/ â í n s k é k o m n a t y v â e c h á c h a n a M o r a v û : v˘z d o b a s t û n I Poznámky 23... more / â í n s k é k o m n a t y v â e c h á c h a n a M o r a v û : v˘z d o b a s t û n I Poznámky 23 Viz www.zamek-nebilovy.cz/cs/tanecni-sal, vyhledáno 12. 4. 2018. 24 Konzultováno s dr. Petrou Oulíkovou.
Two very distant regions were linked through the home hairnet production, and from the 1890s til ... more Two very distant regions were linked through the home hairnet production, and from the 1890s til the 1930s entered the global trade.
The article examines the printed borders which adorn a moderate number of Yangliuqing prints from... more The article examines the printed borders which adorn a moderate number of Yangliuqing prints from the collections of the Náprstek Museum. They are made up of auspicious elements common in the symbolism of Chinese folk art. Their design differs and falls at least into two groups. The reason behind placing the border on a picture is yet unclear. KEY WORDS: China − the 19 th century-folk art − woodblock prints − graphic design Folk prints (minjian banhua), which are more commonly referred to as New Year prints (nianhua), are pictures carved on woodblocks by anonymous artisans, to be printed on paper. During the New Year festival, these prints are pasted up in households for ritual and decorative purposes. The prints fall into two thematic categories; one representing domestic deities, the other representing various narrative and genre scenes. These genre scenes can be further divided into several subcategories, such as theatrical scenes (including historical topics), auspicious motifs (including beauties and children), agricultural motifs, panoramas, and actual events. Amongst these motifs theatrical scenes were considered the most numerous; in the north, with the inclusion of criminal tales, as a popular theme within the theatre as well as in storytelling (Wang 1989: 472). Woodblock prints were produced all over China in regional workshops, each region having its own distinct style and conventions of representation. The manufacturing progress was as follows: once the woodblock was carved, the black and white image was printed from it, and then colours were applied using the same block repeatedly (this was the full-print technique, taoban). Alternatively, colours could be applied by hand with a brush (hand-tinted prints, banyin banhui). Each step would have been carried out by a different worker, depending on the size of the workshop. Identifying the topic of a print is the main concern of most studies and catalogues in this area. Recently there have also been a number of reports from field research on how these prints are still being produced. This article, however, addresses formal aspects of folk prints. The intention is to take a close look at the printed borders that adorn
Muqin, Jieke jiben shang you liangge guojia jigou ye shoucang Zhongguo minjian banhua. Bizhe tida... more Muqin, Jieke jiben shang you liangge guojia jigou ye shoucang Zhongguo minjian banhua. Bizhe tidao zhuayao shoucangjia de xingming, shoucangpin de shuliang ji jingpin.
This contribution aims to provide general insight into translating the novel Jin Ping Mei 金瓶梅 int... more This contribution aims to provide general insight into translating the novel Jin Ping Mei 金瓶梅 into Czech. Part one, written by Lucie Olivová, provides a brief introduction to the translation history of traditional Chinese literature into Czech, followed by a report on our translation of the Wanli edition, taken over from the late professor Oldřich Král, which began at the beginning of 2020. In Part two, Ondřej Vicher consequently describes the joint translation process, concisely introduces the main features of the Czech language, and analyzes the specific translation issues which both current translators encountered, most of them having been caused by the specifics and peculiarities of the Czech language.
Kapitola pojednava o Ignaci Sichelbarthovi, misionaři a dvorskem maliři v Pekingu, který se narod... more Kapitola pojednava o Ignaci Sichelbarthovi, misionaři a dvorskem maliři v Pekingu, který se narodil v Nejdku. Mnoho jeho obrazů se dochovalo. Ve staři se těsil cisařske přizni.
Selected texts from The Pleasure Boats of Yangzhou, by Li Dou. The volume is an anthology designe... more Selected texts from The Pleasure Boats of Yangzhou, by Li Dou. The volume is an anthology designed as a survey collection of literary texts of some stature related to the city of Yangzhou and its cultural history, from the Late Imperial through the modern era.
Doslov k výběru povidek cinske spisovatelky Xiao Hong (1911-42), jejiž dilo vychazi v ceskem přek... more Doslov k výběru povidek cinske spisovatelky Xiao Hong (1911-42), jejiž dilo vychazi v ceskem překladu L. Olivove poprve.
The postscript to the story "Hands" by a foremost Chinese woman-writer Xiao Hong (1911-... more The postscript to the story "Hands" by a foremost Chinese woman-writer Xiao Hong (1911-1942), whose work thus appears for the first time in a Czech translation by L. Olivova. The book is a bibliophily created by Jan Chaloupek.
/ â í n s k é k o m n a t y v â e c h á c h a n a M o r a v û : v˘z d o b a s t û n I Poznámky 23... more / â í n s k é k o m n a t y v â e c h á c h a n a M o r a v û : v˘z d o b a s t û n I Poznámky 23 Viz www.zamek-nebilovy.cz/cs/tanecni-sal, vyhledáno 12. 4. 2018. 24 Konzultováno s dr. Petrou Oulíkovou.
Two very distant regions were linked through the home hairnet production, and from the 1890s til ... more Two very distant regions were linked through the home hairnet production, and from the 1890s til the 1930s entered the global trade.
The article examines the printed borders which adorn a moderate number of Yangliuqing prints from... more The article examines the printed borders which adorn a moderate number of Yangliuqing prints from the collections of the Náprstek Museum. They are made up of auspicious elements common in the symbolism of Chinese folk art. Their design differs and falls at least into two groups. The reason behind placing the border on a picture is yet unclear. KEY WORDS: China − the 19 th century-folk art − woodblock prints − graphic design Folk prints (minjian banhua), which are more commonly referred to as New Year prints (nianhua), are pictures carved on woodblocks by anonymous artisans, to be printed on paper. During the New Year festival, these prints are pasted up in households for ritual and decorative purposes. The prints fall into two thematic categories; one representing domestic deities, the other representing various narrative and genre scenes. These genre scenes can be further divided into several subcategories, such as theatrical scenes (including historical topics), auspicious motifs (including beauties and children), agricultural motifs, panoramas, and actual events. Amongst these motifs theatrical scenes were considered the most numerous; in the north, with the inclusion of criminal tales, as a popular theme within the theatre as well as in storytelling (Wang 1989: 472). Woodblock prints were produced all over China in regional workshops, each region having its own distinct style and conventions of representation. The manufacturing progress was as follows: once the woodblock was carved, the black and white image was printed from it, and then colours were applied using the same block repeatedly (this was the full-print technique, taoban). Alternatively, colours could be applied by hand with a brush (hand-tinted prints, banyin banhui). Each step would have been carried out by a different worker, depending on the size of the workshop. Identifying the topic of a print is the main concern of most studies and catalogues in this area. Recently there have also been a number of reports from field research on how these prints are still being produced. This article, however, addresses formal aspects of folk prints. The intention is to take a close look at the printed borders that adorn
Muqin, Jieke jiben shang you liangge guojia jigou ye shoucang Zhongguo minjian banhua. Bizhe tida... more Muqin, Jieke jiben shang you liangge guojia jigou ye shoucang Zhongguo minjian banhua. Bizhe tidao zhuayao shoucangjia de xingming, shoucangpin de shuliang ji jingpin.
This contribution aims to provide general insight into translating the novel Jin Ping Mei 金瓶梅 int... more This contribution aims to provide general insight into translating the novel Jin Ping Mei 金瓶梅 into Czech. Part one, written by Lucie Olivová, provides a brief introduction to the translation history of traditional Chinese literature into Czech, followed by a report on our translation of the Wanli edition, taken over from the late professor Oldřich Král, which began at the beginning of 2020. In Part two, Ondřej Vicher consequently describes the joint translation process, concisely introduces the main features of the Czech language, and analyzes the specific translation issues which both current translators encountered, most of them having been caused by the specifics and peculiarities of the Czech language.
Kapitola pojednava o Ignaci Sichelbarthovi, misionaři a dvorskem maliři v Pekingu, který se narod... more Kapitola pojednava o Ignaci Sichelbarthovi, misionaři a dvorskem maliři v Pekingu, který se narodil v Nejdku. Mnoho jeho obrazů se dochovalo. Ve staři se těsil cisařske přizni.
Selected texts from The Pleasure Boats of Yangzhou, by Li Dou. The volume is an anthology designe... more Selected texts from The Pleasure Boats of Yangzhou, by Li Dou. The volume is an anthology designed as a survey collection of literary texts of some stature related to the city of Yangzhou and its cultural history, from the Late Imperial through the modern era.
Doslov k výběru povidek cinske spisovatelky Xiao Hong (1911-42), jejiž dilo vychazi v ceskem přek... more Doslov k výběru povidek cinske spisovatelky Xiao Hong (1911-42), jejiž dilo vychazi v ceskem překladu L. Olivove poprve.
The postscript to the story "Hands" by a foremost Chinese woman-writer Xiao Hong (1911-... more The postscript to the story "Hands" by a foremost Chinese woman-writer Xiao Hong (1911-1942), whose work thus appears for the first time in a Czech translation by L. Olivova. The book is a bibliophily created by Jan Chaloupek.
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