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Qi Baishi's poetry and painting in Czech collections
Youngová, Emily ; Pejčochová, Michaela (advisor) ; Lomová, Olga (referee)
Thesis abstract The aim of this thesis is to introduce the poetry of the Chinese artist Qi Baishi (1864-1957). The paper will also touch upon his paintings, which are closely related to his poetry - not only due to the influence of sanjue, or "the three perfections" (these being literature, calligraphy, and painting), but also thanks to some leitmotifs and recurring allusions that can be found in the two forms of art. Aided by accessible translations, multiple poems are chosen from Qi Baishi's manuscript with the objective to specify the main motifs present in his work. The selected poems are then translated into Czech and interpreted. This then contributes to the interpretation of chosen paintings also included in this thesis. Key words Qi Baishi 齐白石; Chinese poetry; Chinese painting; Czech collections of Chinese painting
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Dong Qichang's texts on painting and their relationship to Mi Fu's History of Painting
Pejčochová, Michaela ; Lomová, Olga (advisor) ; Černá, Zlata (referee) ; Jacoby, Marcin (referee)
Dong Qichang's Texts on Painting and their Relationship to Mi Fu's History of Painting Michaela PEJČOCHOVÁ Doctoral dissertation summary The study entitled Dong Qichang's Texts on Painting and their Relationship to Mi Fu's History of Painting presents an analysis of the critical texts on painting by two important figures of the old Chinese art world, Dong Qichang (1555-1636) and Mi Fu (1051-1107). It is based on the conviction that old historical and critical treatises on painting record information important for our understanding of the actual painting practice in ancient periods, which is difficult or even impossible to document by the surviving pictorial evidence. Both authors of the texts discussed here were scholars, artists, critics and collectors and counted among the foremost literati of their day - Mi Fu was one of the initiators of the "literati culture" during the Northern Song period (960-1127), while Dong Qichang with his theories was highly influential during its late phase. Their texts thus document literati opinions on the aesthetics and history of painting in their respective periods. The focus of the study is the corpus of Dong Qichang's texts on painting that includes treatises like The Significance of Painting (Huazhi), Notes from the Studio for Meditation over Painting (Huachanshi...
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Iconography of Korean Buddhist Painting
Vašková, Tereza ; Pejčochová, Michaela (advisor) ; Löwensteinová, Miriam (referee)
(in English): In this thesis, the object of my research is an online collection of Buddhist paintings from Goryeo kingdom. My work consists of analysis of these paintings and therefore I am exploring iconography, figures in Buddhist pantheon, materials and pigments used for paintings and overall specific elements that could be found in those paintings. In the first chapter I am introducing Buddhist paintings in China and Korea in general, next chapter focuses on genres and types of paintings (such as hanging scrolls, temple paintings etc.). In the following chapter I am exploring materials, mineral or chemical pigments, and their usage for painting. The most substantial chapter of my thesis is focusing on the iconography of such details as flower-meanings, color-meaning and postures and gestures in the painting of figures.
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The Chinese Collection of Ludvík Kuba in Historical Context and the Context of his Oeuvre
Daňková, Lucie ; Pejčochová, Michaela (advisor) ; Slavíček, Lubomír (referee)
(in English) The master's thesis The Chinese Collection of Ludvík Kuba in Historical Context and the Context of his Oeuvre is focused on works, ethnographic interests and contacts of Czech painter Ludvík Kuba in connection with his collection of Chinese art and the context of the popularity of Chinese culture amongst Czech modern painters. The author will also pay attention to the history of collecting Chinese art in former Czechoslovakia and to some objects collected by Kuba in particular. The thesis aims to reconstruct the collection of Chinese art amassed by Ludvík Kuba, using period photographs and information from institutions that house the artist's estate (Náprstek Museum of Asian, African and American Cultures, National Gallery in Prague, Polabské muzeum v Poděbradech, and others.) The artist's book Moje Čína (My China), as well as other sources (period articles, correspondence), will be used as source material, too. The information gathered about Kuba's former collection of Chinese art will serve the purpose of deeper reflection of the extent of Chinese influences in Kuba's art, as well as his role in the process of establishing of Asian art collecting by modern Czech artists of his day.
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Erotic in Chinese Art
Lipková, Lada ; Maršálek, Jakub (advisor) ; Pejčochová, Michaela (referee)
My bachelor thesis's topic is depicting of erotica in Chinese visual art during the reign of Chinese last two dynasties. More space is rather dedicated to Ming dynasty (1368 - 1644) in which mentioned erotic paintings and erotic literature originated. Thesis firstly introduces the topic and explains used terms, it means erotica and pornography. Thesis then describes prim confucian and opposite open taoist attitudes to erotica and sexuality because these two views are important as a background for my thesis. It also mentions taoist sexual manuals that could serve as models to Ming erotic albums. Thesis next presents erotica in Chinese visual art and society where this art arised. It describes Ming erotic paintings and prints, their purpose and main themes. It describes them also as Ming erotic literary works' illustrations. Finally it shows erotic paintings were popular not only in China at that time, but also in Japan and Korea. Thesis includes addendum with paintings.
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Emil Filla and China
Pecháčková, Emma ; Lahoda, Vojtěch (advisor) ; Pejčochová, Michaela (referee)
It is well known about Emil Filla (1882-1953) that he was passionate about collecting non-european art. During his life he tried to find some kind of universal language which would allow him to connect the artistic styles of different cultures from all around the world. Filla sacrified a huge part of his life to studying chinese art, which became popular in Europe in the beginning of 20th century. Filla did not only frequent Asian art exhibitions, he himself owned many artistic objects and Chinese ink paintings. Thanks to studying books and paintings he became familiar with philosphy and media typical for Chinese landscape painting. The most obvious evidence of Chinese influence is the thin and long form of painting, use of ink and the illusion of timeless atmosphere, eternity and infinity. The result of this are wider landscapes which differ greatly to the rest of traditional Western landscape painting.The landscapes from České středohoří were Filla's last works. He had them painted at the very end of his life around the 1950s, when art was under the control of government authorities. These landscapes from České středohoří are unique and they are definitely not the perfect example of social-realistic painting which was popular by this time. Filla's aim was more about spiritual value for the artist...
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Dong Qichang's texts on painting and their relationship to Mi Fu's History of Painting
Pejčochová, Michaela ; Lomová, Olga (advisor) ; Černá, Zlata (referee) ; Jacoby, Marcin (referee)
Dong Qichang's Texts on Painting and their Relationship to Mi Fu's History of Painting Michaela PEJČOCHOVÁ Doctoral dissertation summary The study entitled Dong Qichang's Texts on Painting and their Relationship to Mi Fu's History of Painting presents an analysis of the critical texts on painting by two important figures of the old Chinese art world, Dong Qichang (1555-1636) and Mi Fu (1051-1107). It is based on the conviction that old historical and critical treatises on painting record information important for our understanding of the actual painting practice in ancient periods, which is difficult or even impossible to document by the surviving pictorial evidence. Both authors of the texts discussed here were scholars, artists, critics and collectors and counted among the foremost literati of their day - Mi Fu was one of the initiators of the "literati culture" during the Northern Song period (960-1127), while Dong Qichang with his theories was highly influential during its late phase. Their texts thus document literati opinions on the aesthetics and history of painting in their respective periods. The focus of the study is the corpus of Dong Qichang's texts on painting that includes treatises like The Significance of Painting (Huazhi), Notes from the Studio for Meditation over Painting (Huachanshi...
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