell  für  -.lle  späteren  Bauten  wurde, 
üixtue  III  nat  sie  t^C  geRrunüet  .w.s  der  römis  hen  Tr:-.dition  wiaersprisht 
dass  Kaiser  Konstantinii  hier  getauft  wurde  ;wts  breits  yj7    geschah, 
•m  S.Janrhundert  fugte  der  iapst  Hilarius  die  Oratorien  bt. John  der  Taufe, 
und   t.John  der  Kvangelist  hinzu, die  beide  schöne  Mosaiken  enthalten, 
I.  h  schäaie  micn  beinahe  zu  gestenen.da^e  wir  unser  nach_tes  ^lel  are 
Kirche  S^.Cle,nente  nicht  finden  konnten .obwohl  sie  unweit  det  ^aterans  ge 

Wir  holen' das  am  Nachmittag  nit  dilfe  eines  Taxis  nach. 
St  Cl-mente  ist  nicht  nur  eine  der  best  a-haltenen  Basilika  von  Rom.sonderh 
ist  besonaers  interessant  .ÄaxKweil  hier  drei  .chichten  übereinander  vor- 
handen sind, die  Grabungen  freigeie^t  ht.oen.  x,   t  .  „ 
"ie  erste  cnristliche  ^osiiika .die  auf  der  Stelle  aiS  Hauses  vom  heilig. 
Clemens  --  J.Xacnfolger  von  S  .I-eter  .getötet  um  lOOfi  -  errichtet  sein 
soll, wurde  von  .obert  -,usiC8rd  lOb^  foc:t  vola ständig  zerstört. 
•,uf  ihren  Ruinen  errichtet  llCö  die  jetzige  Oberkirche  .wobei  aber   manche 
Dekorationen  der  alten  Kirche  verwendet  vuraen.o  zei.-en  z .  :  .die  Amoonen 
das  f/onogram  des  Papstes  oohn  VII. Schöner  Cterleucnter  .ebenso  ^e  die 
Geländer  und  der  Fassboaen  in  Opus  ^lexandrinum  eingelegt . über  der  Con- 
fes^io    in  Baldachin  b.uf  "armorsäulen  nit  Cosmaten  Decoration. aus  der 
Zeit  la=chalis  -l(110fa).Die  Mosaiken  aus  em  12. Jahrnundert  liebe  ich  be- 
sonders^. Die  Voute  orin:.t  den  Glanz  zur  besonderen  Geltung.       ,  .   ,  ^,..  . 
Die  wie. er  freigelegte  ursrunglicheKirche  ,tu  der  man  aul  btufen  hinabst«i..,| 
jetzt  Unterkirche  .-enannt.hat  hoch  interes  ante  F^erkencyclen  die  von 
;.x-schI7äI^7^^-;7ioden  ^ammen«xi«xithhx=.b«xXK»xixK«x««««xk.KX  5.b^ 

9. Jahrhundert.  ^Ur  hat  es  ein  Fresko  besonaer.  ^">«^^f  •^^\^'^^"^"^^^f  ^'"^1 
ernalten  istjeine  byzantinische  i^adonna  ,da..  Kina  aufdem  Schoes  ,sta.  rt 
den  Beschauer  mit  übergrossen  -ugen  an. 

Noch  einmal  tiefer  in  die  ürde.üie  Treppe  ist  feucht.Hier  Reste  antiKer 
Gebäude.. .nschlie.send   eine  Mithras  Kapelle  mit  BildA^s  .ottes. 
Oben  beim  Eingang  ist  die  Capeila  di  Santa  Catarina  ,die  icn  zum  er.ten 
Mal  onne  Gerüste  sehe. Die  ,Vie  .e»:.er  Stellung  ist  vollenaet ....-,  h«n.elt  sich 
um  Fresken  .die  von  ,4asaccio  (lif01-28)oder  M.solino  stammen  sollen. 
Abends  sindmr  zum  rv,nn.r.  h.i  .li  T.achman  in  c^r  Via  Bosio.die   ir  .,chon 
von"  neulich  ä)end  k'ennen.Ser.r  gepflegte  Tafel  mit  Licatern.-M.dchen  be- 
dient, nette  Gesellschaft. U.a.Krs.Dougl.s.aie  .Viwe  eine.  Kunstnistorikers 
ein  Funstlerehepaat;ich  finae  mich  mit  meinem  Englisch  so  gut  ab, als  es 

IcrD;nutze  die  Gelegenheit  Ali  zu  bitten.uns  den  «esuch  *r  Villa  Medici 
undoer  Villa  die  oagnaia  (Lante)  zu  erfeLcntern ,WoS  er  verspricht  und 

sicher  durch  Empfehlung  ctr  rfotsciiaft  keine  Schwierigkeit  macht. 
Mittwoch  2. September:  Telephon  von  Ali, dass  er  den  Kinl  ss  für  die  Villa 
Medicierhalten  hat  und  wi^  verabre.ien  uns  dort  ai  tretten. 

Alessandro  iedici,aeB  sp=iteren  f-pät  Leo  A.  -rundunff  1  oui=  X 

1Ö05  wurde  die  rcade:i.ie  de  France  hierher  verle.3 1  ,eine  ..rundung  Loui.  X 


(  ) 


^9 


hier  können  junge  französishe  Kun:tler,die  mit  Jem  Prix  de  Home  ausgezeich- 
net sind;  sorgenlos  ihrer  Kunst  säen  widmen. 

Wir  treffen  Lachmans  mit  ihrer  Tochter  beim  Concierge ;auf  Vorweisung  der 
Einfuhrung  öffnet  der  Bewahrer  das  Gartentor  links  vom  der  Villa, von  wo 
ansteiegend  ein  Weg  hinauf  zum  Garten  fuhrt.  Leider  beeinträchtigt  ein 
Regenguss  unseren  Besuch  erheblich. 

Der  Garten  ist  in  Renaissancecharakter  angelegt; von  Bii-chen  eingefasst 
fuhren  die  lA'ege  immer  zu  einem  point  de  vue  iiit  einer  antiken  Fi,M:ur. 
Die  Huckseite  der  Villa  öffnet  sich  zu  einer  hochgewolbten  Loggia; die 
VJand  ist  mit  -ntiken  Reliefs  eingelegt »darunter  Platten, die  bei  derPeconst. 
,Ära  Pacis  fehlen.  Am  Ende  eine  Terrasse, ein  Art  Belvedere  mit  weiter 
Sicht  liber  den  J-incio  und  den  Borghese  Garten;direkt  darunter  läuft  die 
Via  del  xMura. 

Wir  lunchen  im  Hotel,  ''on  Ma  kommt  Gabel  '*Excellent" ie  ist  gut  in  N.y. 

wieder  eingetroffen. 

Der  Regen  hat  auf  gehört .  Mit  Muhe  finaen  wir  den  Auto  Club  ,dei-  t.e±n   ^uar- 
tier^ fort  vom  Centrura^in  ein  abgelegnes  Villenquartier  verlegt  hat. Nicht 
gerade  praktisch , wenn  man  Benzinscheine  kaufen  will. 

Unser  Aufenthalt  nähert  sich  seinem  Ende.  Es  waren  wunderschöne  harmonische 
Tage.  Ich  habe  Marianne  viel  weniger  zeigen  können, als  ich  wollte. 
Dies  Rom  ist  unerschöpflich^hoff entlich  k  nn    der  Aufenthalt  wiederholt  werc 
Niciit  weit  von  unf:erem  Hotelr^^mitten  im  engen  Strassengewirr , liegt  die 
grossartigste  Brunnen  Roms;er  ist  an cfer  Rückseite  des  Palazzo  ioli  zwi- 
schen 17^2  und  1762  von  Nicoio  Salvi  errichtet  und  der  Schwung  der  ganzen 
Anlage  macht  es  niir  wahrscheinlich  ,dass  ein  Entwurf  Berninis  zu  GrunJe 
liegt. Der  Name  Fontana  Trevi  stammt  von  aen' drei ' Auslässen , die  das  klare 
Wsser  in  mächtigem  .-)trom  in  dae  Becken  fuhren.  Wir  folgen  oeralten  Sitte, 
die  angeblich  Ruckkehr  nach  Rom  verbürgen  soll/und  werfen  rückwärts  jeder 
eine  Münze  in  das  von  -enschen  dicht  umlagerte  B:-;Ssin. 

Heute  abend  sollen  meine  alten  i^reunde  Stefan  und  Erika  Bach  ankommen. 
Sie  haben  sichi^x  Zimmer  im  Hotel  -.e  Villa, das  in  unserer  Strasse  wenige 
Schritte  cbwärts  i legt , reserviert .  Als  ich  hinüber  gehe, sie  zu  begrüssen, 
treffe  ich  sie  bereits  unten  in  der  Hal±e  und  kann  sie  so  gleich  in  mein 
Hotel  mitnehmen, wo  sie  zum  Dinner  obenauf  .ier  Terrasse  unsere  Gäste  sind 
und  die  Bekanntschaft  mit  Marianne  vom  letzten  Jahr  in  Salzburg  erneuern 
kennen. 

Donnerstag  3. September:  Mein  Neffe  Ali  nat  oein  Versp  echen  gehalten. Ein 
Bote  der  amerikani. chen  "otschaft  bringt  ^ie  versprochne  Empfehlung  für 
den  Besuch  der  Villa  di  Bagnaia  (Lante).  Der  Betreuer  der  Villa  bedauert 
ehr> uns  nicht  :  elbst  funren  zu  können, ab-r  eine  Karte  empfiehlt  uns  dem 
dortigen  Aufseher unu  erlaubt  uns  aich  zu  photographieren ,was  sonst  verboten 
ist . 

Die  Villa  liegt  unvveit  Viterbos.  Wetter  leider  trabe.  Von  aer  Plaza  des 
kleinen  Ortes  ßagnai«  fuhrt  ein  Weg  aufwärts  direkt  zum  Eingang. 
Die  Anlage  ward  begonnen  um  1^77  f-r  die  Erzbischofe  von  Viterbo  als  Sommer 
sitz.  Der  Neffe  des  Papstes  Leo  X,Ottavio  Riario ,KKkaf ixbeut  den  Aquaduct 
für  uie  vVasseranlage  de.  Parkes,  ^hs   heute  hier  zu  aehen  ist, geht  auf  den 
Kardinal  GiotJ&nni  i^rancesco  Ganbarra  zurück, der  hier  um  15^0   die  wesent- 
lichen -nlagen  errichtet  .Sem  Name  ähnB^'t  dem  "gambero"  ,dea  Krebs,  den  man 
an  Grotten, wie  Palazzinos  als  Wcpyentier  angebracht  findet. 

Papst  Chigi  verleiht  den  *^psitz  l^tö  an  Herzog  Ippolito  Lante;  er  bleibt  in 
Familie  dftÄ?  dreihundert  Jahre. 


50 


C 


( 


Der  letzte  Krieg  hat  die  Villa  erheblich  nitgenommen; sie  ging  in  Staats- 
besitz aber  una  wird  wieaer  he  ge.  teilt.  So  kann  heute  jeder  den  Park  be- 
suchen,nur  für  den  liesuch  der  C-sinos  und  zum  i  hotographieren  ist  eine 
besondere  Erlaubnis  not ig. 

Ein  alterer  sehr  netter  Mann,aer  schon  6c  Janre  den  Besitz  betreut »nimmt 
unsere  Einfuhrungskarte  in  Empfang  und  fahrt  uns  herum, setzt  auch  die 
Wasseropiele , soweit  üie  nicht  a.aufen,in  Betrieb,  .-.mbesten  gefällt  uns 
von  liesen  die  Fontana  monu'nentale  ..el  Fegaso  in  einer  architektonischen 

Nische. Am  ,  ber..hmstesten  ist  aie  Eontöna  <ö.m    Mori  in  r^'itten  eine-  Stil- 

^'Ouaaröto'.'  ) 
R-artcns:  H^ihe    vurupr 


ipr  e    von   iegcrn   ha^en    einen    Stern    bektönten   H'^-rg    ,das 
Feretti    (i  apst    Sixtus    \/,^   i5'^-'!:>-i^90)     .Die   Gruppe    wird    dem 


Wappen  ler 

Giovanni  da  Bologna  zu.^ec  chrieben.  Oie  "Tavola  del  Cc^rdinale''  lisst  an 
::;chloss  Hei  orunn  bei  oalzbnrg  denken.  Die  sonstigen  Wasif^eranlagen  h:  ben 
sich  üffenDr^r  C^prarola  zum  Vorbild  genommen. 

'iF  F  lazina  links  oben  wur^e  l!p6t  von  Kar  sinal  Gcmbarra  •  rricntet  .nit 
schorien^'stuckdecken   von  der  Schule  der  Zuccari;der  Kechte  stammt  aus 
jier  Zeit  aes  Kardinals  Montaldo , zwanzig  Jahre  später. 


//undervolle  alte  Baume ;  ~iardino  ae 


a 


uchessa  o  secreto 


f 


Von  dem  terr^sierten  Garten  weiter  Blick  über  aie''Tavola  del  Cardinale 
und  das '''.Quadrat©  in  die  Ebne. 
Der  befriedi  ende  ßesucn  hat  einen  vveniger  scnönen  abschlUKS.i»4arianne 

stosst  oei  -:.er  /-bfahrt  einxK  zu  nah  geparktes  Motorrad  um, was  zu  einer 

erhitzten  Discussion  fuhrt, die  wir  schliesslichdurch  Abfahren  abbrechen. 

Infolgaessen  verzichten  wir  im  Orte  zu  iunchen  und  holen  das  in  einem 

gc^nz  neuen  iotel  vor  den  Toren  Roms  nach. 

AbenJs  haben  'vir  das  Abschiedsdinner  auf  unser  Terrasse.  Nachher  gehe 

ich  zu  Bachs  ninüber,um  mir  inr  Hotel  und  ihren  Raum  anzusehen.  Sie 

sind  vom  Hotel  gar  nicnt  BHttzuckt. 

Das  Wetter  ...weint, 

i?'reitag  4*September lUn^er  letzter  lag  ist  wie ler  von  i^hönem  vVetter  be- 
günstigt. 

Erfefe  mache  ich  nit  riarianne  Besorgungen   für  Kinder  und  Enkel, dann 
fahren  wir  hinunter  zum  Corso,wo  im  F^lazzo  Regis  ab  I.September  aas 
Mueeo  Baracco  (nur  Dienstag  und  Pröiiiteg^«i5)  wi'  .er  geöffnet  ist. 
Der  Senator  Baracco  ( +  191^)  iiat  mit  i;ro  sem  Verständnis , dem  (Tescnmc^ck 
seiner  Zeit  vorc.useilend , einejhbr  vorragende/ kleine  -ammlung  antiker  Plas- 
tik  usammengebracht  iMrYsiTKxjqRHäe  Torsi  griechischer  und  ^'truskischer 
Herkjnft.Aber  auch  Beispiele  von  Falmyra  und  selbst  Mexico, ^.gypten. 
Lunch  im  Hotel. 

Ich  wollte  Marianne  als  Abschied  von  Rom  den  Blick  von  der  Fassagiata 
Ma^etit'a  zeigen,  A-ir  hatten  Bachs  aufgefordert  mit  uns  zu  kommen. 
In  ihrem'Wolseley  Six  Eight"  hinauf  zur  Aqua  Faola  .  l6l2Paul  V  errich- 
tete den  grosfc-en  Brunnen  »dessen  ^;asser  vom  Braciano  See  hergeleitet  wird 
in  Form  einer  LoKgia;den  Marmor  holte  er  sich  (fe zu  vom  Nerva  Forum  und 
die  Säulen  von  der  Vorkalle  des  "alten"  St. Feter l 

Ich  'A  ollte  auch  gern  meinen  Freunaen  den  kleinen  Tempietto  von  Bramante 
im  Vorhof  von  San  Fietro  in   ontorioa  zeigen. 
Zu  ^lle.^em  kam  es  nicht.  Stefan, mit  iMarianne  plaudernd  ,uDersieht  eine 


51 


L> 


eine  Steinbank, die  seinen  vordere 


n 


otflugel  so  eindruckt ,dass  das 


d   unbeweglich  wird.  Mit  Hilfe  einer  Brechstange , die 


rechte  Vorderra 

Stefan  im  //erkzeugskasten  hat^und  an 


ter  Beistand  hilfesbereiter  Beistände 


wir 

in 

ein 


d  der  Vorde rflugel  soweit  zu 


recntbyftbop-ren.dass  das  Auto  wenit;;stens 


die  Via  Garibaldi  hinabfahren  kann, wo  vo 


r  aer  Torta  S.Pancracio  ärc-b:, 


Grobschmied, der  willig  ist, den  Schaden  zu  beheben, den  Wagen  wieder 
fahrtbereilz  u  machen, i^s  soll  zwei  Stunden  dauern. 

ß-ute  Zufall  will,dass  nebendem  Grobschind  eine  Irattoria  mit  netten 


Der 

Gaten  ist , wo  wir  die  VVa 


rtezeit  beim  Abendbrot  angenehm  verbringen 


Au 


f  diese  Weise  klingt  der  missg 


lucKte  AusflUi^-  auf  den  Monte  Janiculum 


noch  gemütlich  aus 


ee:  am  Tiber  entlang 


0er  Heimweg 
leicht  zu  finiien 

Samstag  ^.September 


—  zuerst  I.ungo  Tevere  Farnesina  -  ist 


Die  letzte  Nacht. 

Mir  wird  der  Abschiea  v 


sie  aich  ungern 


Hein  den  Rückweg  zu  To 


on  Marianne  3ch/ver;ich  lasse 
chter  und  Enkel  antreten, die  siei»- 


Altaussee  erwarten 


Ich  weyde  erj»t  aufatmen,v^e 


nn 


icn  aie  Machricnt  eriiiät 


das  sie  dort  ^ut  geland 


et  ist 


( 


( 


52 


( ) 


b)  Sic il  Jen  ,Cala brauen  ,Apulien  , Neapel, 


( 


Samstag  3»  ^^^ptember ;  Gleich  nach  der  Abfahrt  von  'arianne  Nechansky 
ko.iimt  mein  Gepäck  in  B  a  c  h  s"  ..olseley  Six  tighty'^  zur  Abfahrt  nach 
Suaen   auf  der  Via  Appia  .   In  Terracina  Lunch  in  einen  hyp-rrnodernen 
Pestausant  ,dcinn  vv  iter  an  (fer  Küste  über  Formia  ,j^andragone  ,Fo00Ouli 
nach  Neapel .  Wir  haben  für  aie  2^3  kjü.  fünft  .Stunden  gebraucht. 
Auf  dem  Kuckweg  werden  wir  uns  länger  in  Neapel  aufhalten.  Stefan  hat 
dort  an  23»<3epternber  , eingeladen  von  der  Universität , einen  Vortrag  zu 
halten, w^s  xinRX  die  ursprünglicheK  Veranla-sung  aieser  Reise  war. 
vVir  haben  far  den  19 «September  Quartier  im  Hotel  Royal  an  cfer  Via  Fartheno 
pe  bestellt ; jetzt  nehmen  wir  dort  für  einige  stunden  ein  Zimmer • 
Stefan  hat  für  uns  Schif  fscabinen  bei  der  '^TIRj^J^iJNIA^'  reserviert  .Jetzt 
muss  f^r  .iie  i.n -eisungen  in  Fahrkarten  umtauschen;  anschliessend  wird  das 
Auto  in  die  SS   Sardenia   um  7  Uhr  verlaaen;Stefan  fährt  selbst  die  Rampe 
hinauf .  A.nschliessend  Abendbrot  inj.t  zwei  jungen  Professoren  der  Bioche- 
mischen Abteilung  unten  am  V^asser  bei  Zia  ( =:Tante)Teresa  am  Wasser 
und  zurück  zum  Bot. 
Ö:30  g(  hen  wir  an  Bord.  Der  Comfort  ist  überraschend;  -tefan  und  Eri 
haben  eine  C^bine  ait  Bad, ich  selbst  für  mich  ei lein  eine, der  ein  Cabi- 
net  cfe  Toäl  .  tte  r^igeS'-hlossen  ist.   8:50  setzt  sich  (fes  Schiff  in  Bewegung. 

Sonntag  6. 8^'ptember :  Die  überfahrt  ..-ar  ganz  ruhig  ;.^ut  geschlafen. 
Ich  bin  zeitig  auf  und  frühstücke  im  Restaurant ; dann  stehe  an  der 
Rampe  und  freue  'üich,wie  die  Berge  _S_I_C_I_I  _I_E  N  *s  in  der  Ferne 
umlagert  von  zartem  Dunst  erscheinen? 
vVir  landen  8:30  in  PALERMO  . 

Das   uto '.\ird  schnell~&ü^gelcjaen  und  fahren  zum  Jolly  Hotel  ,//o  Zimmer 
für  uns  reserviert  sind,   äe  Lage  ist  wieder  mit  beonderem  Ges  chick. 
Es  liegt  am  Forum  Italic o  , einer  breiten  Avenue  am  Wass' r  dicht  bei  der 
Villa  Giulia;ein  grössei  •  r  und  luxurius  r   Typ  ,al3  v;ir  bisher  kennen 
lernten. Gute   Zimmer  mit  air  condition  und  ßad  kostet  ca  .^^^CSCL.  3  »^50() 
Sicher  jetzt  aas  beste  Staiathotel.  Das  grosse  Luxushotel  Mondello  palace 
lieK't  zu  vjeit  von  d?r  St.  ot  für  einen  kurzen  Auf  enthalt  ,\wenn  auch  der  vVeg 
nur  20  Minuten  beträgt   und  ein  '*/;!!  day  bus  Shuttle  service  to  city 
Center  free  of  Charge"  vorgesehen  ist. 

Wir  frühstücken  noch  einmal  auf  aer  Terrasse  des  Hotels  mit  Blick  auf 
das  Meer, in  aessen  Hintergruna  das  Massiv  des  Monte  Pellegrino  erscheint. 
Dann  gr hen  wir  gleich  ai  Besichtigung  der  Stadt;  in  unserem  zeitbeschrank- 
tem Frograinm  ist  nur  ein  Tag  vorgesehen.  V-ir  haben  uns  auf  das  Vesent- 
lichste  zu  öeschranken. 

Am  Vasser  entlang  zur  Porta  Feiice ,die  ihre  Bezeichnung  nach   der  Gattin 
dep  xxiXfjpanischen  Vicekonigs , Feiice  Orsini  o^kommen  hat. 'in  Barockbau 
von  1582  1  ,itet  in  eine  der  Haupta  iernder  Stc.idt  ,deii  Via  Vittore   manuele 
("Toledo"  kurz  genannt] die  sich  mit  der  anderen  Hr^utader  ,der  Via  Maqueda 

an  den  "Juattro  Canti"  schneidend , direkt  zum   palazzo  Normanni , jetzt 

Parlament , fuhrt . 
Vor  dem  Pal  ast  die  b  umbest-jndene  Piazza  Vittoria. 
Bgonnen  auf  der  sarasceni::chrn  'irundlage  ,die  er  bei  der  Eroberung  vorfand 


(  t 


53 


'   ) 


(  ) 


baut  Robert  d'Hauteville  ,spater"Guiscard  ,der  ^<^^l^^^^  ^^^^^^IJ^^  ^^^"  J"'];^^^^^ 
artig  3  Schio^r;ir:i¥rs.ine  Bruder, König  Roger, die  zwei  Wilhelme  und  daan 
auchcfer  aohahstaufe  Friedrich  11   den  Ausbau  fortsetzen. C '^ 
Vom  normannischen  Dau  ist  aussen  Aeni^./  übriggeblieben.  Im  Inneren  vor 
allem  die  C^.pella  Falatina.die  .  bnig  Roger  II  in  arobisch-normanniscnen 
Stil  baut, dem  Hl.Ietrus  weint, mit  dem  farbigen  Zaubf-r  byzantischer  Mosaiken 
verbindet  (1132-11^0)  .Letztes  Tor  fahrt  in  den  Schlobshof  äee:   im  17.Jahra. 
erbauten  Darockschlosses ,in  aas  die  Kapelle, die  früher  von  Säulengängen 
umgben  v;ar,vol.lig  einy;ebaut  ist.Kechts  die  Treppe  hinan. Trotzden  ich  in 
meiner  Hirinnerun^r  ge  ässe  Voi'steliungen  hatte,  oa.n  ich  beim  Eintritt  doch 
uberascht  von  diesem  Glanz. ijs  ist  weifelios  die  schons  .e  ..chiosska- 
pelle  cer  Welt. Eine  dreischif  i  i.^,e  Basilika  ,in  Jer  arabische  Spitzbogen  von 
zehn  cJitiken  Sauxen  getragen  '/e.den.Oie  schon  bemalte  arabische  Holzdecke 
ist  Tixt  A   n  Wänden  durch  StalaKtiten  verbun ..  n;umls^uf end  eine  kufiiche  In- 
schrift. Hauptmosaiken   im  Chor  un d  in  der  Kuppel  um  die  feierliche  Gestalt 
^e      Aeltenhersc  err:  gruppiert.  Vi  <ian   V^änaen  Scenen   aus  dem  alten  Testament 
und  I -ben  Christi. Neben  d?r  aus  kostbaren  "^  teriö.l  zusc  mmengeFetzten  F  nzel 
ein  kostbar  sculptierter  Oster lemchter!  Grosse  Wirkung  geht  auch  von   den 
wei^-^sen  Marmorplatten  aus, die  unten  die  .ände  bedecken   uii  von  Ban  ^orn 
farbif-enMar  normosaik  in  geometrishcer  Musterung  gf-kront  werden. 
Von cen  Arkaden ctes  zweiten   tockwerks  f.hrt  eine  Tur  in  die  so^.Stanza  dl 
Pugf/iero  »deien  Dekor  tion  nach  cfera  eben  Gesehnen   keiben  grossen  Einaruck 

m  cht. 

Die  Kirche  S.Giovanni  degli  Eremiti  ist  so  nah, da.  -~  wir  zu  Fuss  hinüber 
gehen,  ine  uer  alte.-ten  Kirchebauten  dsr  Norm-mnen  unter  Benutzung  einer 
Mosch- e(ll62)  .Die  fünf  Kuppeln  betonen  den  orientalischen  Charaktc-r 
Pest  eines  Kreuzganges  u.nechlies.st  einen  reizenden  Garten  Die  Normannen 
benutzten  dies  heute  so  T^alrische  rleckchends  B^-gräbnisplatz  für  ihre  Hof- 
leute . 

Zurück  zum  lalast  und  ziät  aisc  hliesi:enüen  mit  dem  Jralast  verbundenen  befes- 
titzten  Stadttor  von  l^bO,das  im  l6.J  hrhunaert  oarock  umgestaltet , nun 
Porta  Nuova  heisst.Hier  setzt  sich  aie  Via  Vittore  Emanuel  fort  und  fuhrt 

hinaus  nach   onreale. 

»HÄxSsrxHDie  Bezeichnung  Via  Vittore  Err^enuele  wira  kaum  b^^nuzt .km  ßebräucfth 
licheten  ist  "Cor^O''  o  -er  "j  oleao"  nach  dfm^^ani;:.  hen  Vicekonig  Doli  i  edro 
de  Toledo, ^er  di>tse  Stras  e  einlegte. 

An  inr  lie^t  auch  dr:r  Dom, von  dem  die  C  tseite  noch  an  uieisten  den  alten 
CharaKter  bfwai.rt  hat  ;Bbi^Bl  innen  ist  er  völlig  ve^iorbrn  Aorden;ans 
interessieren  nur  die  KonigFgräber  .  Hi'  r  ruhen  untfr  tempelf örmii-en 
Baldachinen  maJF.  tatische  I-orphyr^sacrophage  -  önig  Rogeri  +  115^)  , seine 
Tochter  Constanze  und  ihr  Gatte  der  Kohenstauf enkaiser  Heinrich  Vl(+1197>^ 
von  dessen  Grausamkeiten  ich  zuerst  in  dem   Buch  von  Georgina  Massen 
C^Iife  Frederic  11)1  ^s  und  ihr  grosser  Sohn , Friedrich  II(-fl2^C)   der  uns 
mneschlichan  meisten  interessiert  und  des;  en  Spuren  wir  in  /ipulien  folgen 
wol] en. 

Obwohl  der  Besuch  des  -.Hseo  Ni-tionale  vielleicht  für  meine  Freunde  wichtiger 
wäre, will  ich, weil  es  zweifelhaft  ist, ob  unsere  Zeit  dafür  ausreicht , jeden 
falli  das  mir  noch  unbekannte , neue  '"useum  ^'Galle  ia  Nationale  di  Sicily 

"  /IJ,iormannen  gründen  um  1020  in  ünteritalien  christlichen  St. at  nach  verxrei 

^ ^^   Moslims...obprt  Guiscard  erobert  .-anze  unteritalienische  Festilnd 

iar3t  mit  HErzo  tum  Apulien  belehnt .  Bruder  r:oger  erobert  r.icilien^ 
vom  PaT:st  in  Palerrncb  zum  \orvU   von  Neapel  und  Sicilien  gekrönt. 
Inm  folgt   eiji  z-veiter  Sohn   ilhelrr?'*der 
Sohn  wiihelraj''der  Gute", der  11Ö9  stirbt 

dif^rri  HOHKNSTAT'x^-'N  Heinrich  VI, Sohn  Barbarossas  zur  Ehe  gegeben ;er  beanspruch 
Krone,  eicilianer  erklären  sich  für  MxHfgg^xyisRTankred  von  Lecce  , natürlicher 
.^-ohn  »oFers.  Heinrich  besiegt  ihn , wieseinen  Sohn  Wilhelm  III.  Stirbt  1197  m 


rird  ■'VQJ 


Schlechte(115^-lbb)»»,dann  dessen 

.   ilhelm  II  h-tseine  Tante  Constan 

■1 


5^^ 


''  ) 


( 


Die  Galierie  giot  einen  Überblick  uoer  Malei-ei  und  Plastik  in  Sicilien 
vom  13,bis  lÖ. Jahrhunaert  und  ist  im  Palazzo  Abüatelli  untergebracht. 

XiiKiÄJt  Er  ist  1^95  erbaut  mit  Zinnenturm  und  merkwürdig  ausgestalte^ten 
gotischen  Portal .  Eine  zeitlane^Y^^  ®^^  Nonnenkloster  in  ihm  unterge- 

brahct  und  als  ich  ihn  zuletzt  sah, war  er  zieJilich  in  Verfall.hr  steht 
nicht  weit  von  unserem  Hotel  in  d^^r  engen  Via  Alloro  ^,soll  im  Kriege 
sehr  gelitten  haoen  und  wurde  nahh  dem  l^riege  fon  u  er  Regierung  seiner 
neuen  Bestimiviung  angepasst.So  hat  aian  z.B.  in  aie  eherrirlige  Klosterkirche 
eine  Decke  eingeschoben, so  dass  man  ausgezeichnte  über  icht  über  das 
vom  Falazzo  cclafani  ubertrcigne  Riesenfresco  "Triumph  des  Todes"  von 
einem  unbek^^nnten  Künstler  aus  I^'lan.aern  bekommt.  Aus  Klöstern  und  Kirchen 
sind  frühe  Fresken  übertragen , grosse  ge.nalte  Krmcifixe  aes  XIII  Jh.! 
Von  Jan  Gossart, nach  eineoi  Geburtsort  i^aubeuge  Mabuse  genannt,-  ein«  un- 
gewölinlich  reizvoller  Flafa';el^/ltar  von  1^11  :  Auf  öo.r   Mitteltafel  sitzt 
Maria  )^it  viem  Kinde  auf  dem  übe  reich  in  spütgotäschen  Geschmack  ver- 
zierten Thron. Sin  Kinderengel  bringt  dem  Christusknaben  ein  Stiefmütter- 
chen,während  f  nf  andere  Kin  erengel  musicieren. Durch  die  r.  ckwärtigen 
Öffnungen  des  Thrones  blickt  man  auf  eine  Landschaft  init  einem  prächti- 
gen Renaisc-anceschloss.  Von  Antonello  da  Messina  (1^30-79)  eine  Verkün- 
dit^ung  und  feine  Portraitkbpf  e . 
Die  Plastik  ist  durch  irortraitbasten  des 


Franceso  Laurana  vertreten. 


Ar  stammte  aus  Istrien  und  lebte  1^6ö-71  in  Palermo  .Seine  äusserst 
reizvolle  Büste  der  Eleonore  von  Aragon  dient  mit  Recht  als  Plakat  für 
die  z.Z.hier  staitf inaen-ien  ochonheitskonkurrenz.  Von  Gagini  sind 
schone  Madonnenstatuen  von  l!pl6  una  1310  ausge. teilt. 

Bei  der  Neuherrichtung  aes  M^^^^eums  sind  auf  das  geschmackvollste  Archi- 
tekturteile alter  lalaste  .niteingeoaut . 
hin  wirklich  grosser  ^enussl 

Nach  leoi   Lunch  im  Hotel   versuchen  wir  unr  er  Gluck  im  Museo  Nazion  le 
d^as  leider , wie  wir  feststellen »bereits  um  3  Dhr   eine  Pforten  schliesst» 
Sehr.  >ue, ich  ho.tte  gern  meinen  Freunden  vor  all  m  die  Metopen  von  Selinuntt,'^ 
gezeigt, eine  Stadt, die  bdö   v .Ch. gegründet  und  4oy  v.Ch. zerstört  , einen 
interessanten  Uöerblick  über  die  BntwicKlung  Jer  hei  enischen   Skulptur 
von  ihren  Anfängen  bis  nahe  an  ihre  Blüte,  bietet. 

Von  den  : ntiken  dronzen  erinnere  ich  mich  oe  onaers  eines  Bronzewidders  . 
Fr  stand  mit  einem  z^eiten  am  Fin*>:ang  des  Hafens  von  Syracus;ein  byzan- 
tinischer Stattahlter  nahm  sie  dort  fort;spater  kamen  sie  ins  Schloss 
von  Palermo  ,ao  sie  der  Volkswut  zum  C pf er  fiel en; glücklicherweise  konn- 
te oer  eine  wip  \er  heip^estellt  werben. 

Wir  verwenden  die  "^^ewonnene"  Zeit  zu  einem  Stadtbu-nmel  .  Wenn  man  sich 
auf  den  Corse  beschrankt ,oekommt  inan  ein  ganz  falsches  Bild  der  Stadt 
Die  Via  Maqueda   durchquert  die  Stadt  von  IVestn  aach  Osten, führt  über 
die  Piazza  Verii  mit  gern  Teatro  i^assrnmo   undsetzt  sich  verbreiternd  in 

der  Via  de  la  Liberte  ,aie  das  mo  .-:rne  Viertel  durchquert , fort .  Schöne 
Grun^nla^ren  .nit  Cafes .  Mo  jerne  Geochaftshaus'-r  mit  eleganten  Laden 
Kri  hat  ihre  Sonnenbrille , ich  meinen  ochuhanziefeer  verloren.  Beides  wird 
ersetzt , wobei  J.er  .  cnuhanzieher  mit  einem  Comp,  inient  mir  üb   reicht  wira. 
Gutej  Dinner  im  Hotel,.vo  gro.  ..es  Leben. 


V  ) 


() 


( 


55 

Montag  V.September:    Stefan    hat    entdeckt ,dass   Monreale    jetzt    durch    eine 

diroKte    c.trac.  e    mit   S    gesta      über   ^^Icamo    verbunden   ist,beiae   Besuche 
z    iisparend   vereint    weraen   können. 

Bevor    wir    aufbrechen   gehe    icn    hinuöer   nach  .^r   Villa   Guilia    ,die    von  unseren: 
Hotel   nur   durch   die   Via  Lincoln   getrennt    ist. 1777   ün,,ele.,t   und   von  Goethe, 
oer   ADril    17Ö7      hier    .var,sehr    bewundert  .Su    der   Zeit    des   Jahr^-^s    standen 
sicher    die   Orangen  ,Citronen      etc .  inschönster   Blüte.    Jetzt    im  Herb.-^t    m  cht 
Et    trotz   vieler    exotischen   pflanzen      mit    seinen      altmodi.xhen      Pavil    ons , 
an  aenen   üb-rai   aie   FaFbe    aboröckelt ,    inen   etwr^s   mel.  ancholischen      indruck. 
-er   Weg   hinaus   nach  Monreale    geht  durch    die    Porta   Nuova   n-ben   dem  Falazzo 
ßea.le.    v'ir   verziehen   auf   Besuch    ier    sr^rlichen   Überreste      er  Cuba, einer 

Festhält  e  ,aii~^;iThIlm    II      H^C    in    -litten    eines   künstlichen  Sees    eroaute, 
die    ich      bei   .noinf.m   ersten   ßaf  enthalt    1901    —   wir   weihten  d  m:.ls    aie   Villa 
Ipiea    ein   --   beachte  »bbsneo   auf k  d?n  Convento   dei  C--.ppucini   mit    aem   uner- 
auic^aichen   Anblick    .er   .r^eiheweis   ^n   die    .Vand   Irbnacn  Gerippe   ;vohIh<.b-n  .er 

P^lerraitaner .  .  ^      .    -n 

AM±xi^giBxJEgyxte±xHiäfxKKkBHggJ<MigfxsxgKMKXxBi±g)B::atMfxaggxbdaxisx3CxriBSyX 

xKg±itia^HxgkxaggtkExMi^agxsgHgas[tgxVHg;ggB±ggHxatHKxxg±t5{xxxaxx£>exxäixxi5^(ic±xtexn 
liklxMxieHxsxxHrxitsKgiigxxgrxitixkHXäiiigxggxxHXKrt^MHtRXJ^gÄraniütxxRxgiRgr 

H»>i*iÄJ^iHxxÄiKxxixKxatiÄXiigiii«gxiiii/ jic2xiikxziaMKk:zHg . 

/.m  FUSS  (l^r  Höhe  von  -.onreaie  La  Rocca  mit  wunderbarem  RücKblick  hinunter 
in  aie  Conca  d'Cro,  uf  lalermo  una  uen  Golf. 

vVir  p.rken  auf  dem  Platz  vor  der  Kathedrale  von  -  onreale;S. Maria  La  Nuova 
"-'ilhelm  II  hat  il7^  hiex  eine  Ben  jeiKtdinerDitei  gegranaet  und  dazu  diese 
Kathedrale  (1174-Ö9) .  Sie  sollte  als  Graoe.  kirche  seiner  Familie  dienen 
Erwar  de.  letzte  le.r^itime  König  aus  J^em   Hause  Hauteville.  k.ur  Ausschmückung 
lies  er  Scharen  von  Künstlern  aus  der  ganzen  »A/elt  anwerben. 
ÄMSSBHxzwHijrrachtvoll  das  Portal; Bronzetüren  von  Bonanus  Civis  Pisanus 
mit  keliets  aus  d^r  Geschiente  mit  öeischriften  im  ältesten  Italienisch 
(llbb)  .Umrandung  M-rmor  hoechst  reizvoll  ornamentiert  im   arabisch  nor- 

mr^nnit :jhen  Stil. 

Eingant^auf  Gfer  linken  Seite,  Der  Innenraum  ein  überwalti  enier  Eindruck! 
Wie  in'der  Palatina  unten  wei:  ee  M  rmorplatten  mit  geometrischen  Formen 
in  farbi:;em  Mosaik  darüber,  r-onst  der  Piecenraum  ringsum  ait   den  umfang- 
reichsten Goldmosaiken  ^'icilians   (6,350  qm.)  bedeckt. 

Weites  helles  von  einer  Holzdecke  überspanntes  Langhaus;  mächtiges  vom  Pmgan^ 
kaum  wahrne^-rnbares/^uerschiff  ,ancfen  sich^Sls  by  zantini.-chen  Zentralraum 
gebilte!e^-^(^8oii?l7  Granitsaulen  tragen   die  überwände  des  Mittelschiffs. 
Blick  SDf 03  t  von  den  ,'iosaiken  des  Chors  angzogen, die  w  hrscheinlich  von 
.byzantinischen  Kün^tl  rn  gearbeitet  sind. Kolossales  ^rustbild  aes  ^rlosers 
grossartig  schön. In  einer  Hand  aas  rfuch,.ie  anaere  erHBben. Darunter  die 
thronende  .Madonna  nit  cem  Kinae  zwischen  den  bellen  ^rzengeln. 
An  aen  beitenwanaen  Darstellung  cxus  dem  Leben  Christi, aus  dem  alten  Testa- 
ment und  aus  aem  Leben cter  Apostel. Darstellung  erinnert  in  vielem  an  ahn- 

iiches,vvas  wir  in  Is.tanbul  sahen,  (vollendet  llöl) 

Die  Linneitlichkeit  nur  ai  einer  Stelle  unterbrochen.,  inks  vom  Altar  ein 

Öarockaltar  und  ein  Crucifix. 

Von  der  Benediktinerabtei  ist  nur  der  Kreuzgang  erhalten. Der  herrlichste 
Zauber,  arten  aer  nomannisch  siciliscnen  Bc.u  und  Schmuckkunst  .Seine  klare 
.  ,..;^chonheit  s  nuäelt  sich  an  aem  offnen  Brunnenheus  der  Südwestecke  .  —  - 


(  ) 


56 


v<» 


( 


(  ) 


des  Konte  Peilej^rino  in  seiner 


Es  ist  sicher  der  S'.;hönßte  italienisch-romanischen  i^.tils  des  XII  Jh,  , 
dem  ich  nur  Kruzgang  von  i^ioissac  im  französisch-romanischen  Stil 
(cf.S.ll  :t.Fierre)zam  Veigleich  gegenüberstellen  kc?nn.?'en  ganzen  Hof 
urazihen  zi.  rliche  ,auf  je  2  Marmorsault-n  rmr^enae  Spitzbo  en,dazu  an  aenKx| 
>jcicen  SHLul.rnbun -el  von  je  ^  ;:aulen.  Allejsind  nit  den  reich  ten  farbigen 
Mustern  eingelegt , die  Kapitale  alle  verschie  enDSa  sind: der  König, der 
den  Dom  der  Mattergottes  -Ib   -NeiJ^abe  überreich^ ;  odr  bei  Zweiteilung 

eines  Oopuelkapitals  die  Glieaerung   einey  Scene  aus  det-  Verkündi ';ung 
benutzt. Aber  la  sinä  aich  Gauklerscenen   und  dn  den  Schäften  aer  Hcksäulen 
den  antiken  Kröten  nachgebildete  iutten,die  sich  zwischen  ..^einranken   miti 
Fabeltieren  jagen  und  hascnen. 

Auf  der  Weitem  föhrt  haoen  wir  das  Massiv     

cnarc^teristischen  Form  vor  uns.  Goethe  nannte  es   "das  schönste  Vorge- 
birge der  /;elt"  und  ich  bin  1901  seinem  ^^eispiel  gefol^^t  zu  Fuss  den^ 
ßerl^  hinauf  bis  zur  v^rotte  aer  xHeiligen  Kosalie  zu  vvandern.  Die  Heilige 
war  iiahcer  Legende   eine  i\;ic:ite  Konig  vVilnelm  II,  es  Guten, die  sich 
hierheraus  Frömmxgleit  in  bluhenuer  Jugend  zur achezogen  haben  soll  ( -»-J 170) 
Ohre  Gebein  n-ch  Pal;:raio  aberfuhrt  soll  die  £fadt  von  der  lest  befreiht 
heben  und  machte  sie  aüiB  Schutzheili.c^^.e  aer  Stadt  verehrt. 
^e±ne    Ze±t  auch  nur  einen  Blick  auf  en   trand  von  :1ondello  und  das  Mondell 
Fülace  zuwerfen,  ls  .  eht   noch  W^eten  den  direkten  A'eg  nach  Al.ca-*ß  und 
weiter  in  die  ßerge  hinein. 

Schon°weitemsieht  man  auf  einsamer  Höhe  den  Umriss  eines  Tempels. 
Steil  ber.p:an  zu  einem  I  arkplatz , von  dem  ein  steiler  Fusspfad  zwischen 
Agaven  zum  Tempel  von  Segesta   fahrt. 

Er  gehörte   zur  Staä^  Segesta ,  •■  ine  ler  ältesten  Städte  der  Insel, elymä- 
ischei^, nicht  p:;riechis^;nen  Lrspnungs  ,mit  Ableitung  von  den  Trojanern. 
Gebaut  in  cfer  zweiten  Hälfte  des  5.J'^.v.Ch.  war  nie  vollendet, so  ist  der 
Kranz  aer  36  dorischen  Säulen  ohne  ' anneluren »die  noch  Gebalk  und  Giebel 
trafen.  Die  Se.es  Lanerfc-ieTen  einst  die  Karthager  z  r  Hilfe  p:e:en   ihre 
..ViJerSrMjijer,die  Selinunter  ;4ü9  wurde  .nit  Kartha-  ischer  Hilfe  ^elinunfeC/ 
zerstört. Als  sie  selbst  im  ersten  puni.-.nien  Kriege  s±»  sich  aif  Seiten 
aer  Hömer  stellten »bereiteten  die  Karthager  ihnen  dasselbe  Schicksal. 
Das  Theater  .uf  dem  :\onte  Varvaro  gegenüber , zu  dem  ein  be..ch//CTlicner 

Fusspfad  fuhrt, und  die-.er  Tempel   sind  die  einzigen  Zeugen  ihrer  Kxisten 
von cfer  Staat, die  bufdem  gegenuberj legenaen  Hagel  lag. 

Aber  auch  unvollendet  gehört  de   Tempel  zu  dsn  oesterh  Itenen  von  Sicilie 
und  macht  in  dieser  Einsamkeit  auf  nrgeshöhe  durch  seine  einfachen  gross- 
artigen Linien   einen  tiefen  rJindruck.  Herrlicher  w  iter  riiiick! 
Wir  fahren  hinunter  zum  Gffiif  von  Cc^stelamara  ,wo  wir  in  Bolestrate  ,  in  aem 

Hof  eines  Frivathauses  mit  Blick  auf s  :  eer^ e  n  ebsnso  primitives  , wie  amü- 
santes Lunch  "im  Femilienkreis"  hatoen. 
Auf  direktem  '  eg  nach  Palermo, wo  wir  s-regen  5  ^'^^r  eintreffen, 
Noch  einmal  in  iie  Hauptstrossen  der  :tadt. Jause  in  der  Via  Maqueda,wo 
Stefan  aich  Gelegenheit,  finaet  seiner  Hilrne  zu  o-gänzen. 

In  den  Anlagan  um  das  Te^ro  '-Inssiio^-^denke  ich  cferan  ,aass  ich  an  27, ^^ärz 
19G1  die  gros-e  Chance  hatte  »luccini  selbst  seine  '»Tosca'»  diri.^ieren  zu 
sehen.  Prachtvolles  Riesenthe-ter .  rh    es  woiil  die  l-re  ..iere  war? 
In  Jem  anderen  Theater  der  Stadt  findet  heute  Wahl  der   chöm.eitsköni gin 


s  :att;dieserhalb  heute  Deim  ^inner  im  '^^sssaal  gro-se  Bewegung 
lieh  Versuche  der  ''ahlbeeinf iussung. 


,vt  rraut- 


1)  Besuchten   die    grocsartigen  Ruinen    von   Selinunt    aiit   011^  und  iMarianne 
31Marz   1928 

2)  l^tro   FißsiT-O    -'fi   2Ö.Marz    1V2Ö   .  uccinis    '»Turandot". 


57 


I 


I 


DJBBstaR  8. September;  Die  beiden  Tage  in  Palermo  und  I..;me,ebung  waren  von 

bchönlieit  erfüllt  und  sehr  bef riedi Tend.XScJxade  ,dass  nicht  noch  ein 
dritter  Tag  zur  Verfügung  ,dc^fr  Bild  zu  vervol !  ständiu!-en. 

Ich  frustucke  auf cfer  Terrasse  mit  31ick  überdie  Marina  auf  das  blaue 
Meer.Naciiher  sitze  ich  in  der  lialle , Bachs  erw.rtrnd.  ün.veit  eine  auffal- 
lend schöne  Frau  ^nit  einem  Cavalier.  ^a  bemerke  ich,daes  viele  -^eki-nnte 
geatulieren  kommrn  und  ais  auch  noch  eine  grosse  silberne  Vase  gezeigt 
wird,zeiflF  ich  nicht  nehr,dass  ich  -ie  gee.ten  gewählte  Schönheitskönigin, 
eine  ' 'ienerin, vor  mir  habe,  ^-iit  Vv'ahldui  ch:-us  einverstc^nden  ;Chärmc.nt  I 

Aufbruch  9  Uhr.  Un^er  üotel  an  d?r  :.trasse  ,di^ , dicht  an  der  Fdste  des 
Golfs  von  Ter:nini  Interese  »direkt  nach  CEF  ALU  fuhrt 
Bei  cfer  /nfahrt  schöner  rilickaif  Stydt  una  .en  uber»aKenden  Dom   zu  l^üssen 
ües  gew^.ltiaen  j^^elsenhauptes  ,das  der  griechischen  £tadt  ihren  Namen  g^  b . 
H±r   parken  vor  aem  Jelly  dotel  und  gehen  zum  Domplatz. 

D^r    "Oom  San  pietro  wirsä.^teht  erhöht  axf  einer  Plattform, zu  aer  stufen  hinan 
hinanfahren. Diei  FassadewiEti  n  ch  dsn  Vorbildern  normanniicher  Kirchenbauten 
der  iMorman.ie  und  England  (.  Wilhelm  der  Eroberer -.St  .btienne  zu  Caen) 
von  zwei  mächtik-en  vier.-tockigen  Tarmen  ve  -bunden  durch  einen  Portikas 
zischen  ihnen  .  hjr  vurue  besonnen  lljJ-   als  GrabesKir.he  des  Gescnlcntes 
der  Hauteville  von  Roger  II, der  e  i.n   Jahr  zuvor  vom  lapste  zum  König  von 
Neapel  und   icilien  gekrönt  worden  warD-r  Bau  ging  nur  langsam  vorwärts 
blieb  nach  dem  Tode  des  Stifters  liegen. Die  Fassade  stammt  erst  von  12^0. 
Inzwischen  beginnt  der  letzte  de...  Ges/iichctes ,  .vie  wir  g  sehen  n   ben,117^ 
eine  andere  Grab  .skir. he  ,aie  Kathedrale  von  -onreale ,die  gereits  liB^ 
vollendet  ist, sich  aber  die  Mosaiken  im  Chor  von  Cefalu,die  ll^( 

wc.rrn,als  Vorbild  nahm. 

Und  diese  '"osaiken  »besonaers  das  Bild  Christi,  sind  es, die  den  Besuch  zum 

Erlebnis   machen.  Der  Stil  ist  noch  rein  byzantinic-ch  aus.efa.rt  von  einem 

grossen  Kunstler. ''ie  yi,mr  wundervoll  auabalanziert  durch  das  Gegenspiel 

"er  beiden  Hände: Die  Fechte  erhoben  in  stürmischer  Geste  ,die  den  blauen 

Kcntel  zur  S  ite  reic-^send  d:.s  golddurchwirkte  Gewmd  enth^xllt , während  die 

linke  unbewegt, ein  -.u  h  umfassend,  es  dem  Beschauer  entgegen  hält. 

Das  Gesicht  mit  Vollbart  von  ernster  Schönheit  entspricht  genau  dem  Bild 

Gottes, wie  die  1  osticonovlascen  es  darge.-tel.  t  ^-is  en  wollteniChrist  als 

Konxg  voll  von  Energie, der  i  antokrator  ,df  r  '/eltenherrscher. 

Das  Grossenv-rhältnis  der  halofi:.ur  zur  Jungfrau  MxrÄRiHr  in  ganzer  Figur 

ipt entsprechend  ub-rwaltiv:end  gestaltet. 

Die  oungfrau  steht  in  anbetender  Hiatung.Inr  nahen  in  Kai'  r  iicher  Tracht 

mit  kaiserlichen  >jmbleraen  die  Erzengel, um  aer  Him-.elköni^an  ,wie  Prinzen 

ihi'em  Ear.^;ten,^u  huldigen. 

Zur  .ck  zum  Jolly  Hotel, in  .t.-.en  Vorgarten  wir  uner^n  Expr-sso  nehmen, 
zufrieden  das  ..anstlerisch  bedeutendste  Werk  de-  Scna.fens  byzantinischer 
Mosaizisten  .uf  siziliochem  '^ouen  m  uns  aufnehmen  zu  können. 

iV-r  bl  iben  a^i  Meer  bis  Kurz  vor  Stefano  ^i  Cam  -tra,dann  geht  es  nach 
Süden   durch  bergige  Land,  ch  ft  über  Mistretta  nach  Nic^osia  ,  o  wir  in 

kleiner  Trattoria  lunchen.  .ilie  Gegendvoll  ^^^"^^^^'^^''^'^''^  »Kisi.pv,i^pn^^»'^ 
Unser  nacnctes  Ziel  ist   ein  aolchet  Felsenne.st  ,das  seinSft  CSfetfÖ  lovanni 
aur^^^Bk  in  seine   Ite  Bezeichung  ENNA  zuruckgewoad-lt  hat.       


iUiwkk^t 


f 

i 


57 


1 


l 


Enna  liegt  auf  einem  etw.  lOCO  m. hohen  Berggipfel.   ir  halten  an  dpr 
Pi&zza    ,von  d iren  Aussichtsterra.se  ein  weiter  Blick  sich  bietet, wohl 
einer  der  umfassendsten  Siciliens .Mc n  steht  et,  a  im   ittelpunkt  der 
Insel:  "■''nna  der  Nabel  Siciliens'*  .  Die  Staat  streckt  sich  entlang  des 
iJergipf  eis.  Hechfefe  aüfj-d  m  vorsi±i^Hen   Felsen  eine  ßurganlage  oder  das 
v/a^;  von  aer  alten  rief  eöti^un.^  abri>i  geblieben  ist.  Darin  ein  massiver 
achteciciger  Turm,  1er  auf  i^^riedrich  II  von  .ohenstaufen  zurückgehen  'nag. 
r^s  ist  b  ^r<.a  nt  ,da^  ö  aer  Konig  hierher  sich  zurückzuziehen  liebfe*,ura  der 
hitze  zu  entgehen , denn  selbst  im  nugust  sind  hier  oiDen  aie  Wachte  kühl 
Ausberaem  uote  der  .•  latz  m  meiner  wilden  ochbnneit  und  klassischen 
jilrinnerungen  einen  besonderen  Reiz  auf  ihn  aus. 
].an_:  vor  den  Griechen  sassen  hä  r  oben  aie  bikeler;iJir  Kult  der  Demeter- 
Kore  hatte  nier  seinen  .lauptsitz.  Die  Lage  macnt  es  scheinbar  uneinnehm- 
bar.Undso  war  es  haupts  :icniich  durch  Verrat, dass  es  den  iiesitzer  v/echselte>J 
Djonys  von  Syracus  , Karthager  , Romer  ,schliesllich  aich  Ö59  die  Sarazenen  ,aCi.- 
die  mannliche  Bevölkerung  niedermachte  n,die  durch  ihre  Schönheit  berühm- 
ten iirauer^bis   nach  ^agd  -d  in  die  harems  versendeten. 

Ich  habe  Inder  Schule  lie  -.nklaeerdäBn  de.s  CicipoH  gegen  den  Frocunsul 
Verres  gel«en,in  denen  u.a.  die  fruchtbare  umgeoung  mit  Bächen , Seen  ,'Väldern| 
gepriesen  wird.   Das  ist,wo*.l  hauptsächlich  durch   die  Schwefelgewinnung 
in  aer  Üm,orebung , nicht  .:enr  fall.  Man  blickt  hinein  in  eine  wilde  :.andschaft| 
mit  kahlen  Felskegeln.  Auf  ae.n  nachstgel  egnen^  höecnt  :nalerisch  üo  :rragt 
von  einer  Kathedrale/ Calascibetta . 

Leider  fehlt  heute  ein  wesentlicher  i-.ffekt;  Der  Ätna  mit  t  einem  Schneegip- 
fel bleibt  ven  A'olken  verhüllt  und  bc^ld  treibt  uns  sogar  ein  Re.eenguss 

in  aas  an  die  lerrasie  aasc/tossende  uasthaus  zu  eine n  Ji,xpresso. 
Zu  ^em  heutigen  i'lrnst  der  landscnaft  pa-st   diec  Ite  griechische  Sage 
die  mit  dem  kleinen  See  lergusa,an  OE^m   uns  unserer  '.Veg  n^-ch  Siiden  vorbei- 
f^,nrt^zus  ^imenhiiniS't  .Hier  soll  aer  iiJingang  in  die  Unterwelt  sein, an  dem 
die  xocriter  ^Ue  aeters  von  irluto  entfahrt  \A^urje.Dies  die  Grundlage  für 

Llemsiriischen  Feste  ,die  in  Griichenland  solche  Bedeutung  gewinnen  soll- 
ten (cf.dcizu   Igb.  Griechenland  19!?!?  |S,  112-115; 

Von  hier  ist  es  nicht  menr  alj.  zuweit  zu  unsere  n  heutigen  Endziel  ,dem 
Kleinen  Städtchen  jriazza  •rm^nira  ,Vv'p  wiederein  gutes  Joly  Hotel  far 
uns  reserviert  hat.  i.eiuer  ist  h-ute  MarKt  mit  reciit  geciuschvollem 
Treioem  ,bei  cfem  die  Kandier  sich  tKiXHXf..uchischon  des  modernen  Lautspre- 
chers  bedienen, um  ihre   ar-  anzupreisen, was  meine  Freunde  recht  stört, 
so  hat  meine  Schwerhörigkeit  aich  einmal  sein  Gutes! 

MitrwQch  9»Septernber :  Der  Zweck  unserer  hiesigen  Aufenthaltes  ist  der 
Besuch  der  Villa  Romana  di  Casale. 

Durch  '^ald  in  ein  enge:  Tal , rundherum  von  Hligeln  eingeschlossen.  Hier  hat 
sich  der  '/aiser  Maxitüimianus  Hgkuleus   um  3C  0  n.Ch.für  sich  urd  die  kai- 
serlicne  r^amilae  ein  Jagdschloss  geschaffen.   OAeit  ich  feststellen  konn- 
te Wer  seine  Hauptstadt  Mediolanura(Mc-iland)  ,  er  selbst  ein  A^af  fengefährte  des 
Caesar  Constantius  Clorus  in  Afrik, Germanien  und  Britannien. 
Von  der  Villa  ist  bisher  nur  der  ftionumentale  Mittelteil  ausp:egraben,*  mit 
' nem  seltenen  Reichtum  an  Mosaikfussböden ,von  denen  bisher  3,50C  qm. 


.usife-''r::^ben  sind.   Zu  ihrem  -chutz  hat  man  darüber  Plastik  vände  und 
Dacher  errichtet , die  wie  Glas  wirken  und  gleihzeitig  dur  h  ihre  Gestal- 
tung arcnitektonische  Vorstellungen  vermitteln. 

DiewLrklicne  F^eilegung  durch  die  Regierung  hat  erst  195c  begonnen. Der 
—  eigentliche  Palastteil   i5:t  bereits  sichtbar  u^emacht. 


5rt 


( 


Die  Tnemata  der  Mosaiken  sind  vielfach  dem  Z.veck  des  fiaus.s  angepasst: 
Der  Jagd!   Wildschweinja  d  ,aber  auch  Jai^d  auf  '-irosswild  in  Alrica  zur 
Verse niflung  nacln  Italien.  In  i  itten  }-ortrait  des  Kais<ä,r.s  ziwschen  zwei 
Schildträgern,  ''les   voraliem  auf  dem  l&n^jen    'Vandelgang  vor  der  so.- .Basilika  ^: 
dem  otficiellen  Hjinpfangsraum.  In  kleineren  Räume  viefach  ^Tarierter  0' r- 
jrtellunp-:en  von  ornamental  verwandten  Tieren  etc.  xaax^KkxHHitxxtRRxxxt  Qurch 
Aobildun?^  bekannt  gevoraen  der  gro-  :  e  Mosaikfussboaen  mit  den  "Bikini- 
Mädchen"   Vielleicht  haben  sie  der  neuen  entblössenden  Bademode  als  Vor 
bild  gedient. Hier  han  lelt  e&  sich  um   10  Mädchen  in  zwei  Zonen  ubereinande; 
die  auf  Kasenboaen  sich  gymna<=  tischen  üöubgen  nmg  .ben^  bekleidet  Miit  kurzen 
Lendentuch  und  mit  den  ßu&en  eng  umschnurenuen  Bindern.  Diese  Bil^-ler  wurder 
im  4.ciahrnun  iert  aber  ein  rein  geometri^i.  hes  ''luster  gelegt. 
Moderner  Comfort:  Badeanal^-.en  von  unten  Deneizt  und  Toiletten  ;iit  dauernd 
flies 'endem  .as&er. 

Ein  gut  unerrichter  Aufseher  macnt  dfen  Besuch  besonders  instruktiv,  -eim 
Ausgang  ist  ein  ge^rüCXter  _^  ahrer  von  Gino  Vinicio  Gentili  aus  dem  Janre 
1955  z.ir  k'eiteren  Informierung  erhältlich. 

Der  direkte  Weg  geht  von  liazza  4rjienira  nach  Syracus  aber  Viccini , Solarini 
Floridia.  i^±r    sind  ihm  nur  bis  Vicini  gefolgt , einer  besonaers  malriscnen 
ßergstadt  mit  .ßarockkirchen   und  Zeichen  ^rossser  Armut.  Wir  irustucken 


im  ersten  Stock  ein-r 


^■ 


elunke, wohin  ;nan  uns  ols  einzige  '^'Möglichkeit  hin- 


iveist.  immerhin  ist  es  Stefan  ein  Trost, %ii  dem  Ort  zu  rein, wo  sich  tatsäch- 
lich die  Tragödie  abgespielt  hat, die  Magaagni  in   einer"Cavallria  "Rusticana. 
(Eitterlic  akeit  aif   dem  jande!ilÖ9C)  durcn  seine  Musik   zu  einem  der  grössten 
Ol  ernerf olge   er  IS'euzeit  gemacht  hat. 

Richcärd  Züricher  in  seinem   rtikel  ^ber  ^.icilien   in  ier    veltwoche  (29*5 -5  ^ 
'*  A'irwiü.en  aen  ub'-raus  lohnenden  :jrf*:/ieg   aber  Ragu^a  ,Mo^ica  und  Noto./^lle 
diese  drei  S+adtesLnd   nachdem  rrdbeben  von  l693  wie  .ex'  aufgebaut  worden, 
nach  elenii  Flan,dei'  stets  dae  besten  individuellen  Lösung  ^'aum  gewahrt. 
So  b'  sitzt  bei  .;lx'-r  Verwandsjhaf t  jede  dieser  drei  Städte  ihre  eigne 
Physiognomie ; in  der  Unterstadt  von  Ragusa  sind  platzbeherrscbende  Kirchen 
deren  Fronten  in  reichen  Turmbfuten  gipfeln,  in  ^odica  beherrscht  eine 
ähnlich  ge;r3talt-re  i<irche  den  oberen  Rand  der  in  einer  Schlucht  aigelegten 
Stadt.  In  Ncto  ab<^'  reihen   sich  büiinenmä^  sig  gestaltete  il^tzc-  mit  Kirche 
über  höh«  rreitreppen  und   eitlichcn  Palästen  in  einer  ..eise,aer  schon 
die  ünwir-r.lichkeit  einer  Theaterscenerie  ei,  en  ist. 

Bereits  von  wodica  fanrt  man  durch  die  Üaine  von  Mandelbäumen  ,-ran^_en  und 
Zitronen,  die  far  däe  naturgesegnete  Küstengebiete  Siciliens  kennzeichnend 
sind  und  die  uns  nun  bis  Taormiaa  begleiten  werden." 
-vir  fanaen  aie  ocbw^-iraerige  Schilderung  etw.  s  übertrieben  und  ich  meine, 
vv.ir   lätten  ciie  Zeit  besser  in  oyr-.cus  verv/enden  Können, wohin  wir  nun  so 
spät  an  •  achmittag  aikamen  ,das6  nicnts  mehr  vorzuneh.nen  war. 

In  ÄÄÄSä^  1^1  i^A^C^U^i  werden  ;  ir  im  Hotel  Villa  Foliti   erwart et, wo  sehe 
ne  Zimmer  mit  Bau  für  uns  bereit  stenen.  Vom  ./immeraus  scnauen  wir  direkt 
hinunter  in  die  Latomia  del  Cap}ucini  ,weit  hinaus  aber  die  Stadt  und  Ha- 
fen. Das  f^iotel  ist  altmouiscn  und  im  Umbau  be  rri  t  i  en  ,aber  dochearstklassig 
im  bv..sten  Stil.  Leider  können  wir  z.Z. nicht  im  H&use  e.ssen. Man  empfiehlt 
bt-staurant  Bandiera  ,dc.  s  unten  in  der  Stadt  nahe  der  Piazza  Pancali   an  ei- 
nem kleinen  l' anal ,  Dapsena  BarsenaC/  liegt , der  .  orto  Ficoüo  und  I  orto  Grande 
verbindet,  ir  speisen  angenehm  am  .Vc^sser  auf  einer  Terrasse  in  guter  "''uft. 


c> 


( 


Du; 


59 

.,  jiinersta^  10. September :  Icn  musste  heute  Nacht  bei  cteixi  starben  Gewitter 
una  ien  Regengüssen  dar' n  denken ,dass  ich  z  ra  dritten   al  in  Syracus  und 
in  ler    "Casa  Politi"  ,  wi'^  siecfern.ls  hiess  ,Din:  April  19C1, April  192Ö 
Und  jealpYemige  Tage  'nit  Genu.ss  der  St,  at  und  Umgebung  gewidmet  habe. 
Eri  und  Stefan  v  ol.i. en  heute  noch  unD>  dingt  nach  Taormina  //eiter  aimi  endlich 
zur  reinen  Erholun^l^ommen;  ich  kann  es  den  Beiden, die  im  tä^i'Üchen  Leben  so 
angestrengt  sind, nicht  verdenken.  So  wird  die  Zeit  zur  Besichtigung  der 
Stadt  sehr  oe. schränkt  sein. 

Das  Gewitter  hat  dio  Atmosphäre  :iereini^:t.   ir  fahren  hinunter  in  die  heutige 
Stadt, die  sic.iaii  einen  kleinen  Teil  aer  antiken  Ansxedlung  beschränkt , auf 

die  l^rel   i  rtygia. 

Der  Domplatz  i.-t  von  m==  Irischen  Barockfassaden  umg^^^ben 

Her  ^^^^ölTseine  Fassade  erst  nach  dem   rdbeben  von  I695  bekommen.  Die  antiken 
Säulen"  11  it  i''apitäl<^n  des   inervatempeJ  s  sind   ite  ihn  hineing^baut . 
ÄrC^iidffi?%^'*S/enuber  "I  ;i  r  ,1  riir  H^rrv^n"^.!  --^^     löai  archäologischen  Museum, auf 
des-en  deaaca  wir  lei'ie  raus  Zeitmangel  verziähten  nu.sen.  Icn  hätte  meinen 
Freunden  .^ern  wenigstens  die  Venus  Anadyomene-Ciiit  ihrem  )el''hini   ezei-t, 
aeren  .-»ückseite  die  Venus  Kaljpj^gos  weit  an  vollendeter  3ch*6n^eit  übertrifft. 
Fin  griechiches  urininal  des  ;>. Janrhunderts.   Dann  hätte  icnsie  gern  einen 
Blick  auf  die  herrlichen  fjrieciiis'.hen-sicilanischen  Goldmünzen  wei'fen  lassen, 
eine  oamnilung  ,die  >chwer  zu  übertreffen  i  t. 

Note-earunG,en  beschränken  wir  uns  in  aer  Altstadt   auf  Besuch  des   mphitheäteer; 
einer  römitchen  Anlage  aas  der    Zeit  des  HUgustus,aaf  aas  Griechisch ejrh^s^i^ e r 
vom  l^.Ju.v.Cn.  , eines  der  ^.rossten  der  alten  Aelt,von   dessen  nohe   -nan  einen 
herrlichen  Blick  suf  Stcdt  und  L-.no.schaft  hat.  Und  schr.uen  natürlich  aach  in 
Latomia  dei  laradiso  niit  dem  scg,nhr  des  Dionysos. Allie  arei  sind  jetzt  in 

hübsche   nia-'en  ^-eoettet. 
Auf  die  sehr  interessante  FestunK  anläge  h^itte  aanlschliesslich  verzichten 
können;das  Fort  Euryelos  lie^^'t  zLerulich  v^it^drau.sen.A bei/um  die  I  lylle  ier 
Kyane  ^^uelle  11t  ihren  von  Fapyrusstaudenjangefas  .tn  Ufern  ist  es  jammer- 
schade .Man  sLert  ,A'--nn  -lan  am  ^nde  aer  iootfahrt   sie  •- rreicnt  ,klar  .as 
•'kornblaue  '   asMer  aus  der  Tiefe  drängen,  f^erist 
M   n  den  TRaub  aer  }  roserpina  versetzt  hc.ti^JUmi 

aie  icnd^m  :-otte  entgen-v-rf  ,um  ihre  Herrin  zuachUt.en.  Zur  Strafe  wiarie 
die  Nympfe  m  diese  -jel.'   verwandelt. 
Jt  caft^be  helped! 
So  drenen  wir  zum  Ausgang  aer  Stadt  Dichtung  Cctani^^  »halten  aber, weil  geraö 

am  vVes:e  lien;t/  noch  bei  der  Kirche  S.Giovanri. 

Auf  uneer  sc.elien  öffnet  ein  Mönch,  ier  die  Fuhring  ab  rnimmt . 

Von   en  alten   irchen  ict  Aenig  erhalten; von  der  aas  dsm  V'.Jh.nur  die  Apsis 

in  ■:^ua-.ern,vonder  nittelaltcrlichen   irche  nur  aid  Westwand  mit  dem  auf- 

lajiena  Radf enster .Tr ep] en  f^nr-n  ninab  zur  Krypta  aes  Ri.Marcian.^ 

Interessant  sind  die  aus.:?;eaehnten  Katakomben , in  aenen  ich,sowr-it  ich  mich 

erinnere  , noch  nie  v^aFK.  li^igenartige  Rundsaie  aas  jem  iV  bis  VII  Janrhundert. 

im  unaoer  ehbaren  Gewirr  aer  ^3inQe.      oll  an  Geräumigkeit,  die  rcnischen 

Kata.rombcn  weit  abertref len ,alxeraings  von  aer  Wanadecoration  ist  wenig 

erhalten. 

Weiter   nach  €btania    durch   auf^ll;  nd    arme   Gee^enden.Derr    Alna   zeigt    sich    nicfct 
Catqnia   macht  sofort    a^n      indrack   eine,    recht    oetriebsanen  Sta.t,iie    oflenba; 
zu   recht    das'*' Mailana   des   Badens 'heisst  .Aucn  4Lese    otc  dt   i^t   nachdem  Fi^l^eben 
von  1^9:^    neu   angelegt. 


me,  zw-^ite    btelle  ,wojJin 
phe    and.        ,         ,. 
^Dienerin    der   ^ ore , 


(  ) 


6g 


(  ; 


( 


Wir  fahren  gleich  zum  Oorn£icjbz  ,dem  Mit  i  elpankt  j.er  Stadt  .Auf  diesem  Platz 
ein  Brunnen  m.t  einem  antiken  h:iefcinten  aus  Lava,jer  einen  ägyptischen 
Granitübr.lisKen  trägt ;  aiente  vei  nutlich  als  ;/.eta  in  einer  Rennbahn  und  ist 
in  das   appen  von  C-^tanic-  überge.^,  ngen. 

Der  :üm  ist  Oit  zer.-tort  v^orden; vom  urspr.-.n^s'lichen  Bc-u  Konif  l^oger  I  1091 
wenig~erhülten;er  vörw.nate  als  •^i&tc^rfcdl  iie  Steine  vom  antiken  -Theater. 
Die  Barockfaisaae   von   /acc.rini  (173t>)inach  dessen  tlan  die  Stadt  nach 
dem  c^rdbeben   von  i693  wieder  aufgbaut  wurde.  Auch  er  verwandt   Material  vom 
antiken  Theater; die  Granit säulen  m  der  Fassade  stammen  von  dort. 
iLS  muss  heute  ein  Fest  sein,aenn  die  Menschen  strömen  mit  Blumen  in  den  Dom*, 
es  ist  ao  voll,da3o  wir  zur  Kapelle  der  KLa^cathe  nicht  vordringen  können. 
ün:riittelbar  davor  singen  eine  '-.ruppe  von  Frauen  fromme  Lieder  »wahrend  le- 
bende lauben  hin  und  her  flattern.!  Hübscher  'nblick. Konnte  nicht  feststellen 
wwinibt  der  hübsche  .:3rauch  zusamrnenhanFTlim  Leben  der   Heiligen. 

Wir  lunchen  im  Restaurant  MäKXäitMIII  Gemarino  an  dsr  Piazza  Manganexli  ,aas  man 
uns  empfohlen  hat .  "^-utsch  q}rec  j.ender  Kellner,  ^er  uns  gut  bcdiett. 

An  der  Küste  Y;eiter  nach  Noraeji.'Auf  der  strecke   endet  dicht  bei  der  Str^-^sse 
ein  unheimlich  shwaiz  erstarrter  Lavastrom  von  einem  der  letzten  Ausbrüche  des 
Ätna, der  vor  einem  ^ irchlein  ,das  von  Betendenangefullt  war, halt  machte. Ein 

richtiges  "Wunder". 

Hinter  der  Eisenbahnstation  Giardini  führt  die  Strasse  in  grossen  steilen 
Kehren  hinauf  zu  dem  20L  Mt ter  hbner  auf  einer  Klipi  e  liegenden  TAORMINA 
Vor  eintritt  in  die  Stadt  l&g?^  das  Hotel  erstelle  a  Aare  , wo  w^r,a.i.öTIY 

und  M:.rianne  ,  vom  b.-l4  April  192o  wohnten.  Pief .Glc.sers  hatten  es  uns 
empfohlen  und  seine  Lage , besonders  .enn  man  im  tieferen  Anbau  Zimmer  mit 
Balkon  nach  zwei  .eiten  und  lerratse  direkt  am  Felsenabsturz  hatt*^  entscna- 
di^te  uns  für  viele  Mängel  im  Comfort  und  Verpflegang.]i.s  scheint  nicht  mehr 

zu  existieren. 

ibinfahrt  in  die  Ttadtdirch  die  Lorta  ilessina  in  diBengen  Coree,der  das  Stadt- 
chen durchzieht  und   hinter  der  Piazza  del  Duo?no  i-iinunter   zur  Piazza  San 
Domenico  yhn   ^^aerjunser  Hotel,  aas  Domenico  palace  liegt. 

xr  fahren  in  den  ersten  Haue .  umschlossenen  liof  p.^o  wir  parken.Daran  ^chliesst 
sich  K±Äk  ein  Kreuzgang  aus  aem  l6. Jahrhundert jglassumscnlos^en  mit  blühen- 
den Palmen  und  L:j.egstühlen  in  'litten. 

ie  KlQEterkirche  und  ein  früherer  ireuzgang  .^vurde  ^grösstenteils  /.erstört 
1943  durch  Bomben, die  iem   deutschen  Hauptqur^rtier   ..alten  ;  auch  aer  in 
ein  hotel  verwandelte   Convent,wo  ic n  und  meine  Eltern  vom  2.-5.Ap^il  19C1 
wonnten, hatte  gelitten.   avon  ist  nichts  nenr  ai  be.'erken.   s  Hotel, das 
wirsDiion  damals  be-vun.  erten  ,ist  scnöner  ,als  je. Ein  Anbem  bietet  Zimmer 
mit  ßad  und  abgeschlossener  Loggia. 

In  diesem  hatte  ich  für  neine  Freunde  und  mich  Zimner  bestellt.  Meines  ist 
^15, das  "Doppelzimmer  von  Bachs  anscnlieseend.  Un-er  Blick  geht  aber  den 

Garten  hinaus  zur  See. 

Beim  Kundgang  f  in!>en  wir   rosse  Ȋusserst  gescLmackvolle  Gesei:;  seh- ftsrauine 
mit  euten  Antii-en  izeschmo.ckt .  )er   Speisesaal  nach  dem  Garten  und  dem  !  leere 
zu.  Lssen  und  Bedienung  ocsonaers  gut* 

Kurz:  Pas  ehemalige  -lostei  ist  zu  einer  idealen  A.usruhstatte  geworaen , abge- 
schlossen vom  der  Unruhe  des  starken  l?re  ndenverkenrs  dr.  ussen  und  mit  allem 
Gomlort,den  man  sich  nur  v/ünschen  kann.  Auch  £ri,wie  Stefan  -ind  zufrieden 
"meinem  Hc.t,hiLer  abzusteigen  »gefolgt  zu  sein  »obwohl   es  naturlich  nicht  billig 
ist.  (14  n-  füll  boÄifd)  .btefan  hat  es  in  einer  witzigen  Vergleichstabel.  e  als 
"tne  K:en«tleman*  s  choice"  Gezeichnet. 


$$ 


0 


gBicMgyxtKicFreitag    11  .September :    Schöner     :orgen  , friinstucke    auf   meiner 
Loggia    und    freue    mich    des    Blickes. 


( 


B's  wollen  ihren  ^agen  wieder  von  der 


rchrarime^^^ie  die  Steinbank 
tKrxYEXxxfiwiHJjRHxixxxHn  und 


bei  der 
Aqua  Paola  in  Rom  ihm  zugefugt  hat »wxÄ^KrxYEXxxSwlHaRHxixxxHn  und   fahren 
zu  einer  ihnen  empfoiilnen  Autoreperatujbwerkstätte  ,die  sadjich  von  Giardi- 
ni  liegt.  Ich  entdecke, ob  und  wie  sich  der  Corso  von  Taor aina  verändert 
hüt.Ich  k.nn  zu  ihm  gel..ngen,ohne  die  Tj^epcen  zu  benutzen  .Auf  diesem 
vve^^e  Blick  aif  u  en  gotio>  hu-n  Palast    Stefano,  bea  stehe  ich  aisserhalb  det 
Tores  Catania:^wHaut  pinem  Platz  ,cv.ufd(^m  ein  g.nz  modernes  Postgebäude  ex- 
richtet  ist.  -er  Corso  hat  die  Unzahl  kleiner  Läden  behalten.  HinzugeVomrien 
kleine  Cafes, kl- ine  rinosjein  moiernes  J- notoge^schaf  t  grosseren  Ausmasses 
un.i  ein  I^eubau  der  Sicil-.ni.schen  Bank, wo  ich  Traveller  Cnecks  wechsle. 
In  aer  Mitte  etwa  steht  die  Kath-  drde  mit  einem  Brunnen  davor.  Der  frei 
llatz  mit  weiter  Sicht  jIs  Cafe  Genutzt  .Viele  Architekturreete  aus  dem 
Mittelalter  ,z.t. in  Hotels  verbaut. Am  Ende  ..es  Cursos  der  i  alazzo  Corvaja 
von  146g  Tiit  interessantem  xur  una  Zinnen. 

htark  verändert  und  t ir  nich  besonaers  unangenehm , aer  .  ro -se  Autoverkenr 
besonders  der  Tourenautos  »deren  Breite  mich  ge^^^n   aie  //and  zwingt, die 
Masse  Mensch'^und  die  eltsprechend  her  bgesetzte  q)uaJitat  ..er  "An  ienken.re- 
schAfte".  Selbst  die  Kleinen  iisel  in  Kera  ik,die  Olly  so  ^-rn  h.tte  und 
von  dem  wir  einfex^  mplar  zum  Andentven  iriitnah.iien,ist  zur  groben  yaiorikware 

geworden. 

Gutes  Lunch  mit  B's.  Nachmittag  vertiefe  ich  mich  ^n   Georgina  Massen' s 

"Frf-deric  II  of  noh^-nstaufen  ,a  Life"  jaute  Vorbereitung  MMffdr  unsere  R 

Fahrt  m  sein   eliebtes  Apulien  .  Zv.ischen  der  Lektare  Blick  von  meiner 

LofT.ffia  auf  die  blaue  See.  Sundervoll. 

Beim  '"'inner  empfindet  Tian  die  discrete  Betreuunp  vom  Tberkellner  bis  zu 

.  en  uns  zugeteilten  Kellnern  aufs  angenehmste.  -xpres-O  nacnher  im  .^n- 

sc  liesenden  grossen  Saal, wo  man  aie  Mitgät>te  mehr  im  ^iinzelnen  wahrneh- 

kdnn.Gute  Geselle haft. 

Samstag  12.S^/3J^:  '>i  ^^^   ..tefan  fahren  hinab  zum  Baden  bei  der  Isola  Bel- 
la.  'Vun  .erbares  Vetter.  Ich  geniesse  den  Garten. des  notels.  ^.ugang  von 

dem  glässsumscriloGsenen  Kreuzgang  .T-reppe  hinab  in  den  alxtesten  Teil 
wo  inden  langen  Gangen  noch  deutlich  die  uBcprunglichen  xonchszelien  eri 
kennbar  sind.Oirekt  vor  dem  i'>onveBt  laägt  ler  gros^^e  Garten, der  sich  bis 
zur  ^  Iskante   erstreckt,  überall  bequeme  Sitzgelegenheiten.  Reichtum 
an  1  flanzeniGrapeiruit  und  .tändeln, Apfelsi-^en  ...  S^.lbst  in  dieser  Jah- 
reszeit ein  farbiges  Blähen, wohin  das  /uge  blickt. Dazu  di.  Sicht  in  die 

i-erne  hin  Soer  zum  griecnischen  The  ter ,  hinaus  aif  o'as  blaujRX  Meer 

Dazu  p3s:--t  eine  Kleine  Bronceplatte  ,die  ich  zufällig  ente jecke.t^in  dank- 
barer Besucher  widmet  einige  Zeilen  aer  Geliebten  in  -rinn -rung  der  Stun- 
den, die  er  mit  inr  in  dieem  Paradies  verbringcvn  durfte, 
isic^cnmittag  lassen  wir  uns  vom  alten  Gärtner  herumfahren , nachdem  B*6 
recht  befri  aigt  vom  Backen   zurück  sind  und  wir  geluncnt  haben. 
Jause  auf  dem  Platz  vor  Jer  Kathedrale. 

Nach  *m  Dinner  gehen  a;eine  Freunde  noch  hinauf ^^in  den  S'orsojwo  in  den 
offnen  Cafes  uberoll  Musik  und  grosser  "s^triebi'von  dem  wir  in  unserem 
^Kloster'  nichts  merken. 


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62 


0 


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bonntag  Ij.fipptl):  Vunde  wetter  hält  an.  >ahre  mit  B*s  hinunter  zum  Baden, 
um~tiir  erT  Bade  betrieb  anzusehen,  oin  ja  leiaer  zum  Zuschauen  verurteilt. 
c:ehr  hübsch  der  :itrand  beider  Jsola  Bella.  Sonne  brennt  stark. 
Nachmittag  kleiner  Spazier  ^.^ng  nit  hri  zum  Hotel  Rxcelsior ,  aas  zqar  auch 
unschöner   age,aber  venachl  ^ssigten  i^indruck  macht. Schön   er  i  avillon  auf 
demw.'it  vorsrringenvien  Vorgebirge,  dahinter  äusserst  reizvolle  VilJen. 
Nach  i'xpres&o  auf  Piazza  ,  ntonio  hillt  mir  Eri  beim  Einkauf  von  Geschenken, 
die  ,  arianne  ^iiich  gebeten  hat  noch  von  der  Reise  für  verscniedene  Personen 
mitzubringen,  '^ank  ihrer  iiilfe  finae  überraschend  c^^eschmacKVolle  Sei  ientu- 
c  -er,aie  in  Como  gedruckt  .verden. 

Montag  l^.Septeiiiber:  Ich  hatte  meinen  freunden  von  dem  äu5:serst  reizvollen 
Ausflug  zum  ^i*rNA  erzühlt  ,bei  cfem  wir  die  ©starrte  Lava  nochw^rm  vom  letzten 
Ausbruch  fdnden  (Autotour  Taor'nina-Gierdini-7rancavilla-P  ndazzo.CTgb. VI , 
S.61.1923K  Ich  ver.tfhe  vollkommen  »dass  Sie  An  die.,  er  Sonne  im  Meer  zu  baden 

vorziehen. 
Ich  b6n  I920  ohne  Schwierigkeit  cfen  d:eilen  Weg  hinauf  nach  ■' ola  zu  den  Ruinen 
des  Kastells  -ew^n  lert  ,ura  die  überaus  .'-rossartige  Aussicht  zu  geniessen^ 
Heute  n;<ch  31  Jahren  bedeutet  f^s    einen   ntschluss  für  mich, zu  Fuss  zum 
Griechischen  Tneaterzu  gehen.  Ich  muss  Jen  p;  nzen  Gorso  hinauf  bis  zur  liaz 
za  Vitt*".  pimanuele  ,dann  die  Via  Te.'^tro  Greco, bevor  ich  mein  Ziel  erreiche. 
Wenn  ichouch  seine  Lage  in  guter  :-rinn  rung  haoe,ich  oin  doch  froh  es  wie- 
derzusehen; ohne  diesen  Besuch  ist  aer  Auff hthait  hier  unvollständig. 
Und  die  Schonneit  uoertrifft  selost  hochgestellte  Erwartungen.  Diese  läge  ist 
exnzii^.artig;kein  Theater  Inder  ^griechischen  >,elt,und  ich  k.  nne  die  neisten, 
bietet  einen  solchen  :^lick. 
Ich  lilimme  bis  zur  obersten  Peine.  Im  ooeroten  Rundgang  sind  ]>6   Nischen , deren 

ZwecK  nicnt  klar  ist .i'iirab-r,  einen  aus.^rezeicnnten  sc^-utti  en  Sitz  verschafft 

in  Kune       '     ,,     .   .         ...    r,    '  ±. 
von  dem  aus  ich  (ie  .^unisicht  j.,eniesben  Aann.  Vor  aiir  aas  aus  ro  iiscn^r  z^eit 

sta  njfienaex  Bahnengebaude  ,das  zum  Gluck  in  der  j'itte  eine  riesi,:e  Lucke  hat. 
:'urch  diese  LuCke  sehe  ich  die  bucntenreiche  Kaste  sich  buchtenreich  weithin 
erstrecken. Links  d^von  dehnt  sich  die  m      orizont  verschwindende  tiefblaue 
Flüche  de.^  ".eeres  aus  und   azwi  chen  kann  ich  den  weissen  Schaumgurtel  der 
Branjung  verfolgen. Rechts  sehe  die  .eb^Lude  unseres  ;iotels,aes  ':omenico  Fa- 
iace,una  weit  darüber  aie  langas  m  und  stetig  auistei^ende  I inie  des  Ätna, 
dessen  Gipfel  leider  wied  r  in  ./olken  gehüllt  ist. 

Beim  letzten  niersein  Wc^r  Jer  Gipfel  ifirei  und  nit  leuchtendem  : chnee  bedeckt 
Dal'ixraber  war  der  'indruck  stark  benindert  durch  die  Zimmerleute , aie  bei 
t-rricutung  der  Buhne  für  die  Festspiele  im  Mai  Wc-ren  und  durch  viale  Freude, 
tie  wctil  daoei  sein  .vollten ,  v/enn  Mu-solini  lit  Jem  ^'önig  hierher  kamen, 
Mon  kann  eben  nicht  alJ^s  haben. 

loa  tr.-te  über  die  Möuer  hint-r  ±t    .ind  schrie    nun  die  aidere  .  eite   mit  Gap 
c-^.  Andrea  und  der  Jsola  Bella. 

">chv;ere  Tl*ennung.  Ich  werde  dieser'  ßild  nicht  noch  inmal  geniessen  können. 
Anierseits  iron,;as&  es  meine  Beine  noch  einmal  schafften. 

Dies  ist  auch  zugleich  der  A^urdige  Abschluss  von  !?  wundervollen  Ruhetagen  und 
ich  freue  'iich,d.ss  auch  meine  Freunde  diese  Tage  restlos  .  enossen  haben. 
Ourch  reicnliche  Ti  ink  ;el  .er  las  en  wir  clas  lerson^l  unsere  Zufriedenheit 
miternp  linden. 


63 


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CALABPIEN^ArU"  IEN> 

Dienstag  1^. September ;  SchönevS  Wetter  hältan.   ^b  8  Uhr ;hinunter  zur 
Küste  und  weiter  nach  Norden.  In  Messina  f in i^n  wir   rstaunlich  moderne 
Eafenanlagen  (die  alten  wurden  vermutlich  im  letzten  Krieg  zerstört). 
Unc  er  Auto  fahrt  in  eine  moderne  Fähre, die  die  otrö  ungen  dr-r  Scilla  und 
Charyois  nici.t  zu  scheuen  hat.  Ab  11:^5  hinüber  — nicrit  nach  T^egRio  -- 
nach  dm  etwas  nördlicher  gele,q;nen  Villa  o  .Giovanni,  wo  un-ser  Auto  auf 
aen  Rodens  Calabriensjaue;  ;esc  nif  f  t  wird. 

nntlangher  CalabrioChen  Ka.-:te  nach  rioraen  mit  Blick  a  f  den  Golf  von  ^oia. 
Hinauf  ins  Gebirge,  .^.m   bhan.:  Nicastro   D:jruber  ein  zerstörtes  Normannen- 
Lchloss.  . ier  wurde  der  älteste  Sohn  Kaiser  Friedrich  II  ^aev    deutbche 
König  Heinrich  VII, der  sich  gegen  ainen  Vater  empört  hatte  ».gefangen  ge- 
halten. Er  wusste  nicht, dass  sein  Vater  ihn  Degnaaigen  wollte, als  er  aus 
dem  bchloas  einem  ihm  unbe/.aanten  Ziel  zu.^efunrt  vvurde.^^us  Furcht  in 
ein  .cnlimmeret  iefangnis  überfuhrt  zu  werden  »stürzte  er  sich  uiit  seinem 
Pferd  über  eine  Klippe  in  einen  Fluss,woa:*  ertrank.  (Lr  ist  in  Cos  nza  oe- 
graoen,wowLr  neate  abend  sein  wefden. 

Lrstaunlicherweise  hat  ao^ar  iMicastro  sein  oolly  xotel  ,wo  vdrauf  s  ange- 
nehmste Tee  trinken. 

Dann  gei.t  es, wie  Stefan  sagt, auf  der  kurvenreichsten  Strasse  seines  Lebent^ 
weiter  hinauf  über  IcCO  Meter  hohe  i-^sse.  überrage  l-iend  die  reiche  Land- 
schaft und  was  das  erst,  unldäiaste  in  diesem  sonst  so  abgehol  zten  Lande 
ist , unübersehbare  vvälder  echter  Kastanien.  Oas  wir  dabei  weite  wunder- 
oare  dienten  i^eniessen  können, ist  weniger  über  öscnend.  Oie  Strasse  i.st 
aorigens  aurw-ezeichnet . 

Gegen  6  Uhr  sind  ir  in  CÖSSKZA  .  ausgezeichnetes  Jolly  Hotel , natürlich , 
wie  immer  ,Zimraer  mit  Baa~züm*"v  rnunfti^en  preis  von  Tire  2  ^2'^7   was  etwa 
S  3.5(^  entspricht.  D-r  Ort  liegt  uoerra^^t  von  einem  Hügel, der  die  Flusse 
Crati  und  öutento  vor  ihrem  Zusammenfluss  trennt . "Fluss'*  ist  im  Augen- 
blick eine  etw&s  übertriebne  Bezeichnung; im  Autenblicg:  sind  es  ziemlich 
jamnerliche  ^assercnen;^ rauen  waschen  im  Voraergrund. Im  Hintergrund  die 
lonte  Alerico  , deren  N-^men  daran  erinnert  ,dass  hier  der  /;est,%otenkönig 
Alarich  starb  im  degrif f ,nach  llänaerung  Moms,nach  Sicilien  überzusetzen, 
'ie  Sage  berichtet  ,das^  er  im  Fluss  nit  seinen  Schätzen  beigep.etzt  wurde. 
A'ir  lernten  in  cer  Schule  auswendig:'»  Nicntlichan  Busento  lispelt  bei 
Cosenza  dumpfe  Lieber  ''  und  da  bin  ich  nun. 

Mittwoch  l6.September:  Her  lieber  i-iorgen.Im  Hintergrund  der  3rücke,die  voi 
meinem  lOteli enster ,zart  bl:Auende  berge. Grosse  Neusiedlungen jüpy ige  Ldsch 
Am  Golf  von  TAranto  entlang   zur  gleichnamigen  Staat  ,schun  an  Wasser 
gelegen. Sie  zeflällt  in  zwei  Teile. Die  Altstadt(Cita)nimmt  die  Akropolis 
der  aritikkn  Sta.  t  ein  und  lügt  nerrlichsuf  einem  Felsen  am  Meer, von  enger 
Strassen  durchzogen. Hier  im  Straseengewirr  fragen  wir  uns  zum  Dom  Äurch. 
Der  Dom  S.Cataldo  wurde  im  IX  Jh .  gee^rünaet   und  wurae  vor  kurzem  seiner 
Barockzutaten  ent  jckleiaet .  Oas  Innere  wirÄt  daster  »schöne  Säulen  und  Kapi- 
tale bleiben  in  Erinnerung,  -ehr  eindrucksvoll  die  Krypta.  Sie  wirkt 
frahchriätlichiwucntige  Säulen  mit  Deckplatten  tragen  ie  schweren  scixmucl 
loren   Gewölbe.  —   m  Südenele   ein  malriscnes  Kastell  nit  wuci.tigen  Rund- 
turmen  aus  der  Ara^onier .Es  liegt  neben  der  Drehbrücke ,  :>ie  nach  der  Neu- 
stadt fahrt  und  aif  die  die  Tarenter  sehr  stolz  sind.  


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Die  Neustadt  dehnt  sich  mit  ihren  modernen  Neubauten  entlang  des  weiten 
Golfes  von  Tarent.Hier  liegt  auch  unser  ganz  modernes  Jolly  Hotel, wo  wir 
wieder  gut  aufgehoben  sind.  Aus  meinem  alten  Bädecker  lerne  ich,dass  hier 
Äicht  nur  die  zur  Färbung  verwandten  Purpurschnecken  zu  Hause  sind, sondern 
auch  die  Tarantel.  Dies  ist  eine  Raubspinne , deren  Stich  angeblich  Geistes- 
verwirrung hervorrief.  Im  XV. -XVII  Jahrhundert  entstand  in  diesem  Zusammen- 
hang aie  Epedemie  der  "Taranteltänze".  Ich  gehe  wohl  nicht  fehl, wenn  ich  hier 
den  Ursprung  des  national  italienischen  Tarantella  Tanzes  sehe. 

Da»  Museum  verdiente  einen  Besuch  .ve gen  seiner  griechsichen  Vasen  und  Münzen. 
Wir  beschliessen,mit  Rücksicht  auf  unsere  besenrankte  Zeit, statt  dessen 
von  Tarent  aus  einen  Ausflug  nach  Gioa del  Colle, einem  Lustschloss  Friedrich  II 
zu  machen. Gor gina   Masson  hat  uns  darauf  hingewiesen, dass  wir  hier  ein  klares 
Bila  bekommen  köni]en,wie  es  zur  Zeit  Friedrich  aussah.  Das  Schloss  gehört  zu 
den  kleinsten  und  intimsten  Schloss  Jfn  Frieirichs ,die  auf  uns  gekommen  sind. 
Riesige  Turme  betonen  den  Kastell  Charakter. Der  Centralhof  ist  luftig  und 
hat  und  hat  eine  offne  Treppe  und  Lgggia  ,wie  wir  sie  im  Florentiner  Falast- 
bau  des  Ba«ello  wiederlinden.  Die  Tl^eppe  führt  zum   piano  nobile  mit  dem 
Thronsaal, der  sein  Licht  durch  elegante  gotische  Fenster  empfängt. Dem  Thron 
mit  dem  kaiserlichen  Adler  hat  man  aus  hier  gefundenen  Resten  wiederherge- 
stellt. In  allen  Räuxüen  sind  grosse  Kamine; Steinsitze   erhöht  um  die  Fenster 
und  mtlang  den  Wanden.  Alle  Räume  von  vrnüniti^;em  Ausmas»  im  modernen  Sinn, 

Holzdecken  im  Normannibchen  Stil  waren  sicher  ursprüglich  vorhanden. 
Ein  lohnender  Ausflug! 

Donnerstag  1?. September ;   Bei  Xanduria  lie^t  die  Flinius  Quelle, die  Pilius 
d.A.in  seiner  Naturgeschichte  beschrieben  hat, die  nach  seiner  Angabe  nie 
ihre»  v,asserspiegel  ändert. Sie  ist  ummauert  mit  Säulenstumpfen  und  es  glingt 
nicht  ohne  S  chwierigkeit  hineinzukoränen  .Stefan  nimmt  sie  photographisch  auf 

um  einem  Kollegen  anc/er  Universität  Bristol, der  sich  speciell  mit  Flinius 
beschäftigt , eine  Aufmerksamkeit  zu  erweisen  . 

Es  geht  weiter  in  den  Hacken  Italiens  hinein  nach  Südosten  zum  nächstem  Ziel: 
LEGGE, das  Gregorovius , etwas  übertrieben, "das  rlorenz  des  Rokoko"  genannt  kat. 
Die  Weichheit  des  "pietra  lecce"  hat  die  ansässigen  Kunstler  z^r  Verwiklic^ng 
j.er  bizarsten  Einfälle  verführt ,  :iie  man  besser  als«  übertriebnes  Barock«  be- 
zexchen  iollte  .  An  der  Piazza  della  Prefectura  finden  wir  gleich  an  der 
Fassaae  der  Kirche  S.Croce  mincharicderistischeM  Beispiele:  Als  Abschluss  oben 
phantastische  Bluerankörbe  im  Stein  ,  an  der  Fassc;  ^e  verteilt  Heilige, die  sich 
im  Windungen  kaum  zu  lassen  wissen. 

An  der  Porta  die  Napoli   ist  ein  hub  eher  Platz  entstanden  mit  Obelisk  in  der 
Mitte  und  einem  Triumphbogen  von  15^8.  Dicht  dabei  ist  d^  '"ingang  zum  Campo 
Santo.  Ein  klas- xcistisches  Portal  führt  zu  einem  h.DciC'i  gärtnerisch  einge- 
fasoten  Gang^iimÄ  ^m  einem  stiimnungsv jlien  Platz   an  dem  die  Kircne 


des 


Heiligen  Nicolo  e  Cataldo   steht. 
Sie  geht  auf  dem  letztem ,iliegetimen,Spro86  aes  Hauses  Hauteville  zurück  , 
Tancred  von  Lecce, der  mit  dieser  Grafschaft  nachs^^^iner  Rückkehr  au  der  Ver- 
bannung  von  .Wilhelm  II  dem  Gutem(ll66-Ö9)  belehnt  wurde.  Dem  Plam  zu  dieser 
Kirche  dürfte  er  währead  seines  Aufenthaltes  in  Konstantinopel  erhalten  haben. 

den  er  ll8o  ausfuhren  liess 


1 


65 


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( 


Die  Ausführung  mag  er  in  die  Hände  sarazenischer  Künstler  gelegt  kaben; 
damit  würde  sich  die  Eigenart  der  Portale  mit  den  umrahmenden  Ornament- 
streifen^die  äussere  Erscheinung  der  Yierungskuppel  und  die  Anlage  der 

Dachterrasse  erklären. 
Das  prunkende  Hauptportal  verwendet  in  dem  drei fachen, auch  um  das  fres- 
kierte  Tympanon  laufenden  Ornamentfries  muselmanische  Motive, wie  wir 
sie  auch  im  Fernen  Osten, zuletzt  am  Mihraba  in   Iran  (  Isfahan, Freitags- 
Moschee, Moschee  in  Pir  Baqrain  etc)  gesehen  haben.  So  entstand  ein 
zartes  Wundergebilde, das  sich   an  der  Südflanke  der  Kirche  wieuerholt. 

Das  Fresko  im  Tympanon  wird  von  Engelsköpfen  begrenzt  und  darunter  hat 
Tancred,der  Stifter, vier  Zeilen  eingraben  lassen, in  denen  er  der  Hoffnung 
Ausdruck  gibt,dass  durch  Gottes  ewige  Güte  sein  Geshhlecht  noch  lange  im 
ruhmvollen  Nachkommen  herrschen  werde. 

Das  ist  1180.  Zehn  Jahre  später  fällt  er  im  Kampf  ^^^en   Heinrich  VI, den 
ersten  Staufer,der  Rogers  Tochter  Konstanze  geheiratet  hat^der  nun  nicht 
nur  an  dem  Toten, sondern  auch  an  dem  ganzen  Geschlecht  furchtbare  Rache 
nimmt. 

Nicht  besser  geht  es  dem  Bau  selbst. Die  Fassade  unddas  Innere  v/erden 
dem  barockenzeitgeochmack  angepasst  . 

Erhalten  bleiben  die  Fortale  und  der  prachtvoll  ebenmässige  Aussenbau 
der  quadraeLiptischen  Vierungskuppel  mit  dem  Halbkugeligen  oberem 
Ab6chluss;sie  steht  nun  als  mift^isches  Tempietto  über  der  stein&epfals- 
terten  Dachterrasse  des  •jisti|j,en  Klosters. 

Das  Kloster  ist  jetzt  offenbar  von  Altpensionären  bewohnt ; wahrscheinlich 
nach  einer  Reinigung  haben  sie  dmreh  Bänke  den  Eingang  versperrt  und 
weigern  uns  den  Eintritt«  Seltsamerweise  be:,reift  Stefan  nicht, dass 
diese  Alten  dazu  gar  nicht  berechtigt  sind  und  wundert  sich, dass  ich 
mich  darüber  auf  rege.  So  bleibt  nichibs  übri|f  als  von  aussen  im  das 
dreiscnifiige  Innere  himninzusc hauen  und  wahr zuneh.aem, was  möglich  ist» 
Es  ist  nicht  viel: Einige  iiohe  Säule  und  barocke  Malerei. 


(  ) 


Nun  geht  es  nach  Norden, nachdem  wir  uns  entschlossen  haben  auf  den  Be- 
such des  weiter  sudlich  gelea^nen  Otranto   zu  verzichtenjso  wer  enwir 
den  einzigartigen  Mosaikfussboden  der  Kathedrale  Annunciata  von  IO80 
leider  nicht  sehen. 

Im  BRINDISI   fahren  wir  gleich  zu  der  Terrasse, die  von  einer  Säule  und 
einem  Säulenstumpf  überragt  wird; ich  §Ä^?^gA|4.SaMlg  schon  flüchtig 
gesehen, als  mein  Dampfer  nach  Griechenlanä^hler  anhielt. Jetzt  sehe  ich, 
dass  ihr  Kapital  mit  Götter figuren  reich  verziert  ist.  fingeblich  bezeich- 
netem die  Säulen  das  Ende  der  Via  Appia,die  von  Rom  hierher  führte. 
Stufen  führen  hinab  zum  Wasser  das  weitem  Hafens, an  dessen  Westseite  mo- 
derne Bauten  und  ein  steineres  lemorial  in  Form  eines  Riesensegels 
ins  Auge  f allen. Brindisi  hat  eine  alte  Rolle  als  Hafen  fdr  dem  Durchgangs 
verkehr  nach  aem  Orient  wieder  übernommen. 

An  Friearich  II  und  aine  Zeit  erinnert  der  r.eiajdes  Kastells  .   Von  hier 
brach  a er» mxcooimunicierte •Kaiser  122?  zum  Kreuzzag  nach  cfem  Heiligem  Land 
auf  »nachmm  der  Heirat  mit   yolanda,der  "Köniiin  von  Jerusalem'»  ,die  er 
1225  in  der  Kathedrale  von  Brindisi   feierte, selbst  "König  von  Jerusalem. a 
Dank  Stefan  haben  wir  Georg^na  Masson's  "Prede  ick  II  von  Hohenstaufem" 
bei  uns  und  können  nachlesen  ,wie  aer  geniale  Mann  es  fertig  bringt 
Jerusalem  durch  politisches  Spiel  v/ieder  den  Christen  zurückzugewinnen. 

♦  Heirat  ait  Yolanda  S.1C3  ff*  1225- Stirbt  bereits  nach  Geburt   Iionrads 
Mai  1227.  —   S.I27  ff. "The  Crusade  of  the  Excom^unicates  1228-30. 


66 


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Die  Kirchen, in  denen  die  Pilger  beteten, stehen  zum  Teil  noch, aber  nirgends 
erinnert  ein  iiemori-  1  an  die  Tauande  ,die  in  Brindisi  noch  vor   dem 
Aufbruch  zum  Kreuzug  an  Krankheit  und  Elend  zu  Grunde  gingem. 

Bei  der  Fahrt  nach  Norden  reizt  OSTUNI  zur  näheren  Besichtigung.Da«  Städt- 
chekn  baut  sich  höchst  malerisch  auf  einem  Hügel  auf  unu  .^ie  in  der  Sonne 
stählend  weissen  Häuser  gruppieren  sick  um  eine  überragende  Kathedrale  «it 
mit  Turm  und  Kuppel.  Stimuiungsvolle  Gasoen   enggedrängt , in  denen  schwarz 
gekleidete  Frauen  wundervoll  hineinpassen, führen  hinauf  zum  Dom | der  eine 
merkwürdig  orientalisch  anmutende  gotische  Fassade  hat.  Die  bettelnden  Kim- 
der,die  useren  Wagen  umdrängen  lassen  ver.nuten,dass  selten  Fremde  kieher 
kommen.  —  In  Fasano  fällt  der  Palazzo  Com.üunale  mit  stattlichem  Loggien 
auf , die  er  seiner  früheren  Bestimmung  als  ein  Sitz  des  Malteserordene  ver- 
dankt. 

Um  eine  Sonderheit  Apuliens,die  TRULLI  kennen  zu  lernen  machen  wir  einem  kle; 
nen  Umweg.  Es  sind  einstöckige  KuppelhäuBer;die  Mauern  von  *Afand  und  Dack 
sind  aus  Feldsteinen  gefügt  und  schneeweiss  übertüncht; wir  finden  eimzslme 
Feldhüttem,die  nur  einen  Raum  mit  Kamin  haben ;steingewordne  Nomadenzelte  ams 
garuer  Vorzeit;ich  hatte  gedacht, dass  dieser  Typ  nur  noch  im  Sardiniem, 
"nuraghen"  genannt >  vorkäm=.n.   Zu  grösseren  Höfen  vereinigt  sind  sie  im  dem 
kleinen  Ort  ALBARELLO , in  denen  jedes  Zimmer  ein  Kuppelhäuschen  bildet. 
Etwas  ähnliches  ist  mir  nur  in  El  Oued  begegnet , wohin  ich  uiit  Olga  und 
Marianne  am  9. April  1951  im  Wüstenauto  bei  Durckquerung  der  Sahara  gelangte 

(Tg¥I,S.547) 

Auf  wunderschöner  Strasse  erreichen  wir  BARI  .  Sofort  merkt  man  das  Leben 
einer  modernen  Handelsstadt, die  zweitgrössfe  Süditaliens.  Von  der  Altstadt 
nur  durch  (fen  breiten  Corsogetrennt   breitet  xtx  sich  schachbret«U6terartig 
die  Neustadt  aus. In  ihr  liegt  unser  Hotel  des  Natioms  ,ein  moderner  Bau 
am  Lungo  Mare, einer  breiten  Promenade »die  sich  über  Meilen  entlang  der 
AAria  hinzieht 5 von  dem  Balkon  meines  Zimmers  überblicke  ich  ein  git  Teil 
dieser  Promenade  ,die  von  modernen  Neubauten  eingefasst  ist. 

In  der  Altstadt   liegen  die  beiden  Hauptkirchen, die  Kathedrale , ein  1035 
begonner  Bau, "aber , wie  mein  Bädecker  bemerkt ,17^5  traurig  modernisiertefl) 
BauV  und  die  Basilika  di  San  Nicola. 

Hier  haben  wir  das  Glüsk  eine  von  al. en  späteren  Einbauten  befreite  älteste] 
Emporenbasilika  Apuliens  vorzufinden. Sie  ist  benannt  nach  dem  Bischof  von 
Myra  in  Lykien (Kleinasien) Nicolas  {greek=  victory  of  the  people) ,der  sich 
seit  dem  ^.Jh.zu  einem  der  volkstumlidxisten  Heiligen  der  griechische  Kirche 
entwic-ielt  hat. Bei  der  Schilderung  seiner  Persönlichkeit  musste  man  beginnen 
'»Es  war  einmal..'«  ,denn  aus  ihm  hat  sich  die  Gestalt  aes"Weihnachtsman"im  | 
Europa  entwickelt  ...r  soll  sehr  freigebig  und  kinderlieb  gev\esem  .-.ein  und  die 
Legende  berichtet ,dass  er  einst  einen  Beutel  mit  Goldmünzen  in  den  St  rümpf 
eines  schlafenden  Mädchens  fallen  lies6,um  ihr  zu  einer  Mitgift  zu  verhelfen! 
Daher  die  ^:itte  der  Kinder  am  Veihnaohtsabend  Strümpfe  an  Jen  Kamin  zu  hän- 
gen.Die  Figur  des  Hl.Nicolaus  erreichte  JJngland  über  Russland  dann  Deut- 
schland und  Holland. Daher  der  von  Elchen  gezogne  Schlitten.  Des  Heiligem 
Tag  ist  der  6. Dezember ;in  einigen  Länüern,wie  Z.B.Holland  fin  et  die  Kimder 
bescherung  an  diesem  Tage  statt •  

(1)  Zu  spat  erfuhren  wir,dass   auch  die  Kathedrale  i^an  Sabino  wieder  völlig 
stilreim  wie dei  hergestellt.  Du  Mont  '»Apulien, Tafel  l65-17^ 


€ 


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Als  Kleimasien  Toa  den  Moslems  überrant  wurde »rettete  man  die  Gebeine  des 
Heiligen  nach  Bari, für  die  man  I087  mit  Errichtung  einer  Krypta  begann. 
Die  Basilika  darüber  wurd  erst  1197  i»  Gegenwart  des  Kaisers  Heinrich  VI 

eingeweiht. 

Die  langestreckte  Fassade  beherrscht  eien  weiten  Vorplatz. Drei  Tore  führen 
hinein. Das  aälifLtßöTtÄl- in  der  Mitte  zeigt  den  für  Apulien  typisck  werdenden 
TypiDie  Archivolte  stützt  Sich  mittelst  Säulen  auf  lagernde  Bestien, in  die- 
dem  Fall  mächtige  Stiere. Die  schmale  Leiste  über  dem  Portalbogen  gibt  dem 
innerhlab  der  überhöhten  Giebelarchivolte  den  Charakter  eines  Tympanon. 
Darin  eine  kleine  Platte  mit  Darstellung  des  Heiligen  aus  Myra  mit  dem  Voll 

hart« 

Die  Ostseite  blickt  über  das  Meer  —  der  Heilige  ist  auchAsr  Patrom  der 

Schiffer--  die  Jlordseite  ist  durch  Arkaden  aufgelockert , darüber  ein  zier- 

iicner  Säulengang. Von  hier  führt  das  sog , Löwenportal  in  die  Basilika. 
Hier  ruhen  die  Säulen  auf  Löwen, die  die  Arichivolte  tragen, in  der  ritter- 
liche Kampf sc enen  abgebildet iind, während  der  übrige  Rahmendecor  «ich  auf 
pflanzlichen  Crnemanten  auf baut. Man  vermutet  hier  ein  ob-ritalienioches 

Vorbild. 

Das  Innere   der  dreischif fi -en  Basilika  beeindruckt  stark-,tiefes  Damitiern 
weot   Keheimnisvoll  in  dem  ganzen  Innenraum. Die  Querbogen  im  Mittelschiff, 
die  nach«inem  Erdbeben  im  XV. Je hr hundert  zur  Stützung  eingebaut  wurden, 
tun  ein  wenig  Aobruck.  Durch  dsn  mittleren  Bogen  geht  der  Blick  auf  eines 
der  schönsten  und  ältesten  Hochaltarziborien  Apuliens  (um  1139)  .Dahinter 
steht  der  Tfaabii  des  Bischofs  Elias, der  nach  einer  lULChrift  um  IO98  zu 
datieren  ist. Er  kalt  lait  seinen  Tragfiguren  die  Erinnerung  an  eine  gegen 
die  Sc;razenen  gewönne  Se  schlacht  fest:  Zwei  halbnackte  Gefangne  tragen 
angestrem^t  die  Sitzplatte , die  ein  behelmter  Krieger, als  Verkörperer  der 
Sieger, mühelos  mitstützt. Von  stark  r  Ausdrucksgewalt  sind  auch  die  Plas- 
tiken ancfer  Rückseite  des  Thrones, Löwen  die  nackte  Männer  niedergeworfen 
haben. Man  vermutet  hier  burgundischen  Einfluss. 

Schliesslich  hinter  .em  Chor  das  Grabmahl  der  Bona  Sforza  von  1593 ider 
letzten  Herzog-n  von  Bari. 

Auch  oUe  Krypta  von  1087,seit  1957  von  der  verunstalteten  Barockverkleidung 
befreit, eindrucksvoll  mit  «f fallend  schönen  Marmorsäulen  und  interessanten 
Kapitalen. Ein  silberner  Altar  von  einem  serbischen  König  1319  gestiftet 
steht  über  der  Grotte, in  welcher  die  Gebeine  des  Heiligen  liegen, die 
eine  wundertätige  Flüssigkeit  ausschwitzen(Manna  di  San  Nicola). 2um  Fest 
des  heiligen  am  S.Mai  strömen  tausende  von  Pilgern  hierher» 

Sehr  befriedigt  kehren  wir  in  unser  Hotel  zurück, wo  uns  ein  anständiges 
Dinner  erv-artet. 

Freitag  den  I8. September ;  Dem'neuen'Haf en  zugewandt , sich  ai  die  Altstadt 
anlehnend, steht  das  Kastell, ein  imponierender  Bau, den  Friedrich  II  mwischen 
1233  und  12^0  errichten  liess.Nach  einer  erheblich  zertörenden  Explosion 
liess  es  die  letzte  Herzogin  Bona  Sforza  152^  umbauen; sie  w  r  am  Hofe  von 
Jabella  von  Aragon  auf gewachsen, heiratete  König  Sigismond  vom  Polen  und 
kehrte/ #itwe  geworden, nach  Bari  zurück. Ein  grosser  Teil  der  Aussenbastioncn 
und  wesentliche  Veränderungen  im  Inneren  gehen  auf  sie  zurück. 
Wenn  man  den  Innenhof  betritt  glaubt  man  in  einem  Palasthof  zu  sein. So 
stark  wirken  die  doppelläufi.^  Treppe  und  die  Hoflaube  mit  interessanten 
Kapitalem* 


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In  einem  langgestreckten  Parterre  Saal  ist  ein  Abpissamseua  untergebracht. 
Die  Abgüsse  geben  eine  ausgezeichnte  Übersickt  über  die  romanische  Plastik 
und  Kunst  Apuliens.Hier  entdecken  wir^dass  es  eine  Unterlassungssünde  vvar, 
honte  San  Angeles  nicht  in  '^m.fi^T  Programm  einzuschliessen.Dies  Grotteahei- 
ligtum  des  Erzengels  Mickaels  liegt  mördlick  ▼©»  Manfredonia  am  Golf  gleichen 
Namens  und  war  ein  Tiel  besuchter  Wallfahrtsort  unweit  des  Monte  Gargano. 
Eier  sehen  wir  wenigstens  in  Abgüssen  kochst  interessante  Turfriese  Ton  der 
sog.Tomba  di  Rotari: Abendmahl , bei  dem  Christus  am  Ende  des  Tisches  sitzt, 
Ergreifung  Christi  und  Kreuzigung.  Einen  Bischofsstuhl  vom  IO66  und  sogar 
Platten  von  den  Bronzetüren  mit  NielloeiÄlagen,die  Panmtaleone  aus  Amalfi 
1076  gestiftet  hat.  (cf .Tafel  3-l8  in  Du  Mont  "Apulien") 

Noch  einmal  in  die  Basilika  di  San  Nicolo,die  gestern  uns  so  dtmsk  beeindruckt 
Sie  gilt  mit  Reckt  als  "das  grossartigste  Sinnbild  des  heroischen  Aufgangs 
der  normannischen  Macht  in  dieser  südlichen  Welt". 

Ein  grosser  Eindruck  erwartet  uns  auch  in  dem  kleinen  Landstädtchen  BITONTO 
Die  Kathedrale  San  Valentine  ist  erbaut  von  1175-12CO. Diese  kurze  Bauzeit 
erklärt  teilv/cise ,dass  dieser  Dom   der  reifste  und  vollständigste  Bauorga- 
nismus innehalb  der  apulischen  Romanik  ist. An  ihrer  Fassade  haben  das  mächti- 
ge R.dfenster  und  der  figurale  Schmuck  des  Hauptportals  -Low :,n  und  Greifen 
mit  ihren  Seutetieren  die  Wappenembleme  der  normannischen  Könige-  kaum  ihres 
gleichen, ebenso  wie  die  an  den  Domflanken  üner  starken  Strebepfeilern  ein- 
gefügtei^zierlichen  Loggien, wie  wir  sie  schon  an  S.Nicola  in  Bari  sahen, nur 
dacs  hier  die  Kapitale  der  Säulen  mit  einer  Füll e(kämp fanden  Fabelwesen  um- 

kle  det  sind. 

::;chöncr  dreischiifiger  innenraum;Ub  r  dsn  von  Säulen  getragnen  Boe;en  Frauen 
gallerien.  Unter  dem  Triumphbo  en  d±e  schlanke  von  "Nicolaus  cacerdos  et 
proto aagister"  signierte  Kanzel  von  1229tanderen  Trsppenwange  sich  (te.6  eigen- 
artige Relief  befindet »das  von  .amnchen  als  Darstellung  Friedrick  II  ,kon 
andern  a^s  axe  drei  Mcxgier  vor  Herodcs  gedeutet  wird. 

ImLangnaus  otent  acs  sog. Pulpito , eine  zw^riue  Kanzel,  dj-e  aus   Resten  des 
zerstörten  Hauptaltars  zusam  engesetzt  sein  soll. An  ihr  noch  stärker, als 
an  der  erstgenannten  K^nzel  oemerkt  .nan  starkeEinfliisse  islamischer  Kunst 
in  der  Crnainentik* 

Auch  die  Krypta  iot  dreisc hifiig  ciit  2,k   Bäulen. Eigenartige  Konsolplatte   am 
Eingang, sowii   inter  ssante  Kapitale  an  den  Säulen, die  in  ihrer  i:igenart 
mit  den  Pf eilerkapitälen  im  Langhaus  wetteifern. 

Ein  intej-ligenter  netter  Junge  fuhrt  uns  durch  Gassengewirr  zum  Hof  des 
Pälazzo  Suloc  Labini, in  dessen  Hof  die  Log.ia  Balrnntrade   figürlich  und 
ornamental  im  Renal  sancestil  schön  gestaltet  ist  (um  15üO).i>er  Pala^izo  ateht 
irgend  wie  im  Zusanmenhang  mit  den  Sforzas  in  Bari» 

::UCh  das  kleine  Städtchen  Ruvo  di  Puglio  hat  einen  normannischen  Dom  r us 
dem  XII/XIII  Jahrhundet.  Von   der  Katharale  Santa  Maria  bleibt  vor  allsm 
sehr  reich  ornamentiertes   und  mit  Figuren  ^-eschmücktes  Hauptportal   und 
die  Konsolmasken  des  Arkadenfries  an  der  Westseite  vmd  oüdseite  des  Lang 
Hauses  in  Erinnerung. 


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Unter  den  vielen  Bautem  mit  dem   Kaicer  Friedrick  II  Apulien  eclmückte 
kat  man  ron  jeher  dem  CAST"j]L  DEL  MONTE  einen  besonderem  Hang  eingeräumt. 
Er  liess  es  um  1120  auf  der  Höhe  der  Murge  entstehen  mit  unbegrenzter 
Sicht  über  das  zur  Falkenjagd  höchst  geeignte  Weideland  Apuliens  und  das 
ferne  Meer^es  wird  eapfunden  als  voliendeste  Schöpfung  des  Kaisers, als 
Abbild  «nd  Inbild  seiner  Persönlichkeit. 

So  sind  wir  sehr  gespannt  und  zu  dieser  Spannung  trägt  auch  die  Anfahrt 
bei. Lange  bleibt  der  Bau  verborgen  bis  man  ihn  endlich  im  weiter  Ferne 
liegen  sieht; wieder  und  wieder  verschwindet  er  bis  endlich  die  Landschaft 
den  Bl«4k  frei  gibt  .  Was  zuerst  wie  eii^ungegliedeter  eratischer  Block 
erschien; zeigt  sich  auf  flachem  Hügel  als  ein  gewaltiges  Oktogon^an  dessen 
Ecken  jeweils  ein  wiederum  aehteckijmcer  TArm  emporragt. 

Das  Schloss  ist  erst  ab  3  Uhr  zu  be6ichtigen;so  ist  es  angenehm|dass  in 
einer  Senkung  nahebei  ein  kleines  Restaurant  errichtet  ist |WO  wir  essen 
und  ausruhen  können. 

Um  3  Uhr  machen  wir  uns  aif  den  ./eg.Die  ei^t  aus  fast  fugenlosen  glatten 
Quadern  gefügten  Aussem^-auern  sind  nun  vom  Sturm  und  Regen  der  Jahrhunderte 
zerfressen. Eine  marmornde  Doppeltreppe  führt  zur  Eingangspforte , die  einge- 
raniütwird  von  Pfeilern, auf  denen  Marmorlöwen  ruhen. Doch  die  Hauptbetonung 
geht  auf  die  Antike  zurück:  Hohe  Pilaster  mit  korinthibchen  Kapitalen 
über  denen  sich  ein  klassischer  Ziergiebel  erhebt. Absichtsvolle  Beschwö- 
rung antiker  Grösse  und  V/ürde,die  sich'y^erson  des  Kaisers  verkörpert. 
Im  Inneren  lierr.  cht  Däimm  rung. Durch  die  schmalen  Fenster  und  die  kleinen 
kreisrunden  Öffnungen  dringt  nur  wenig  Licht  himrin.Nach  und  nach  erkennt 
man  Gestalt  und  Aus#ittung  der  Räume: trapezoide  Form, die  vier  stämmigen 
Halbsämlen  unter  wuchtigen  X&pitelen,die  schweren  kantigen  Rippen, die 
darüber  ins  spitbogige  Gewölbe  hinauf streben  und  sich  in  einemichönem 
Schlusssteim  treffen. 

Acht  Räume  in  zwei  Geschossenidie  dsn  achteckigen  Innenhof  umschliessen, 
zudem  drei  Räume  im  Parterre  Zutritt  geben. Diese  drei  Portale  und  drei 
reicher  ausgestattete  ro^sche  Fenstertüren  im  Obergeschoss  ,die  einst 
zu  ftiner  umlaufenden  Gellerie  führten, lockern  die  fast  erdrückende  Masse 
ein  w  nig  auf. Man  hat  sicheinst  in  Mitten  des  Hofes  ein  Bassin  und  einen 
Springbrunnen  zu  denken. 

Brimte Treppen  führen  im  drei  Türmen  ins  Obergeschoss. Hier  sind  die  Räume 
viel  heller, 4n  allem  führen  mehrere  Stufen  zu  hpchgelegnen  Sitzen  in 
tiefen  Fensternischen  empor. Jene  über  dem  Kingang  wischt  von  den  aderem 
durch  Grösse  und  eine  besondere  Anlage  ab. Hier  befinaen  sich  recht«  und 
links  vom  Hochsitz  nischenartige  uffungen  in  der  Wand  für  die  auf  Rollen 
laufende  Taue  ,iumittel6t  derer  man  das  Fallgitter  über  der  Eingangspforte 
herabliess  und  hoo^og. 

Drei  Räume  v,aren  offenbar  dem  Kaiser  vorb ehalt en.Mun  bemerkt  bescheidne 
Reste  jlBT   marmornen  Wandverkleidung, hohe  Kamine  cfen  Fenstern  gegenüber 
und  Nischen, die  offenbar  zur  Aufstellungantiker  Plastik  dienten 
Ungewöhnlich  die  Verwendung  der  Turmräume. In  einem  Raum  für  Toiletten  und 
B^d  ausgespart, die  aus  dem  Regenwasserrervoir  durch  Röhren  vom  Dach  ge- 
speist wurden. Von  einem  Vorraum  scheint  eine  Treppe  zu  einem  künstlichem 
Horst  für  des  Kaisers  Falken  geführt  zu  haben. 
Während  meine  Freunde  zum  Dach  emporklettern^ lasse  ich  mich   an  dem  — — 
dreibogigem  Feniter  ni  der, durch  das  man  am  Horizont  die  Silhouette  von 
Andria  erblickt, in  dessen  Domkrypta  zwei  Gemahlinnen  des  Kc\±eerB ^ekmt\cic^ 
von  Jerusalem  und  Jsabelia  von  England  ruhen. Hier  mag  der  Kaiser 


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sinnend  geseosen  kaben.KiÜüfÄÄXÄXÄXXÄXiLKXXlMXMXJIXXÄitMXtXÄMÄMMXltMÄMlIÜI. 

i:^X^ftIÄÄX..MiiKKJt::¥lÄtXlXä)L.iMXX)öuXXÄäMÄkXIUÄXMIlAlÄMX£Ääl^ 

Grübelnd  über  weltumspannende  Pläne, im  Gespräch  mit  berühmten  Gelhrten 

des  Morgen  und  Abendlandes  ouer  auch  von  hier  oben  den  Flug  und  das 

Verhalten  seiner   geliebten  Falken  beobachtend« 

Bei  sonni  em  Wc^tter  mag  al  es  anders  aussehen. Aber  heute  ist  ein  düsterer 

Tag/MÄKXKÄiÜüi  und  da  erschüttern  die  braungraue  Kahlheit  der  Wände, 
dunkel  und  drohend  die  hohen  Gewölbe  und  führen  meine  Gedanken  zu  der 
Tragödie  des  Stc  uf inshen  Hause«, dessen  letzter  A.vt  sich  hier  abgespielt 

hat« 

Der  Kaiier  selbst  stirbt  unerwartet  plötzlich  in  Lucera,das  andere  Yon 
ihm  in  Apulien  erdachte  Kastell ,1250.  Sein  bohn  Konrad  aus  der  Ehe  mit 
Solanda  von  Jerusalem, der  ihm  folgt, stirbt  bereits  125^« 
Sein  anderer  Sohn  Hanfred  fällt  1266  in  der  Schlacht  Ton  Benevent  gegen 
Karl  von  Anjou, Bruder  Ludwig  IX  von  Frahkreich,dem  der  Fapnt  das  norman- 
nische Königreich  zu  Lehen  gegeben  hat.  Seine  Frau  wird  durch  Verrat 
in  Trani  dem  Sieger  ausgeliefert;  seine  jmngen  Söhne  nach  Castel  del 
Monte  in  Ketten  gebracht, um  dort  zu  verkommen. Als  nadh  dreissig  Jahre 
Gefangenschaft  ss±±kh  die  beiden  überlebenden  in  das  Castel  del  Ovo  nach 
Neapel  überfahrt  werden  sollen, scheint  Friedrich  noch  so  viel  Lebensmut 
bewahrt  haben, um  den  Sprung  in  die  Freiheit  zn  wagen. Sein  k  .hnes  Wagnis 
wird  zur  enttäuschenden  Odyssee; seine  Spuren  sollen  sich  schliesslich  in 

Ägypten  verloren  haben.  ^ 

Konrad  des  IV  Sohn  Konradin, aer  letzte  der  Hohenstaufen, zieht  126?  nach 
Italinn  wird  aber  bei  Tagliacozzo  1268  geschlagen  und  auf  Befehl  Karl  von 
Anjous  in  Neapel  enthauptet. 

Der  erste  Stauf er , Heinrich  VI, der  Sicilien  durch  Heirat  mit  fiogers  Tochter 
Consfanze^vernichtete  nach  Besiegung  Tancreds  von  Lecce  (cf.S.65)die 
letzten  Sprossen  des  Hauses  HautevÄlle.  Jetzt  endet  sein  Geschlecht  auf 
die  selbe  Weise, nur  dass  in  Hanfreds  Tochter  Konstanze  ein  Rächer  aufsteht 
Sie  hat  Feter  III  von  Aragonien  geheiratet .Am  30. März  1282  werden  alle 
Franzosen  erst  in  Palermo, dann  in  ganz  Sicilien  ermordet , was  als^Sicüa^- 
nlöche  Vesper"  --der  Aufstand  brach  am  Abend  des  Ostermontags  aus  — 
in  die  Geschichte  inging. 

Inzwischen  kommen  meine  Freunde  vom  Dach  mit  dem  Führer  zurück  und  wir 
wandern  zusammen  noch  einmal  durch  alle  Säle, um  diese  einzigartige  Verbin 
düng  der  aitikkn  mit  der  romanischen, gotischen  und  sarazenischen  Kunst 
zu  einem  geschlossenen  Ganzen  in  uns  aufzunehmen. 

Ein  grosser  erschütternder  Eindruck, den  das  Wetter  vertieft. Als  wir  abfahre: 
regnet  es  stark, das  Kastell  verschwindet  im  Nebel... 

Wieder  Küste  zu  durch  viele  Olivenpflanzungen. Gläcklüherwesie  klärt  sich 
das  Wetter  auf.  In  der  kleinen  Hafenstadt  TRANI  erwäget  uns  eine  besondere 
Überraschung. Mein  alter  Bädecker  meldete  wieder  ,dass  die  Kathdral»"innen 
barbarisch  «oiernisiert  sei".  Diesmal  lassen  wir  uns  *er  nicht  ^schrecken- 
In  San  N#coli  in  Bari, wie  in  San  Valentino  in  Bitonto  hatten  wir  mit  Freude 
wahrgenommen, wie  die  txnKXxnu»  Kathedralen  innen  laid  aussen  von  der  ent- 
stellenden Verwandlung  des  Biirock  befreit  mnd  wie  sie  wieder  innen  von 
dem  Akkord  der  alten  Raummusik  erfüllt  sind. 


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71 


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Die  Kathedrale  Tom  Traai  San  Nicola  Pellegrino  ist  bereite, wie  die  Vorge- 
nanntem  von  al.  ea  enstell enden  späteren  Zutaten  befreit »wenn  auch  die  Wie- 
herßtellung  noch  nicht  ganz  beendet  ist. Sie  thront »wie  keimn  andere  dicht 

an  Meer« 

Siewirde  über  einer  Marienkirche , die «af  das  7. Jahrhundert  zurückgeht  um 
1C94  begonnen, nachdem  der  Titularheilige,ein  epirotischer  i ilger  und  Wunder- 
täter in  der  Stadt  gestorben  war; dabei  wurde  aie  Marien  irche  unter  dem 
Langhaus  als  Krypta  erhalten.  Auf  diese  Weiee  kamen  Fussboden  und  Eingang 
einige  Meter  über  dem  Erdboden  zu  liegen  und  machten  die  doppelläufige  Treppe 
notwendig  die  zu  einer  Art  Estrade  führt, entlang  der  ganzen  Fassade »die 
die  dirch  reiiKskulptierte  Bogen, wie  Blendarkaden,  auf  beiden  Seiten  de« 
Hauptportalß/ gegliedert  ist. Wie  ich  lerne »gehörten  diese  Arkad  n  zu  einer 

Vorhalle, die  1719  zertört  wurde.  ,   „   ^. 

Das  Hauptportal  hat  eine  Bronzetür , deren  Patina  wie  cdn Juwel  aus  der  Umrahmung 
lemchtet.Es  ist  das  älteste  Werk  des  in  Trani  arbeitendenden^ais  Bari  stam  - 
menden,  Bnzbildners  Barisanus , dessen  WerkeE  wir  schon  in  ßavellom  und  Mon- 
rea  e  begegnet  sind.Er  hat  sie  von  1175-79  gesciiuf fen;sie  besteht  aus  Re- 
lief platten, deren  Einzelfelder  stark  herausgetriebne  Einzelgestalten  m  reich 
ornamentierter  Umrahmung  zeigen. 

Die  steinerne  Umrahmung  ist  eine  Spitzenleistung  der  apuli.:chen  Plastik. 
Die  vorkragende  äussere  Archivolte  ruht  auf schlanken  hohen  Marmorsaulen, derea 
deren  Basen  von  je  drei  MännHern  getragen  werden  ;  ihre  Verzierung  besteht 
aus  Blüten  und  Blatt erranken, in  die  mit  viel  Phantasie  Figuren  eingeschlos- 
sen sind:  Ein   eiblicher  Centauer,der  einen  Hasen  hält, ein  Mann  i»it  einer 
GansiCiie  ihn  in  den  Fuss  bei: st....  Humor l 

Die  steinernen   r-ich  verzierten  Türpfosten  ruhen  auf  mächti-en  Löwen, von 
denen  der  rechte  einen  unter  ihm  liegenden  Menschen  zerfleischt^der  linke 
im  Kcimpf  :iiit  Drache  und  Schlange  verwicklet  ist.   Auf  er  Innenseite   fallt 
als  besonders  bedeutend  auf  der  Tfaum  Jacobs, sein  Kampf  mit  dem  Engel, sein 
Aufstieg  aif  der  Himmelsleiter. Tief  entspannte  Ruhe  auf  dem  traumschweren 
Anlitz  des  Schlafenden  ist  meisterhaft  dargestellt. Die  Kunsthistoriker 
ßtelQai  d±es9   Arbeiten  denen  an  St.Giles  in  der  Provence  nahe. (cf .S.29) 
Hoch  über  dem  Portal   das  grosse  Rund  der  von  Tierfiguren  umgebnen  Fenster- 
Rose  und  darunter  ein  Mittelfen  ter, dessen  oben  gerundete  Leibungen  reiches 
iflanziges  Ornament dekor  zeigen.  Darum  ruhen  axf  Konsolen  zwei  Elefanten, 
zwei  Löwen  und  ein  g..flügeltes  Drach^enähnliches  V/esen. 
Eine  freundliche  Beschliesserin  lässt  uns  in  das  Innere  der  Kstnedrale 
Hier  sind  die  Vi'iederherstellungsarbeiten  noch  nicht  abgschlossen;Kanzeln, 
Altar  fehlen  noch. Dadurch  erscheint  der  Raum  noch  weiter. Auf  riesigen  Doppel- 
Säulen  ruhen  Gewölbe, die  die  offnen  Gal  erien  tragen,  ünvergesslich  aer 
Blick  auf  das  «häumende  Meer  dirskt  unter  dem  Bau. 

Die  Krypta  di  San  Nicolo,lc9^  errichtet  als  Ostseite  der  Kirche  St.Matia, 
ist  von  riesi  er  Ausdehnung ; auch  sie  ist  noch  nicht  wieder  hergestellt .Sie 
wirkt  frühchr*stlich,kat«kombenhaft. Wuchtige  Säulen  mit  klobigen  Deckplatten 
tragen  die  schweren  schmucklossen  Gewölbe. 

Nieslaus  der  Pilger  gilt  als  Erbauer, dem  auch  der  elegante  Campanile  zuge- 
schrieben wird, der  mit  dem  Haptbau  nur  durch  einen  Bogen  verbunden  ist. 
Zum  Abschied  bewunden  wir  noch  einmal  die  Bronzetür  des  Barisanus, insbe- 
sonders  die  beid  n  Löwenköpfe, deren  Türklppf  rringe ,wie  ich  höre, erst  vor 
wenigen  Jahren  entwendet  wurden. 


72 


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Direkt  am  Meer  liegt  das  von  Friedrick  II  1233-^9  erbaute  Kastell, das 
scheinbar  seine  ursprüngliche  kraftvolle  Anlage  noch  gut  bewahrt  hat; 
interessant  ist  die  offne  Landungshalle. In  die  ea  Kastell  empfing  König 
Manfred  1258  die  junge  Fürstin  Elena  von  Epirus  zur  Hochzeitsfeier. 
Hier  war  es  aber  auch|dass  sie  vom  verräterischen  Kastellwart »naciifcm 
der  König  1266  bei  Benevent  gefallen  war, den  Anjous  auspelief .^rt  wurde. 
Ich  habe  •ili»»(S.70)schon  bericktetidass  ihre  kleine  Söhne  in  Ketten  nach 
Castel   del  Monte  überführt  v/urden,um  dort  elend  »u  Grunde  zu  gehen. 

Unser  heutiges  Endziel  ist  die  kleine  Hafenstadt  BARLETTA  »v/o  uns  wieder 
ein  Jolly  Hotel  erwartet. Main  Zim  ler  zum  ersten  Mal^oine^Bad, ausserdem 
ersehe  ich  ^us  dsm  Anschlag, dass  we^/en  Y/asserkanppheit   das  Wasser 
von  8  PM  bis  8  AM  gesperrt  sein  wird.  Meine  ergrifnen  Vorsichtsmasrei^eln/ 
vt^rschiedene  Gefässe  anzufüllend  wrwiisen  sich  öis  überflüssig. Das  Wa  ser 
fängt  lange  vor  8  AM  wiede-  zu  laufen  an. 

Für  Barletta  selbst  bleibt  nicht  viel  Zeit  übrig. So  bekommen  wir  nicht 
c^ümal  die  interessante  Kaiserbüste  zn  Gericht »die  vielleicht  Kaiser 
Friedrich  II  darstellt  und  von  Georgina  Masson  In  ihrem  Buch  über  den 
Herrscher  abgebildet  ist. Ein  koechst  modernes, nervöses  Gesicht. Es  stand 
einst-, über  dem  Torbogen  der  Masserie  Fasoli  unweit  der  Strasse  Barietta- 
Caknac  und  befindet  sich  jetzt   hier  im  Museum. 

Die  späte  Nackinittagzeit  erlaubt  uns  nur  einem  Blick  auf  densog.Colossos 
zu  werfenieiae  4,5  Meter  hohe  gut  erh  Itene  Bronzestatue  des  Kaisers 
Heraclius   von  Byzani  (610-6^1) , die  man  im  Meere  gefunden  und  vor  der 
Kirche  S.Sepolcro  auf  dem  CorsO|der  Hauptverkehrsstrasseiaufgestellt  hat. 

Samstag  19. September;  Ins  Land  kinein.  Sc hoif /weitem  sieht  man  auf  einem 
Hügel  ein  kleines  Beigstädtchen  von  einer  Kathedrale  überragt  .Wie|<0  es 
zu cbm  Erinnerung  weckenden  Namen  TROIA  kam, konnte  ich  nicht  feststellen. 
D:  s  einzige  wa4Lch  las, da: s   der  griechische  Statthalter  Bugianus  IGI? 
hier  an  Stelle  des  alten  Aecae  eine  Festung  anlegte. 

Nach  Vertreibung  der  Byzantiner  haben  die  Norniannen  1093-1125  die  Kathe- 
drale San  Secondino  erbaut, die  man  durckenge  Gassen  bergan  fahrend  erreich 
Sie  nat  etwcS  überwältigendes , wenn  man  plötzlich  ^^cÖfäm^®^^^  Platz 


vor  ihr  steht. Alles  an  ihr  ist  überraschend, der  ptiychrome/ ihres  Gesteins 
die  seltsame, hoechst  interessc^nte  Fassade  »die  Bronzetüren. 
Die  Fassade  zerfällt  el  entlich  in  zwei  ungleiche  Teile.  Nur  das  ünter- 
geschoss  rnit  s  inen  pisanicch  b  einflussten  Blendarkaden  ist  aus  einem 
Guss.Das  mäcntige  Rad  der  Fensterrose  im  Obergeschoss  ist  viel  zu  gewal- 
tigiauchdsr  Giebelbau  passt  nicht  dazu. 

Wir  haben  nun  schon  viele  apulioche  Fensterrosen  ge6ehen;ihre  im  Rad  ge- 
stellte Säulen, tels  mit, teils  ohne  Kapitale  folgen  sich  bald  im  engeren, 
b.ld  in  weiterem  Abstand. Die  Bägen,die  sie  verbinden, zeigen  die  vers  hie- 
densten  For».-ien  und  sind  hier  in  Troia  sogar  sar^enisck  verschränkt/ 
eine  besondere  Kostbarkeit  der  trojanischen ^Rosette  ist  der  alte  Ver- 
schluss zwischen  dsn  Säulenider  mit  i^iner  red^gemusterten  Durchbrechung 
an  «im  Spitzentuch  erinnert. 

Über  der  Fensterrose  wölbt  sich  hier  ein  vorkragendes  Kranzgesims, das  mit 
seltsamen  ungeheuerlichen  Lebewesen  bevölkert  ist. Durch  solches  ist  auch 
die  ._pitze  des  Dachgiebles  betont  mit  einer  Kugel  am  Ende.         


7T1 — Dies   ist  d.s  Cannae  durch  die  grosse  Niederlage  begannt, die  hier 
die  Römer   durch  Hannibal  2l6  v.Ch. erlitten;  wenige  tausende  Romer  konnter 
sich  mit  dem  Konsul  Varro  nach  Venusia^c--^*^*.  • 


75 


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(  \ 


Grossartit«  Wirkung  geht  tob  en  beid.a  Broazeture»  «u«.      ^  ,  ,,iq 
Saide  sind  to«  Oderisius  Ton  Benevent  geschaffen.Dae  Hauptportal  1119, 
das  Nebenportal  1127-  Bei  beiden  ist  die  figurale  D^korf^«"  "  ^t!li*u.„ 
ausgeführt, w*hr6cheinlich  unter  Benutzung  Yon  gescMnit.te«  by.antimiscken 

ain^frilpltsUsck  gearbeitet  sind  die  acht  Löwenköpfe.  jeder  anders  gear-l 
beitet  mit  Türringe«  i«  Maul . Darüber  geflügelte  Drachen  mit  geringelte« 
Schuppenleih ;«±*  sie  halte»  Türklopfer  im  R»«^eii.     „  ^..  ,    ,   ,,, 
Beide  Darstellungen  gehören  zu  d»n.  einfallsreichste.  Schöpfungen  <*« 

«ittelalterlichen  BroBzeplastik  und  sLn«  in  ihrer  herrlichen  Patina  .eine« 
"chinesischen"  Bronzeherz  «ehr  nahe.  -4..  j„„ 

Die  Säulenbasilika  i«  Innere,  ist  von  alle«  Barockzutate.  !?«fr*f  ♦  f*»  ^ 
Werk  mAss  eben  vollend^T^iiS.denn  uer  Bischof  zeigt  ««.wahren*  «nserer 
Anwesenheit, sein  Werk  persönlich  verschiedne.  Amtsbrmder.. 
Be«erke.wwert  ist  die  Kaazel.die  II69  entstände,  ist .besonder«  das 
JierkilpSeliei  an  *r  liSk^n  Seite  des  Kenzelkaste... Während  das  Ranke.- 
werk  des  Ornamentsschmuck  um  den  Kanzelkaste., gleich  *«  a.f  den  Are hi- 
trave.  der  Portale .unverke.nbar  antikisierendes  Gepräge  zeigt. gibt  das 
Relief  das  akte  orientalische  Motiv  des  Tierkampfes: Der  Lowe  zerfleischt 

MA  ei.  Schaf , während  er  selbst  von  eine«  H.nd  angefalle.  wir«. 

Das  Relief  hat  .wie  die  Bronzelö*(e.  und  Dracheiücöpfe  des  laaptportal«  . 

tämonische  Ausdruckskraft. 

Ei.  würdiger  Abschlhas  unser  Fahrt  durch  Apulie.! 

Man  veist  uns  ein  kleines  Cafe. wo  wir  eine.  Expresse  nehme., bevor  wir 

weiter  nachSeste.  *.ta««aufbrechen.  Es  folgt  ein.  landschaftlich  gross- 

artige  Fahrt  aurch  den  Appenin« 

Wir  berühre.  Bonevento  nur  kurz.Die  Lebende  lässt  es  von  Di»«»-;*«  °J*^. 

vo.dem  Sohn  der  Oirce  und  des  Odysseus  gründe..Seit  268  romiache  Kolonie. 
Im  6. Jahrhundert  n.Ch.Sitz  eines  mächtigen  longobardieche.  Herzogstu«; 
1806-15  Hauptort  des  gltichnamigen  Für6teBta«,«it  v;elchem  Napoleon  I 

S':eg"gen*i:f  ml;  einem  Blick  auf  die  sog.Porta  Aurea.ein  Triumphbogen 
zu  Ehren  Trajaas  115  n.Ch. errichtet. dessen  Rückkunft  aus  dem  Orient  «a. 
erwartete. Firinnrt  an  den  Titusbogen  i.  Ro«. 
Dann  bringt  uns  die  neue  Autostrasse  direkt  nach  Neapel. 

In  N  E  A  P  E  L  sind  im  Hotel  Royal  an  der  Via  Parthenope  im  7  Stock 
gutrilSISliSSderliegende  Zimmer  mit  Bader,  für  uns  reserviert. 
J^des  Ziamer  hat  eine  Loggia  mit  weitem  Blick  über  f"/^!^-2""*  "J*^^.„ 
uns   das  Castel  d'Ovo.   Einst  stand  auf  aem  Felse.  ei.e  der  Viele.  Villen 
d«  üppigen  Lucullus;die  Normannen   baute,  eine  Festung, aie  von  Friedrich 
n  veJgrössert  wurdi.ohne  aa  ahnen.dass  einst  die  letzte.  Hokenstaufen 
in  seinen  Verliessen  schmachten  wurde.. 

Abends  wandern  wir  hii«*er  zum  kleinen  Hafe.  von  Santa  I;"'=^^';'^„;;°;  '^"''^ 
Anzahl  charakteristischen  neapolitanischea  Freiluit-Restaurants  uagebe« 
isttoiesmal  wan.ernwLr  über  die  Brücke  zua  Restaurant  Tran.atlantico.u. 
et.as  neues  auszuprobierea.Hier  erfolgt  eia  aaerwartetes  Zusammentreffen 
mit  ItJfins  ehemaligen  Freunde.  Cecil  Whiley.das  W.'s  offenbar  etwas   - 
peinltih  ist.unser  gutes  £ssen  Äer  aicht  stört. Ich  «^"^^"  f  ^J.  «f*^;^. 
wir  am  20.September  1952  aui  unserer  Reise  durch  Cornwall  Mrs.Whiley  auf 
ihreaahönen  Sitz  in  St.Mawe«  auf suchtea, während  der  Hausherr  abu^^send 
war.-'iir  ist  es  interessant  ihn  einmal  persönlich  zu  treffen. 


7^ 


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^onntag  20. September:  Meine  Freunde  fahren  heute  nach  Hercuianeum  und 
Pompei.Ich  war  er«t  1957  mit  Karianne  ausf  hrlich  dortSicher  zum  ^.oder 
5. mtl. Das  erste  Mal  mit  meinen  Eltern  1901. Das  letzte  Mal  mit  Olly  und 
Heinrich  Robinow |WO  wir  mit  Einführung  von  Prof .Berenson  192ft  zu«  ersten 
Mal  die"Novi  ,  cavi"kennen  lernten  und  den  gror  sen  Eindruck  von  den 
Fresken  in dbr  Villa   de   Mysteri  h. tten. (cf.Tgb.l957»S. 29-31) 
Ich  verbringe  einen  wundervollen  Sonnentag  allein^in  Gedanken  an  01±y, 
der-n  Geburtstag  heute  wäre. Es  war  immerunser  grösster  Feiertag  im  Jahr. 
Wandere  am  Ufe  oitlang  und  schaue  mir  bei  dieser  Gelegenheit  einmal  das 
Hotel  Excelsicr  innen  an:  Schöne  Geeellschaftsräume  und  gute  Gesellschaft; 
aber  sonst  ein  bicchen  vornehmer   alter  Stil.  Bei  uns  ist  die  Gesellschaft 
nicht  besonders, abwr  dafür  unsere  Zimmer  und  unser  Blick  unvergleichliah. 
Ich  lunche  ia  I.Stock  im  Restaurant  vom  Hotel  Royal. Für  das  wis  geboten 
wird  zu  teuer: Rechnung  macht  Lire  2,l4o=  %   JfAo.   Auf  aer  Dachterrasse 
des  Hotel  Neptuno  nebenhin  sitzt  man  auch  viel  «hon -r«  Dort  wohnte  ich 
1957  mit  Mariannne. 

Montag  21. September;  Mit  Eri  und  Stefan  Ausflug  nach  Pästua. 

unterbrechen  Fahrt  in  Salern£,wo  rnan  im  aufgestockten  Hotel  Diana  Splendid 

das  ganz  modern  hergerichtet .ausgezeichnet  isst  und  den  wundervollen  k 

Blick  über  den  Golf  hat.  ...^P^^r^,,^ 

Das  letzte  Mal  war  ich  1957  mit  Marianne  feter.Es  ist  immer  wieder  ein 

Erlebnis  (cf.Tgb-1957  »  37/38). 

Der  älteste  Tempel  «acht  wieder  den  stärksten  Eindruck. Berge  in  der  Runde 

klar. Wundervolle  Beleuchtung. Ganz  herrlich. 

Das  Museum  durch  Fresken  aus  Gt'äbern  bereichert.  Kann  auch  endlich  einige 
Photo   der  letzthin  gefundenen  Bronzegefässe   vom  Sarcello  Ipogno»  erwer- 
ben: 2  herrliche  Hydrien  mit  kummtvollen  Beschlägen  aus  dem  Vl.Jhav.Ch. 

Dienstag  22. September;  Stefan  benutzt  den  Vormittag, um  den  morgen  zu  hal- 
tenden Vortrag  noch  ein:üal  durchzusehen. 

Eri  und  ich  nehmen  ein  Taxi  — dÄs  wir  oben  eine  Stunde  werten  lassen, um 
Rückfahrt  zu  sMiern   (Lire  2,500>'-und  fahren  hinauf  2\im  Museo  Capo  di 
Monte, das  auf  uns  beide  starken  Eindruck  lüacht ibesonders  die  Bildergal- 
lerie  mit  dem  Tizian  Saal, de»  Brueghel ,Masaccio. . . 

Für  mich  neu  Besichtigung  des  Kunsge werbes , für  das  man  die  Prachtsäle 

des  ersten  Stockes  zweckmässig  benutzt  hat. 
Der  erste  btock  umfasst  etwa  100  Wokn^und  Gesellschaftsräume  zum  Teil 
von  riesigem  Ausmass.Es  ist  eine»  Bourbonenschlos8,von  Karl  III  1758 
begonnen, aber  erst  unter  Ferdinand  II  vollendet  1854-39.  Pläne  stammen 

von  Medrano,der  auch  das  Theater  San  Carol  baute. 

Gute  französische  und  neapolitanische  Möbel;W:^-f fensammlung;Capodimonte 

Porzellan  aus  der  von  Karl  III  gegründeten  FabtikiWeiches  Porzellan  von 
grosser  Fei^inheit  und  Transparenz ^farbig  bemalte  Reliefdekoration. 
Von  Bildern  eigentlich  nur  die  Goya  Portraits  von  Karl  IV  und  seiner 
Gemahlin  bemerkens.  ert.V/ohl  voi;.  Maler  hergstellte  Gopiien  abrin  Madrid 

befindlichen  Gemälde Es  ist  unmöglich, auch  nur  alle  SäüLe  zu  durch- 

wanaern! 

Wir  treffen  Stefan  unten  in  der  kleinen  Trattoria  in  Santa  Lucia  nahe  des 

Hotels.  Jause  bei  Caflisch — der  Erinnerung  wegen.  Abends  probieren  wir 

das  dritte  Restaurant  unten  am  kleinen  Hyfen:  Cirit.  Einfacher  ,«4^  die 

anderen. 


1 


75 


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\ 


Mittwoch  23>September;  Vormittag  im  National  Museum/  Die  alte  Reiterka«ern 
ist  wieder  einmal  im  völiiger  Neuordnung  und  Modernisierung  begriffen. 
Für  uns  ein  Nachteil, denn  so  bin  ich  ausser  stände  den  Freunden  meine  Lle* 
blinge  zu  xeigeniso  kann  ich  nicht  einmal  meinen  alten  Baillier  aus  Pompei 

Jucmndus  finden  «Es  bleibt  aber  genug  *r  Herrlichkeiten  übrig, besonders 
unter  cbn  greichischen  Originalen, die  meist  aus  Pompei  oder  Hercuianeum 
stammen.  Römische  Copien  nach  griechischen  Ori  inalen  stammen  meist  aus 
den  Farnesischen  Sammlungen  «s  Rom  und  Parma. Allerdings  erscheint  mir 

ein  Aphroditentorso  ein  Original  zu  sein^sigar  Tielleicht  ron  Praxiteles. 
Die  Tiel  berühmtere  "Venus  Kallipygos" »eine  Hetäre, die  ihren  entsprechen- 
den Körperteil  betrachtet , ist  dagggen  sichereine  römische  Kopie  eines 
kelj  enistischen  Orii>,inals. 

Die  Sammlungen  von  Wandgemälden  und  Mosaiken  ist  fast  unübersehbar. Mich 
interessiert  naturlich  nach  meiner  persischen  Reise  besondere  die  einzig- 
artige '»Aleanderschlacht" , einst  ein  Fussboden  im  Hause  des  Faun  in  Pompei, 

jetzt  aufrecht, wie  ein  Gemälde  an  der  Wand  aufgerichtet , wie  das  Vorbild 
nach  em  das  Mosaik  gesc haften  wurde. 

£s  imponiert  mir  sehr^dass  Stefan  die  Müsse  finaet,dies  alles  in  sich  auf- 
zunehmen,denn  heute  ist  doch  sein  Ehrentag j an  dem  er  an  ^r  Universität 
eingeladen  ist, über  sein  Specialgebiet  einen  Vottgi^  zu  haltenfSin  Fact, 
der  unsere  diesjährige  Reise  mit  veranlasst  hat. 
Die  Einladung, die  mir  Stefan  gibt, lautet: 

"L'Istituto  di  Chimiea  Bioxogica  invita  la  S.V.alla  conferenza  che 
il  Prof .S.J.Bach, Direttore  dell« Institute  di  Chimica 
Biologica  dell'Universita  Bristol 
terra  sul  tema:    La  Biosintesi  dell'Urea* 


18. 


La  conferenza  avra  luogo  nell*Aula  dell* Istituto  di  Fisioligia 
di  S.Andrea  dell  Dame  il  giorno  di  mercoledi  2?  settbre  all  ore 
II  Direttore  dell» Istituto  di  Chimica  Biologica 
dell' Uni vcrsita  di  Napoli 
Prof  .Francesco  Cedraligolo 

r 

Es  passt  wunderbar  in  unser  "Specialinterease"  ,<i*««   <^i«  Universität 
1224  von  Kaiser  Fretdrich  II  gestiftet  ist! 

Seit  17 JO  ist  sie  in  dem  l6c6  erbauten  Jesuitenkolleg  untergebracht. 
Während  die   philosophische  und  juristische  Facultät   in  einem  Neubau 

untergebracht  wurde , blieben  die  Naturwissenschaften  in  dem  alten  Bau. 
Er  liegt  Mitten  im  Gewirr  der  engen  Gassender  Altstadt , durch  die  ich  i'it' 

meiner  Jugend  viel  gewande^  bin  und  deren  Palajte  ich  mich  gut  erinnere. 

Wir  werden  vmnett''*^der  jüngeren  Professoren  in  seinem  Wagen  abgeholt  um 
6  Uhr, passieren, wie  ich  wahrnehmen  kann,aug  dem  vVege  die  Kirche  St.Chiara 
wo   ich  am  5. Mai  1923  das  Flüssigwerden  des  Blutes  des  Hl.Januarius  dicht 
am  Altar  xxlue  erlebte  in  Mitten  einer  hysterisch  aufgeregten  Menge 
(Tgb.V, 8.204)  und  ;.ann  auf  der  Piazetta  del  Nilo  die  liegende  Statue  des 
Nils, die  ebenfalls  zu  meinen  Erinnerungen  des  alten  Neapels  gehört« 

Am  Ziel  angelangt, werden  wir  in  das  Privatkabinet  des  Prof .Gedrangolo 
geleitet, wo  ausgczeichnter  Cafe  serviert  wird.  Grosse  Vorstellung, bei 
der  ich  zu  verstehen  g^2lube,dass  eine  Vertreterin  des  britischen  General- 
kunsulatSjder  Rettore  Magnifico  Prof.Ernesto  Pontierei  und  viele  andere 
Professoren  aller Facultäten  anwesend  sind. 


/  ) 


76 


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i 


{    ! 


Die  Aula  ist  dicht  gefullt.Stefam  leitet  ainem  Vortrag  mit  einigen  italie- 
nischen Sätzen  ein-Dxe  ei.^entliche  »'lecture»«  ist  in  enfli«ck,die  in  itali- 
enischer Ubersetung  an  alle  Anwt^nde  verteilt  ist. Lichtbilder  begleiten 
seine  Ausführungen, die  mit  grossem  Beifall  aufgenommen  werden. Prof .OedrangoK 
dankt  in  herzlichen  Worten.  Es  ist  ein  grosser  Erfolg. 

Im  Anschluss  wird  Stefan  durch  ein  Bankett  geehrt. dass  die  Universität  ihm 
auf  der  Höhe  des  Prosilipp  gibt:  Schön  geschmückte  Festtafel  mit  herrlichem 
Blick  auf  den  Golf  von  Neapel. So  bleibt  uch  die  richtige  Stimmung  nicht» 
9u».  Einige  der  rofessoren  las  en  ihre  schönem  Stimmen  kören, die  eine 
fremde  Dame  Inder  Nähe  veranlasst  »sich  «ichdabei  zu  beteiligen. Stefan  erfaxirt 
nachher ,das6  die  "UnbeKannte»»  ,eine  berühmte  Sängerin  vom  Radio  war. 
Klein«  Zugabe: eine  ki^^ifte  japanische  Gesellschaft   im  Restaurent  mit  dem 
japanischen  Kronprinz  und  seiner  jungen  Frau. 

Das  Ganme  der  reiznadste  Abschluss.den  man  sich  denken  kann^wie  mir  meine 
Freunde  am  nächsten  Morgen  berichten. 

Donnerstag  24. September:  Früher  Aufbruch  von  Neapel. 

Nach  70  km. erreichen  wir  Caserta. Wieder  ein  riesiges  Bourbonenschloss  mit 
Frossem  Park  und  Stallanlagen ^Äimangklegt  von  Karl  III  1752. 
Wir  verzichten  aif  die  Besichtigung  und  fahren  weiter  in  die  Berge  hinauf 
zu  dem  400  M.:ter  höher  gelegnen  Caserta  Vecchio  auf  recht  steiler  Strasse. 
Mir  von  verschiedneen  Seiten  empfohlen  und  «ch  gestern  von  einem  der  Pro- 
fessoren unsA-ingend  ans  Herz  gelegt. als  "eines  der  schönsten  Kirchen- 

At-i  ftnnggn  der  Normannen."  ^   .  .^.    ^   j.        u 

Was  aber  der  Professor  mir  leiaer  nicht  gesagt  hat  ist  die  leidige  Tatsache 
dass  der  Dom  von  St.Michele  in  gründlichster  Wiederherstellung  oegrifien, 

von  Gerüsten  und  Zäunen  im'Augebnlick  so  umschlossen  ist^dass  wir  keinen 
richtigem  Eindruck  gewinnen  können.  MxmxmmlouüaaatxÄMÄxmÄmMkigmmxmJHUtmmgmKÄon 
Umdrängt  ist  er  von  den  Häusern  der  von  den  Longobardem  gegründeten  auf 
einer  Anhöhe  befestigten  Kij-einstadt.  ,.   ^    ^    n  •  ^  4- 

Wir  sehen  nur  den  mächtigen  achtseitigen  Tgmbour^der^die  Kuppel  umkleidet; 
er  ist   von  zwei  Reihen  ineinander  geflochtenen  XrKaden  belebt .innerhalb 
welcher  helle  und  dunkle  Steine  zum  Mosaik  geruht  .stilisierte  Bestien 

bilden.  .  .^.     .-.•       u^^  -.««, 

Ein  Anschlag  verbietet  in  den  Dom  zu  gehen, dessen  rxcntiger  }!.ingang  abriöons 

von  Z  unen  versperrt  ist.  Eine  Tdr  zu  einem  N.bengelass,wchl  die  Sacristei, 
steht  offen. Darinnen  schläft  an  einem  Tisch  ein  Wächter  so  fest^dass  wir 
ohne  Schwier:.gkeit  an  ihm  vorbei  in  den  Dom  gelangen.     .  ^  ^  .   ,  ^  , ,  or^ 
Mächtiger, im  Au-enblick  völlig  leerer  Kirchenraua,den  Biscipf  Ramolf  1120 
gegründet  hat  und  cbr  1152  vollendet  wurde. arossartige  Kuppel  aber  dem 
Chor.AiTi  Boden  liegt  der  Ambo  auseinander  genommen, die  Mosaiken  sear  repera- 
turbedürftig.i^ber  auch  in  diesem  Zustand  noch  von  grosser  Farbenprahct. 
Zwischen  den  Ornamenten  und  Reliefs  sind  bunte  Glas  und  Schmelzemlagen 
eingefügt, zusammen  mit  aem  Gold  des  Mosaiks  von  erstaunlicher  Wirkung. 
Wir  können  begreif en.dass  er  etmmt  zu  aen  "Hauptwerken  der  norr.ansichen 
Rcmanik'»  verechn**  wurde  und  nach  Wiederherstellung  wieder  v/ieder  rechnen 
^ird. Jedenfalls  de s  einzi.  e  Makl,dass  ich  mit  einem  solchen  Kunstwerk  im 

taktische  Berührung  kam.  ^   ,.,.-,•   « 

Das  einzige, was  an  Ort  und  Stelle  belassen  ist, ist  d.>6  Gr^bmahl  eines 
schönen  jungen  Rituers,das  einzige  was  ichaa  der  Inschrift  entziffern  kann 
ist  das  Wort  "schwäbisch".  Wohl  anzunehmen, dass  er  -.em  staufischen  Kreis 
angehört. Ich  konnte  nichts  weiter  über  ihn  feststellen. 


77 


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( 


Ausserhalb  der  umschliessenden  Mam^r  k&baa  wir  sehr  schönen  Blick  hinab 
ins  Tal« 

Die  nächste  StaAi,wo  wir  kurz  halt  machen «ist  CAPUA« 

Der  Dom  ist  im  letzten  Krieg  zerstört  worden. Die  Via  del  Duomo  mundet  mnter 

einem  Torbogen  hindurch  auf  den  Corso  Museo  Campans.Hj^er  von  eine«  Wall 

hübscher  Blick  auf  den  Volturno,den  grössten  Fluss  ünteritaliens. 

Für  das  Museum  sind  wir  zu  spat; es  schliesst  frühzeitig. Es  enthält  die 

Reste  Ton  dem  Trimmphtor »das  Friedrich  II  1233-^^  kier  errichten  liess. 

Erhalten  ist, wie  ich  lesender  Torso  einer  sitzenden  Figur  des  Kaisers  und 

Köpfe  seiner  intimsten  Berater. Sc h%d*l 

So  reicht  auch  unsere  Zeit  nicht  zum  Besuch  des  Klosters  Monte  Cassino  , 
das  wir  auf  hohem  Bergesgipfel, ganz  modern  wieder  aufgebaut ,yor  uns  sehen. 
Das  Kloster  war  im  letzten  Krieg  ganz  zerstört  worden. Ich  hätte  gern  den 
Neubau  mit  meinen  alten  Erinnerungen  verglichen. 

Ich  bin  mit  Olly  von  der  Eisenbahnstation  mit  dem  Wagen  am  23»Mai  1923 
hinauf gefahren. Es  war  eine  Riesenanlage »wie  etwa  der  Escurial. Innen  viel 
barocke  Pracht  ,Soliman  Fresken  etc.Alt  waren  nur  Türme, das  Rtjsthaus  und 
ein  guter  Kreuzgang. Ganz  schlimm  die  Bemalung  der  Krypta  durch  Mönche  vom 
deutschen  Kloster  Beuren  in  einer  Art  ägyptischen  Jugendstil. Die  alten  Fres 
ken  von  Marco  di  Siena  hatte  man  einfach  übermalt. 

Der  »'Padre  forestiere"  aus  Westphalen  bietet  im  Namen  des  Klosters  gast- 
liche Aufnahme  im  Rasthaus:  Vortrefflicher  Reiss  mit  Tomaten, Eierkuchen  und 
Wein.  Zum  Dank  legt  man  beim  Abschied  eine  freiwillige  Spende   in  die 
bereitstehende  Büchse.  (Tgb.V.S.26^  ff) 
Diesmal  lunchen  wir  unten  im  Ort  Cassino «Hotel  Canon. 

Einst  *and  hier  die  blühende  Landstadt  San  Germano  ,wo  1230  die  deutschen 
Fürsten  zwischen  Kaiser  Fpiidrich  II  und  Papst  Gregor  IX  den  Frieden  verein 
harten.  Vielleicht  ist  das  überraschende  gute  Lunch  eine  Erinnerung  an 
grosse  Zeiten. 

Auf  der  Via  Casilina  nordwärts  ;  um  6  Unr  treffen  wir  in  ROM  ein. 

Wir  hieben  wieder  im  Hotel  Medici-H&ssler  gemietet  ,weil  für"*die  eine  Nacht 

schwer  Unterkunft  anderswo  zu  finden  war. Diesmal  bekommen  wir  zusammen 

Suite  319  bestehendes  2  Schlafzimmern  mit  einem  fceraeinsamen  Bad  und  einem 

kleinen  Vorplatz. Kein  Ideal. 

Zum  Abendbrot  suchen  wir  eine  kleine  Trattoria  naKh  beim  Hotel  auf , die 

Bar  Crispi  • 

Freitag  23. September;  Früher  Aufbruch. 

über  die  Piazza  di  Popolo  auf  der  Via  Caesia  hinaus  aus  Rmm  nach  Norden. 

Diesmal  schauen  wir  in  Viterbo  hinein, das  von  alten  longobardischen  Wällen 

und  Türmen  umgeben  ist. 

Es  ist  häufig  Rt-sidenz  der  Päpste  gewesen; war  es  doch  Centralpunkt  der 

"Patrimony  of  St. Peter"  ,eine  Schenkung  der  Markgräfin  Mathilde. 

Wir  halten  vor  dem  Papstpalast ,m£lrische  Anlage  aus  dem  13» Jahrhundert. 

Treppen  führen  hinauf  zum  grossen  Saal, wo  häufig  Papstwahl  stattgefunden 

hat. Als  sich  einmal  die  Wahl  über  2  Jahre  hinzog, hr^ben  die  Einwohner 

schliesslich  das  Dach  abgedeckt, um  die  Entscheidung  zu  erzwingen, ans  der 

1270  Gregor  X  als  Sieger  hervorging. 


78 


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Anschliessend  an  cfen  grossen  Saal  isteine  offne  gotische  Loggia  mit  hüb- 
schem Brunnen, der   gerade  wieder  in  Stand  gesetzt  wird.  Von  dem  hohen 
gotischen  Masswerk:  aus  spendete  der  Papst  seinen  Segen  auf  die  Menge  unten 

auf  dem  grossen  Platz. 

Seit  dem  15. Jahrhundert  ist  Viterbe  Sitz  de»  XJÜtlischöfs ,die  ihren  Sommer- 
sitz meistens  in  der  "Villa  Bagnaia"  hatten, die  ich  am  3-September(S.49) 
mit  Marianne  Nechansky  besuchte.  „  ^  n 

Wir  lunchen  am  melancholischen  Bolsena  See  schlecht  und  recht  im  Hotel 
Modern, beTor  uns  Stefan  in  schwerer  kurTenreicher  Fahrt  hinauf  mach 

fm^'Sotel  Excelsior  erwarten  uns  gute  Zimmer  mit  Bad. Ich  habe  weiten  freien 
Blick  über  die  Lizza  ~  soll  Abkürzung  von  CaTnlerizza  sein, weil  früher 

hier  eine  Reitschule  war. Jetzt  ist   Inder  Senkung  ein  Stadium  unterge- 
brahct. Dahinter  baut  sich  der  mächtige  rote  Ziegelbau  Ton  San  Domenico  auf 

die  scnwarzweisse  Marnorpracht  des  Doms »Langhaus , Kuppel  mnd  Turm. 

Prachtvoll!  ^    ^  ,_  •  ^    •*. 

Erstaunt  bemerke  ich  au^f  der  anderen  Seite  der  Lizza  eine  Gebäude  mit 
der  Inschrift   "Albergo  Restaurant  Chiusarelli"  ,dam  alte  Erinnerungen 
weckt:  Ich  war  mit  Olly  und  unserem  Freund  Ernst  Saulmann  vom  17.bis 
25. Mai  1921  in  einer   "Pensione-  gleichen  Namens, die  damals  in  der  Via 
Curtatone  lag.  Sollte  sie  von  dort  zur  Viale  S. Domenico  übergesiedelt 

Mirfat  bekannt, dass  der  Inhalt  der»'Academia  di  Balla  Arti  "   in  neue 
Räume  überführt  .;orden  ist  und  jetzt   "PINACOTfiCA  DI  SIENA"  heisst. 
Nach  Feststellung, dass  sie  noch  offen  ist »durchquere  ich  mit  einem  Taxi 
die  ganze  Stadt.  Ganz  im  Süaen,in  der  Via  San  Pietro/ liegen  z.vei  alte 
gotische  Paläste, der  grössere  Palazzo  Buonsignore  mit  dem  kleineren  dem 

kiKinnxKX  Palazzo  Brigidi  nunmehr  zu  einer  Einheit  verbunden. 
Der  Palast  ist  ein  gotisches  Ziegelgebäude  aus   em  1^. Jahrhundert  mit 
einer  Vorhalle  und  Mof  in  Frührenaissancestil.  Am  Eingang  ^^J^^be  ich 
den  ausgezeichneten  illustrierten  Katalog  von  Enzo  Carli(195ö) .Ich  hatte 

den  Inhalt  der  Academia  di  Bella  Arte  in  meinem  Tagebuch  von  1921 
(Tgb.IV,S.283  ff)  ausführlich  besprochen.  Jetzt  ist  die  ausgezeichnte 
Übersicht   über  die  Sieneser  Meister  noch  weiter  vervollkomt.  Dazu  die 
Möglichkeit  alles  weiter  und  Übersichlicher  aufzuhängen  tragt  zu  verstärk- 
tem Genuss  bei. Das  viele  T^^eppe  steigen  ist  jetzt  allerdings  für  mich 

ein  wenig  anstrengend  .  .   .^      j-    • 

Zwichen  den  beiden  Palästen  ist  eine  merkwürdigg  Spiraltreppe, die  mir 
ein  Aufseher  zeigt. Sie hd.st  "Scala  della  Pia"  und  wird  mit  dem  Ehebruch 
der  Pia  dei  Tolomei  in  Verbindung  gebracht. 

Ich  las^e  mich  vom  wartenden  Taxi   zum  musc hei förmigen  "Campo"  bringen 
Sicherlich  einer  der  schönsten  und  eigenartigsten  Plätze  Italiens. mit 
einfassenden  Architekur ,dem  Palaizo  Communale,de6  en  berühmten  Torre  del 

Mangia,der  Fönte  Qaia.  .,   ^ .  .  /^  •   4. 

Das  Innere  des  Palazzo  Publice  mit  den «honen  Simone  MartinisCMajestas 
(1315) , Reiter  Potrait (1^28;  und  den  Ffescos  Ambrogio  Lorenzettis  {13JßU 
um  nur  diese  Zw  erwähneu/kann  ich  leider  nicht  wiedersehen;es  ist  bereits 
_  zu  spät. So  klimme  ich  hinauf  zur  Piazza  del  Duomp,wo  ich  Bachs  die  Hand 
reichen  kann,aie  sicn  heute  allein  umsehen. 


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Dic^Opera  del  Duomo"  ist  mock  offen. Ick  hätte  Duccios  "Majesta«"(13d6-ll), 
Bein  berühmtestes  für  aen  Hauptaltar  der  Siener  Katkedrale  geschaffnes 
Werkikcett»  ich  gern  wiederbewundert  •  Ich  habe  in  meinem  Tagebuch  h%Zl 
(IV, 291)  eine  ausführliche  Beschreibung  meines  damaligen  Eindrucks   auf- 
gezeichnet »auch  Ghikertis  Ausruf  '^aagnifica  cosa"  und  Duccios  eifei^e  In- 
schrift,die  aus  dem  lateinischen  übersetzt  lautet: "Heilage  Hutter  Terleik 
dem  Buccfto  Ruhe  im  Alter.Gib  ihm  Leben  dazu^da  er  Dick  ebenso  gemalt*** 
Aber  die  zwei  Treppen  in  der  Domruine  sind  sehr  steil; es  ist  heute  zu  Tiel 
für  mich.  So  gehe  ich  hinüber  zum  Dom  .Das  Innere  entschädigt  für  die  I869 
verresturierte  Fas6<  de.Es  amüsierte  bei  Oleott  zu  lesen:"  Best  seen  by 
moonlight  when  disagreable   details  are  unapparent  and  the  great 
mass  of  black  and  white  marble  becomes  a  gleaming  Tisiom"« 
Auch  im  Inneren  ist  dieser  Wechsel  von   schwarzem  und  weissem  Marmor  der 
beherrschende  Eindruck  neben  dem  einzigartigen  Fussbodea,den  ick  zu  meiner 
Freude  und  üben  schung  -dies  sollte  eigentlich  nur  von  l^.August  bis  1^* 
September , also  Zeit  des  berühmten   "Palio",das  am  I6. August  stattfindet, 
und  w«  die  'Quartiere  der  Stadt  um  das  Banner (pallium)  auf  dem  Campo   jedes 
Jahr  ein  Pferderennen  in  historischen  Kostümen  abhalten  ~   unbedeckt  finde* 
Dkw   Fussbsden  -Platten  sind  von  grossen  Künstlern  des  l4*-l6, Jahrhunderts 

in  eigenartigsten  Weise  i§kt   Bildern  geschmückt. Die  ältesten  einfach  in 
den  veissen  Marmor  geritzt  und  mit  schwarzem  Stucco  ausgefüllt .Allmählich 
wurde  Schatten  mittelst  gr  uem  und  farbigem  Marmor  hinzugefügtes©  dass 
das  "Graffito"  EtXMÜkixrt  sich  zum  kunstvollen  Mosaik  entwickelt. 
Auf  die  Pinturicchios  in  er  Libreria  Picolominea  verzichte  ick. Ihre  erstaun 
lieh  Farbenfrische  (gemalt   150J-07)  ist  noch  gut  in  meiner  Erinnerung. 
Aber  auf   die  Kanzel  der  Fisanos  (1266-68)  mit  aer  schönen  Treppe  von 
Neroni  (15^3)   werfe  ich  noch  einen  Blick  bevor  ich  zum  Ausgnag  zurückkehipe 
Ein  dort  haltendes  Taxi  verhälft  mir  zu  meiner  Rückfahrt  um  Hotel. Das 
grosse  Gebäude  gegenüber  aem  Eingang  zum  Dom  ,das  vuf  meinem  alten  Bädecker 
Plan  noch  Palazzo  Reale  bezeichnet  ist, ist  offenbar  in  ein  Krankenhaus  um- 
gew  ndelt,wo  der  gefällige  Chauffeur  telephonisch   einen  Kollegen  herbei 
rufen  kann. 

Im  Hotel  treffe  ich  mich  wieder  mit  jieinen  Freunden;  ein  gnlliebenswürdiger 
Sienose,den  wir  fragen, lässt  sich  nicht  nehmen  uns  bis  zu  einem  netten 
Lokal  unweit  unseres  Hotels  zu  geleiten, wo  -vir  im  Freien  gut  essen  können. 

Samstag  26.September:  Es  giesst ,was  den  Genuas  auf  dieser  ungemein  lanMckaf 
lieh  reizvollen  Fahrt  natürlich  beeinträchtigt. 

Bei  unserem   ersten  Ziel  der  alten  Etruskerstadt  Velathri, jetzt  VOLTERPA , 
unterstreichen  die  tief  hängenden  Wolken  das  Unheimliche  der  alten  Berg- 
stadt.Als  unser  Auto  den  Steilen  Weg  erklommen  hat, ist  kein  Parkplatz  zu 
finden. Eine  grosse  kommunistische  Versammlung  füllt  die  ganze  Stadt, ja 
macht  es  unmöglich  zum  Marktplatz  vor zudringen, um  einen  ttn  Blick  auf  die 
Piazza  Maggiore  zu  tun. Meine  Freunde  drängen  sich  mit  Gewalt  zum  Palmzzo 
Maggiore, einem  eitinKßMSbduEn   Gebäude   des  I3. Jahrhunderts   durck;sie 
werdender  kaum  einen  richtigen  Eindruck  gewonnen  haben. 

Am  10. Mai  1912   hatte  ich  mit  Olly  mehr  Glück.  Die  Piazza  war  mit  Fahnen 
geehmückt  und  bot   einnm  verblüffend   altertümlciheB  Bild. Es  wurde  Rückkehr 
der  siegreichei^  Tripolis  Krieger  erwartet,  -     


t 


8 


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Heute  ist  natürlich  nicht  daran  £u cbmkeA^ einen  Blick  in  den  Palazzo 
Gttarnacci  mit  einer  kleinen  etrmmkiscken  Sammlung  zu  tun, aus  der  mir 
besonders  ein  Spiegel  mit  einem  groesartigen  Medusen  Haupt  in  Erinnerun|| 
geblieben  ist«  Gut|da6s  wir  wenisgtens  noch  einen  Blick  auf  die  alten 
Mauern  und  die  Porta  ull  Arco  beim  Hinausfahren  gewinnen  können» 
Dies  Tor  hat  noch  im  wesentlichen  die  ursprüngliche  wuchtige  Konstruk- 
tion der  Etrusker  bewahrt; an   er  Au:senseite  drei  riesige  Köpfe, deren 
Gesichter  von  <en  Jahrtausenden  weggewischt  sind.Man  vermutet  Bildnisse  1 
dreier  Schutzgottheiten, die  en  Stadteingang  beschirmen  sollten 
Der  weiter  Blick, den  ich  als  besonders  eindrucksvoll  in  Erinnerung  hatti 
iitt  auih  heute   urch cks  Wetter  behindert. 


Hinunter  shsh  Poggibonsi  nach  SAN  GIMIGNIANO  . 

Für  Olly  und  mich  war  dies  nicht  nur  die  Stadt  "dalle  belle  Torri" 

sondern   sie  gehörte  auch  zu  unseren  schönsten  Reiseeri9i^erungen,seit 


eii/;i/i 


O 


wir  im  Hai  1912  einip:e  wundersame  Tage  in  ihr  verbrachtefaVWir  wohnten 
damals  im  Älbergo  Leone  Bianco,das  bis  aif  die  primitiven  sanitären 
I,inrichtungen  ganz  oraentlich  war.Es  war  ein  Genuss  durch  die  Strassen 
zuwandern  und  überall  Architekturreste, vermauerte  Fenster , hübsche  Rund 
bogen  und  Terracotten  zu  entedeclcen. Von  den  Geschlecht er türmen  sind 
noch  etwa  13  erhalten, aarunter  die  der  beiden  sich  befeindeten  Familien 
Ardinghelli(Guelfen)  und  Salvucci  (Ghibellinen) • 

Im  palazzo  Com.dunale   bewunderten  wir  im  grossen  Saal, in  dem  Dante  1500 
als  Gesandter  von  Florenz  die  Stadt «uffordeerte  Vertreter  zu  einer 
Guelfen  V^^rsaramlung  zu  entsenden^das  grosse  Fi?esko  einer  "Majestad", 
das  Lippo  werami  (1317) tdas   146?  von  Benozzo  Gozzoli  ausgebessert  wurde) 
wcjbshws  der  Schwager  von  Simone  Martini  auf  blauem  Grund  malte. 
In  der  kleinen  Gemäldesammlung  einige  interessc^nte  Grucifixe  der  byzan- 
tinischen vChule  und  u.a.ein  entzückender   Sebastiane  M(^inardi,der  hier 
geboren  ist  und  Gehilfe  von  Ghirlandajo  wurde»     (1475') 
Im  Collegiata  Dom  zogen  uns  die  Fresken  von  Ghirland^jo  (Cappella  di 
Santa  Fina)  und  in  St  »Agostino  die  Fresken  von  Benozzo  Gozzoli, dem 
üchüÄer  Fra  Angelikos( 1463-6?) #mit  farEcnprächtigen  Darstellungen  aus 
dem  y  eben   vom  Heili.i:;en  Augustin  vom  Schulleben  bis  zu  seinem  Tod* 
Unsere  Lieblingplätze   zur  Blick  aif  Stadt  mit  ihren  Türmen  und  hinab 
in  die  Stadt   vor  der  Porta  S«Jacobo  und  von  der  Roleca* 
Im  Mai  1921  waren  wir  wieder  hier.Diesmal  im  Albergo  Centrale   und 
wieder  vom  schönsten  Wetter  und  Frdhlingslandschaft  begünstigt* 
Mein  dritter  Besuch  erfolgte  allein, anlässlich  des  ^0 »Geburtstags  meines 
besten  Freundes  Ernst  Saulmann  (**Erneman'*)  «der  am  26.Mai  1931  fyrtttgh 
oben  auf  der  Loggia   des  Hotel  Cisterna   an  festlich  geschmückter  für 
24  Personen  :  Einst eins, Breslauers »Levys »Konsul  Ritter, die  Professoren 
Bodmer  und  Pasquale«  Ich  war  zu  dieser  Feier  extra  nach  Florens  gefah- 
ren,auf  die  noch  ein  Abendfst  in  der  Villino  la  ace  folgte.  (Tgb, VI, 40l|^ 
Im  September  1936  kamen  wir  mit  unserem  Auto  huf  einer  grösseren  ital. 
Reise, um  auch  Marianne  muxxxnxjcxsh  diese  Stadt  zu  zeigen^was  uns  eine 
besondere  Fpsude  war,  C^^ 
1912  fuhr  man  noch  mit  ^er  Eisenbahn  bis  Poggibonsi  und  dann  mit  einep 

Pferdedroschke  hinauf ^w 

Die  Annährung  an  die  Stadt  war  immer  exne  besondere  S  nsation.     


81 


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o 


D*8  ist  nun  alles  ander«.ünel  es  heisst  nun.wie  schon  bei  rielen  anderen 

Idvllen:  Ks  war  einmal. 

Die  Autos  rasen  hierher .Masse  Mensch  erschtnt  in  Touring  Car». 

?as  Hotel  ?isterna,*o  vir  zu«  Lunch  halt  aiachen.i.t  modernisiert. £ine  breite 

Sarmo?treppe  funrt  zuo.  ersten  ,.tock.  Dort  blickt  «an  in  modernste  Kuchen- 

Einrichtungen  zu«  Grossbetrieb  und  «Ibst^erständlich  sind  nun  die  sanitären 

VrtyT-irhtunffen.wie  maa  es  sich  nur  wünschen  kann«  .   ,  .     ^   ^    - 

IZlllllllT slid   vorhanden.  Einer  far  die  Gäste  des  Hauses. die  hier  abstei^ 

Sr  .nd"f  für  5L  Passanten.  Er  ist  janz  gefüllt  von  einer  "Tour", deren 

ho.,tes  sorKt.dass  ihre  Schützlinge  auch  gut  *u  essen  bekommen. 

mit   belSahe  ein  Wunder .dass  n.ch  ein  Tisch  für  uns  frei  ist  und  dass  wir 

ein  wirKlich  gutes  Lunch  vorgesetzt  erhalte».  Eindruck 

Die  Aussicht  ist  im  Nebel. Es  regnet.  S«  beschrankt  sich  leiüer  di.  Eindruck 

fol   S«  Gimigniano  für  meine  Freunde  auf  dm.  Hotel  Cisterna  und  d"  fl**^ 

davor"er  nuLehr  "Perkplat."  ist. Ich  hoffe  .Stefan  und  Eri  Kommen  noch  ein- 

mal  her  und  lernen  es  wirklich  kennen. 

Wir  haben  noch  einen  weiten  Weg  vor  uns. Glücklicherweise  klärt  sich  das 

ietter  auft^tischöne  Fahrt  über  den  Appeni.;toxid«xMX»iif  x8«..i»?«xmx» 

to««h«iiBSx  in  Floren»  fahren  bei*7-porta  R.mana  ein, folgen  de«  Arno 

Ufer  und  verlassen  die  Stadt  wieder  durch  die  C»8Cinen. 

iTndäann  eeht  es  wieder  bergauf  mit  bezaubernden  Ruckblicken.  ^      .   \ 

SS^aJef  noch  die  Passo  di  Futa(970  m.)  und  Passi  di  Ratico«  zu  uberschrei-j 

tln   bevor  iir  BOLOGNA  vor  uns  liegen  eehen^am  Fuss  des  Appenin. 

wlr'mülsen  es  iliräöFSSlüeren. Lebhafte  Stadt.die  Hauptstadt  von  Emilia. 

!it  Jähe  L  SOCVOOC  Einwohnern.  Charakteristisch  die  Laubengange .Ziegel- 

^rchitectj;  und  inige  Mittelalterliche  Türme.  Doch  mach  Renais.ancepalaste. 

«ie*r  lal.Bevilaqua.üen  wir  inuer  Via  d'Azeglio  passierenCl'töl; 

Wirtb  TStfU^t^ittelpunkt  der  Stadt.die  .iazza  Hagp:iore  .auf  den  die  un- 

vollindinissale  von  San  Petronio  schaut -.«Ä-dem  Pal.ael  lodesta  und*« 

iTZlTo  ^ minder   der  Keptunbrunnen  an  .er  ^J--  «f  *--^:;,^J^r 
nach  dem  Entwurf  des  Palermitaner  Tommasi  Laurati(1565) .di«  Bronzen.wie 
NeptSnt^tt^n  und  Sirenen  von  Giovanni  da  Bologna-.eine  hoecht  wirkunfs.olle 

Brunnenanlage  der  Spätrenaissance.  „   r  .    u^v-i  MA-i-tie-Rarli. 

Daran  ehli-sst  sich  die  Via  Independenza.in  der  No  6  das  Hotel  Ma,ietic-Ba|li 
moni  li*gtUn  dem  wir  Zimmer  uiit  Bad  reserviert  haben.  Es  liegt  S*?«'»;;^«' 
dfs^Dom  K  Pietro.dessen  Barockfassade  und  die  Dachheiligen  mir  ^xr.kt  in 
me?n  Fenster  schauen.Der  Dom  erst  romanisch. dann  gotischund ehlieslich  barock 
Die  Barockfassade  stammt  von  Air.'iorrigiani  (m3-'*öJ  pa^arello 

Hotel  macht  guten  eleganten  Eindruck.„ir  essender  auswärts  ;^^^|f£ff|iif '  ^, 
Via  Stefano  2. wohin  ich  n.eine  Freunde  zur  Vorfeier  meines  78. Geburtstag  einge 

ioISgifi^t  für  sein  Essen  bekannt. s  ineTagliatti. Tortellini, seine  Mortadell. 
und  sflami  haben  Weltruf.  Bei  iapagello  aber  prüfen  «t'^/*°^*^l{^;* J^<=;" 
kinst  leisten  kann.  S  o   al.a  muss  "italienischer"  S.lat  -<=^ '«^^J*Aen  -^r  al. 
Vorgericht  bestellen; ein  rafxiniert  angerichteter  Fleisiigang  fol«*»^  »^* 
einem  Trau«  von  »abaione  (Cheaudeau  mit  Marsaie  und  Cognac)  zu  schliessen. 
SiSaLne  "elt  eSnso  wenig  a.f*r  Karte.wie   der  Brut  <= '^-P*« ««  1°%^": JJ, 
den  man  aber  bereitwilligst  beschafft  und  der  genau  so  ausgezeihnet  8chL.eckt. 

W-;  p  ich  ihft  in  Erinnerung  hatte.  ^    ^  ^   .    j^> 

Das  Lokal  liefet  dicht  bei  ien.ch.efen  Türme«(Torre  Asinelii  und  Garisendai, 
S*hrzeihhei*r  Stadt»  «ir  könne,  es  zu  Fuas  erreiche,  und  dabei  eine.  Blick 
auf  die  äu.serst  eleganten  und  reichen  Laden  werfe«. 


82 


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Samstag  2? ^September; Schöner  Morgen • Blick  aif  die  Strasse. Gnz  still. Der 
grosse  Lärm  voä  gesten  oiienbar  nachts  auf gehört, so  dass  meine  Freunde 

hoffentlich  gute  Nachtruhe  gehabt  haben. 
Blick  vom   enster  geht  im  eine  Laubenstrasse ,an  deren  Ende  einer  der  Ge- 
schlechtertürme aufsteigt.  Vom  Dach  gegenüber  scheint  mir  einer  der  Hei- 
ligen zuzuwinken. Der  erste  Gratuiänt  zu  meinem  78*Geburtstag  .  Dann  kommen 
Eri  nnd  Stefan  und  «kmücken  nich  mit  einer  Knopflochblume. 

Früher  habe  ick(19C0 ,1912  und  1922;immer  im  Hotel  Brun  gewohnt, das  im  alten 
Palazzo  Ghislieri  ,Via  ügo  Bassi  32  in  besten  alten  Stil  geführt  wurde;  es 
scheint  nicht  mehr  zu  existieren. 

Bevor  wir  aufbrechen  no.h  kurzen  Blick  auf  den  Palazzo  Re  Enzio  am  Neptun- 
Platz  »gotisches  Gebäude  von  1300, wo  König  Enzio, der  dritte  Sohn  Kaisers 
Friedrich  II  12^9  -  72  gefangen  sass.Er  war  der  erst  ilief^itime  Gohn  Frie- 
drichs,der  ihn  zum  König  von  Sardinien  und  Vicekönig  von  Italien  machte. 
Wir  haben  oben  gesehen, wie  all  die  anderen  Söhne  zu  Grunde  gingen.  Enzio 
ist  der  letzte, der  52  Jahre  alt  in  Gefangenschaft  von  Bologna  stirbt. 
Vor  seinem  Tod  ist  schon  der  letzte  Spross  der  Hohenstaufen  in  Neapel  ent- 
hauptet worden. 

Und ckmit  nehmen  wir  auch  von  Kaiser  Friedrick  II  Abschied, der  uns  aaf  dieser 
Reise  intensiv  beschäftigt  hat« 

Von  Bologna  geht  eine  neue  AUTOSTRADA  ditskt  nach  Mailand.  Es  gibt  keine 

Unterbrechung. Man  sieht  nur  wo  die  Ausfahrten  nach  Modena, Parma  ,Pazenca, 

Lodi  abzweigen.  Ein  trosloses  »sdier  endloses  Sausen  nach  Norden. Es  wird 

auch  nicht  ier  geringste  Versuch  gemacht  die  Fahrt  irgend  wie  reizvoll  zu 

gestalten.  Schnell »schneller . . . . 

Von  Mailand  fünrt  eine  weitere  Autostrada  nach  COMO,wo  wir  am  Seeufer  im 

Freien  vor  dem  Hotel  Metropol  lunchen.  Die  Piazza  Cavour/ Zentrum  der  Stadt/ 

dithll  beim  Domplatz. Der  Dom  ein  äusseret  reizvolle#**<ler  "Cosaaten»»  ganz 

aus  Marmor  mit  Frührenai::sancefassade  Daneben  der  1215  in  dunklem  und 

nel  em  Stein  erbaute  Broletto, einst  Gericht8= jetzt  Festhalle. 

Grosser  Fremdenverkehr. 

Die  Weiterfahrt  am  Corner  See  entlang  ist  eine  reine  Freude.  Hinter  Cernobbit| 

schauen  wir  kurz  in  den  wunderschönen  und  hwrlich  gehaltenen  Park  de» 

Hotels  Villa  d'Este   (einst  als  Palast  fürKardinal  Gallio  erbaut ; I568) , wo 

sich  noch  immer  die  eleganteste  Gesellschaft  versammelt« 

Zwischen  Tremezzo  und  Cadenabbia  passieren  wir  die  "Villa  Carlotta"  ,tie 

ich  vor  vielen  Jahren  mit  meinen  Extern  besuchte. 

Dann  .»chwenken  wir  nach  Westen  ab, um  am  Luganer  See  die  schweizer  Grenze 

^xmxzHXKXZ  zu  überschreiten. 

In  Lugano  .  ommen  wir  mitten  in  den  Trubel  des  Winzerfestes, was  uns  aber 

nie Sf "elf er  stört.  Im  Hotel  de  la  ?aix  sind  gute  Zimier  mit  Bad  für  uns 

reserviert  und  wir  werden  nunmehr  schon  als  Stammkunden  begrüöst. 

Montag  28. bis  Mittwoch  30. September  ;  Der  Aufenthalt  in  LUGANO  lässt  unsere 
Reise  ausklingen.  Eri  und  Stefan  bereiten  mir  eine  nachträgliche  Geburts- 
tagsfeier.mit  einiger  Feierlichkeit:  Kerzenlicht »herrliche  Weisse  Nelken,  , 
die  eleganteste  rote  Juchtentasche  aus  der  lanÄNew  Bond  street   für  verschie 
dene  GeldsortenCMudie , London) , die  ich  je  gesehen  habe  und  das  neapie  und 
beste  Buch  über  Apulien(Du  Mont  Shauberg, Köln, 1958)  mit  der  Widmung  — — 
"The  beauties  we  enjoyed  together".  Rührend!! 


83 


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Sonst:  Besuch  bei  Krackenbergers  »diesmal  ohne  Somne »Treffen  zu«  Cafe 

bei  Vanieri  und  anderswo  am  See.Ausflag  nach  "Romaifica»'  ,eine  etwas 

kitschige  Anlage  am  See, nur  verständlich, wenn  man mniamt «dass  sich  hier 

nachts  junge  Leute  alt  ihren  Damen  amüsieren. SchÖB  der  Gartea:Wenn  Eri 

den  netten  Gärtner  um  etwcs  Samen  für  eine  schöne  Winde  bittet «erklärt 

er   lächei>dnd,dasä   er  den  Saaenais  England  bezieht! 

Groasartiger  Blick  roa  Monte  Salvatore ,auf  dessen  Höhe  wir  mit  Hilfe 

naher  Tram,aann  Zahnradbahn  gelangen* 

Es  ist  bereits  recht  kühl, 13  Grad  GelsiusI  Das  Hotel  aber  trotzdea  noch 

recht  gut  besetzt« 

Domnerstag  I.Oktober;   Wieder  nach  Itt^lien  hinein  über  Ponte  Tresa|WO 
leichte  Grenzkontrolle; dann  schöne  Fahrt  über  Varese  zu  Mailands  abgeleg* 
nen  Flugplatz  M ALPENSA  ,wo  endlich  eine  m«brne  Anlage  entsteht. 
Im  modernen  geschmackvollem  Rest.xurant ,Ton  wo  man  direkt  zum  Flugzeug 
gehf^n  kann, ein  Abschiedsexpresso  mit  meinen  lieben  Resekameraden. 
vVir  hatten  wieder  eine  reidhe  wundersame  Zeit  zusammen.  So  kein  Wunder, 
dass  mir  der  Abschied  schwer  fällt. 

Stefan  und  Eri  fahren  nach  Norden  weiter.  Ich  besteige  das  hier  abgehen- 
de Flugzeug  aer  AIR  FRANCE  (#  653) ;es  geht  pünktlich  17:50  ab.  Das 
Flugzeug  hat  nur  "Tourist  Class"  und  ist  bis  auf  en  letzten  Fiat»  be- 
setzt. Der  dichte  Cigarettenrauch  ist  kaum  erträglich  und  ich  bin  froh, 
als  wir  19:55  in  PARIS-ORLY  lanrien. 

Auch  dieser  j? lugplatz  ist  nachiiem  Kriege  neu  erbaut  und  stark  er  .eitert. 
Um  zu  dem  Gebäude  der  TWA  zu  ,^;elangen  benötige  ich  einen  Bus, den  ick 
abzuwarten  habe. 

Bei  der  Trans  World  Airline  gent  das  Warten  weiter. Meine  Einkäufe  von 
Alcohol  im  "Gift  SHOP"  sind  bald  erii-edigt.  Es  ist  nicht  festzustellen, 
wann  mein  Flugzeug  nach  New  York  abgeht; werde  immer  wieder  vertröstet, 
bis  man  mir  endlich  gesteht, dass  "mein"  Flugzeug  aus  Bangkok  fünf  Stun- 
den Verspätung  hat.  Sä  sitze  ich  schliesslich  mutterseelenalleim  und  habe 
nur  gebetea  Licht  brennen  zu  la£.en, damit  ich  mir  mit  Lesen  die  Zeit 
verkürzen  kann. 

Freitag  2. Oktober;  Endlich  1:30  ist  das  Flugzeug  angelangt. Als  ick  es 

geraae  besteigen  will, eilt  mir  ein  höherer  Beamter  nach|Um  mir  meinen 

"Luxuszuschlag"  von  50  S  ,den  ich  N.Y.reklijieren  soll ,imrückzugeben; 

man  will  mich  wohl  trösten  über   'diese"  Art  von  Luxusreisen. 

Mir  ist  im  Augenblick  die  ^Hauptsache  ,dass  ich  mich  aui  meinem  Sitz  bequem 

lang  le^en  und  die  Beine  ausstrecken  kann.  Es  wird  eine  angenehme  späte 

Nachtruhe. 

Gutes  breakfast ,das  spät  serviert  wird .Der  Kapitainkericht  zeigt, dass  wir 

um  drohenden  Taifunen  auszuweichen^ einen  grossen  Bogen  bis  nach  Island  , 

statt  der  direkten  Route, haben  schlagen  müssen. oo  landen  wir  in  NEW  YORK 

Idlewild  statt  7:20  erst  um  11:30.  Ich  bin  froh, dass  niemand  auf  dem 

Flugplatz  auf  mich  wartet. 

Die  Formalitäten  sind  schneller , als  früher , erledigt .Ein  Taxi  fährt  mich 

nach  Haus  und  der  Chauffeur  bringt  gleich  mein  Gepäck  nach  oben 


Nett  aber  ist  es  meine  alten  f|teundr''fiiier'  auf  mich  Worteni  vorzufinden. 
Wieder  daheim!