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Il Mondo Femminile Nell'arte Giapponese

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Il Mondo Femminile Nell'arte Giapponese oggetti per passione il mondo femminile nell’arte giapponese A cura di Anna Maria Montaldo e Loretta Paderni copertina e pagine illustrate Le immagini sono tratte da: Suzuki Harunobu, Ehon seirō bijin awase, “Libro illustrato a paragone delle bellezze delle case verdi”, 1770 Oggetti per passione Scenografia Un sentito ringraziamento Il mondo femminile Sabrina Cuccu per la realizzazione della mostra nell’arte giapponese Progetto e del catalogo alla Soprintendenza Indice Fondazione Teatro Lirico di Cagliari al Museo Nazionale Preistorico Etnografico Luigi Pigorini Cagliari, Palazzo di Città Realizzazione Il museo come luogo di scambio e relazione culturale 7 Museo d’Arte Siamese Francesco di Gennaro 27 giugno – 8 settembre 2013 Progetto grafico Soprintendente L’oriente ad ovest della penisola 9 Subtitle Egidio Cossa Progetto e cura della mostra Responsabile della sezione L’arte giapponese nelle collezioni 11 Anna Maria Montaldo, Loretta Paderni Fotografie Eventi e Mostre di Stefano Cardu e Vincenzo Ragusa Fabio Naccari Grazia Poli I collezionisti 12 Realizzazione della mostra Foto oggetti Sezione Eventi e Mostre L’oriente, la ricerca e la passione 14 Musei Civici Cagliari in collaborazione Chise Saito, Art Research Centre, Mario Mineo Il Museo Civico d’Arte Siamese Stefano Cardu 16 con la Soprintendenza al Museo Ritsumeikan University, Kyoto, Responsabile del Laboratorio L’arte giapponese nella collezione Stefano Cardu 19 Nazionale Preistorico Etnografico Foto libro Harunobu Fotografico e dell’Archivio Fotografico Luigi Pigorini, Roma Quando fuori “c’era tanto mondo...” 22 © Soprintendenza al Museo Nazionale e Storico Preistorico Etnografico Luigi Pigorini Testi su concessione del Ministero per i Si ringraziano inoltre Anna Maria Montaldo, Loretta Paderni Beni e le Attività Culturali Ikuko Kaji e Maria Cristina Gasperini Presentarsi in pubblico 25 Giuseppe Ungari (foto pag. 20-21) Istituto Giapponese di Cultura Abbigliamento e accessori 27 Segreteria Organizzativa (The Japan Foundation), Roma Simona Pala, Maria Antonietta Pellecchia, Rosanna Bussu, Tiziana Ciocca Ventagli 33 Traduzioni Donatella Pusceddu, Stella Spiga, e Marzia Marino Toeletta 43 David Nilson Francesca Zenoni – Musei Civici, Cagliari Associazione Orientare Arti predilette 55 Cura e preparazione degli oggetti Servizi educativi Shōdo, calligrafia 57 Jesus Garcia Lourido, sotto la guida Musei Civici di Cagliari di Luciana Rossi e Maria Francesca in collaborazione con Ikebana, disposizione dei fiori 69 Quarato, Laboratorio di Conservazione Associazione Orientare Musica 85 e Restauro della Soprintendenza al Ufficio Stampa Museo Nazionale Preistorico Etnografico Momenti di svago 93 Luigi Pigorini Francesca Cardia Gioco 95 Collaborazioni Fumo 107 Elisabetta Borghi, Vincenzo Crisafulli, Serena Fiorletta, Mayumi Koyama, Bibliografia 109 Mario Pesce English text 112 COMUNE DI CAGLIARI L’arte giapponese nelle collezioni di Stefano Cardu e Vincenzo Ragusa I collezionisti Stefano Cardu Vincenzo Ragusa Stefano Cardu nacque a Cagliari il 18 novembre Vincenzo Ragusa, nato a Palermo l’8 luglio 1841, 1849 da una famiglia di artigiani di agiate seguì Garibaldi a Milazzo nel 1860. Studiò con condizioni economiche; giovanissimo si imbarcò su l’abate Giovanni Patricolo (1789-1861), Nunzio un bastimento a vela e, dopo anni di navigazione, Morello (1806-1874), Salvatore Lo Forte (1809- approdò sulle coste del Siam nel 1874. In questi 1885) e frequentò l’Accademia del Nudo di luoghi si stabilì per oltre vent’anni e creò un’ingente Palermo. Trasferitosi a Milano, ottenne nel 1875 il fortuna come impresario di opere pubbliche (gli diploma ad honorem dall’Accademia di Brera, che si attribuì anche la costruzione del Palazzo Reale gli permise di accedere e superare la selezione di Bangkok). Al successo economico si unì un per la scelta di tre artisti italiani da inviare presso grande prestigio personale: Cardu fu spesso ospite la costituenda Scuola di Belle Arti (Kōbu Bijutsu della Corte reale siamese e riferimento privilegiato Gakkō) di Tōkyō. Dal 1876 al 1882 v’insegnò dell’alta nobiltà italiana che ivi soggiornò. scultura, introducendo la tradizione plastica Nella capitale siamese il Cagliaritano conobbe, occidentale in Giappone. A Tōkyō conobbe la probabilmente, la sua futura moglie, Rosa Fusco, giovane e promettente pittrice Kiyohara Tama figlia e sorella di musicisti napoletani attivi a (Tōkyō, 10 giugno 1861-Tōkyō, 6 aprile 1939), Bangkok, e con lei, intorno al 1893, incominciò i che lo seguì al suo ritorno a Palermo nel 1882, preparativi per tornare in patria. Nel 1896, infatti, inserendosi con successo nel panorama artistico Cardu doveva trovarsi già in Europa visto che, della città. Vincenzo Ragusa fondò e diresse a in tale data, donò alla piccola parigina Luigia Le Palermo la Scuola d’Arte Applicata all’Industria, Bailly d’Inghieu, adottata solo nel 1911, alcuni di cui Tama fu direttrice della sezione femminile. degli oggetti più belli e preziosi della sua collezione Alla scuola fu inizialmente annesso il Museo orientale. Il 22 giugno 1914, il collezionista, ancora giapponese costituito dalla ricca collezione di ricco e relativamente giovane, ormai stabilitosi oggetti d’arte e d’artigianato che lo scultore nella sua città natale, scrisse all’allora Sindaco aveva collezionato durante il suo soggiorno in Ottone Bacaredda per offrire in dono al Comune di Giappone. Ragusa morì nella sua città natale il 13 Cagliari la sua raccolta di oggetti e armi orientali. marzo 1927. Dopo molte trasformazioni, la scuola Con delibera n. 484 del 3 luglio 1914, il Consiglio fondata da Ragusa è oggi diventata Liceo Artistico, comunale accettò la donazione e destinò al museo dal 2006 intitolato allo scultore e alla moglie. La una sala del secondo piano del nuovo Palazzo collezione di oggetti giapponesi è conservata al Civico. Dopo un’intricata vicenda burocratica Museo Nazionale Preistorico Etnografico Luigi che si concluse solo nel 1923 con l’acquisizione Pigorini di Roma. della totalità della collezione da parte del Comune di Cagliari, Cardu si trasferì a Roma dove morì, Stefano Cardu Vincenzo Ragusa tristemente, il 16 novembre 1933. 8 9 L’oriente, la ricerca e la passione Anna Maria Montaldo Direttore Musei Civici di Cagliari “Oggetti per passione”… quando l’amore per la due in Oriente trovarono anche l’amore, Cardu collezione Cardu. Là dove, infatti, Cardu ha la cetra e il tamburo. La terza sezione è dedicata bellezza e l’eleganza emerge anche dalle forme incontrò la sua futura moglie, la napoletana Rosa caratterizzato tutta la raccolta con un’impronta ai “Momenti di svago” e qui convergono tutti degli oggetti più semplici e banali, dall’uso squisito Fusco, Ragusa la promettente pittrice Kiyohara ed un gusto tipicamente maschile che si quegli oggetti che hanno a che fare con i giochi, e aggraziato di questi, ci si rende conto di essere Tama che con lui fondò a Palermo la scuola di arti conforma perfettamente allo spirito e alla curiosità le carte, gli scacchi, le conchiglie, l’incenso e il di fronte ad una cultura che basa il proprio gusto orientali, divenuta, nel 1908, Istituto d’Arte. Come dei viaggiatori ottocenteschi, Ragusa, forse fumo, considerato una delle quattro arti signorili, estetico nella profonda e radicata conoscenza il cagliaritano Stefano Cardu, Vincenzo Ragusa fu condizionato dalla propria sensibilità artistica aspetti della vita quotidiana che svelano, per dell’armonia e dell’equilibrio della natura. un grande appassionato dell’Oriente e della sua o influenzato dalla moglie, nelle sue scelte ha noi occidentali, il lato più inedito delle donne L’universo femminile giapponese, o meglio quello cultura, anche lui collezionista. Una tendenza, dato spazio all’universo femminile e i pezzi giapponesi e ce le mostrano nei momenti più intimi delle cortigiane, forse ancora oggi poco noto, quella dell’orientalismo, che nell’Ottocento divenne selezionati dalla raccolta romana ne danno e oziosi della giornata. appare così dalla selezione di una serie di oggetti, un fatto di costume, quasi una moda, alimentata prova. L’idea è proprio quella di entrare in punta provenienti dalla raccolta di opere d’Arte Asiatica dai racconti di viaggio, dalla circolazione delle di piedi e sottovoce in un mondo che è sempre Ad introdurre e contestualizzare le tre sezioni, sia del Museo Nazionale Preistorico e Etnografico stampe e degli oggetti che in quantità sempre più stato inaccessibile, quasi proibito, spostare nell’esposizione che nel catalogo, le magnifiche Luigi Pigorini di Roma, una interessante sezione, massiccia entravano in Europa. La prima differenza delicatamente un byōbu, il tipico paravento xilografie a colori, tratte dal volumetto Ehon seirō non ancora esposta ma studiata e curata in la si percepisce nella composizione delle due utilizzato per delimitare gli spazi privati, e curiosare bijin awase, anche questo in mostra. Le immagini questi anni da Loretta Paderni. Al suo interno collezioni definite come “siamese” quella del Cardu in una dimensione che è distante da noi nello rappresentano le cortigiane di Yoshiwara, l’universo un’importante collezione di arte giapponese e “giapponese” quella del Ragusa. Nella selezione spazio e nel tempo. più segreto delle maisons vertes, delle geisha e intitolata a Vincenzo Ragusa (Palermo 1841-1927), delle opere, inoltre, Cardu appare più eclettico, delle case del tè, romanticamente ammantato di scultore siciliano che visse in Giappone tra il guidato da un intuito infallibile per la bellezza, Il percorso della mostra si snoda tra il primo e esotica diversità.
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