“Libri” Di Nicolo' Manucci: Un Paradigma Per Una Nuova Committenza Europea in India (1680-1820)

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“Libri” Di Nicolo' Manucci: Un Paradigma Per Una Nuova Committenza Europea in India (1680-1820) Corso di dottorato di ricerca in Storia delle Arti XXX Ciclo Tesi di Ricerca I “LIBRI” DI NICOLO' MANUCCI: UN PARADIGMA PER UNA NUOVA COMMITTENZA EUROPEA IN INDIA (1680-1820) SSD L-ART/02 Coordinatrice del dottorato: Ch. Prof.ssa Martina Frank Supervisori: Ch. Prof. Giuseppe Barbieri Ch. Prof.ssa Paola Lanaro Ch. Prof.ssa Elisa Bizzotto Valutatori: Ch. Prof.ssa Cinzia Pieruccini Ch. Prof. Andrea Colli Dottorando: Gianni Dubbini Matricola 956168 2 INDICE Ringraziamenti 5 Introduzione 14 1. L'occhio del medico e il tramonto di un impero: scene di caccia e rappresentazioni nelle opere di Manucci e Legrenzi. 27 2. Un 'mediatore culturale' veneziano nell'India del Sud: ritratti di corte (Libro Rosso) e immagini etnografiche (Libro Nero) eseguite da artisti indiani (1682-1720). 75 3. Jean-Baptiste Gentil e alcuni mercenari europei alla corte di Awadh: autoritratti, immagini sociali e scientifiche in un'epoca di transizione. 144 4. Foscarini, Griselini e Manucci: il restauro della Sala dello Scudo di Palazzo Ducale e le immagini dell'Asia (1760- 1763). 195 5. La committenza di James Skinner e William Fraser: immagini etnografiche dell'India del Nord (1800-1830). 237 Nota bibliografica 268 3 4 RINGRAZIAMENTI Durante questi tre anni di lavoro ho sviluppato un sentimento di gratitudine nei confronti di molte persone. Per questo vorrei, in esordio, ringraziare tutti dettagliatamente, in modo che questa non rimanga solo un'asciutta lista di nomi. Questa tesi non sarebbe mai stata possibile senza la pazienza e la mano ferma del professor Giuseppe Barbieri, mio principale relatore, che mi ha reso partecipe di molti scambi di idee, contenuti e di preziose indicazioni metodologiche durante un lungo e stimolante periodo di lavoro. Lo ringrazio in particolar modo per aver costantemente incoraggiato le mie ricerche all'estero, a caccia di documenti, archivi e bibliografie tra l'Europa e l'India, e per aver approvato ulteriori finanziamenti alla borsa di studio tramite le missioni di ricerca di Ca'Foscari. Gli sono debitore per le innumerevoli e precise correzioni alle varie versioni dei capitoli e alle note a piè di pagina di questo lavoro. Un sentimento di particolare gratitudine va inoltre alla professoressa Paola Lanaro, relatrice che ha sempre mostrato interesse nei confronti dell'impostazione multidisciplinare del lavoro e della sua natura di “storia globale” indirizzata comunque a particolari aspetti dell’arte e della committenza. Preziosi sono stati gli incontri, le discussioni seminariali e le lezioni da lei promosse e gli scambi di idee e approfondimenti sulla stesura dei vari capitoli. Anche la professoressa Elisa Bizzotto, mia terza relatrice, è stata sempre paziente nei confronti delle mie incertezze e perplessità. Durante i nostri incontri mi ha incoraggiato ad allargare gli ambiti tematici, anche quando sembrava difficile trovare le giuste interne articolazioni. Le sono particolarmente riconoscente per avermi permesso di risolvere alcune problematiche relative alla traduzione dei documenti in inglese, fondamentali per la tesi. Vorrei inoltre ringraziare la professoressa Cinzia Pieruccini dell'Università Statale di Milano - docente di arte indiana - per le sue 5 preziose correzioni della tesi in qualità di valutatore esterno, e così il professor Andrea Colli, storico dell'economia dell'Università Bocconi di Milano. Questo lavoro è frutto di una ricerca multidisciplinare che ha avuto una genesi complicata, tra studio a tavolino, lettura e ricerca di documenti d'archivio inediti, durante varie missioni di ricerca in diverse regioni del mondo. Queste sono state condotte in Europa (Regno Unito, Irlanda e Francia) ma anche in Asia, in India in particolare, durante una missione finanziata dall’Università di Ca'Foscari nel marzo 2016, tra Hyderabad, New Delhi, Lucknow e Jaipur. Di fatto la tesi è stata concepita concettualmente in viaggio e scritta tra l'Italia e le biblioteche di Londra. Vorrei iniziare da Venezia che fu il luogo di partenza di Nicolò Manucci in un lontano novembre del 1653. Nella città lagunare avrò per sempre un debito nei confronti del dottor Piero Falchetta, già archivista al Dipartimento di Mappe della Biblioteca Marciana di Venezia, massimo esperto italiano di Manucci che mi ha onorato della sua amicizia e che ha sempre pazientato di fronte alle mie domande e richieste. Sempre alla Biblioteca Marciana ringrazio il personale di sala e in particolar modo la dottoressa Orfea Granzotto che mi ha permesso di consultare in totale serenità e in più occasioni i manoscritti originali di Manucci. Presso la Biblioteca del Museo Correr ringrazio il dottor Camillo Tonini, già responsabile delle collezioni storiche, per avermi permesso di studiare e utilizzare alcuni documenti molto importanti relativi a Griselini. Ringrazio inoltre il personale del Correr, in particolar modo il dottor Claudio e il dottor Marin per le riproduzioni dei documenti. Presso l'Archivio di Stato di Venezia ringrazio le dottoresse Paola Salmini, Alessandra Schiavon e Michela Dal Borgo, in particolare per la sua accurata selezione dei documenti relativi a Griselini. Ringrazio inoltre il personale dell'ufficio per le riproduzioni. L'ambiente culturale veneziano è stato sempre stimolante e moltissime persone mi hanno incoraggiato e aiutato. Ringrazio Marino Zorzi per i commenti incoraggianti sulla mia tesi fin dalla sua fase embrionale. Un grazie particolare va a Franco Ferrari Delfino dell'Ateneo Veneto per il 6 costante aiuto e per aver letto e commentato i primi capitoli. Sono in debito di amicizia anche con il professor Stefano Beggiora per lo scambio costante di opinioni e soprattutto per la sua gentilezza e pazienza durante un intero pomeriggio di riflessioni alla Marciana di fronte al manoscritto di Manucci e alle immagini induiste del Libro Nero. Alcuni professori del dottorato interateneo in Storia delle Arti hanno dimostrato interesse al progetto fin dalla sua genesi. In particolare ringrazio la professoressa Francesca Castellani per gli scambi di opinioni sull'arte occidentale in India e l'Orientalismo, e il professor Guido Zucconi per i suoi pareri su vari temi della tesi, soprattutto sugli aspetti urbani. Il professor Marco Dalla Gassa mi ha offerto assieme al professor Barbieri la possibilità di partecipare a un convegno sul viaggio (“Nel Mezzo del Cammino”, 2016) tenutosi a Ca'Foscari in Aula Baratto e di redigere un report pubblicato per la rivista “Arabeschi”. Durante la ricerca in Marciana la professoressa Marica Milanesi, che ha curato l'edizione Einaudi del Ramusio, è stata particolarmente gentile e disponibile nella revisione di alcuni contenuti del quarto capitolo riguardanti Foscarini, Griselini e la cartografia gastaldiana: le sono molto riconoscente. Ringrazio il professor Luca Mola' e il professor Jorge Flores, entrambi docenti presso l'Università Europea di Fiesole (EUI), per alcune preziose indicazioni di metodo utili a inquadrare la figura di Manucci in una prospettiva di storia globale e per avermi permesso di partecipare come uditore a un seminario sul mondo Indo-Persiano svoltosi nel 2014 all'EUI. Ringrazio inoltre la professoressa Ebba Koch dell'Università di Vienna, esperta mondiale di arte Moghul, per i pareri riguardanti Manucci e l'arte indiana discussi con lei durante il convegno “Empires and Collecting” svoltosi al Kunsthistorisches Institut di Firenze nel 2015. In quella stessa occasione il professor Thomas Da Costa Kauffmann dell'Università di Princeton mi ha concesso il privilegio di una approfondita discussione sull'arte dei committenti olandesi di miniature e le collezioni europee. Ringrazio ancora il personale della Biblioteca Apostolica Vaticana, a Roma, in particolare l'archivista di sala, il dottor Paolo Dian, per avermi esortato a continuare nella trascrizione del manoscritto borgiano 7 riguardante l'incontro tra Gorla e Manucci. Ringrazio inoltre lo scrittore e giornalista Andrea Di Robilant per una conversazione sulla mia tesi in Piazza Farnese, ricca di spunti e prospettive. Ringrazio il professor Giovanni Levi di Ca'Foscari per le diverse ore passate a discutere sulla figura e l’opera di Griselini, la redazione dei “Quaderni Asiatici” e Sergio Bonantini. Ringrazio Sara Mondini e Giampiero Bellingeri di Ca'Foscari per alcuni utili pareri e stimoli riguardanti la tesi e il professor Francesco Guerra per le lezioni del primo anno di dottorato. Ringrazio infine mia collega di dottorato Elisa Daniele, per i proficui scambi di idee durante questo lungo periodo di studi. Numerosi sono i debiti di riconoscenza contratti al di fuori dall'Italia. Voglio ricordare Bruce Wannell, esperto del mondo indo-persiano, raffinato linguista nonchè generoso e paziente amico. Lo ringrazio per avermi sottoposto severe ma giuste critiche, osservazioni e commenti durante tutto il periodo di stesura della tesi, oltre a fondamentali traduzioni dal persiano. Ringrazio lo studioso inglese George Michell per le importanti discussioni riguardanti il secondo capitolo e i siti di pellegrinaggio dell'India meridionale descritti da Manucci. Del personale della British Library tengo a ringraziare il dottor Saqib Baburi e la curatrice del dipartimento di Persiano Ursula Simms-Williams per avermi consentito l'accesso al manoscritto Tashrih al-Aqvam di James Skinner e per avermi inviato le riproduzioni del medesimo. Sono particolarmente grato nei confronti del dottor Jeremiah P. Losty, ex-archivista dell'India Office Archive della British Library per un prezioso scambio di e-mail sui concetti di bazaar painting e Golconda school all'interno
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