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QUO VADIS ARS SINICA? REFLECTIONS ON SINO-WESTERN DIALOGUE

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Gálik M.

Asian and African Studies

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2012

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vol. 21

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issue 1

70 – 85

EN

The author´s paper begins with a short evaluation of what European and Chinese Transcultura members have done and published in Chinese from the 1990s up to the present time. He has devoted the first part of his contribution to the history of the interflow between European and Chinese art that began with the Greco-Gandharan art in the 2nd cent. A.D., then proceeded during the Mongolian Yuan Dynasty (Marco Polo), and reached a peak of impact (if not a great response) in the 17th – 18th centuries during the Jesuit mission in China and in Europe during these centuries. Mutual enchantment on both sides ended after the end of the Jesuit mission and after Herder’s and Hegel’s critical attitude to China and its culture. In the first years of the 20th century and later, Chinese students in the US and Europe started to be interested in Western art and schools of art were set up in China. In the 1920s and 1930s artists combined pictorial art with poetry, or criticism. In the 1950s Xu Beihong defeated Lin Fengmian and followed Mao Zedong’s line. During the Cultural Revolution (1966 – 1976) nearly all contacts with foreign countries were severed. Gradual change came only after Mao’s death in 1976. In 1985 a New Wave Art claimed freedom in art, but up to the end of the 20th century the Chinese government was more or less unfavourable to the Chinese avant-garde art. The situation in Chinese art from 1985 up to now is briefly analysed in the last part of the paper.

2

JULIUS ZEYER'S VERSION OF MA ZHIYUAN'S LADY ZHAOJUN: A XIONGNU BRIDE IN CZECH ATTIRE

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Gálik M.

Asian and African Studies

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2006

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vol. 15

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issue 2

152 - 166

EN

The aim of this study is to analyze the Czech literary adaptation of the well-known Chinese play 'Hangong quim' (Autumn in the Han Palace) by Ma Zhiyuan (13th-14th c.) in the short story 'Zrada v dome Han' (Treachery in the House of Han) by the Czech decadent writer Julius Zeyer (1841-1901). It is the first 'chinoiserie' in Czech national literature.

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ON THE PROBLEM OF SACRED SPACE: SOLOMON´S TEMPLE IN JERUSALEM ANDTEMPLE-PALACE IN FENGCHU (CHINA) AROUND 1000 B.C. (A COMPARATIVE STUDY)

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Gálik M.

Asian and African Studies

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2017

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vol. 26

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issue 2

319 – 349

EN

The aim of this essay is to present a study about the problem of sacred space in comparing Solomon´s Temple in Jerusalem and the temple-palace in Fengchu (China) around 1000 B.C. and later, together with the situation in the Near Eastern countries, Sumer, Assyria, Canaan (Levant), their writings and concrete buildings. Sacred continua both in sacred space and partly also sacred time in Mesopotamia, Canaan, Judah, Israel, and China are studied here on the basis of available material between approximately 1000 B.C. up to about 450 B.C. The choice of the studied material was selected in order to see the differences between the understandings of the sacred space in the countries of Near East and in China in times when there were no relations between them. This essay points to the differences in the Chinese situation which was very different from that of Hebrew tradition. If sacred space and also sacred time was with the exception at the end of the Shang Dynasty in high esteem in the first up to about the first half of the 1st cent. B.C, and then a more secular approach was acknowledged, among the Hebrews the theocracy of God became to be absolute.

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QUO VADIS ARS SINICA? REFLECTIONS ON SINO-WESTERN DIALOGUE

JULIUS ZEYER'S VERSION OF MA ZHIYUAN'S LADY ZHAOJUN: A XIONGNU BRIDE IN CZECH ATTIRE

ON THE PROBLEM OF SACRED SPACE: SOLOMON´S TEMPLE IN JERUSALEM ANDTEMPLE-PALACE IN FENGCHU (CHINA) AROUND 1000 B.C. (A COMPARATIVE STUDY)