火与风。传说中每个民族都有专属的元素。像欧洲的属性是火，在历史上我们可以得知他的文化及传统像火一样蔓延至全世界。至于亚州元素则是风。千百年以来风自非洲吹向中国，形成肥沃的黄土，成就现在中国的强盛的基础。这个计划在于追求建立欧亚人民之间往来的一座桥梁。
我对于风火民族将老虎视为一个象征的想法很感兴趣。就目前来说，这个计划对于每个参与其中的大师来说不失为一个挑战，对我来说，事前无法预测大家会如此积极参与其中。一个独特的概念将这些来自欧洲中心的生动作品呈现在世人眼前。预料之中布拉格-历史上国王和皇帝的宝座，以及许多影响欧洲民族历史的决策都在这里制定。我相信我国的蓬勃朝气能充分表现我想要呈现给观众的作品中。
Tomáš Zapletal
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)