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Animaleshombres-Dossier.Pdf De animales y hombres Estampa japonesa y katagami del MNAD Una parte considerable de los fondos de este museo está compuesta por piezas de origen oriental, entre ellas podemos encontrar una destacada colección de ukiyo-e y los recién identificados katagami. De animales y hombres, nos permite adentrarnos en un mundo de papel que retrata un entorno natural y cultural a través del prisma de artista japonés del momento. Con una enorme capacidad de detalle, las piezas muestran escenas de la vida cotidiana en la ciudad de Edo; sus cánones de belleza y elegan- cia; una rica tradición literaria; su pasión por el paisaje y la naturaleza, desde la mirada científica a la poética. Todos ellos aspectos esenciales para comprender el inmenso magnetismo que provocan estas manifestaciones. Esta muestra forma parte del proyecto “Relectura de la colecciones del museo”, a través del cual se intenta poner a disposición del público un mayor porcentaje de la colección a través de diversas ex- posiciones temáticas en las puedan ver la luz piezas que habitualmente, por cuestiones de espacio o conservación, deben permanecer en almacenes; y asi mismo ofrecer nuevas datos e interpretaciones entorno a las mismas. Esta selección se centra en dos tipos de objeto que tienen el papel como soporte, que fueron produ- cidos en Japón entre los siglos XVIII y XX, y con una temática limitada centrada en representaciones del mundo animal y el ser humano. Corresponden a dos técnicas concretas: el grabado polícromo con planchas de madera (ukiyo-e) y plantillas de estarcido para teñir tejidos: (katagami). El Ukiyo-e Como otras manifestaciones de las artes plásticas japonesas, el ukiyo-e es una técnica compleja en la frontera entre la producción artística y la artesanía de alta calidad. Nace de la revolución cultural y los cambios producidos en el periodo Edo (1603-1868). La nuevas clases urbanas con mayor poder adquisitivo y sus nuevas formas de vida y ocio generarán una riqueza cultural sin parangón hasta entonces. El ukiyo-e fue un producto de consumo cotidiano, creado por y para esta sociedad. Con un gran abanico de usos (ilustración de libros; publicaciones periódicas; edición de compendios de imágenes; carteles publicitarios y propaganda de todo tipo) y temas (retratos, vida cotidiana, temas literarios e históricos, paisaje, repertorios animales), giraba en torno a cuestiones que conectaban con su cultu- ra. Géneros que en occidente eran propios de la Pintura, en Japón, a partir del siglo XVII, se materia- lizaron en estampas de papel. Algunos ejemplos de ukiyo-e ejercieron una gran influencia en el arte europeo desde la segunda mitad del siglo XIX, contribuyendo profundamente a su renovación. La especial capacidad que estas manifestaciones tuvieron para trasladar los elementos estéticos de la sociedad que los produjo, sus novedosos enfoques y manera de mirar, su exotismo y su refinamiento fascinaron al público y a los artistas occidentales. Esta producción se prolongará durante el periodo Meiji (1868-1912), llegando hasta mediados del siglo XX, cuando reciba de vuelta las innovaciones de las vanguardias históricas europeas. Destacan dentro de esta exposición la obra de maestros tan significativos como Kitagawa Utamaro, Katsushika Hokusai, Ando Hiroshige, Utagawa Kuniyoshi, Utagawa Kunisada y Ogata Korin. Katagami Estas plantillas de papel calado, empleadas para teñir tejidos, estaban realizadas con un papel grueso de fibras de corteza de morera empapadas en jugo de caqui verde. Este fruto y un procedimiento de secado “al humo” les aportan resistencia y un característico color teja. Las técnicas de corte y el instrumental no han experimentado cambios sustanciales en los dos últi- mos siglos y todo el trabajo se organiza en torno a cuatro especialidades: Corte por tracción (hikabo- ri), calado de puntos (kiribori), corte troquelado (dogubori) y corte por presión (tsukibori). La variedad de patrones presente en el Ise katagami es enormemente completa. Los temas, normal- mente extraídos de la naturaleza (seres humanos, animales y plantas) que se combinaban con dise- ños geométricos de carácter tapizante. Si bien los ejemplares de esta exposición son especialmente sencillos —por estar destinados al estampado de motivos centrales, cenefas y esquinas, posiblemen- te para pañuelos—, es habitual encontrar plantillas con calado de gran complicación que requerían de una trama de hilos de seda para mantener su integridad. Como en el caso del ukiyo-e, el Ise katagami se desarrolló en el contexto cultural de Edo, en este caso como una disciplina auxiliar a la producción de textiles. Las clases medias urbanas demandaban un tipo de indumentaria estéticamente refinada y actualizada a los dictados de su moda. El empleo de las plantillas de papel siguió estando vigente durante el periodo Meiji y, con algunos altibajos, todo el siglo XX. Gorriones y violetas, estampa nº 3 de la serie Inv. 21975 21975 Inv. “Pájaros y flores de Barei” Kôno Bairei, Escuela Shijo, 1893, Kyoto Estampa policroma (nishiki-e) sobre papel Patos en la nieve, 21990 estampa nº 12 de la serie Inv. Inv. “Pinturas de flores y pájaros de Keinen”, vol. XII Imao Keinen, 1892, Kyoto Estampa policroma (nishiki-e) sobre papel Ciervo, Estampa nº 8 de la serie Inv. 21927 Inv. “Doce dibujos de Kôrin” Ogata Kôrin, Escuela Rinpa, 1893, Tokio Estampa policroma (nishiki-e) sobre papel con aplicaciones de mica gris Besugo Inv. 22480 Inv. Autor desconocido, 1880-1912, Japón (Provincia de Ise?) Plantilla de papel de morera teñido con caquí recortado (Ise Katagami) Pareja con biombo Inv. 10841 Inv. Kitagawa Utamaro, 1797, Edo Estampa policroma (nishiki-e) sobre papel Fujiwara no Michinobu Anson, poeta nº 52 de la serie Inv. 10759 Inv. “Ilustración de poemas de los cien poetas explicados por la nodriza” Katsushika Hokusai, 1835 (primera edición), Edo Estampa policroma (nishiki-e) sobre papel Mujer sentada en un porche, de la serie “Nieve, luna, flores”. Inv. 10836 Inv. Tríptico “Noche de luna” (lámina derecha) . Utagawa Hiroshige, Escuela Utagawa, 1847-1852, Edo Estampa policroma (nishiki-e) sobre papel Chokuro, el comerciante de sandalias Inv. 10816 Inv. Utagawa Kuniyoshi, Escuela Utagawa, 1849, Edo Estampa policroma (nishiki-e) sobre papel Domador de monos Inv. 22493 Inv. Autor desconocido, 1880-1912, Japón (Provincia de Ise?) Plantilla de papel de morera teñido con caquí recortado (Ise Katagami) Información Museo Nacional de Artes Decorativas C/ Montalbán, 12 28014 Madrid CUÁNDO VENIR Horario: De martes a sábados de 9:30 a 15:00 h. De domingo y festivos: de 10:00 a 15:00 h. Apertura vespertina todos los jueves, viernes 26, sábado 27 y martes 30 de diciembre de 17:00 a 20:00 h. Días de cierre: Todos los lunes del año, 1 y 6 de enero, 1 y 15 de mayo, 24, 25 y 31 de diciembre. ENTRADA GRATUITA A LA EXPOSICIÓN COMO LLEGAR En autobus: Plaza de Cibeles: 1, 2, 5, 9,10, 14, 15, 20, 27, 34, 37, 45, 51, 52, 53, 74, 146, y 150. Puerta de Alcalá: 1, 2, 9, 15, 19, 20, 28, 51, 52, 74, y 146. En metro: Banco de España y Retiro (línea 2) Cercanías: Estación de Recoletos Síguenos en: Aparcamientos públicos: C/ Montalbán En bicicleta: @MNAD_Madrid Aparcamiento público en Montalbán nº 1. Estación 65 BiciMad en C/ Antonio Maura Twitea tu visita: Estación 86 BiciMad en Plaza de la Independencia #Deanimalesyhombres Carril Bici en c/ Serrano.
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