Hopp Ferenc Ázsiai Művészeti Múzeum

Planned exhibition

Sanghay – Shanghai
Parallel Diversities Between East and West

September 2017 - April 2018

The aim of this unique exhibition is to give the viewer an insight into Shanghai in the first half of the 20th century, through the heritage (furniture, ceramics and clothes) of the Hungarian performing artists and businessmen who lived in Shanghai at that period of time. It will show a very unique field of research along with Hungarian artworks that have been deeply influenced by the Far East. The main motives of the exhibition are the “eastern” dances and clothing.

 

Geishas by the Danube
The influence of Japanese culture on Hungarian art
16 December 2016 – 12 March 2017

Exhibition of the Ferenc Hopp Museum of Asiatic Arts and the Kovács Gábor Art Foundation
in the Castle Garden Bazaar-Palace of the guards, Budapest

From the 1870s onwards, Japanese art permeated the art of Europe, and had a considerable impact in all fields of the visual arts. Now the Kovács Gábor Art Foundation and the Ferenc Hopp Museum of Asiatic Art present the first exhibition to explore the history of Japonism in Hungary, with the use of fine art from the turn of the century and original Japanese and Chinese artefacts that served European artists with models (woodblock prints, ceramics, varnished objects, carvings).

 

 

 

NAGAS, BIRDS, ELEPHANTS
Traditional Dress from Mainland Southeast Asia

29 September 2016 - 20 April 2017

The distinctively Southeast Asian form of artistic expression can be traced through the region’s textile art. The exhibition Nagas, Birds, Elephants. Traditional Dress from Mainland Southeast Asia have the aim of offering a glimpse into the artistic language of this region and its peoples, and of presenting some of the characteristic ways in which they express their art. The intention is to provide an overview of change and constancy, and to unravel the relationship between these two extremes, by taking a closer look at examples of textile art.

The “decoration” seen on the surface of picture scrolls, items of clothing and everyday household textiles may conceal a multitude of visual codes with specific meanings. Brilliantly coloured fabrics from the areas examined in this exhibition are emblazoned with figures of spirits, animals, mythical beings in the guise of beasts, and symbols of protection, which allow insight into the complex system of faith that prevails in the region, derived equally from Buddhism and from local beliefs. One commonly occurring motif is the naga (meaning serpent in Sanskrit; the Lao equivalents are nak or naak), a snakelike creature familiar from Indian mythology, which is depicted in a variety of ways across Southeast Asia, assuming a diverse range of forms. Other regular emblems include the serpent deities from Lao Tai tradition (ngeuak, luang) and the mythical Hong birds, recognisable from their crests and talons; the following pages also feature elephants, of course, as well as the swastika – the ancient symbol of the sun and talisman of good fortune.

On a monthly basis, the exhibition is accompanied by contemporary artists’ pop up exhibitions and guided tours.

 

“In Search of Prince Genji - Japan in Words and Images”
November 2015 – April 2016

In Search of Prince Genji - Japan in Words and Images is the next show in a series of exhibitions presenting traditional Asian art from the collection of the Ferenc Hopp Museum of Asiatic Arts alongside Hungarian contemporary artworks. Its focal point is the aesthetic ideal of traditional Japanese art and its reception in Europe.

Referred to as the world’s first novel, Genji monogatari (The Tale of Genji) is considered as one of the most important literary works of the world. Written in the early eleventh century by Murasaki, a lady-in-waiting at the Japanese royal court in the Heian period, the book recounts the adventures of a fictional character, the shining Prince Genji, in 54 chapters. The attribute ‘shining’ or ‘radiant’ (in Japanese: “Hikaru”) is an allusion to the refined intellect, taste and demeanour of prince Genji as well as to his other-worldly beauty. Despite being a fictional piece, it records in detail the customs of the Japanese royal court as well as the culture and etiquette of the Heian period. Although Genji monogatari was written for the entertainment of the court circle of Lady Murasaki, the author’s sophisticated ability of observation and meticulous description made the novel one of the main chronicles of medieval Japan. Thanks to the repeated modernisation of the Japanese text, the tale of the shining prince remained alive in contemporary Japanese culture, in a way that can only be matched to the Bible or ancient Greek myths in Europe.

The perfect beauty of Prince Genji and that of his world represents traditional Japanese aesthetic ideals. Ever since the novel’s appearance, its various scenes have been widely depicted in paintings, woodcuts, lacquer works, ceramics,, and other art forms (photography, theatre) have also used it as a precious source. The collection of the Ferenc Hopp Museum of Asiatic Arts preserves many artefacts, ranging from the late seventeenth century until today, that retell the story of Genji in either a narrative or symbolical way. Creating a balance between image and text, the current exhibition aims to show the novel’s uninterrupted presence in Japanese culture, while also displaying Hungarian artworks in order to illustrate its inspirational role in world literature and fine arts.

Our exhibition wishes to present The Tale of Genji on several levels. It provides information about Lady Murasaki, the novel’s author, as well as about the structure of the text, the main events and the characters of the story. The importance of Genji pictures in Japanese visual arts are illustrated by narrative (yamato-e), symbolic, and parodistic (mitate) depictions. Games linked to the Genji monogatari (and how they were payed) in early modern Japan are shown through various artefacts. By walking through the halls visitors will learn about the artist of the highly valuable Genji album in the museum’s collection, about the structure of Japanese poems, or waka, and an entire set of Genji karuta (a 108 piece card deck) from the early nineteenth-century can also be seen.

The closing section of the exhibition is a double homage: the atmosphere of the old imperial capital, Kyoto, will be conjured up in words by László Krasznahorkai and in photographic images by Zoltán Gaál. Image and text are linked as closely in the presentation of the Hungarian works as they were in the earliest Genji manuscripts.

The exhibition is accompanied by a Hungarian and English catalogue including essays by several authors and rich in reproductions. Besides the studies on literary, photographic and art history, the volume contains a summary of the monumental novel (some 1,500 pages) about prince Genji. Each chapter of the story is illustrated by the corresponding picture of the Genji album of the Ferenc Hopp Museum of Asiatic Arts, thus publishing the work in its completeness.

 

Genji-kis kepek
Genji-kis kepek
Genji-kis kepek



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