Bøker av Gyorgyi Fajcsak

The establishment of the Ferenc Hopp Museum of East Asian Art in September 1919 saw the amalgamation of two large collections of Asiatic artefacts. The first one, comprising over 3,500 objects, had been assembled by the founder of the museum, Ferenc Hopp, and included 2,000 Japanese artefacts; the second collection was made up of 2,300 Japanese items purchased by Count Péter Vay on behalf of the Hungarian state. Count Vay made these purchases in Japan in 1907, and the items were exhibited in the Museum of Fine Arts in 1908 and again in 1910. The presentation of Péter Vay's fascinating life and activities is brought to completion by the integral connection between this volume and the exhibition of his collection at the Ferenc Hopp Museum of Asiatic Arts. Despite having been part of the Hungarian public collection for over one hundred years, there has never been a comprehensive presentation of Vay's Japanese collection since the exhibitions curated in the Museum of Fine Arts in 1908 and 1910. Besides the paintings, graphics, and sculptures, the display of a rich selection of applied art objects from the collection makes it the first comprehensive presentation of Vay's life and collecting work he undertook in East Asia, as well as the first presentation of its history and its historical context in the broader sense. As an introduction to the collection purchased in Japan, the present volume contains a study summarising Péter Vay's understanding of Eastern art and his art-collecting practice, as well as a catalogue authored by Györgyi Fajcsák, presenting the Vay collection as a whole and the significant works within it. Drawing on the latest research findings, this volume also includes, as an appendix, the biography of Péter Vay, together with the sources of the biographical information; in addition, there is a map of his travels and a bibliography of his selected writings.

In the volume published in connection with the exhibition, the chapters on Mongolian material cultural artefacts in Hungary are divided into four main thematic sections. The four chapters that make up the first thematic section cover the history of the intellectual and material heritage of academic and diplomatic relations between Hungary and Mongolia. Attila Rákos provides a summary of Hungarian expeditions, while Gergely Csiky focuses on Hungarian archaeological excavations in Mongolia. Krisztina Teleki recounts the stories of Hungarians who travelled through Mongolia having escaped from prisoner-of-war camps in Siberia in the 1920s, and Tímea Windhoffer focuses on Mongolian diplomatic gifts that became part of public collections in the context of state visits in the second half of the 20th century. Following in the footsteps of eminent scholars and their outstandingly important research topics, the four chapters that form the second thematic section explore research undertaken by Hungarian scholars in, or in relation to, Mongolia. The chapters proceed in chronological order. Györgyi Fajcsák discusses the collecting work carried out by Zoltán Felvinczi Takács, the first director of the Ferenc Hopp Museum of Asiatic Arts, and the establishment of the archaeological collection associated with the nomads living in China's northern borderlands. Tímea Windhoffer examines Lajos Ligeti's travels in Inner Mongolia in light of the artefacts donated to the Ferenc Hopp Museum. Gábor Wilhelm focuses on Vilmos Diószegi's field research in the 1960s in relation to shamanism as well as his collecting work, while on the basis of materials collected during expeditions under her leadership, Ágnes Birtalan summarises the material culture of the Mongolian nomads. The third thematic thematic section presents some of the characteristic aspects of Mongolian Buddhist art and the related groups of objects in the collection of the Ferenc Hopp Museum of Asiatic Arts. Alice Sárközi describes the iconography of Tibetan-Mongolian Buddhist altars, while Ágnes Birtalan presents the domestic altars found in the yurts. Zsolt Szilágyi provides an introduction to the history of the Mongolian Jebtsundambas and their cultural-historical role, while in a chapter republished in the present volume, Judit Vinkovics discusses some of the most important Mongolian artefacts in Hungary, the objects associated with Dzanabadzar and his followers, held in the Ferenc Hopp Museum. Krisztina Teleki examines the depictions and sacred texts of Sridevi, the Buddhist female protector deity, in the collection of the Ferenc Hopp Museum, and, based on an offering text, Tímea Windhoffer traces the iconography of depictions of Vaisrava?a. Finally, József Végh demonstrates the relationships between individual elements of Mongolian monastic art in light of the gcod rite. The fourth and final thematic section of the volume contains chapters on historical photographic images taken in Mongolia. Zoltán Bereczki introduces photographs originating from Lajos Ligeti's expedition to Inner Mongolia, while József Végh discusses the Mongolian photographs taken in 1959 and 1972 by Miklós Rév. The descriptions and details of the artefacts held in the Mongolian Collection of the Ferenc Hopp Museum, which are used to illustrate the individual chapters in the different thematic sections, were prepared by the collection's curator, Tímea Windhoffer. The volume ends with an Appendix, which contains a separate bibliography, compiled by Gergely Csiky, of archaeological research carried out by Hungarians in Mongolia.

The art of ancient Gandhara produced unique works of art in the style of the Hellenistic period of the 4th century AD. 1-6th centuries BC. It was the first time that the Buddha was depicted in human form, and to the northwest of India, in one of the busy regions of the Silk Road: the land of Gandhara, a new type of art created unique Hellenistic style Buddhist sculpture. Besides free-standing Buddha and Bodhisattva statues of exceptional beauty, reliefs were characteristic features of Gandharan art, depicting episodes from the life of the Buddha, decorating the walls of stupas, shrines for Buddhist relics. The exhibition showcases the Gandharan collection of Ferenc Hopp Museum of Asiatic Arts, 82 statues made of Himalayan grey schist and stucco, within their historical and art historical contexts. The Gandharan collection, was donated almost entirely by Mr. Imre Schwaiger (1868-1940) a Hungarian-born, Delhi and London based art dealer, who donated numerous Asian art objects to the Museum, all of first-class quality. The exhibition and the catalogue also honours the memory of this generous donor, also known as the "second founder of the Museum."

The English-language volume Japonisme in the Austro-Hungarian Monarchy was produced to celebrate the 150th anniversary of diplomatic relations between Japan and the countries belonging to the former Monarchy, under the direction of the Budapest Museum of Fine Arts - Ferenc Hopp Museum of Asian Art. The representatives of the Austro-Hungarian Monarchy and Japan signed the trade and friendship treaty between the two countries in Tokyo on October 18, 1869, which had an impact on the international politics between the parties, promoted the development of trade and cultural transfer. Although the Monarchy disintegrated into several successor states after the end of 1918, the love of Japanese art and culture became part of the common cultural history of many countries in the Central and Eastern European region. The purpose of the study volume is to present the appreciation and appreciation of Japanese culture and its role as an inspiration for local artists. This volume is the fruit of a three-year collaborative project, during which Japonism researchers from countries that were once part of the Monarchy worked together. The seventeen specialist studies are divided into four thematic segments. The unit A New Acquaintance introduces the reader to the historical, political, and cultural milieu of the beginning of Japonism in East-Central Europe, which was as special for the young Monarchy as it was for the Japanese Empire, which was undergoing significant social changes due to the restoration of imperial power. The second part, Traveling Artifacts, focuses on the reception, collection and interpretation of Central European Japanese artworks. The third unit, Artists and Works of Art, discusses such classic themes of Japonism as painting, printmaking, ceramic and glass art, and theater. The last part of the volume, The Incentives of Japonism, focuses on the cultural, political, social phenomena and atmosphere in Central Europe, which provided fertile ground for the absorption of Japanese culture and made the citizens of the Monarchy more open to new impulses from the East than at any time before.

This publication offers the history of the Hopp Museum's collections and the descriptions of its most prominent artefacts. The Art of Asia catalogue is published on the occasion of the exhibition titled Made in Asia. The Centenary of the Ferenc Hopp Museum of Asiatic Arts Ferenc Hopp Museum of Asiatic Arts, Budapest, 14 June 2019 - 14 May 2020