Trzej polscy artyści w Chinach w latach 50. XX wieku

Joanna Wasilewska

doi:10.18778/2084-851X.07.08

Authors

Joanna Wasilewska Muzeum Azji i Pacyfiku, Polski Instytut Studiów nad Sztuką Świata https://orcid.org/0000-0002-7767-2783

DOI:

https://doi.org/10.18778/2084-851X.07.08

Keywords:

Polish Art, Polish Artists in China, social realism, Polish modern art, China

Abstract

In the 1950s, delegations of Polish artists to China were an important element of the newly formed Eastern Bloc’s cultural politics. In the assumption they were means of establishing ideological similarities of art in socialist countries and strengthening political bonds. In practice, it was often a significant artistic experience and a source of inspiration for its participants. The article analyzes three cases of artists whose drawings documenting similar journeys are currently in the collections of the Asia-Pacific Museum in Warsaw, and in whose work this experience was marked in different ways. For Tadeusz Kulisiewicz, the Chinese journey was an episode, which he returned to after many years. The experience inspired Aleksander Kobzdeja to make fundamental changes in his art, beginning a process that from socialist realism had lead him to abstraction. In the case of Andrzej Strumiłło, it was a start of an exquisite, artistic path, largely marked by the fascination with cultures and arts of Asian countries.

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