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Masarykova Univerzita Filozofická Fakulta Seminár Čínskych Štúdií Magisterská Diplomová Práca 2019 Klaudia Ďurajk

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Masarykova Univerzita Filozofická Fakulta Seminár Čínskych Štúdií Magisterská Diplomová Práca 2019 Klaudia Ďurajk Masarykova univerzita Filozofická fakulta Seminár čínskych štúdií Magisterská diplomová práca 2019 Klaudia Ďurajková Masarykova univerzita Seminár čínskych štúdií Kultúrne štúdiá Číny Klaudia Ďurajková Zeleno-modrá krajinomaľba a jej premeny v súčasnom čínskom umení Magisterská diplomová práca Vedúci práce: doc. Lucie Olivová, MA, Ph.D., DSc. 2016 Prehlasujem, že som bakalársku prácu vypracovala samostatne s využitím uvedených prameňov a literatúry. …………………………………………….. Na tomto mieste by som rada poďakovala vedúcej mojej práce doc. Lucie Olivovej, MA, Ph.D., DSc. za jej čas, cenné rady a trpezlivé vedenie práce. Rovnako by som sa chcela poďakovať Mgr. Michaele Pejčochovej, Ph.D. a Národnej galérií v Prahe za umožnenie prehliadky diel z jej zbierok. Anotácia Táto práca pojednáva o zeleno-modrej krajinomaľbe, jednej z najstarších foriem spodobňovania krajiny v Číne, a jej premenách v súčasnom čínskom umení. Práca si pokladá za cieľ analyzovať jednotlivé obdobia vývoja zeleno-modrej krajinomaľby, a pozorovať zmeny v jej zobrazovaní, s ohľadom jednako na technickú stránku maľby, ako aj na intenciu autora a jej celkový význam. Predmetom práce je takisto prístup súčasných umelcov k stvárňovaniu zeleno-modrej krajinomaľby, skúmaný prostredníctvom rozboru konkrétnych diel jej súčasných predstaviteľov. Prvá časť práce sa zameriava na sprostredkovanie uceleného obrazu o zeleno-modrej krajinomaľbe, pričom popisuje jej vznik, rozmach, úpadok, základné charakteristické črty a maliarsku techniku, a zároveň analyzuje premeny zeleno-modrej krajinomaľby v rôznych historických obdobiach. Druhá časť práce je zameraná na súčasnú obdobu zeleno-modrej krajinomaľby, a predstavenie a analýzu tvorby vybraných maliarov zhotovujúcich diela v tomto štýle, pričom dôraz je kladený predovšetkým na skúmanie odlišností v ich maliarskom postupe. Hlavným účelom práce je analyzovať premeny zeleno- modrej krajinomaľby, zistiť akým spôsobom je reprezentovaná v súčasnom umení, a v neposlednom rade objasniť, či okrem premeny vizuálnej stránky zeleno-modrej krajinomaľby, dochádza aj k zmene jej podstaty a významu. Kľúčové slová zeleno-modrá krajinomaľba, čínska krajinomaľba vo farbe, súčasné čínske umenie, analýza diel Abstract This thesis focuses on the blue-green landscape painting, one of the oldest modes of natural scenery depiction in China, and its transformation in contemporary Chinese art. The objective of the thesis is to examine different historical stages of blue-green landscape painting and analyse the changes in its artistic representation, taking into account the technical aspects of the painting, as well as the artist’s intention and its overall meaning. Concurrently, the thesis studies contemporary methods of blue-green landscape painting portrayal, evaluated by analysis of works from selected artists. The first part of the thesis aims to provide comprehensive insight into the origin, historical development, artistic techniques and main features of blue-green landscape painting with emphasize on their over-time changes. The second part deals with contemporary works made in the blue-green landscape style and differences in the modes of creation between selected artists. The main purpose of this study is to analyze the transformation of blue-green landscape painting, determine how is interpreted in contemporary Chinese art, and finally clarify whether current changes affect also other than the visual aspect of the painting. Keywords the blue-green landscape painting, Chinese landscape painting in colour, contemporary Chinese painting, artwork analysis Obsah 1. Úvod ........................................................................................................................ 1 2. Metodológia ............................................................................................................. 2 3. Charakteristika zeleno-modrej krajinomaľby ................................................................ 6 4. Výtvarné postupy ...................................................................................................... 7 4.1. Námet ................................................................................................................... 7 4.2. Pigmenty, výber a technika prípravy farieb................................................................ 8 4.3. Štetcová technika a spôsob aplikácie farieb ............................................................. 10 5. Pozadie vzniku a historický vývoj ............................................................................. 16 5.1. Najstaršie formy zeleno-modrej krajinomaľby ......................................................... 16 5.2. Dynastia Tang a obdobie piatich dynastií ................................................................ 18 5.3. Dynastia Song ...................................................................................................... 21 5.4. Dynastie Yuan, Ming a Qing ................................................................................. 24 5.5. Zeleno-modrá krajinomaľba 20. storočia ................................................................. 28 5.6. Zhrnutie ............................................................................................................... 32 6. Funkcia a význam zeleno-modrej krajinomaľby ......................................................... 34 7. Súčasná zeleno-modrá krajinomaľba ......................................................................... 38 8. Analýza tvorby súčasných predstaviteľov zeleno-modrej krajinomaľby ........................ 39 8.1. You Xinmin ......................................................................................................... 39 8.2. Xie Zongjun ......................................................................................................... 41 8.3. Qi Enjin ............................................................................................................... 43 8.4. Xu Jun ................................................................................................................. 46 8.5. Lin Rongsheng ..................................................................................................... 49 8.6. Lin Yufeng .......................................................................................................... 53 8.7. Lu Yushun ........................................................................................................... 55 8.8. Nové médiá a ďalšie spôsoby reinterpretácie zeleno-modrej krajinomaľby ................. 58 8.9. Vyhodnotenie ....................................................................................................... 59 9. Záver ..................................................................................................................... 63 10. Zoznam použitých prameňov a literatúry ................................................................. 66 11. Prílohy ................................................................................................................. 78 11.1. Abecedný zozonam umelcov zmienených v texte ................................................... 78 11.2. Reprodukcie vybraných diel zmienených v texte .................................................... 82 1. Úvod Stvárňovanie krajiny v odtieňoch zelenej a modrej má v čínskom umení dlhoročnú tradíciu, a predstavuje jeden z najvýznamnejších žánrov čínskej krajinomaľby. Obdobie najväčšieho rozmachu zeleno-modrá krajinomaľba dosiahla počas dynastií Tang a Song, no neskôr spolu s vzostupom kultúry literátov, ktorých myšlienky a estetické preferencie mali v umení nasledujúcich dynastií kľúčové postavenie, začala ustupovať do úzadia. Postupne sa rozšíril názor, že minuciózny spôsob prevedenia zeleno-modrej krajinomaľby je príliš skostnatený, neprogresívny, a neumožňuje kreatívnu expresiu autora. Používanie výrazných farieb sa začalo považovať za prvoplánové, keďže dokázalo rýchlo pritiahnuť pozornosť aj bez použitia zložitej štetcovej techniky. Zeleno-modrá krajinomaľba však napriek tomuto negatívnemu stanovisku niektorých autorov zo sféry čínskeho výtvarného umenia nikdy nevymizla, a po dlhom období stagnácie k jej opätovnému obrodeniu dochádza v modernom a súčasnom čínskom umení. Od počiatku 20. storočia umelci spolu s narastajúcim významom farby začali prehodnocovať kvality zeleno-modrej krajinomaľby, a prostredníctvom na tento štýl odkazujúcich diel dokazujú, že aj to čo bolo považované za nedostatočne sofistikované a prekonané, možno vďaka novému uhlu pohľadu opäť priviesť k životu. Táto práca si pokladá za cieľ zistiť prečo, a akým spôsobom sa súčasní umelci k tomuto štýlu navracajú, a zároveň analyzovať vývoj, techniku a význam zeleno-modrej krajinomaľby ako takej. 1 2. Metodológia Predkladaná práca je rozdelená do troch častí. Prvá z nich je venovaná všeobecnému predstaveniu zeleno-modrej krajinomaľby, a analýze jej výtvarných postupov. Informácie potrebné k napísaniu tejto časti práce boli získané z literatúry venujúcej sa technike čínskej maľby, či konkrétne zeleno-modrej krajinomaľby, a to predovšetkým z publikácií Qinglü shanshuihua jifa xiangjie 青绿山水画技法详解 a Qinglü shanshui jifa 青绿山水技法, ktoré boli prípadne doplnené o poznatky získané pozorovaním reprodukcií konkrétnych diel. Táto časť sa postupne zameriava na jednotlivé kroky smerujúce k zhotoveniu diela v zeleno- modrom štýle, ako sú námet, príprava pigmentov a technika maľby, pričom popisuje postupy charakteristické pre tradičnú, aj súčasnú formu tohto žánru. Keďže sa jedná o archaizujúci spôsob maľby, moderní a súčasní
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