Sulla Via del Catai - Nr. 24, Maggio 2021
ARTE CINESE E CHINOISERIE
Residenze, collezioni e musei in Italia
Sfoglia le prime pagine
VISCONTI, Chiara - Università degli Studi di Napoli , "L'Orientale"
L'INCONTRO TRA L'ARTE CINESE E L'ITALIA pag. 7
THE ENCOUNTER BETWEEN CHINESE ART AND ITALY Read
MOSSETTI, Cristina - già Soprintendenza Beni Artistici del Piemonte - Villa della Regina
L’ESOTISMO IN PIEMONTE
allestimenti con lacche e carte orientali e “alla china”, fra Sei e Settecento pag.15
EXOTICISM IN PIEDMONT
arrangements with oriental lacquers and papers and "alla china", between the seventeenth and eighteenth centuries
Abstract: Piedmont has a longstanding interest in Oriental furnishings purchased by Sabaudian monarchs and the aristocracy through an established exchange system across European capitals between the 17th and 18th centuries. Imported Chinese papers, silks, lacquers, and porcelains entered collections, often used within so-called “stanze alla china”, and displayed alongside sophisticated chinoiseries by Piedmontese ateliers that were drawing references from European treatises’ iconography and techniques. Read
CATERINA, Lucia - Università degli Studi di Napoli, "L'Orientale"
ALCUNI ESEMPI DI PORCELLANE, LACCHE, CARTE CINESI DALLE RESIDENZE PIEMONTESI:
UN CIRCUITO ICONICO pag. 33
SOME EXAMPLES OF PORCELAINS, LACQUERS, CHINESE PAPERS FROM PIEDMONT RESIDENCES: AN ICONIC CIRCUIT
Abstract: On the basis of studies on the Oriental heritage conducted in Piedmont over the last few decades, the aim of this article is to take a closer look at the iconographic circuit that links East and West in the artefacts destined for the European market. The decorations that embellish the various exported artefacts are often selected in Chinese workshops, sometimes solely for the exotic taste they convey, while in some cases it is possible to trace the iconographic matrix, that is almost always linked to painting and the world of the literati. The focus of this article is on some examples of Chinese porcelain, lacquer and wallpapers kept in Piedmontese residences. Read
PORZIO, Annalisa - Palazzo Reale di Napoli
LO STILE CINESE NELLE RESIDENZE REALI DI NAPOLI pag.49
THE CHINESE STYLE IN THE ROYAL RESIDENCES OF NAPLES
Abstract: The aim of the paper is to retrace the significant episodes of chinoiserie decoration in the residences of the Bourbons in Naples in the 18th century, in particular in the Royal Palace of Portici and the Villa Favorita in Resina: trying to identify the sources, the artists, the cultural models, and more generally the value of chinoiserie as linked to the image of China at court. Read
GIUSTI, Paola - Museo e Real Bosco di Capodimonte
DRAGHI CINESI E GUERRIERE OCCIDENTALI.
Nuove evidenze per il Gabinetto di porcellana della Reggia di Portici e il gusto della chinoiserie
a Napoli al tempo di Carlo di Borbone pag.69
CHINESE DRAGONS AND WESTERN WARRIORS. New evidence for the Porcelain Cabinet of the Portici Palace and the taste of chinoiserie in Naples at the time of Charles of Bourbon
Abstract: The Porcelain boudoir (Salottino di porcellana) made for Queen Maria Amalia between 1757 and 1759 and first mounted in the Royal Palace at Portici, now displayed at Capodimonte, is the highest achievement of the Royal Factory of Capodimonte. The room is sumptuously covered with chinoiserie porcelain figurines and decorations, covering the entire repertoire of scenes of Chinese life, flora and fauna, including some cartouches with Chinese characters. The presence, under four dragons, of Western-style female herms, already noted in 1957 and now attested to by specific investigations, demonstrates that the sovereigns’ choice for the chinoiserie decoration matured during the course of the work, eventually leading to a precise orientation of taste. Read
VISCONTI, Chiara - Università degli Studi di Napoli , "L'Orientale"
TWO COLLECTORS OF CHINESE ART AT THE DAWN OF THE ITALIAN UNIFICATION:
a comparative perspective * pag. 91
DUE COLLEZIONISTI D'ARTE CINESE ALL'ALBA DELL'UNIFICAZIONE D'ITALIA: una prospettiva comparativa
Abstract: La collezione di Placido de Sangro, oggi conservata nel Museo Duca di Martina di Napoli, e quella di Vittoria Toschi Mosca, donata alla città di Pesaro e custodita nei Musei Civici, costituiscono due delle più ampie raccolte di ceramica cinese in Italia. Sebbene le due raccolte siano state formate nello stesso periodo e condividano alcuni aspetti, lo spirito e le motivazioni che spinsero i due collezionisti ad acquistare porcellana orientale furono sostanzialmente differenti e sono qui discussi nel più ampio contesto della storia del collezionismo nell’Italia della metà del XIX secolo.
The collection of Placido de Sangro, now preserved in the Duca di Martina Museum in Naples, and the one of Vittoria Toschi Mosca, donated to the city of Pesaro and kept in the Civic Museums, represent two of the largest collections of Chinese ceramics in Italy. Although the two collections were formed in the same period and share some aspects, the spirit and motivations that led the two collectors to purchase oriental porcelain were substantially different and are discussed here in the broader context of the history of collecting in mid-century Italy. Nineteenth century. Read
FEDI, Pierfrancesco - Ricercatore indipendente
TESTIMONIANZE CINESI NEL MUSEO NAZIONALE DEL PALAZZO DI VENEZIA A ROMA pag.113
CHINESE TESTIMONIALS IN THE NATIONAL MUSEUM OF THE PALAZZO DI VENEZIA IN ROME
Abstract: The Museo Nazionale del Palazzo di Venezia in Rome’s collection of Chinese (and Japanese) applied artworks is constituted for the most part by the Ruffo di Motta Bagnara donation of 1919 and by the Tower Wurts bequest of 1933. In 20th century, save a few rare exceptions, almost all of the East Asian collection remained out of public view. Some selected items were exhibited on 2002. Only from the 2004 ten large display cases in the Passetto dei Cardinali were arranged with Chinese porcelain, Japanese porcelain and imitations, in addition to a two display cases with the ‘Servizio dell’Ombrellino’ and few other examples of porcelain produced in China for the East India Company. This contribution aims to offer a profile of this collection of Chinese artefacts (mainly porcelain, but not only) as part of a series of studies which have been ongoing for some time, and which strive to offer a more precise and informed appraisal of China in Rome. Read
TRIVEL GUGLIELMINOTTI, Marco - MAO, Museo d’Arte Orientale
LA COLLEZIONE CINESE DEL MAO MUSEO D’ARTE ORIENTALE , TORINO. pag.131
THE CHINESE COLLECTION OF THE MAO MUSEUM OF ORIENTAL ART, TURIN.
Abstract: The collection of Chinese art at the Museum of Oriental Art in Turin is one of the most important in Southern Europe. It is composed of more than 800 objects, mostly dating between the Neolithic and the 10th century AD, that constitute the richest selection of Chinese funerary art among Italian public collections. My paper presents an overview of the collection and relates on how it came to the museum from different sources, then focuses on a selection of the most rare and representative objects through ages. Read
STRINA, Veronica - Università per Stranieri di Perugia
LA COLLEZIONE ETNOGRAFICA DEL MUSEO D’ARTE CINESE ED ETNOGRAFICO DI PARMA :
brevi note introduttive pag.147
THE ETHNOGRAPHIC COLLECTION OF THE CHINESE ART AND ETHNOGRAPHIC MUSEUM OF PARMA: brief introductory notes
Abstract: Through an accurate selection of ethnographic materials, the contribution seeks to retrace the long and winding path undertaken in 1901 by mons. Conforti that led to the creation of the Museum of Chinese Art and Ethnography of
the Xaverian missionaries in Parma. Presenting the most significant pieces of the Chinese Ethnographic collection, the article offers a witness of the customs and traditions of the time as well as documentary evidence of cultural exchanges between China and the territory of Parma. Read
*NOTA Articolo in inglese, traduzione italiana disponibile su richiesta