Hopp Ferenc Ázsiai Művészeti Múzeum

News

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 busthere in the garden of our museumgot 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.)


Now you are invited to join! Grab a strand of white yarn (it is set beside the statue, but also available at our box office) and tie it to any of the coloured yarns, wherever you please.


Our garden is free to visit; you can relax on the benches in the autumn sunshine, while the building is the home to our exhibition “Made in Asia
The Centenary of the Ferenc Hopp Museum”.

 

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Dear visitors,
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.

 

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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.)

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Dear Visitors,

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.

 

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Dear Visitors,
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!

Happy holidays!

 

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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

 

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Invitation
Lectures
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.

Programme:

5–5.05 pm
Introduction by Róbert Válóczi, curator of the exhibition Goddess | Woman
5.05–5.50 pm
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.”
5.50–6.50 pm
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)

 

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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.

Free entry!

Venue: Mika Tivadar Mulató (1075 Budapest, Kazinczy utca 47.)

 

 

 

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Our current exhibition:
GODDESS ǀ WOMAN
Devi Cults and Traditional Female Roles in India
11 May 2018 – 6 January 2019

Curator: Róbert Válóczi

Location:
Ferenc Hopp Museum of Asiatic Arts
1062 Budapest, Andrássy út 103.
Opening times:
Tuesday–Sunday: 10.00–18.00 (closed Mondays)
Tickets
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
Site-specific interventions
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
International conference
Castle Garden Bazaar, Budapest | 2 – 3 March 2017

Please download invitation:
Invitation for the public

 

Venue and date: Várkert Bazár (The Castle Garden Bazaar), Budapest, Hungary, 2–3 March 2017
Registration deadline: 24 February 2017 for participants from EU / 21 February 2017 for participants from outside of the EU
Invitation for the public:
JAPONISME IN GLOBAL AND LOCAL CONTEXT
(International conference | Castle Garden Bazaar, Budapest | 2 – 3 March 2017)

Dear Colleagues,
Under the curatorial coordination of the Ferenc Hopp Museum of Asiatic Arts, Budapest, an exhibition entitled Geishas by the Danube – the Influence of Japanese Culture on Hungarian Art is held between the 15th of December 2016 and the 12th of March 2017 at Várkert Bazár (The Castle Garden Bazaar) in Budapest, Hungary. The exhibition draws relations between Hungarian modern art, the phenomenon of Japonisme in Western cultures, and classical and modern Japanese art. The exhibition has been realized in a cooperation between KogArt (Kovács Gábor Art Foundation), the Ferenc Hopp Museum of Asiatic Arts, the Museum of Fine Arts, the Hungarian National Gallery, the Museum of Applied Arts, all located in Budapest, as well as various other public and private collections in Hungary.

The goal of the Ferenc Hopp Museum of Asiatic Arts is to provide an international forum for critical reception and professional discussion of the new exhibition’s topic. Since our aim is being supported by The Japan Foundation, we are proud to announce that an international symposium entitled Japonisme in Global and Local Context will be held at the exhibition venue on 2–3 March 2017. We would like to provide an opportunity to link and synchronize research projects and materials that could lead to a broader understanding of the phenomenon of Japonisme with a focal point on the Central and Eastern European region. Papers related to the symposium’s topic in the fields of Japanese Studies, Art History, Theatre Studies, Visual Studies and International Relations will be presented by specialists from different countries. The program will begin at 9AM and end at 6PM both days, with short coffee breaks and a one hour break for lunch. The official language of the conference is English.

PARTICIPATION AT THE CONFERENCE
A registration via e-mail and the transfer of the participation fee (20 EURO | 5000 HUF) is needed for all participants of the conference. There will be no possibility to register for the conference at the time and venue of the conference.

Your program fee includes:
-Participation at the conference through 2-3 March
-An English-language guided tour of the accompanying exhibition, Geishas by the Danube
-Free entrance to the exhibition throughout the duration of the conference
-Published booklet of abstracts from all participating speakers
-Refreshments served during coffee breaks

To confirm participation, please pay the 20 € | 5000 HUF conference program fee by the following dates:
-For participants from the EU, please pay by February 24
-For participants from outside of the EU, please pay by February 21

We kindly ask you to provide additional information to be used for your program fee payment invoice via email at amFwb25pc21lY29uZmVyZW5jZSMxISsjaG9wcG11c2V1bS5odQ==
If you would like the invoice to be registered under your name: please reply with your full name and address.
If you would like the invoice to be registered under the name of your affiliated institution: please reply with the name, address, and tax reference number of your affiliated institution.
A confirmation letter will be sent to all participants after receipt of registration fee and invoicing data.
ATTENTION! Registration and payment will not be available at the conference venue.

To confirm participation, we kindly direct you to the following details for payment of the 20 € / 5000 HUF conference program fee:
NAME (ACCOUNT NAME) AND ADDRESS OF THE ACCOUNT HOLDER:
Szépművészeti Múzeum
HUNGARY - Budapest, 1146 Dózsa György út 41.
NAME AND ADDRESS OF THE ACCOUNT HOLDER'S BANK:
(ACCOUNT WITH INSTITUTION)
Magyar Államkincstár
HUNGARY - Budapest, 1139 Váci út 71.
IBAN:
HU93 1003 2000 0142 5114 0000 0000
SWIFT/BIC OF ACCOUNT HOLDER'S BANK:
(ACCOUNT WITH INSTITUTION)
HUSTHUHB
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We hope to meet you in Budapest in March,
Organizing Committee
Ferenc Hopp Museum of Asiatic Arts

 





Hopp Museum’s garden revamped

The world traveller and art collector Ferenc Hopp bought the villa that houses the Ferenc Hopp Museum of Asiatic Arts from József Knorr in 1885. He furnished the building, which was constructed based on Géza Györgyi’s architectural design, with artefacts he collected during his travels, and, inspired by Oriental gardens he had the villa’s courtyard landscaped by the gardener Ignácz Starek. During his first round the world trip (1882-1883) Ferenc Hopp visited the botanic park of the town of Buitenzorg on the Island of Java, which he praised profusely in the letters he sent home. At the time the oldest botanic garden of Southeast Asia already had some 900 different species of plants arranged combining the principles of the English landscape garden with the Southeast Asian style. It was probably because of the impression the fascinating park made on him that he decided to have his villa’s garden designed using exotic plants and Oriental artefacts. He named the building, in which he created his own version of an Oriental atmosphere, Buitenzorg Lodge. The garden was home to works of art from the three main religions, Buddhism, Hinduism and Jainism, as well as objects evoking the characteristic design of regions loved the most by Hopp, i.e. India, China and Japan.
The landscape garden has changed significantly since then and welcomes visitors with renewed walkways and plants while exuding a special ambiance with restored garden artefacts. The inscription of the Moon Gate conveys the good wishes of Ferenc Hopp that are also shared by the museum:
“Let joy flow infinitely through my gate,
Let eternal mirth flourish around my entrance.”

 

Please download program:
Conference programme

 

JAPONISME IN GLOBAL AND LOCAL CONTEXT
CONFERENCE PROGRAMME
Venue of the conference on both days: Várkert Bazár, Testőrpalota (Castle Garden Bazaar, Palace of the Guards), Budapest, Ybl Miklós tér 2.

Day I. – 02.03.2017

8:15 – 9:00     Registration

9:00    Welcome speech by Tada Sanae, director of the Japan Foundation Budapest Office
9:15    Introductory paper by Györgyi Fajcsák, director of the Ferenc Hopp Museum of Asiatic Arts:
Japoniserie Scenes at Eszterháza/Hungary - Wallpaintings from the Mid-18th Century

10:00 – 10:30     Coffee break

10:30 – 12:25    Session I “Ideologies, Identities, Geopolitics”
10:30 – 11:00 Piotr Spławski: Recourse to Otherness to Empower the Self: Japonisme at the Service of Polish Nationalist Ideologies
11:00 – 11:30 Katalin Gellér: Japonism as a Transnational and National Category of Style
11:30 – 11:50 Magdalena Piotrowska: ”Postpartition Circumstances” in Research on Japanese Art in Poland Using the Example of Ukiyo-e Woodblock Prints
11:50 – 12:10 Ildikó Farkas: Japonism in Local Context: Turanism – An Ideological and Political Inspiration for Oriental Interest in Hungary
12:10 – 12:25 Discussion

12:30 – 14:00     Lunch break

14:00 – 15:25   Session II “Local and Global Japonisme I.”
14:00 – 14:30 Ricard Bru: Local Japonisme in a Global Context: The Catalan Case
14:30 – 14:50 Svitlana Shiells: U-Turn: Japonisme in Ukrainian and Russian Fin de Siècle Art
14:50 – 15:10 Radu Leca: Staggered Diffusion: Towards a History of Romanian Japonisme
15:10 – 15:25 Discussion

15:30 – 16:00     Coffee break

16:00 – 17: 30     Guided tour at the exhibition Geishas by the Danube – the Influence of Japanese Culture on Hungarian Art

Day II. – 03.03.2017

9:00 – 10:45     Session I “Inspiring Art Forms from Japan”
9:00 – 9:30  Yuko Ikeda: The Impact of Katagami (Japanese Paper Stencils): A Hybrid Example of Japonisme
9:30 – 9:50  Widar Halén: Frida Hansen’s Japonisme and the Weaving Renaissance in the North
9:50 – 10:10 Dóra Sitkei: The Korean Origins and the Western Reception of Japanese Raku Ceramics
10:10 – 10:30 Vibeke Waallann Hansen: Designing Nordic Nature - Japanese Aesthetic and the Influence on Painting and Graphic Arts in the Nordic Countries 1880-1918
10:30 – 10:45 Discussion

10:45 – 11:15        Coffee break

11:15 – 12:40     Session II “Local and Global Japonisme II.”
11:15 – 11:45 Markéta Hánová: Beyond the Exotic Horizon: Japanese Models for Modernist Artists in Central Europe
11:45 – 12:05 Mirjam Dénes: Beyond Hokusai and Bing: Visual Source Usage of Hungarian Japonisme
12:05 – 12:25 Phylis Floyd: America Encounters Japanese Art
12:25 – 12:40 Discussion

12:40 – 14:00     Lunch break

14:00 – 15:45 Session III “Inspired Genres”
14:00 – 14:30 Daniela Franke: Japonism on Stage in Vienna around 1900
14:30 – 14:50 Filip Suchomel: Hidden Japanism on Czech Porcelain Production of the First Half of the 19th Century
14:50 – 15:10 Sonia Coman: The Interplay of the Local and the Cross-Cultural: Japoniste Ceramics in Limoges
15:10 – 15:30 Annamarie Sandecki: Grasshoppers, Gourds and Geishas: Japanese-style Motifs on 19th Century Tiffany & Co. Designs
15:30 – 15:45 Discussion

15:45 – 16:15     Coffee break

16:15 – 17:50   Session IV “Collecting, Exhibiting, and the Art Market”
16:15 – 16:35 Johannis Tsoumas: Originality vs Industrialism: Interpreting the Meaning of the Unofficial Japanese Artifacts Display in the Framework of the International of 1862
16:35 – 16:55 Stefano Turina: Vittore Grubicy de Dragon: “Giapponismo” between Milan and the International Japoniste Context
16:55 – 17:15 Sándor Kiss: The Role of Hungarian Owned Curio Network in Spreading Japonisme
17:15 – 17:30 Discussion

17:30     Conclusion

 

Dear visitors,
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:
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