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Titolo dell'opera:

Head

Acquisizione:

Sandro Cherchi 1992

Autore:

Cherchi, Sandro

Object Type:

sculpture

Epoca:

1946 - 1946 - sec. XX

Inventario:

909

Misure:

Unità di misura: cm; Altezza: 25; Larghezza: 25; Profondità: 20

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Head

Descrizione:

After his studies in Genoa, the artist moved first to Milan and then to Turin, where in 1948 he became professor of sculpture at the Accademia Albertina in Turin and participated in the Venice Biennale for the first time. The work ‘Testa’ (Head) of 1946 proposes in the facial features a desire for representation that is not grotesque or gratuitously caricatured. On the contrary, the deformity of the figure corresponds in the surface finish to what the classical sculptor tends to correct, while in Cherchi's choice it is left unaltered in a search for gestural elements, seemingly random, that allude to the relationship, at once aggressive and liberating, of the artist's manipulation of the material.

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Titolo dell'opera:

Votive cabinet with the deities Daikokuten, Bishamonten and Kisshōten - Benzaiten inside

Ambito culturale:

ambito giapponese

Author/ School/ Dating:

Votive cabinet with the deities Daikokuten, Bishamonten and Kisshōten - Benzaiten inside

Object Type:

cabinet

Epoca:

- XVIII-XIX

Inventario:

L-41/4

Misure:

Unità di misura: cm; Altezza: 3.3; Larghezza: 7.4

Tecnica:

legno- laccatura

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Votive cabinet with the deities Daikokuten, Bishamonten and Kisshōten - Benzaiten inside

Descrizione:

Portable cabinet of sacred images were quite common; during journeys and travels they allowed one to set up small altars and make offerings and prayers for the deities. The sacred images mainly included deities of esoteric Buddhism (mikkyō). Bivalve cabinet shapes were also quite common; the external lacquer covering also guaranteed excellent insulating quality. The internal image of the cabinet includes a triad of deities on a rocky spur; in the center is Daikokuten, God of wealth, standing on bales of rice. Accompanied by a sack and his magic mallet. On the left is Bishamonten with a halo in the shape of a rimbō (Wheel of the Law), a warrior god who protects faith. On the right is the female deity Kisshōten – Benzaiten, protector of happiness and fertility, with the torii on her head, the sacred key, and a gem in her hand, depicted in a hypostasis called Dai Benzaiten. The three deities belong to the group of the Seven Deities of Fortune, in Japanese Shichifukujin, and when they are depicted together, they form a propitiatory triad.

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Titolo dell'opera:

Kangiten

Ambito culturale:

ambito giapponese

Author/ School/ Dating:

Kangiten

Object Type:

statue

Epoca:

- XVII-XVIII

Inventario:

B-1147

Misure:

Unità di misura: cm; Altezza: 10.3; Diametro: 4.2

Tecnica:

Bronzo a fusione piena, con patinatura scura

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Kangiten

Descrizione:

Kangiten, the Buddhist form of Ganesha, is recognizable by his elephant head, the Hindu god of fortune who has the power to remove obstacles. The cult of Kangiten arrived in Japan between the 8th and 9th centuries from China together with esoteric Buddhism which includes many deities of Indian origin. At this stage he was represented as a single deity with several arms, similar to Ganesha. During the late Heian period (794-1185), however, images of couples of Kangiten (Sōshin Kangiten) appeared, in which two anthropomorphic figures with elephant heads, a male and a female, embrace; an iconography totally absent in the Indian tradition. The hugging Kangiten would represent a legend told in various Buddhist texts where the evil deity Vinayaka (another name for Ganesha) is pacified by the eleven-faced Kannon, who transformed into a beautiful woman and joins him, with the intention of putting him on the right path that leads to the understanding of Buddhist truths. The female has the toes above those of the male, a symbol of the submission of the malevolent nature of Vinayaka by Kannon. Kangiten, like the Indian Ganesha, was therefore initially seen as a malevolent god, creator of obstacles. Once pacified by Kannon, however, he becomes, on the contrary, a benevolent deity. The most common representations of Kangiten are small metal statuettes that were used in rituals in which oil was poured on the images. This statuette was probably used for this type of ceremony. The statuettes were then kept inside a cylindrical case and hidden from the view of the faithful. The Kangiten images are in fact secret images, not shown to the public due to their strong erotic meaning and they are therefore often preserved by Japanese temples as "hidden Buddhas" (hibutsu).

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Titolo dell'opera:

Tanjō no Shaka Butsu, the newborn Śākyamuni historical Buddha

Ambito culturale:

ambito giapponese

Author/ School/ Dating:

Tanjō no Shaka Butsu, the newborn Śākyamuni historical Buddha

Epoca:

- XVII-XVIII

Inventario:

B-0333

Misure:

Unità di misura: cm; Altezza: 18.7

Tecnica:

Bronzo colato su modello in cera, patinato bruno cupo

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Tanjō no Shaka Butsu, the newborn Śākyamuni historical Buddha

Descrizione:

n April 8 Japan celebrates the "Hana matsuri", the festival of flowers", a ritual ceremony that commemorates the birth of the historical Buddha (Śākyamuni), a ceremony also known as "Kanbutsu-e". In Buddhist temples, a small altar decorated with flowers is set up, inside which is placed a small statuette called "tanjōbutsu" or "tanjō Shaka", which depicts the newborn Buddha. The figure is not made with the features of a child but already portrays an individual with an adult physique characterized by "Buddhist elements" such as ears with long lobes. The statues depict Śākyamuni just after his birth, who points to the sky with his right hand and to the earth/ground with his left, thus defining his dominance over the two levels of the Cosmos. During the celebration, the faithful adorn the altar with flowers and bathe, in turn, the small statue with "amacha", a sweet hydrangea tea; a clear reference to the legendary scented nectar with which the two dragon kings bathed the little Śākyamuni after his birth. This statuette certainly comes from a temple context, where it was commonly used for the Kanbutsu-e ritual; observing it carefully, in fact, it is visible on the surface, a thin layer of patina, the result of the continuous spraying of hydrangea tea with which the rite is carried out; it is provided with the pedestal with which it was placed inside the irrigation bowl, the kanbutsu-ban, and it is no coincidence that the pedestal is decorated in the shape of a lotus flower, a floral symbol par excellence of Buddhism.

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Titolo dell'opera:

Statue of Miroku Bosatsu

Ambito culturale:

ambito giapponese

Author/ School/ Dating:

Statue of Miroku Bosatsu

Epoca:

- VII-VIII

Inventario:

B-1410

Misure:

Unità di misura: cm; Altezza: 35.8; Larghezza: 14.3; Profondità: 18.5

Tecnica:

bronzo- fusione

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Statue of Miroku Bosatsu

Descrizione:

Miroku, personifies benevolence and was one of the most important deities of early Buddhism in Japan between the 7th and 9th centuries (Asuka and Nara periods), especially for the Hossō cult. When depicted as a Bodhisattva, Miroku is often seated in the "hanka shiyuizō" position, (half-lotus posture in meditation) with his left leg hanging and his right leg crossed over his left knee. His left hand is always resting on the ankle of the bent leg while the fingers of his right hand lightly touch his cheek, showing an attitude of meditation and contemplation. The cylindrical chair on which he sits, is set on a lotus corolla.

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Titolo dell'opera:

Sakè bottle

Ambito culturale:

ambito giapponese

Author/ School/ Dating:

Sakè bottle (tokkuri)

Object Type:

bottle

Epoca:

Inventario:

C-3

Misure:

Unità di misura: cm; Altezza: 18; Diametro: 11.5

Tecnica:

porcellana- pittura

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Sakè bottle (tokkuri)

Descrizione:

Sake bottle (tokkuri) with a pear-shaped body, no foot and a short cylindrical neck. A blue-white cover covers the entire external surface except for the base, which is characterised by a dark chamois background on which a spiral is impressed. The body features a yoraku motif, composed of thin crossed grains forming lozenges decorated with tassels and pendants. The net is interrupted by two lobed green reserves with kotubuki alternating with two other Chinese fan-shaped folders containing a stylised, clawless dragon. Chrysanthemum corollas and leaves appear on the neck on a blue background. This type is known as "Arita porcelain" or "Imari", with kakiemon decoration.

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Titolo dell'opera:

Tsuba with eighteen shell festoons

Ambito culturale:

ambito giapponese

Autore:

Echizen Ju Kinai (Scuola Kinai)

Object Type:

handguard

Epoca:

1701 - 1800 - XVIII

Inventario:

T-568

Misure:

Unità di misura: UNR; Misure mancanti: MNR

Tecnica:

Ferro patinato inciso e traforato

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Tsuba with eighteen shell festoons

Descrizione:

Tsuba” (鐔 or more commonly 鍔), sword guard/hand guard. The tsuba was an independent and removable part of the body of the katana (刀) that, yes, had as its original purpose that of safeguarding the hand of the person holding the sword, but which over time increasingly became an indicator of social status. It is a “simple” metal plate of which there are traces dating back to the end of the Kofun period (250 BC-538 AD), but which starting from the Edo period (1600-1868) took on increasingly complex and particular forms. If already between the 14th and 15th centuries, alloys based on soft metals began to be used instead of steel for their forging, it is from the Edo period that they took on the function of “status indicator” since, when the katana was placed in its scabbard (鞘, “saya”), they were the only visible part together with the hilt (柄, “tsuka”). In their manufacture, the use of gold or silver inserts was introduced and natural, mythical or fantastic elements began to be depicted on the surface of the tsuba, which therefore took on increasingly complex forms. This is particularly true for the “external” or “upper” part of the tsuba called “omote” (表). Tsuba with festoon of eighteen shells. Shell motif, belongs to the Kinai 記内家 school, active in Japan between the 17th and 18th centuries. This school was affiliated with the Yasutsugu (康継) family of blacksmiths, who produced blades for the Tokugawa. The distinctive feature of the Kinai style is the openwork modeled in round and executed with great mastery. The most recurring subjects are naturalistic elements, and, in particular, dragons. This school is also famous for its engravings on blades.

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Titolo dell'opera:

View of Mount Fuji in the "small sixth month"

Autore:

Totoya, Hokkei

Object Type:

painting

Epoca:

1837 - 1837 - XIX

Inventario:

P-0341

Misure:

Unità di misura: cm; Altezza: 32.1; Larghezza: 54.8; Varie: Altezza montatura: 110 cm
Larghezza montatura: 66.8 cm

Tecnica:

inchiostro e colori su seta

Ultimi prestiti:

La Rinascita della Pittura Giapponese. Vent'anni di restauri al Museo Chiossone di Genova - Genova, Museo d'Arte Orientale Edoardo Chiossone - 28/02 - 29/06 2014

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View of Mount Fuji in the "small sixth month"

Descrizione:

The Japanese mountain par excellence is Mount Fuji (富士山, Fuji-yama), a 3,776 m high volcano located on the Japanese island of Honshū; At 3,376 m, it is the highest mountain in Japan and is considered one of the "three sacred mountains" (三霊山, Sanreizan) of the country together with Mount Tate and Mount Haku, so much so that Shintoists consider it a must to make at least one pilgrimage to its slopes once in their lifetime. Its summit is snow-capped for about 10 months of the year. Painting with original silk mount: ichimonji in kinran with a yellow-orange background with single-stemmed swirls of hōsōge flowers and foliage; chūberi and jōge given by a single hanging in monochrome blue-black donsu with large drawings of stylised plum blossoms; jikushi in turned ivory. The artist takes up the very famous image of Mount Fuji created by Hokusai for the series of ukiyo-e prints "Thirty-six Views of Fuji" (1830-1833); the mountain has a peak that stands out on the right and descends to the left in a gentle curved slope just like in Hokusai's prints. On the left side are depicted coniferous forests, as in one of Hokusai's variants "Red Fuji" and "White Fuji", while the ring-shaped cloud that wraps the slopes with a cap of snow that covers the peak are innovations of Hokkei. The author of the kyōka poem 狂歌, calligraphed on the left, is Garyōen Umemaro, head of the Hanazon-ren kyōka poetry circle. The lines read: Here is a mountain that knows no seasons Fuji is dressed in the snow of the summer robe In the warmth of the small sixth month (tenth month) (Signed) Garyōen Umemaro, eighth month, autumn of the Year of the Rooster, eighth of the Tempō Period. For Umemaro, Fuji wears “the snow of the summer robe” in the “warmth of the small sixth month,” a name formerly given to the tenth month of the traditional calendar, in which the calm and cool autumn days resembled those of early summer (of the sixth month). This Japanese poetic genre, which flourished mainly in the Edo period, is a form of humorous and satirical poetry, often characterized by puns and a playful tone. The meaning lies in playfully contradicting classical tradition, in particular by inverting the meaning of the ancient attribute 'toki shiranu Fuji', “the Fuji that knows no seasons”, an expression derived from a waka (Japanese poem) in the Ise Monogatari that describes Fuji as being perpetually covered in snow, even in summer.

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Titolo dell'opera:

Popular New Year's Eve customs and traditions seen on the street

Autore:

Miyagawa, Chōshun

Object Type:

painting

Epoca:

1720 - 1720 - XVIII

Inventario:

P-0324

Misure:

Unità di misura: cm; Altezza: 34.2; Larghezza: 471.4

Tecnica:

inchiostro, colori e oro su seta

Ultimi prestiti:

La Rinascita della Pittura Giapponese. Vent'anni di restauri al Museo Chiossone di Genova - Genova, Museo d'Arte Orientale Edoardo Chiossone - 28/02 - 29/06 2014

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Popular New Year's Eve customs and traditions seen on the street

Descrizione:

Painted scroll with new silk mount: hyōshi in kinran on a blue-green background with a small geometric checkerboard pattern and leaf washers; mikaeshi in paper decorated with kin-sunago; jikushu in turned natural cherry wood decorated in makie lacquer with cherry blossoms and petals. Consisting of four scenes, the scroll opens with a plum tree in blossom, in front of which a traveling puppeteer surrounded by three children performs his show. Nearby, between a cherry tree in blossom and a pine tree, a manzai dressed in a light gray suō with green and blue designs, with the haberi eoshi headdress and a folding fan in his hand, dances to the sound of the saizō's shoulder tambourine and the shakuhachi flute of two komusō. Three young boys and a woman with three little girls watch the dance. The second scene consists of three groups: two elderly tea-utensil sellers carrying auspicious pine branches; two boys turning to look at a yamabushi who is playing a conch shell and is accompanied by an attendant carrying on his back an enormous lotus leaf-shaped hat; an elegant effeminate actor accompanied by a young boy and followed by a servant carrying a kimono. The opening of the third episode is marked by a red plum tree. A Shinto priest advances with a ritual staff with scrolls. He is approached by a courtesan holding a child by the hand and is followed by an effeminate boy and a maid with an infant on her shoulder. The group arouses the curiosity of a street vendor. A short distance away, followed by two maids carrying bundles, a lady advances covering her head with a mantilla and turns back in the direction of a man with an enormous Chinese lion mask who is about to begin a dance to the rhythm of the kankaradaiko. Nearby, two blind men and a child are listening, and a lute player is striding away, with his instrument wrapped in a white cloth on his shoulder. The fourth scene begins near some cherry trees in bloom. A woman with her hair wrapped in a gray cap walks with a boy and a girl, while in the opposite direction a Shinto priestess walks, accompanied by a servant carrying a box. Lastly come three Ōharame carrying bundles of firewood. A stream winding between grassy banks closes the composition.

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Titolo dell'opera:

Female Parody of the Seven Philosophers of the Bamboo Forest

Autore:

Teisai, Hokuba

Object Type:

painting

Epoca:

1830 - 1844 - XIX

Inventario:

P-0316

Misure:

Unità di misura: cm; Altezza: 55; Larghezza: 119; Varie: Altezza montatura: 168.3 cm
Larghezza montatura: 128.3 cm

Tecnica:

inchiostro e colori su seta

Ultimi prestiti:

La Rinascita della Pittura Giapponese. Vent'anni di restauri al Museo Chiossone di Genova - Genova, Museo d'Arte Orientale Edoardo Chiossone - 28/02 - 29/06 2014

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Female Parody of the Seven Philosophers of the Bamboo Forest

Descrizione:

The Seven Sages are seven Chinese Taoist scholars of the third century who, rejecting Confucian thought and Wu shamanic practices, retired to a hermitage to be independent and perpetuate the Wuwei philosophy. From the eighteenth century onwards, in Japan, parodic depictions of this theme began to appear, where the seven sages were replaced by seven beautiful women or courtesans, as in this case. These women, from different social backgrounds, are each depicted in a pose that best highlights the strong points of each dress (from the sumptuous dress of the courtesan decorated with a tiger, through elegant kimonos to simple bath robes, yukata) which suggests that the painting was commissioned by a tailor shop as a sales gimmick, to show the quality and wide range of products on sale, accessible to all classes. The woman in the center, holding a teacup, wears a casually blue yukata robe with stylized blue bats in flight. The fact that the artist and the patron decided to publicize this motif is evidence of how popular and in demand it was. Painting with original Tamato rinbo silk mount: ichimonji in polychrome atsuita with geometric Bishamon-kikkō motif; chūberi in blue-ground patterned fabric with swirls and peonies; jōge in ivory-colored satin; jikushu in wood and brown urumi urushi lacquer inlaid with thin iridescent mother-of-pearl with hōsōge flowers. The work depicts seven women in a large room closed at the corner on the left side by a large two-panel screen, painted in ink with some bamboo plants near a stream. Four figures are seated while the rest are standing. It is a parodic representation of the Seven Philosophers of the Bamboo Forest. The subject is used as a pretext to represent female types from different social backgrounds: an oiran, a city girl who is busy writing a poem on a tanzaku scroll, a geisha with a shimasen, the wealthy wives of a merchant and a craftsman, two maids.

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