Bogna Lakomska | Academy of Fine Arts in Gdansk (original) (raw)
Papers by Bogna Lakomska
Art of the Orient, Dec 31, 2020
Art of the Orient, Dec 31, 2019
Art of the Orient, Dec 31, 2021
Artykuł dotyka kwestii początków kolekcjonerstwa w Chinach, choć nie chodzi tu o kolekcje mające ... more Artykuł dotyka kwestii początków kolekcjonerstwa w Chinach, choć nie chodzi tu o kolekcje mające charakter artystyczny. Współczesne kolekcjonerstwo zakłada, że przedmioty tworzące kolekcję powinny być pozbawione swojej użytkowej roli, powinny być wewnętrznie powiązane, sklasyfi kowane, subiektywnie ocenione, świadomie wybrane i wystawione. Ktoś mógłby zatem zapytać, jak ma się to do starożytnego chińskiego kolekcjonerstwa? I czy można stosować te same kryteria, a następnie na ich podstawie dokonywać oceny. Otóż, z pewnością znajdziemy pewne wspólne cechy we współczesnym jak i starożytnym podejściu do kolekcjonowania, a będzie to chęć posiadania czegoś ważnego, budowanie grup opartych na wewnętrznie powiązanych i świadomie wybranych obiektach jak również chęć wyeksponowania tych przedmiotów, tym niemniej dla ograniczonej i ekskluzywnej grupy, i to niekoniecznie osób, ale bardziej duchów, czy też innych nieśmiertelnych bytów. W starożytnych Chinach kolekcjonowanie było powiązane zwłas...
Many of the collectors were artists themselves, thus their paintings or calligraphy also became a... more Many of the collectors were artists themselves, thus their paintings or calligraphy also became an element of exchange between connoisseurs. This was, among others the case of Su Shi 苏轼 (1037 – 1101) – an excellent writer, poet, artist and statesman whose pieces were often snapped up by others, particularly shortly after being done in a company where the author "had something to drink".
Along with their interest in the material substance of bronzes, some scholars began to notice the... more Along with their interest in the material substance of bronzes, some scholars began to notice the great value in inscriptions engraved on bronze vessels, as well as on steles and stones, which in turn resulted in the initiation of the study of epigraphy in Northern Song dynasty (960-1126).
Gegu yaolun 格古要論 or The Essential Criteria of Antiques by Cao Zhao 曹昭 (pseudonym Cao Mingzhong 曹明... more Gegu yaolun 格古要論 or The Essential Criteria of Antiques by Cao Zhao 曹昭 (pseudonym Cao Mingzhong 曹明仲) is one of the oldest compendia regarding works of art and antiques to be created in China. The author of this book, published in 1388, was an ardent collector and researcher. The translation of Cao Zhao's text into English was first made in 1971 by Sir Percival David who, in addition to the basic content, also included facsimiles from 1388 and comments from later editions considered lost in the European circles. The whole appeared under the title: Chinese Connoisseurship. The Ko Ku Yao Lun. The Essential Criteria of Antiquities. Sir Percival, in the Introduction to his work, described the intricate history of his own studies on Gegu yaolun, indicating at the same time the dates of subsequent editions of the mysterious book and the authors of extensions and additions. The completion of the book is very important as it tells us about the authority of the original textbook, which is ...
1 Images of animals in Neolithic Chinese Ceramic 1 2 3 The images of animals or their (more or le... more 1 Images of animals in Neolithic Chinese Ceramic 1 2 3 The images of animals or their (more or less) stylised motifs once depicted in the form 4 of painting and sculpture, and nowadays through various media, have many stories to 5 tell. Their ancient images point to the undeniably great role that animals played in 6 human life. The rich material culture, as well as the written sources we have today, 7 enables us to examine – both in physical and spiritual terms – the coexistence and co8 creation of the worlds of people and animals in the region that we now call China. 9 General animal research, especially within Europe, usually concerns spatial and 10 physical differences; animals from ancient, medieval and early modern times are 11 researched in the context of their utilitarian role, as well as their exoticism, 12 discovering new species and deepening knowledge about those already known to man. 13 Creating a picture of the animal images in Chinese Neolithic art, I hope to present 1...
Roczniki Humanistyczne, 2019
Początki naukowej myśli o sztuce i zabytkoznawstwa w starożytnych Chinach Artykuł przedstawia his... more Początki naukowej myśli o sztuce i zabytkoznawstwa w starożytnych Chinach Artykuł przedstawia historię kształtowania się myśli o sztuce i antykach w dawnych Chinach, począwszy od czasów dynastii Wei i Jin po wczesny okres dynastii Song. Celem niniejszego tekstu jest prezentacja zarówno teoretycznych koncepcji na temat malarstwa i kaligrafii pisanych przez artystów i uczonych-urzędników w różnych okresach, jak również przedstawienie rodzącego się zainteresowania zabytkoznawstwem. Artykuł pokazuje, w jaki sposób studia nad teorią sztuki ulegały zmianie, osiągając większy stopień dojrzałości w połowie IX wieku n.e., tj. w momencie, kiedy Zhang Yanyuan napisał „Rejestr Słynnych Malarzy wszystkich Dynastii”, dając tym samym asumpt do kolejnych studiów nad sztuką.
Academy of Fine Arts, 2021
Art of the Orient, 2020
This volume, devoted to the imagery of animals in the art of Western and South Asia, is an attemp... more This volume, devoted to the imagery of animals in the art of Western and South Asia, is an attempt to answer the question of what stands behind the necessity or willingness to use depictions of animals to express human feelings and ideas. Texts written by seven Polish authors dealing with various aspects of Asian art investigate the themes of animal motifs occurring both in ancient and modern times in China, Korea, Japan and India.
Emanacje. Profesorowi Jerzemu Malinowskiemu w 70. Urodziny , 2020
EAST ASIAN THEATRES TRADITIONS - INSPIRATIONS - EUROPEAN / POLISH CONTEXTS, 2018
Roczniki Humanistyczne, 2014
The article presents a history of creating thoughts on art and antiquities in ancient China start... more The article presents a history of creating thoughts on art and antiquities in ancient China starting from the Wei and Jin dynasties and ending at the early Song dynasty. The goal of this paper is to present theoretical concepts on painting and calligraphy written by artists and literati scholars in different times, as well as the beginnings of interests in connoisseurship. The article presents, how studies on art theory have changed, achieving higher level of maturity in half of the 9 th century, i.e. when Zhang Yanyuan wrote "A Record of the Famous Painters of All Dynasties" giving the same a rise to further studies on art. SCHOLAR-OFFICIALS AS ARTISTS, COLLECTORS, AND ART HISTORIANS As a result of cultural development in China, from the late Tang dynasty (618-907 AD) began to emerge a new group of independent artists called shiren hua. In general they were intellectuals occupying official positions, however, in spare time creating art and poetry. Their art, reflecting very often personal impressions rather than trained patterns typical for professional artists, earned more and more popularity amongst imperial as well as private collectors. Nevertheless, shiren hua, apart from being learnt men, painters, calligraphers and poets in one person, they also might have been art collectors, who thanks to their intellectual abilities, rather then aristocratic background, developed new more professional attitude towards art col-BOGNA àAKOMSKA-Interdepartmental
Art of the Orient, Dec 31, 2020
Art of the Orient, Dec 31, 2019
Art of the Orient, Dec 31, 2021
Artykuł dotyka kwestii początków kolekcjonerstwa w Chinach, choć nie chodzi tu o kolekcje mające ... more Artykuł dotyka kwestii początków kolekcjonerstwa w Chinach, choć nie chodzi tu o kolekcje mające charakter artystyczny. Współczesne kolekcjonerstwo zakłada, że przedmioty tworzące kolekcję powinny być pozbawione swojej użytkowej roli, powinny być wewnętrznie powiązane, sklasyfi kowane, subiektywnie ocenione, świadomie wybrane i wystawione. Ktoś mógłby zatem zapytać, jak ma się to do starożytnego chińskiego kolekcjonerstwa? I czy można stosować te same kryteria, a następnie na ich podstawie dokonywać oceny. Otóż, z pewnością znajdziemy pewne wspólne cechy we współczesnym jak i starożytnym podejściu do kolekcjonowania, a będzie to chęć posiadania czegoś ważnego, budowanie grup opartych na wewnętrznie powiązanych i świadomie wybranych obiektach jak również chęć wyeksponowania tych przedmiotów, tym niemniej dla ograniczonej i ekskluzywnej grupy, i to niekoniecznie osób, ale bardziej duchów, czy też innych nieśmiertelnych bytów. W starożytnych Chinach kolekcjonowanie było powiązane zwłas...
Many of the collectors were artists themselves, thus their paintings or calligraphy also became a... more Many of the collectors were artists themselves, thus their paintings or calligraphy also became an element of exchange between connoisseurs. This was, among others the case of Su Shi 苏轼 (1037 – 1101) – an excellent writer, poet, artist and statesman whose pieces were often snapped up by others, particularly shortly after being done in a company where the author "had something to drink".
Along with their interest in the material substance of bronzes, some scholars began to notice the... more Along with their interest in the material substance of bronzes, some scholars began to notice the great value in inscriptions engraved on bronze vessels, as well as on steles and stones, which in turn resulted in the initiation of the study of epigraphy in Northern Song dynasty (960-1126).
Gegu yaolun 格古要論 or The Essential Criteria of Antiques by Cao Zhao 曹昭 (pseudonym Cao Mingzhong 曹明... more Gegu yaolun 格古要論 or The Essential Criteria of Antiques by Cao Zhao 曹昭 (pseudonym Cao Mingzhong 曹明仲) is one of the oldest compendia regarding works of art and antiques to be created in China. The author of this book, published in 1388, was an ardent collector and researcher. The translation of Cao Zhao's text into English was first made in 1971 by Sir Percival David who, in addition to the basic content, also included facsimiles from 1388 and comments from later editions considered lost in the European circles. The whole appeared under the title: Chinese Connoisseurship. The Ko Ku Yao Lun. The Essential Criteria of Antiquities. Sir Percival, in the Introduction to his work, described the intricate history of his own studies on Gegu yaolun, indicating at the same time the dates of subsequent editions of the mysterious book and the authors of extensions and additions. The completion of the book is very important as it tells us about the authority of the original textbook, which is ...
1 Images of animals in Neolithic Chinese Ceramic 1 2 3 The images of animals or their (more or le... more 1 Images of animals in Neolithic Chinese Ceramic 1 2 3 The images of animals or their (more or less) stylised motifs once depicted in the form 4 of painting and sculpture, and nowadays through various media, have many stories to 5 tell. Their ancient images point to the undeniably great role that animals played in 6 human life. The rich material culture, as well as the written sources we have today, 7 enables us to examine – both in physical and spiritual terms – the coexistence and co8 creation of the worlds of people and animals in the region that we now call China. 9 General animal research, especially within Europe, usually concerns spatial and 10 physical differences; animals from ancient, medieval and early modern times are 11 researched in the context of their utilitarian role, as well as their exoticism, 12 discovering new species and deepening knowledge about those already known to man. 13 Creating a picture of the animal images in Chinese Neolithic art, I hope to present 1...
Roczniki Humanistyczne, 2019
Początki naukowej myśli o sztuce i zabytkoznawstwa w starożytnych Chinach Artykuł przedstawia his... more Początki naukowej myśli o sztuce i zabytkoznawstwa w starożytnych Chinach Artykuł przedstawia historię kształtowania się myśli o sztuce i antykach w dawnych Chinach, począwszy od czasów dynastii Wei i Jin po wczesny okres dynastii Song. Celem niniejszego tekstu jest prezentacja zarówno teoretycznych koncepcji na temat malarstwa i kaligrafii pisanych przez artystów i uczonych-urzędników w różnych okresach, jak również przedstawienie rodzącego się zainteresowania zabytkoznawstwem. Artykuł pokazuje, w jaki sposób studia nad teorią sztuki ulegały zmianie, osiągając większy stopień dojrzałości w połowie IX wieku n.e., tj. w momencie, kiedy Zhang Yanyuan napisał „Rejestr Słynnych Malarzy wszystkich Dynastii”, dając tym samym asumpt do kolejnych studiów nad sztuką.
Academy of Fine Arts, 2021
Art of the Orient, 2020
This volume, devoted to the imagery of animals in the art of Western and South Asia, is an attemp... more This volume, devoted to the imagery of animals in the art of Western and South Asia, is an attempt to answer the question of what stands behind the necessity or willingness to use depictions of animals to express human feelings and ideas. Texts written by seven Polish authors dealing with various aspects of Asian art investigate the themes of animal motifs occurring both in ancient and modern times in China, Korea, Japan and India.
Emanacje. Profesorowi Jerzemu Malinowskiemu w 70. Urodziny , 2020
EAST ASIAN THEATRES TRADITIONS - INSPIRATIONS - EUROPEAN / POLISH CONTEXTS, 2018
Roczniki Humanistyczne, 2014
The article presents a history of creating thoughts on art and antiquities in ancient China start... more The article presents a history of creating thoughts on art and antiquities in ancient China starting from the Wei and Jin dynasties and ending at the early Song dynasty. The goal of this paper is to present theoretical concepts on painting and calligraphy written by artists and literati scholars in different times, as well as the beginnings of interests in connoisseurship. The article presents, how studies on art theory have changed, achieving higher level of maturity in half of the 9 th century, i.e. when Zhang Yanyuan wrote "A Record of the Famous Painters of All Dynasties" giving the same a rise to further studies on art. SCHOLAR-OFFICIALS AS ARTISTS, COLLECTORS, AND ART HISTORIANS As a result of cultural development in China, from the late Tang dynasty (618-907 AD) began to emerge a new group of independent artists called shiren hua. In general they were intellectuals occupying official positions, however, in spare time creating art and poetry. Their art, reflecting very often personal impressions rather than trained patterns typical for professional artists, earned more and more popularity amongst imperial as well as private collectors. Nevertheless, shiren hua, apart from being learnt men, painters, calligraphers and poets in one person, they also might have been art collectors, who thanks to their intellectual abilities, rather then aristocratic background, developed new more professional attitude towards art col-BOGNA àAKOMSKA-Interdepartmental