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QUO VADIS ARS SINICA? REFLECTIONS ON SINO-WESTERN DIALOGUE

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Gálik M.

Asian and African Studies

2012

vol. 21

issue 1

70 – 85

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.

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1 Asian and African Studies

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QUO VADIS ARS SINICA? REFLECTIONS ON SINO-WESTERN DIALOGUE