- XVII

B-1585

Unità di misura: cm; Altezza: 96.6; Varie: Altezza con piedistallo: cm 130

bronzo colato

Shaka Nyorai is the historical Buddha Śākyamuni, "Nyorai" indicates one who has achieved complete enlightenment; this statue represents the exact moment in which Śākyamuni completes the way to becoming Buddha and achieves the Awakening. The figure we observe is in fact in the lotus posture, seated on the throne made up of two overlapping lotus flowers, one with the corolla facing upwards and the other facing downwards. The hands are held in the mudrā of deep meditation. This gesture in Sanskrit is called dhyānamudrā and symbolises the ecstatic and contemplative thought free from worries and distractions, in which Siddharta Gautama was immersed when, absorbed in meditation under the Bodhi tree, he reached the enlightenment. We can therefore say that this statue represents the exact moment in which Śākyamuni completed his Journey to becoming Buddha and achieved Awakening, this event is commemorated in Japan with the Jōdō-e, the Buddhist celebration that, on December 8, commemorates the enlightenment of Buddha Śākyamuni. Engraved inscription says: “This image depicting Shaka Nyorai is one of six made at the same time, on the 24th day of the Ninth Month of the 7th year of the Genroku Era (1694) by Tanaka Iga and Fujiwara Tamehide commissioned by Ōhashi Dōchi (?) who lived in Ichiba, Yabu, Tajima [present-day Hyōgo Prefecture]”.

V-II b.C. - 500 b.C. - 101 b.C.

Unità di misura: cm; Larghezza: 5; Lunghezza: 52.7; Spessore: 0.3

Perù

cotone naturale e fibra camelide, punto boucle'

Mostra d’Arte Precolombiana e di Etnologia Americana - Castello D'Albertis, Genova - 1972/1977<br>Le mani delle Americhe - Laboratorio Didattico S. Agostino, Genova - nov-gen. 1995/96

Fragment of cloak edge with natural cotton core and bouclé stitch embroidery. The core is covered with camelid fibers finely worked in cross-looping (bouclé stitch with circular pattern) corresponding to the body of the birds and at the base of the plant motifs. The other too small parts of the body of the birds and the plant motifs do not have a cotton core but rather camelid fiber worked in chain stitch. The colors used are red, yellow, purple, pink, blue, light and bottle green, light blue, medium and dark brown, black. Double-sided fabric.

XIX - 1801 - 1900

Unità di misura: cm; Diametro: 1; Lunghezza: 24.1; Varie: Diametro massimo fusaiola cm 2.8

Perù

legno intagliato

Mostra d'arte precolombiana e di etnologia americana - Palazzo Ducale, Genova - 1972/1977

Dark wood wand with a single pointed end and terracotta spindle. One surface of the terracotta is flat, the other one is shaped.

XIX - 1801 - 1900

Unità di misura: cm; Diametro: 0.6; Lunghezza: 23.8; Varie: Diametro massimo fusaiola cm 2.8

Perù

legno intagliato

Mostra d'arte precolombiana e di etnologia americana - Palazzo Ducale, Genova - 1972/1977

Dark wood wand with a single pointed end and terracotta spindleterracotta spindle mould, decorated with incisions and two excised geometric motifs.

1551 - 1600 - XVI

Sm-30

Unità di misura: cm; Altezza: 18.4; Lunghezza: 22.5

Cina

lega di rame

In China, during the Ming (1368-1644) and Qing (1644-1912) periods, the ateliers controlled by the imperial house created enamel works of the highest technical and artistic quality, so much so that cloisonné enamels are considered typical products of Chinese decorative arts. Duck-shaped perfume burner.

IX-XI - 801 - 1100

Unità di misura: cm; Altezza: 58; Larghezza: 124

Perù

cotone- tessitura a telaio

Le mani delle Americhe - Genova/ Laboratorio didattico S.Agostino - 1995/96

Complete tunic made up of six fabrics assembled in very fine natural cotton balanced canvas. Additional wefts in camelid yarn draw stylized ornithomorphic figures in pink, white and brown on a yellow and red background in the lower part of the tunic. Areas with additional wefts are framed with tapestry stitch weaving. The four pieces (central part and sleeves) are folded and joined to form the stitched tunic wrapped in natural cotton. The opening for the head is obtained simply by not sewing the selvages and is embroidered with a loop at the base of the neckline in yellow camelid fibre. Below the decoration, fringes made with tapestry stitch with natural cotton warp and yellow camelid fiber weft are sewn with wrapped stitch to the rest of the tunic.

V b.C. - VII a.C. - 500 b.C. - 700 a.C.

Unità di misura: cm; Altezza: 19; Lunghezza: 54.5; Unità di misura: cm; Altezza: 34; Lunghezza: 87; Unità di misura: cm; Altezza: 19.5; Lunghezza: 33

Perù

cotone naturale e fibra camelide, punto ad arazzo

L'America indigena nelle collezioni del Civico Istituto Colombiano di Genova - Palazzo Doria, Genova - Marzo 1990

Fabric in three fragments in tapestry stitch with natural cotton warp and natural cotton and multicolored camelid fiber wefts.
Fragment A: the wefts draw geometric patterns in yellow and two zoomorphic elements in red/brown, black and yellow on a light brown background. Double-sided fabric.
Fragment B: the textures draw two stylized birds and geometric patterns in yellow on a red background. Double-faced fabric.
Fragment C: has same decorative motif as the other two pieces but presence of dovetail binding with widely spaced points.
The three pieces have an edge in which some textures have a scaling pattern, forming triangle motifs. Remains of flaked cotton padding on the three pieces of textile.

XI-XVI - 1001 - 1600

Unità di misura: cm; Altezza: 20.2; Larghezza: 22.5

Perù

cotone naturale e fibre camelidi, tela a faccia di ordito, trame supplementari

Mostra d'arte precolombiana e di etnologia americana - Castello D’Albertis , Genova - 1972/1977<br>Le mani delle Americhe - Laboratorio didattico Sant'Agostino, Genova - Nov-genn. 1995/96

Fragment of slightly warp-faced canvas in medium brown natural cotton with additional wefts in camelid fiber that create lozenges with stylized ducks inside in the colors red, yellow, pink, green, black. The decoration has a diagonal pattern due to the alternation of colors. Non-double-faced textile.

III-XIII - 201 - 1300

Unità di misura: cm; Altezza: 54; Larghezza: 16

Perù

fibra camelide- tessitura a telaio

Mostra d'arte precolombiana e di etnologia americana - Genova/ Castello D'Albertis - 1972/1977<br>Le mani delle Americhe - Genova/ Laboratorio didattico S.Agostino - nov-gen 1995/96<br>Animali e piante dall'America all'Europa - Genova/ Museo di storia naturale - 1991-1992

Chuspa in warp-faced canvas with embroidery and decorative braids. The canvas is in brown camelid fiber with the selvages embroidered with tubular looping in camelid fiber in red, yellow, blue and brown. The faces of the bag are adorned with camelid fiber darning embroidery in red, yellow and blue to create lozenge motifs inscribed in squares. Braids made with the same fibers and colors as the darning embroidery adorn the lower corners of the bag. The shoulder strap is made of pink, yellow, brown camelid fiber yarn braided and knotted at the end. The textile is double-faced.

V b.C. - VII a.C. - 500 b.C. - 700 a.C.

Unità di misura: cm; Larghezza: 14; Lunghezza: 50

Perù

cotone naturale e fibre camelidi, tela a faccia di ordito

Le mani delle americhe - Laboratorio didattico S. Agostino, Genova - nov-gen. 1995/96

Rectangular fragment of slightly warp-faced plaincloth fabric. Warp and wefts in natural cotton and camelid fibers in light blue, yellow, dark and medium brown to design scalar geometric motifs or stylizations of demon faces through pairs of right angles with a tooth motif on a red background. Double-faced fabric.