- XVIII

P-0193

Unità di misura: cm; Altezza: 99.8; Larghezza: 33; Varie: Altezza montatura: 179.2 cm
Larghezza montatura: 44.1 cm

inchiostro, colori e oro su seta

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

Originating from Sado Island (present-day Niigata Prefecture), where it is still performed today, harugoma is a ceremonial dance that was once performed throughout Japan at the beginning of spring in Shōgatsu, the first month of the lunar calendar, to bring good luck to the year. The performers were kadozukegeijin, wandering acrobats who went from house to house and, after pronouncing a good wish, sang and danced in front of the main entrance, sometimes wearing a costume with a horse-head mask, or carrying a stick with a small sculpture on the top depicting a horse's head with a bridle. This dance passed from the repertoire of street performers to that of Kabuki theater, where it began to be performed during the Genroku period (1688-1704). November 1782 was the peak of the theatrical popularity of harugoma, with the first performance of the play "Mutsumashi tsuki no tetori", which attracted a large audience also in Yoshiwara and which, due to its success, was probably repeated until the following year. These circumstances lead us to think that Shunshō painted the work in conjunction with the popularity of harugoma dance between 1782 and 1783. Painting with new Yamato hyōgu silk mount: ichimonji and fūtai in white hiraori embroidered in polychrome silk and gold with swirls and flowers; chūberi in two-tone hazelnut and green donsu with a lightning bolt motif; ivory-colored jōge; jikushu in wood and semi-gloss reddish-brown lacquer. The work depicts a young woman performing the harugoma, a ceremonial dance that used to be held in early spring in Shōgatsu. The figure is in three-quarter view and stands on the tip of her left foot, bending her right leg backwards. The girl turns her head to look at the stick, topped by a small sculpture of an equine protome, which she holds in her right hand. With her left hand, instead, she moves the scarlet reins that she has placed behind her neck. The young woman wears a kimono with large, diagonal light blue and gray stripes, with floating cherry blossoms. The long sleeves are trimmed at the wrists with gray, red, and green ribbons. A brown handkerchief covers her head and is tied under her chin. The dress is closed by a black velvet obi embroidered with green spirals embellished with gold and amaranth. On the left side of the painting, the trunk of a plum tree emerges, with branches dotted with buds and a few open flowers.

- XIX

S-1703

Unità di misura: cm; Altezza: 37; Larghezza: 35.6

carta giapponese- xilografia

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

After the fall of the shogunate and the reopening of Japan to the rest of the world, during the Meiji Period, there was a large and growing presence of foreign residents in the country; this transformed the market and food customs of Yokohama in just a few years, making it a true "Western" district of Japan (as its port was one of the main arrival points for foreign ships). A three-sheet composite woodblock print showing, in a diagonal perspective, a very early moment in the development of Honchō-dōri, Yokohama's most important commercial artery. The street is lined with workshops, warehouses and large stores. The pavement is filled with carters and pedestrians, mostly Japanese. There are few Chinese and Westerners. On the horizon, one can see the masts of several vessels and the sails of numerous boats heading for the mainland. The large corner store on the left is the headquarters of the Mitsui company.

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-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.