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EN
Discovering bamboo was a breakthrough for painting in Yuan, Ming and Qing periods and making it a separate subject marked the beginning of literati painting. Painting, like calligraphy and poetry, were cultivated by the educated wenren people, especially for the educated, and in some cases for the artist’s entertainment. In ideal conditions, wenren did not sell their works. The painting of bamboo has received so much attention in China and so many artists of the highest competence have devoted their lives to the subject.
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Bambus w malarstwie dynastii Yuan, Ming i Qing został potraktowany jako samodzielny temat. Cechą charakterystyczną, która dominowała w ich malarstwie bambusów, to pewien rodzaj swobodnego ekspresjonizmu, silnie jednakże zakotwiczonego w tradycjach sztuki malarskiej. Wszyscy ci malarze byli uczonymi, a ponieważ wielu z nich było tak biegłymi w kaligrafii, co w malarstwie, stało się coraz bardziej popularne wśród artystów, jak i pośród ich przyjaciół, dodawanie wiersza do obrazu aby w ten sposób poezją wzmocnić nastrój czy też koncepcję.
EN
The following paper concerns the image of China and Japan in the Polish geographical compendia published during the reign of Augustus III (1734–1764). Their authors, unlike missionaries (whose accounts were the main sources of their works) were dilettantes rather than true Orientalists, but their compendia reflect the reception of more sophisticated Oriental studies within the wider Polish society. In those works the Chinese, despite their alleged “idolatry,” were supposed to surpass Europeans in many areas such as politics, moral philosophy or crafts. Polish compendia also include some information about Oriental religions (Confucianism, Buddhism, Daoism) as well as certain interesting details on day-to-day life of the Chinese and the Japanese.
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