虎的象征与一些文化息息相关，首先，老虎代表力量，祛邪，招财以及带来成就。虎在欧洲传统中属阴，因此西方的象征并区隔东西两边。老虎意谓坚毅，好强和自律。在中国传说中，老虎帮助神与英雄，比方说隋唐名医孙思邈被描绘成骑虎打龙等。一些英雄甚至被传说为白虎转世。另外在风水面,老虎头须朝外以达到避凶的功用。
对火民族来说老虎的意义与亚洲不同，对于欧洲人来说是陌生的，老虎在欧洲国家通常无法自由生存而是被囚禁在一处。所以一般而言，这个情形影响了欧洲人对老虎的看法。在欧洲文化中老虎被视为力量及活力的象征。而这项计划的目的之一是要介绍老虎在不同文化之间的多元看法。
我们必须尽力保护老虎，因为在老虎濒绝的同时我们也正在失去力量以及活力。
Fire and wind is an exhibition of contemporary Czech artists mainly from the middle generation. We believe that this exhibition will help to deepen cultural relations between Europe and Asia, especially with mainland China. Nowadays, business relations between Western world and China are often emphasized, but it should be pointed out that cultural exchange between these regions has much longer tradition and historical background. Cultural exchange was established mainly by scholars in Chinese studies. We should not forget to mention considerate contribution of Czech specialists in Chinese studies that helped to enhance interest in Chinese culture (i.e. thanks to translations of texts by Daozi or recently published Records of the Grand Historian by Sima Qian in Czech language). Czech art and architecture with its roots in Judaism that later transformed into Christianity is essential part of European culture. On European continent encounters with Chinese art were at first rather random than systematic. Art pieces from East Asia brought to Europe by travelers were viewed as curiosities rather than objects of art. Situation in Czech kingdom was rather similar. Art from China was adorned at the king’s court and by aristocracy, but the message of these art pieces was not fully understood. This goes for not only for enameled ceramics from Tang dynasty, but even more significantly for calligraphic writing and traditional paintings. Use of these art pieces for meditation and contemplation remained to be a mystery at those times. With the rise of baroque and rococo style in Czech region and Europe, Chinese and Japanese symbols became huge inspiration for decorative art (Chinoserie, Japonism). During the art nouveau period the use of Asia-inspired ornaments came into popularity again.
Since nineteen century Chinese calligraphy and traditional paintings were highly popular in Czech region (especially ink paintings of Wang Wei). Chinese literature about criticism and art theory was also hugely in demand at that time (in German, French and Russian translations). As it was already stated, high level of Chinese studies in Czech has helped to introduce Chinese art not only to specialist but also to masses. Moreover, political situation changed in second half of 20th century in countries of Central and Eastern Europe and this region became politically attached to dictature of Soviet Union through ruling communist parties. Soviet Union has thus influenced political orientation of its satellites. According to Soviet propaganda friendly relations between Czechoslovakia and People’s Republic of China had to be established and flourished. Interestingly this step was supported by Czechoslovak artists. Explanation for this interest can be the fact that Chinese art was refreshing element in propagandistic nature of Soviet culture. Czechoslovak artists were allowed to visit mainland China. The outcomes of these visits were rather perplexing for the communist party. The artists were not adorning the socialist realism as they were expected, but they were rather impressed by Chinese avant-garde that was not on the list of official propaganda. At that time Chinese [avant-garde] painting was admired for its use of imagination to create poetry on canvas. Especially paintings of Qi Beishe were looked up as a great example of expression of freedom throughout its art form.
As it was already discussed above, those impulses have influenced especially generation of artists that could have freely express their opinions only around 1960s. This generation was inclining to world’s avant-garde that included also Chinese inspiration. Following generations were sharing similar views and have even strengthened their opinions after return [of Czechoslovakia] to democratic system. Artists participating in this project are highly valued for their work by gallery owners and art collectors. What makes this exhibition special is the common theme of a tiger, a symbol that is worshiped in Chinese society. Each artist deals this symbol from completely different point of view. It wouldn’t be suitable to discuss each artist in details, so let me point out just few interesting facts. Few artists working on this project have tried to understood tiger as a part of a myth that is embodied in traditional imagination (T. Císařovský, P. Pasterňak, M. Chloupa), for some artists tiger is a fairy-tale like figure （St. Kolíbal）, while others incline to mysterious representation (V.Véla, M.Kunc, J.Knap); and some artists were fascinated by the dignity of a tiger in his actions (J.Pištěk, A. Střížek, V. Kopecký). Also it is very interesting to see this motive made in molten glass by V. Klumparová or in porcelain by B. Nosek. We believe that the audience will see this collection as homage of Czech artists to the greatly admired and inspirational Asian culture.”
Jiří Šetlík (art historian, in Prague 2013)