- XIX

S-1678

Unità di misura: UNR

stampa a colori su carta

The Benzaiten Shrine on the island of Enoshima near Kamakura was a popular place of pilgrimage from Edo. The statue of the deity was displayed once every six years. Fantastic illustration of pilgrims paying a visit to the main shrine Iwaya at Enoshima in Sagami Province to view a display of the Goddess Benzaiten. The Iwaya are caves eroded in the island by thousands of years of tides, lined with small shrines. Groups of women and girls, some dressed in matching kimono and carrying umbrellas, walk along the rocky shore, making their way to or from the entrance to the cave at right. At bottom center, a young boy clambers ashore after taking a dip in the water. At right, a few women picnic and fish on an islet. The massive rock formation dominates the composition, topped with grass and pine trees, providing an interesting and unusual viewpoint rather than focusing on the mouth of the cave itself. White-capped waves splash along the shore, and boats dot the ocean beyond, with Mt. Fuji rising in the distance at left.

- XIX

S-1394

Unità di misura: cm; Altezza: 37.8; Larghezza: 25.1

carta giapponese- xilografia

Capolavori d'Arte Giapponese dal Periodo Edo alla Modernizzazione - Genova, Museo d'Arte Orientale E. Chiossone - 25 luglio 2001 - 16 giugno 2002

The series "Ōatari kyōgen no uchi", published by Kawaguchiya Uhei in a limited edition, was printed using expensive materials such as mica, excellent quality pigments and excellent paper. Common features of all the prints in the series are the light mica background and the unusual design of the eyes. Ichikawa Danjūrō ​​VII (1791-1859) is portrayed here in the guise of the court poet and politician Sugawara no Michizane (845-903, Kan Shōjō in the performance). The drama "Sekai no hana Sugawara denju", staged by the Ichimura company in 1814, in fact narrates the unfortunate events of the scholar, here depicted in the moment in which he transforms into a God of thunder while furiously thinking back on the injustices of his life. The figure appears to be pervaded by strong emotion: flames escape from the body, the hair is standing on end, the hands are clasped in a gesture of anger and the eyes seem to pop out of their sockets. The plum branch held between his teeth is a reference to the "flying plum tree" (tobi ume), the tree that uprooted itself from the garden of Kan Shōjō's house at the time of his departure and, flying, followed his wanderings until it was transplanted to the place of his exile.

- XIX

S-640

Unità di misura: cm; Altezza: 19.5; Larghezza: 50.9

carta giapponese- xilografia

Fiori d'Oriente Arte e Poesia, metafore simboli nella cultura artistica e letteraria del Giappone - Genova, Museo d'Arte Orientale E. Chiossone - 21 aprile 2011 - 30 ottobre 2011

Typically a female game, "kaiawase" (shell game) is based on pairing twin shells and symbolizes female fidelity in marriage. The inside of the shells was decorated with scenes depicting different themes, the aim of the game was to find the two halves of the same shell. Inubako (犬箱) are boxes that have the body of a reclining dog and human faces. These boxes represent a male dog (the one looking to the left) and a female dog (the one looking to the right) and were an essential part of the trousseau of young brides. Inside they contained, respectively, protective talismans and various toiletries. At first they were the prerogative of only the wealthiest classes, but in the Edo period they became common also for other social classes. Inubako were born as a symbol of good luck for the young bride and her future children: once it was believed that dogs gave birth without feeling any pain, therefore these figures also served to ensure the future mother a quick and painless birth, as well as to favor a large offspring. They also served as lucky charms to pass on to her children. Since puppies were associated with rapid and healthy growth, these objects were often placed in newborns' bedrooms. It is believed that inuhariko (犬張子), papier-mâché toys in the shape of a dog standing on all fours, are also derived from inubako. These are given to children during the festival of their first visit to a shrine (miyamairi). Inubako are still used during Hinamatsuri, but they are among the least known symbols. The composition shows some decorations used for "hinamatsuri", the girls' festival held on March 3rd. In the center, on a tray, three branches of peach blossoms, symbol of Hinamatsuri and the spring season, are ready to be used as decorations. On the sides are dog-shaped boxes (inubako) and two kaioke, black lacquer containers, used to store the game of "kaiawase", the shell game. There are also two shells from the game. The artwork is a surimono, Surimono represent the most elegant ukiyoe production created for private clients; consisting of greeting and commemorative cards, calendars, announcements, invitations intended mainly for kyōka and haikai poetry circles, given or exchanged on certain occasions, especially for the New Year.

V b.C. - VII a.C. - 400 b.C. - 700 a.C.

Unità di misura: cm; Altezza: 25; Larghezza: 8.5

Perù

cotone- tessitura a telaio

L'America indigena nelle collezioni del Civico Istituto Colombiano di Genova - Genova, Palazzo Doria - 1990

Head and nine fringes in brown natural cotton warp-faced canvas with bouclé stitch embroidery. The embroidery design, perhaps an anthropomorphic head or trophy head, was made in chain stitch with camelid fiber colored in cream, yellow, red, dark and light brown, blue/green. A yellow camelid fiber yarn is anchored to the head, simulating hair or sun rays. Between the face and the hair there is a border decorated with a wave motif. The fringes are decorated with yellow and brown cruciform motifs on a red background.

IV-IX - 301 - 900

Unità di misura: cm; Larghezza: 9.4; Lunghezza: 41.5

Perù

cotone naturale e fibra camelide, punto ad arazzo

Le mani delle Americhe - Genova, Laboratorio didattico Sant'Agostino - Nov. 1995 - Gen. 1996<br>Mostra d'arte precolombiana e di etnologia americana - Genova, Castello D'Albertis - 1972-1977

Rectangular tapestry stitch fragment with natural cotton warp and wefts in natural cotton and camelid fiber which draw on a red-pink background two superimposed anthropomorphic figures with elaborate headdresses and surrounded by stingrays in yellow, ochre, light, medium and dark brown, red-pink. Sewn and unstitched detachments. Fillet restorations in two small areas. The textile is double-faced

V-II b.C. - 500 b.C. - 101 b.C.

Unità di misura: cm; Larghezza: 4.7; Lunghezza: 109; Varie: Misure con supporto: cm 16x121

Perù

cotone- tessitura a telaio

Le mani delle Americhe - Genova, Laboratorio didattico Sant'Agostino - 1995-1996<br>Mostra d'arte precolombiana e di etnologia americana - Genova, Castello D'Albertis - 1972-1977<br>Mostra Colombiana Internazionale - Genova, Palazzo San Giorgio - 1950-1951

Fabric border with slightly warp-faced canvas core in natural brown cotton made up of various squares held together by the embroidery itself. The grass stitch embroidery in natural and dyed camelid fibers (brown, yellow, blue, pink, green, red, burgundy, white/grey, aqua green, bottle green, rope, pink and orange) designs an anthropomorphic head with ear pendants for each box.