Hopp Museum is currently closed due to exhibition dismantling and building.
We apologise for any inconveniences this may cause. Thank you for your understanding!
Our next exhibition is opening on the 28th of October.
THE COMING WEEKEND OF 18-19 SEPTEMBER IS THE LAST CHANCE TO VISIT OUR CENTENARY EXHIBITION.
DO NOT MISS OUT!
Musical ramblings in the East.
Chamber concert (flute and piano) at the museum garden
Date: 13 August 2021, 4 - 5.30 p.m.
Performers: Zsófia Klimászné Varga – flute; Gabriella Soós – piano
Entrace fee: 1500 HUF
Tickets can be purchased on site or in advance, online, CLICK HERE.
(No discounts apply this time. Ticket holders can visit our current exhibition before the concert.)
Ákos Nagy: Ame no nori fue
Bálint Baráth: Itako no arioso
Gergely Ittzés: Double raga
Avraham Eilam-Amzallag: Taksim for flute
Wolfgang Amadeus Mozart: Piano sonata in A major (K. 331), part III – Alla turca. Allegretto (Turkish March)
Louis Benedictus: Les Musiques Bizarres à L'Exposition (1889) – (Nr. 2., 3., 4.)
II. La nouba des tirailleurs algériens
III. Chanson persane
IV. La danse du ventre
Jean-Baptiste Lully: March on the Turkish Feast from the comédie-ballet Bourgeouis Gentleman
Ludwig van Beethoven: Turkish March from the Ruins of Athens (op.113)
Louis Benedictus: Les Musiques Bizarres à L'Exposition (1889) – (Nr. 8., 9., 10., 11., 12.)
VIII. Les ordres de général, Marche chinoise
IX. Chipamo ou les 18 beautés, Chansons du bateau des fleurs
X. Harou samé, Chant japonais antique
XI. Chanson rustique, populaire au Japon
XII. La fête du dieu du riz, Marche japonaise
Pjotr Iljics Csajkovszkij: Chinese dance from the Nutcracker Suite
Nyikolaj Andrejevics Rimszkij-Korszakov: Arabian Song from the Seherezade symphonic suite (op. 35.)
Our current exhibition titled Made in Asia. The Centenary of the Ferenc Hopp Museum of Asiatic Arts opened in 2019 to mark the 100th anniversary of the museum and to celebrate its founder, Ferenc Hopp. The exhibition portrays the greatest periods in the museum’s history, allows an insight into the collecting criteria and presents the most representative artefacts of each collection of the museum (Chinese, Japanese, Korean, Indian, South East Asian, Mongolian, Tibetan, Nepali, Near Eastern and the Zichy collection).
Let's keep taking care of each other!
The museum has introduced several precautionary measures following the current epidemic preparedness, and we seek the kind cooperation of our visitors in those. When entering the museum and during your stay wearing a mask is strongly recommended. Please keep a 1.5-meter distance from others in the exhibition halls. You may have to wait at the entrance to the exhibition hall, depending on the number of visitors. We recommend that you buy your tickets online in advance at www.jegymester.hu.
Thank you for your consideration. We wish you a pleasant visit to our museum!
Japonisme in the Austro-Hungarian Monarchy
The volume Japonisme in the Austro-Hungarian Monarchy was dedicated to the celebration of the 150th anniversary of diplomatic relations between Japan and the countries which used to belong to Austria-Hungary, conducted by the Museum of Fine Arts – Ferenc Hopp Museum of Asiatic Arts in Budapest. Representatives of the Austro-Hungarian Monarchy and Japan signed the Treaty of Navigation,
Commerce and Friendship in Tokyo on 18 October 1869, which had an impact on international policy between the parties, facilitated the development of trade and enhanced cultural transfer. Although the Monarchy disintegrated into many successor states in 1918, the predilection for Japanese art and culture remained an important part of the common cultural history of East-Central Europe. This volume aims to present the recognition and appreciation of Japanese culture as something new and inspiring for the people but mostly for artists in the region.
The present volume is the fruit of a three-year-long collaborative project of Japonisme experts from countries which once formed the Dual Monarchy. The seventeen academic contributions are divided into four thematic segments. A New Acquaintance introduces the reader to the historical, political, cultural milieu of the inception of Japonisme in East-Central Europe – which was as special for the young Monarchy as it was for the newly restored Japanese Empire. Part Two, Travelling Artworks, concentrates on the reception, collecting and interpretation of Japanese works of art in Central Europe. The third unit, Artists and Artworks, discusses classic themes of Japonisme, such as painting, graphic arts, ceramics, glassmaking, and theatrical arts with a twist. Catalysts of Japonisme, the last segment concentrates on the cultural, political, social phenomena and ambience in Central Europe, which provided a fertile ground to the embracing of Japan, its culture and made citizens of the Monarchy more open to new impulses arriving from the East than ever before.
The starting point for the volume is the departure of the first delegation to Japan in 1868 from the port of Trieste. After the end of the voyage in Tokyo, the reader can accompany the Japanese – guests of the 1873 World's Fair – back to Vienna. We examine what kind of Japanese merchandise was sold by the Au Mikado shop in Vienna, by Mr Vanek in Budapest, by C. Trau in Trieste and by Stanek’s in Prague, as well as what curios could a Yokohama tourist buy at Kuhn & Komor, the only shop on Mizumachi’s main street which was run by loyal subjects of the Monarchy. We look into the organizing principles of the Monarchy’s large Japanese collections based on economic, pedagogical, and aesthetic terms. We explore the impact of the example of Japan, that affected the development of the sense of national identity of peoples in Central Europe, the different meaning of orientalism in the region compared to Western Europe, and we observe the image of Japan, conveyed through the illustrated press of the late nineteenth century about the easternmost country that opened its gates for the West. Travelling artists from the Monarchy recount what they experienced in Japan, and those who never visited Japan testify to what they drew from the art of the Far East and how they integrated the new knowledge into paintings, graphics, or objects of applied art. We provide a summary on the impact of Japanese travelling performers who appeared on the stages of the Monarchy (jugglers, dancers, actors). We can find out how Japan was present in the iconic cafes of the Monarchy, what role women played in popularizing Japanese culture, and what weight actual politics played in the growing sympathy for Japan (and its culture). The journey ends with the dissolution of the Austro-Hungarian Monarchy in 1918.
The authors and editors hope that the present book will prove worthy to become a tangible memory of the 150-year-long respect and appreciation of Japan and its culture in the East-Central European region, our common heritage, as well as to ignite new, original, and challenging initiatives in the field of Japonisme research in our region and beyond.
Mirjam Dénes, Györgyi Fajcsák, Piotr Spławski, and Toshio Watanabe, eds. Japonisme in the Austro-Hungarian Monarchy. Budapest: Ferenc Hopp Museum of Asiatic Arts, 2020.
Authors: Kata Bodor, Mirjam Dénes, Györgyi Fajcsák, Ildikó Farkas, Eszter Földi, Sándor Kiss, Agnieszka Kluczewska-Wójcik, Radu Leca, Peter Pantzer, Piotr Spławski, Filip Suchomel, Stefano Turina, Toshio Watanabe
Language of publication: English. Content: Foreword, Introduction, 16 academic essays, 2 appendices, ca. 200 illustrations. Length: 328 pages.
THE YARN OF PEACE
"An eye for an eye only ends up making the whole world blind."
In October 2019, we commemorate the 150th anniversary of the birth of Mahatma Gandhi, the spiritual and political leader of the Indian independence movement and the Ambassador for Peace – together with you!
Gandhi's bronze bust – here in the garden of our museum – got a special decoration on this occasion: it is wrapped around with colourful yarns. (You may know that Gandhi himself weaved yarn in the ashram he founded, and his "spinning movement" – promoting an ideology that people can be self-reliant – indirectly became a symbol of the Indian independence struggle.)
The museum awaits its visitors according to the usual schedule (Tuesday–Sunday, 10 am to 6 pm) with a new exhibition titled Made in Asia. The Hundred-Year-Old Hopp Museum
Here you can read an interview with Dr Györgyi Fajcsák, the director of our museum, about the exhibition titled Made in Asia. The Centenary of the Ferenc Hopp Museum of Asiatic Arts:
|The exhibition Made in Asia celebrates the centenary of the Museum of Asiatic Arts, founded by Ferenc Hopp. It spans thousands and thousands of years and several thousand miles, so seeing the overall concept is a bit of a challenge at first...
This year is a really important anniversary: we are celebrating the 100th birthday of the museum. Our museum, however, was not based on a private collection. Its material was transferred here from public collections already at the time of its foundation.
Is that one hundred not really one hundred then?
Not exactly. It is more like one hundred and fifty because János Xántus first collected artefacts on commission from the Hungarian state during his expedition in the Far East in 1869.
Xántus, the founder of the ZOO, on whom Karl May supposedly based his character of Old Shatterhand?
Yes, him. He had an incredibly exciting life: he fought in the Hungarian revolution of 1848, he had to flee, he went on an expedition to America, he was the director of the ZOO and later he set off on another expedition, this time to Asia. He collected extremely valuable pieces there, which entered the collection of the Museum of Applied Arts, while the material he collected in Borneo was taken to the Museum of Ethnography. One hundred years ago everything was transferred to the Hopp Museum, including the 2,500 artefacts purchased in Japan by Péter Vay on commission from the Hungarian minister of culture.
Does this mean that the material collected by Ferenc Hopp does not represent the greatest value? But then why was the museum named after him?
The museum was founded by Ferenc Hopp but there was a wealth of material already available at the time of the museum’s establishment. In his last will Hopp bequeathed his collection to the Hungarian state on condition that they be exhibited in a museum bearing his name, so that is what happened. However, while the name was originally Ferenc Hopp Museum of East Asian Arts, five years ago the word Eastern was dropped since our material covers all of Asia.
We’re soon going to talk about individual pieces as well. They were not collected by Hopp either.
We did not want to make Ferenc Hopp the focal point of this exhibition, exactly because of the above. The materials collected by Vay and Xántus also represented the highest standards of the time.
You’ve got 30 thousand artefacts. Which ones are the most important to you?
As I am a sinologist, the Chinese material is the one closest to my heart, and within that the scripts, writing symbols, and what is coded in them. Visual and linguistic expression overlap and work as one for the Chinese. Since we, Hungarians, use letters in our writing, their approach is almost incomprehensible for us. In China intellectual and emotive contents are melded together in art and in script: the Chinese tell stories with their objects.
Doesn’t it defeat the object to bring something to Hungarian audiences that is so alien to their thinking?
People should be taught to see the world in another way too. Perhaps today it is somewhat easier to do that than it was one hundred years ago since we are bombarded with such a vast amount of visual information these days. In any case, we must find a passage between cultures. We selected artefacts that are very valuable and rare, while at the same time helping visitors to understand for example how Buddhism spans across all of Asia. The exhibited works illustrate both the similarities and differences between Hinayana, the Chinese Mahayana and the Tibetan Vajrayana traditions of Buddhism. Temple scrolls were typically made in the Tibetan tradition, but not really in the other two.
Before we go on to the Buddha heads, can we look at this seated demon from China? Forgive me for being blunt but all I can see is how ugly the poor thing is.
No problem. You got the point in fact: that was the purpose for its making – to make it scary. Not to scare people away but to ward off evil spirits. It once sat on the wall of a very famous Buddhist shrine, called the red pagoda, together with 3,774 other sculptures.
How many years did it sit there before it was brought here?
It was made at the very beginning of the early 6th century and reached Budapest in the 1930s, which makes it 1,500 or so years old. A Chan monastery – Zen Buddhist in Japanese – had stood there first but it was destroyed during the first persecution of Buddhists. Then it was rebuilt to appease the souls of people killed in the Inner Asian wars. It has the shape of a tent in accordance with Inner Asian tradition. Our demon sat there too.
It was collected by the museum’s first director, Zoltán Felvinczi Takács, wasn’t it?
It was. All the materials collected by the museum’s directors are included in the exhibition. Felvinczi Takács filled this post from 1919 to 1947. Before that he had been the director of the Oriental Collection of the Museum of Fine Arts. He knew all the European museums of Oriental culture, all the experts and colleagues. He saw the gaps in the collection of the Hopp Museum and purchased early pieces, ceramics, Buddhists statues, sculptural works and paintings from that era. He placed a great deal of emphasis on the treasures of China and the peoples on its borders. Our history during the Great Migration takes us back to the Mongolian plateaus, so this outstanding archaeological material has relevance to Hungarian history too.
Is he by any chance related to the violinist Alíce Felvinczi Takács, one of Kodály’s students?
He was her father.
Oh, I see. Alíce Felvinczi Takács was actually the godmother of Levente Szörényi, who later wrote the famous musical Stephen, the King. And she taught the Szörényi brothers violin when they were young.
Regarding people with an interest in Oriental culture and pagan times, they belong to the same circles. Between the two world wars, you could see the same people with an interest in Oriental culture: Pál Teleki, Sándor Simonyi-Semadam, Jenő Cholnoky, Zoltán Felvinczi Takács. Teleki was even the best man at Felvinczi’s wedding. Felvinczi’s other daughter, Mariann, was a cellist, and after she retired from her musical career she was our colleague at the museum until her death. She was the one who reconstructed all five of Ferenc Hopp’s travels around the world. This network reaching all the way to today shows how far the scope and influence of a museum like ours extends. It doesn’t appear out of nowhere and its impact reaches far. Felvinczi taught his daughters about everything in the museum, which was a one-man institution back then: the museum’s first director only had one person appointed to help him.
How many people work in the museum today?
Fifteen. Every culture has its expert. These days knowing the language of the area you research is essential for success.
So let’s have a look at this Buddha head from the 9th century. It has simple, classical lines.
Exactly. It was made during the renaissance of Buddhist art in China. The period of the Tang dynasty – lasting from the 7th to the 10th centuries – was the golden age of Chinese art. This Buddha head illustrates how Buddhist art signified a link with Europe. Its classical form is easy for us to understand. Why? Alexander the Great took many Hellenistic masters with him to Asia and local masters gradually adopted the Hellenistic tradition to anthropomorphic depictions. That’s why we come across so many statues along the Silk Road all the way to the old capital of China that are easy for European eyes to make sense of.
Did this lay the foundation for Buddhism being popular in Europe?
Well, that would be a big leap. It had a completely different motivation. Buddhism is not so deeply codified as Christianity. It has no dogma. You can freely remove and add to it, which makes it easily adaptable. This of course is deceptive because in the East people achieve spiritual goals by strictly adhering to the unwritten laws. However, western people ignore these unwritten laws and therefore do not observe them. It is independent of this that the formal language of Hellenism exerted a major influence on Asia.
Let’s look at this Crowned Buddha.
Several religions co-existed during the entire history of the Indian subcontinent. The crown decorating the head of a ruler was part of the tradition here. Hinduism and its triple deity produced very similar forms of depiction. Elongated forms and the use of material is characteristic: stone is typical of India, while wood and clay more so in China.
Shall we take a leap to Japan? What makes this lacquer tray special?
Lacquer is important because it is a characteristic material of the Far East, where they drain the sap of the lacquer tree. This poisonous tree couldn’t be planted by anyone, only by those who were resistant to it, since its sap is also poisonous. It is drained like the gum tree with the major difference that the lacquer tree can only be drained once in its lifetime. Its grey, viscose sap makes the surface of objects water-proof. This was its initial use too, and then its diverse decorative potential was discovered. It was dyed black with pine soot and red with cinnabar; it was used for inlays, or it was gilded, producing an amazing wealth of decorations. Although the technique started from China in the 8th century BC, it reached its peak in Japan from the 8th century AD onwards. It is a living technique: a contemporary Japanese lacquer artist is donating artefacts to our museums right now. The exhibition contains an 18th-century piece. It is also made interesting by the fact that it comes from the private collection of Xántus, who fulfilled state commissions but was allowed to keep even a few objects. This tray was in his estate and was purchased by Ferenc Hopp. Thus it belongs to the museum in a double sense. And of course it features a beautiful lotus, a key motif in Buddhism, symbolising purity: it grows in the swamps and attains beauty in a higher sphere. It conveys the idea that it is possible for us to reach a higher state.
Apropos beauty, shall we look at this female beauty from Korea? With a mouth organ. But what is it?
There are pipes next to each other in this instrument, which still exists. This picture is linked to the circle of a Korean painter called Sin Yun-bok. It shows a traditionally dressed woman wearing a skirt tied under the breasts and thus making the body look extremely wide. Its wearers are usually dressed in spectacular colours and seems to be floating. This dress is in use even today. The model was a woman dancing, playing music and reciting poetry, whose job was to entertain the aristocrats. The picture was once owned by the Hungarian painter Lajos Kozma, and József Rippl-Rónai sang praises about it too. It was exhibited in the early 20th century in the Artists’ House in Budapest. Rippl-Rónai even gave it a title: Lady in a Marine Blue Dress.
It is beautiful indeed but what makes it stand out?
Portrait painting was not characteristic of either Chinese or Japanese art. Its tradition can be traced back to Buddhist depictions of abbots, where the master-pupil relationship was extremely important so portraits were painted of the great masters. In Korean culture, however, it was not only used to portray monks but also officials and later on others. The portrayal of individuals only developed in Korea. Nothing like this exists in Chinese and Japanese art, since in these cultures it is not the facial features that determine who is who but their social rank and function. In the much smaller country of Korea the individual is assigned a more important role, and Korean culture is truly different from both the Japanese and the Chinese. We do not know about its origins but the language and way of thinking are completely unlike each other in these cultures. The Koreans have strong Nomadic roots, and a stronger individualism may come from there. This picture was made after a clearly recognisable model, which would have been inconceivable in Japan and China. No wonder that Rippl-Rónai spotted how it fits in with the visual world of Europe, Paris and Budapest, where he grew up.
It is amazing what secrets are hidden in a simple portrait! But now let’s travel to Thailand and look at this gate-guardian deity. What gate is it guarding?
The entrance to a palace. He’s dressed in a ruler’s costume. It’s gold and colour glass. Originally he and his companion were holding a gong at the entrance, the rod which the gong was affixed to was supported on his shoulder. He had a terrifying visage but he is not ill-intentioned and his purpose was to ward off evil spirits from the palace. Expensive fabrics are much appreciated in Southeast Asian culture. Statues are dressed in them too. This is a lavish, spectacular and representative piece.
Are there many of them?
I only know of one apart from this in the entire world.
How much is it worth?
In the billion range (in HUF, which equals almost three million in GBP), but since they’re unique pieces it’s hard to tell their value. For example, there is only one sitting demon in the British Museum in London and one in the Musée Guimet in Paris. From an art historical perspective they are on a par with the Mona Lisa, although perhaps the outstanding pieces of Asian art are a bit less appreciated by the European eye.
Since you’ll be exhibiting such rarities, are you expecting tourists from abroad?
Absolutely. Our problem is that we do not have a permanent exhibition, so we designed the Made in Asia show in a way that it will contain prominent pieces from all our collections. If we had a permanent exhibition, these objects would all be displayed. Of course we will need to replace a few items every three months for reasons of collection care. The concept of the Made in Asia exhibition is not only to display artefacts, though. Visitors will enter an exhibition space imitating a storage area, and they’ll also be able to see how the objects were researched and exhibited in different periods. We included an old glass case too, for example, which itself has become an artefact over the past one hundred years. Hopp made the first ones in 1906, which will go on display as well.
Are they no longer fit to be used? Have they become artefacts in every sense?
They could be used but it would be difficult to install monitors into them, and they are not ideal for interactive functions either.
So is there an interactive section too?
Yes, there will. For example, a collection of Nestorian crosses that were erected along the Silk Road entered our museum in the 1930s, and the other half of the collection is in Hong Kong. We asked our colleagues in Hong Kong to send us the photographs of their pieces, which visitors can view on screens, which means that objects physically 7 thousand kilometres away from each other are virtually united again.
Visit our exhibiton at Kolta Gallery (1052 Budapest, Semmelweis u. 4.):
Sojourn in the Kingdom of Heaven
Photography in China by Dezső Bozóky, Warship Doctor in the Royal-Imperial Navy, 1907–1909
10 April 2019 – 31 May 2019
“…Would you be so kind as to do me the honour… of a kind visit, when you could look through my East Asian objects one by one and judge whether you would accept them in the museum?... Of course, you will not find any world-sensation pieces among my collection, but I believe they would fit in the museum beautifully”– wrote Dezső Bozóky in 1939, in a letter to Zoltán Felvinczi-Takács, then director of the Ferenc Hopp Museum of East Asian Arts, who eventually looked over the flat in Budapest that belonged to Dezső Bozóky (1871–1957) and made an inventory of the Asian artefacts that were of interest to the museum. However, after Dezső Bozóky’s death, the Hopp Museum assumed possession not only of his Asian artefacts, but also the great deal of photographs that he took as souvenirs of his journeys. Yet, what sort of photographer was Dezső Bozóky, who, between 1 March 1907 and 12 April 1909, spent 26 months in the East Asian waters of China, Korea, and Japan as a naval officer for the Austro-Hungarian Empire?
Dezsó Bozóky’s photos of Asia, together with his travel writing and the photographs he purchased there, are now the most precious legacy of his service in naval medicine. This is especially true of the Chinese and Korean material, which are unique for their rarity and the photographer’s individual perspective. He wrote, “Only those who are involved in photography can adequately appreciate what a great degree of self-discipline and patience was required to produce my photographs in a dark and stuffy sealed cabin in that tropical atmosphere.” As a photographing traveller, Dezső Bozóky was very exacting. He constantly documented sights with pictures as well.
Kolta Gallery: 1052 Budapest, Semmelweis u. 4.
Visit the Temple of the Muses on the long weekend! On 15 March, the national holiday commemorating the 1848-49 war of independence, you can visit the exhibition in Hopp Museum free of charge, similarly to other exciting public venues in the city.
We are looking forward to your visit!
(The exhibition is not recommended for people under 18 years of age.)
The Hopp Museum is CLOSED between 7 January and 5 February 2019.
The library operates according to its usual timetable: Tuesdays and Wednesdays, 10 am – 3 pm. (Please ring the bell at the entrance.)
From 6 February 2019, the museum awaits its visitors according to the usual schedule (Tuesday–Sunday, 10 am to 6 pm) with a new exhibition titled
On the Other Side of the Intermediate State: The Art of Tibor Hajas and the Tibetan Mysteries.
We are looking forward to your visit!
The exhibition is not recommended for people under 18 years of age. Certain sections feature sound and visual effects that some visitors may find disturbing.
The exhibition “GODDESS ǀ WOMAN” can be visited until 6 January 2019.
HOLIDAY OPENING HOURS, Christmas – New Year 2018–2019
24–25 December (Monday and Tuesday): closed
26 December (Wednesday): open from 10 am to 6 pm
(admission until 5.15 pm)
27–30 December: open from 10 am to 6 pm
(admission until 5.15 pm)
31 December (Monday): open from 10 am to 4 pm
(admission until 3.15 pm)
1 January (Tuesday): open from 12 pm to 6 pm
(admission until 5.15 pm)
2 January (Wednesday): closed
The library will be closed from 17 December 2018 to 6 January 2019.
From Thursday, 3 January 2019, the museum will be open during the regular opening hours (Tuesday–Sunday: 10.00–18.00; the library is open: Tuesday and Wednesday: 10.00–15.00).
We are looking forward to your visit!
Our next exhibition:
On the Other Side of the Intermediate State: The Art of Tibor Hajas and the Tibetan Mysteries
6 February 2019 – 14 April 2019
Superhero or Victim?
Female Roles and Social Engagement in Asian Comic Books
5-7 pm, Friday, 21 September 2018
Location: Pázmány Péter Catholic University – Faculty of Humanities, Sophianum (1 Mikszáth Square, 1088 Budapest), 2nd floor, room 205
The programme is free and open to the public (no need to register)
The Ferenc Hopp Museum of Asiatic Arts and the Modern Eastern-Asian Research Group of the Pázmány Péter Catholic University cordially invite all those interested to two lectures on 21 September. The first speaker, Balázs Oroszlány, will compare Western European and Japanese comic books with a special focus on the images of female figures in shojo mangas that are intended for teenage girls. In the second lecture, Ram Devineni will speak about the first female superhero, social engagement in Indian comics, and his extremely successful project titled Priya's Shakti.
Introduction by Róbert Válóczi, curator of the exhibition Goddess | Woman
Balázs Oroszlány (comic book writer, translator): From Versailles to the massage salons.
(lecture in Hungarian language)
“Japanese female artists transformed the genre of comic book after the war, and their heros achieved even more: they defined the identity of Japanese women for generations. What are the characteristics of Japanese comic books for girls and women? How did Japanese works influence comic books in Western Europe? The lecture will provide exciting answers to these questions.”
Ram Devineni (film producer): Priya’s Shakti: India’s First Female Comic Book Superhero
(the lecture will be only in English language)
“Can comic book superheroes bring about change in the world? Learn about India’s first female superhero who is a rape survivor, and how she is fighting against sexual violence while riding a flying tiger. The revolutionary character was named by UN Women as a ’gender equality champion,’ and it was one of the first comic books enhanced with augmented reality to bring the pages to life.”
Location: Pázmány Péter Catholic University – Faculty of Humanities, Sophianum (1 Mikszáth Square, 1088 Budapest), 2nd floor, room 205
The programme is free and open to the public (no need for registration)
Bollywod Party and Bhangra workshop
8pm, Thursday, 4 October 2018
Venue: Mika Tivadar Mulató (1075 Budapest, Kazinczy utca 47.)
The Hopp Ferenc Ázsiai Művészeti Múzeum, the Mika Tivadar Mulató and the Budapest Bollywood presents
Bollywod Party and Bhangra workshop on 4th of October, with the best Bollywood music by Dj Milendee and Dj Thot at the Mika Tivadar Mulató.
8 pm to 9 pm Bhangra workshop by Prince Gurvinder
9.00 pm Bollywood party
11.00 pm Bhangra dance by Prince Gurvinder
In connection with the exhibition GODDESS | WOMAN Devi Cults and Traditional Female Roles in India, the Hopp Museum, the Mika Tivadar Bar, and the Budapest Bollywood organise a Bollywood party for those who would like to enjoy nightlife in a special place/among special sceneries.
Maybe you think that museums are dusty and static, and that people working in the museum have no idea how to have fun and move to Indian rhythms. We would like to change your mind and surprise you with a special Bollywood party – come with us on 4 October to Mika Tivadar Bar. Don’t know any Indian dance steps and movements? Don’t worry, we will teach you! Participate in our lottery game and dance with the curator – fun is guaranteed!
Bhangra? It is a form of dance and music that originated in the Punjab region. Bhangra dance began as a folk dance conducted by Punjabi farmers to celebrate the coming of Vaisakhi, a Punjabi Sikh festival. Today, Bhangra dance survives in different forms and styles all over the globe. Come and try with us! Balle, balle!
Bollywood? The term of the Hindi Film industry is a mix of 'Bombay' and 'Hollywood'. Indian cinema is the world's largest film industry with an annual 2000 films. Most of then are so called musical. The songs are released and well-known before the movies as a promotion.
Venue: Mika Tivadar Mulató (1075 Budapest, Kazinczy utca 47.)
Our current exhibition:
GODDESS ǀ WOMAN
Devi Cults and Traditional Female Roles in India
11 May 2018 – 6 January 2019
Curator: Róbert Válóczi
Ferenc Hopp Museum of Asiatic Arts
1062 Budapest, Andrássy út 103.
Tuesday–Sunday: 10.00–18.00 (closed Mondays)
Full price (adults): 1200 HUF
Young persons (aged 6–26), pensioners (aged 62–70): 600 HUF
5. Body.Radical International Performing Arts Biennale
HOPP GARDEN SHOW
at 11 am on 26 October 2017
LIM Set Byeol (KOR), WATANABE Haruka (J), ONG Yong Lock (HK), SHIMOJIMA Reisa (J), greenmay (HK), Paul YIP (HK), KALMÁR Ákos (H), KOVÁCS Emese (H)
The event will be held even in case of a light rain, there is no rain date.
About the performers
LIM Set Byeol was the member of Akram Khan Dance Company in London after graduated at the Korean National University of Arts. Since 2014 she is one of leader of Laboratory Dance Project Company in Seoul. In 2016 she was awarded by 21th Masdanza’s price called the best choreographer.
WATANABE Haruka was born in 1993. Began studying modern dance under Kaori OKADA and Chiho SUZUKI at age five. Awarded first prize in the modern dance category at the Yokohama Competition, second prize at the Kobe Dance Competition. Performs with the dance company directed by Shintaro HIRAHARA since 2014.
SHIMOJIMA Reisa was born in 1992. Began to dance when she was 7 y.o in her home town Kagoshima (Japan). She is active mainly on a jazzdance and Japanese traditional Yosakoi dance. Studied a contemporary dance under Kuniko Kisanuki at Obirin College. Shimojima formed her own dance company named Kedagoro in 2013. Next to the theater she often performs at public facilities, in art museums, at temples and at the station aggressively as well. Awards: “Wanna see your dancing!”, new face series 15 is won in 2016, Yokohama Dance Collection EX Competition II, “Monkey in a diaper”〈Outstanding New Artist Prize〉〈TOUCHPOINT ART FOUNDATION Prize〉Yokohama Dance Collection EX, 2017.
ONG Yong Lock was born in Malayzia works in Hong Kong. Since 2002 he is the artist director of Unlock Dancing Plaza and the arts advisor of Hong Kong Arts Development Council. Ong works as a modern dance teacher at the CCDC Dance Centre, at the Hong Kong Academy for Performing Arts and at the Hong Kong Dance Company since 2001. Awards: 2002 — Hong Kong Dance Award for his choreography of “4 In”, 2014 — Received the Award for Best Artist (Dance) at the Hong Kong Arts Development Awards 2014, 2015 — Hong Kong Dance Award “Outstanding Achievement in Independent Production” for his “Wanderer”.
Ákos Kalmar graduated as a contemporary dancer at Theatre and Film Institute in Budapest. He is permanent member of the site-specific multi-art company Ziggurat Project where he is a maker and a performer. His creations were awarded a special prize at the Soloduo International Dance Festival in 2013, 2015 and 2016. His award: Esumi and Asao won the RS9 OFF 2017 Independent Theater Festival’s main prize.
Hokusai from the British Museum
Urania National Film Theatre, Budapest (1088 Budapest, Rákóczi út 21.)
at 7 pm on 18 December 2017
Exclusive documentary about the major exhibition, 90 min, 2017
in English, with Hungarian subtitles
This fascinating new cinema event, Hokusai from the British Museum, is a stunning documentary and exclusive guided tour of the forthcoming British Museum exhibition Hokusai: beyond the Great Wave.
Filmed in Japan, France and the UK, the cinema event focuses on Hokusai’s work, life and times in the mysterious and exotic world of closed Japan. Using extraordinary close-ups and ground-breaking 8K video technology, Hokusai’s paintings and prints are examined by world experts who are at the forefront of Digital Art History.
Hokusai spent his life celebrating and studying his fellow humans as well as obsessively exploring the natural and spiritual worlds, using the famous volcano Mount Fuji as a backdrop and spiritual presence. He knew much tragedy, was struck by lightning and lived for years in poverty, but never gave up his constant search for perfection in his art. Hokusai is an artist who influenced Monet, Van Gogh and Picasso, is the father of Manga and the only painter with his own emoji.
Ticket price: 3600 HUF
For students, pensioners, teachers: 3200 HUF
Tickets are available at the Cassa of the Urania National Filmtheater (open every day 11:00-20:30, Credit Cards are accepted) and in the Ticket Sale System of Interticket and Jegymester (available in English too)
Invitation for the public:
JAPONISME IN GLOBAL AND LOCAL CONTEXT
Castle Garden Bazaar, Budapest | 2 – 3 March 2017
Venue and date: Várkert Bazár (The Castle Garden Bazaar), Budapest, Hungary, 2–3 March 2017
JAPONISME IN GLOBAL AND LOCAL CONTEXT