S-1154

Unità di misura: cm; Altezza: 37.2; Larghezza: 76.9

carta giapponese- xilografia

Dipinti e stampe del Mondo Fluttuante. Capolavori Ukiyoe del Museo Chiossone di Genova - Genova, Palazzo Ducale - 16 aprile – 21 agosto 2005

This is the last triptych by Utamaro, who died a few months after the production of this woodblock print, in September 1806. A composite woodblock print in three sheets depicting a young aristocratic girl or princess (hime) who, escorted by a large group of maids, has just arrived at Gotenyama "the hill of the palace". The noblewoman is emerging from the palanquin placed in the center of a clearing with cherry trees in bloom, beyond which there is a view of the sea dotted with sails and boats. The young princess wears a very rich kimono decorated with cherry blossom motifs and her hair is adorned with a comb, pins, small white flowers and a red bow. One lady holds up the door of the sedan chair, while behind her another seems to shield her eyes from the sunlight. The left print depicts three women, one of whom is crouched on the grass and offers zori to her lady. Another is ready to open the parasol to protect her, and the third holds up the hem of her dress and signals to her companion on the ground. In the right section, a little girl is holding a realistic doll. Next to her, a lady is holding a box wrapped in purple fabric, perhaps containing the necessary things for the walk, and next to her, another maid is observing the scene. The clothes of the entourage, simpler than those of the noblewoman but elegant and worthy of the servants of a very important family, are all in colors and combinations chosen according to the season, such as the combination yuri (“lily”: red and orange), nadeshiko (“plumed carnation”: red and purple), shōbu (“Japanese iris”: pink and green), and the motifs that embellish them are roses, vines, maple leaves and bamboo leaves.

- XVIII

S-1149

Unità di misura: cm; Altezza: 38.1; Larghezza: 125.7

carta giapponese- xilografia

Dipinti e stampe del Mondo Fluttuante. Capolavori Ukiyoe del Museo Chiossone di Genova - Genova, Palazzo Ducale - 16 aprile – 21 agosto 2005

The term gosekku indicates the five most important festivals of the Japanese calendar that are celebrated especially at the change of seasons; -Jinjitsu (festival of the seven herbs), January 7 -Hinamatsuri (festival of the dolls or festival of the girls), March 3 -Kodomo no hi (festival of the children), May 5 -Tanabata (seventh night), July 7 -Kiku no sekku (day of the chrysanthemums), September 9 The Omagaki Ogiya pleasure house commissioned this pentaptych, which depicts five high-ranking courtesans in an interior, each preparing a flower arrangement symbolizing the Gosekku, the "Five Festivals of the Year." The symbolic depiction implies that the Ogiya house is able to satisfy tastes and preferences in all seasons, offering customers the company of elegant and refined women like their arrangements. The advertising effectiveness of this pentaptych must have been excellent, since two other publishers printed additional versions.

- XVIII

S-0081

Unità di misura: cm; Altezza: 31.9; Larghezza: 43.8

carta giapponese- xilografia

Tabemono no Bi. Bellezza gusto immagine dei cibi giapponesi - Genova, Museo d’Arte Orientale Edoardo Chiossone - 31 ottobre 2015 – 11 settembre 2016

The woodblock print depicts a view of the interior of the restaurant on the ground floor of the Chōjiya, one of the most renowned pleasure houses in Yoshiwara. In the foreground, on the left, behind a low double folding screen, sits a group of three customers and six entertainment professionals: the conversation seems to have just begun and the first course has just been brought by an attendant, who withdraws, prostrating himself on the floor. On the right, several kitchen workers are busy cleaning vegetables, tending the stove, rinsing fish, and pounding rice for mochi cakes, while the head chef, seen from behind, is preparing to slice a large fish placed on the cutting board. A large stack of sake barrels is placed against the right wall, and in the background is the entrance curtain with the emblem of the house. On the left, in the background, several courtesans linger in the large room from which the staircase to the upper floor branches off. All around the perimeter there are small rooms and lounges with sliding walls open, one of which is equipped to store trays and tableware.

- XIX

S-2446

Unità di misura: UNR

stampa a colori su carta

Nikkō is a city located in the mountains of Tochigi Prefecture in the Kantō region, north of Tokyo, full of famous shrines, in the surroundings of the city there are hot springs and a natural park, Nikkō National Park, with waterfalls and beautiful mountain scenery. The mountains around the city are also considered sacred, perhaps because of their particular beauty. Ukiyo-e woodblock print with a view of the province of Shimotsuke, with Mount Nikkō and the Urami Falls. The size of the Urami waterfall is rendered through the shades of bokashi. The verticality of the format and the bold double perspective, from above and front, give majesty to the waterfall. The curiosity of this rugged and steep place is that the jump of the mass of water is so significant that it allows travelers to pass underneath it and look at the waterfall from behind.

- 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