Ungyō

Collezione Edoardo Chiossone 1898 Genova

SC-6

Unità di misura: cm; Altezza: 35.4

Giappone

The protective figures of Buddhism Agyō and Ungyō are characterised by their plastic pose, musculature and contracted faces. The statues are placed at the entrance of Buddhist temples to protect worshippers and the temple space, and can reach up to 8 metres in height. These models are made using the Yosegi zukuri technique, "structure of assembled pieces of wood". Sculpture depicting Ungyō, one of the two Guardian Kings (Kongō Rikishi 金剛力士), "bearers of Lightning" (Sanskrit vajrapāṇi). He is represented standing and posing plastically on a rocky base. The artifact was probably born as a template in view of the creation of a large specimen.

Fudō Myō-ō, the immovable King of Wisdom

Collezione Edoardo Chiossone 1898 Genova

B-1279

Unità di misura: cm; Altezza: 79.5

Myō-ō are furious deities of Indian origin who were adopted into esoteric Buddhism to serve and protect the various Buddhas. Myō-ō always have a ferocious and threatening appearance, in order to subdue evil and frighten non-believers, until they embrace Buddhist law. They represent the wisdom of Buddhism, protect the Buddhist teachings, remove all obstacles to enlightenment, and force evil to surrender. In Japan, Fudō (不動) is the most revered among the Kings of Wisdom, especially by the Shingon cult of Japanese Esoteric Buddhism. It represents the rage of Dainichi against evil and ignorance. Fudō Myō-ō was introduced to Japan in the ninth century, during the Heian period (794-1192), and since then many famous images have been made of him. Fudō Myō-ō (Sanskrit: Acala, the immovable), is the most important of the Five Kings of Wisdom or Light ( Myō-ō), that is, the five deities of Hindu origin who play the role of guardian kings and protectors of the faith in Mikkyō, the esoteric Buddhism introduced to Japan from China at the beginning of the ninth century. The figure of Fudō Myō-ō stands, by itself, with an expression of harsh ferocity, typical of the protective deities of dogma, surrounded by purifying flames. And, according to the usual iconography, he is equipped with a sankoken sword, a symbol of knowledge and submission, and a hilt in the shape of a three pointed vajra - lightning-diamond - (in our case the blade is missing but the hilt is clearly visible), and with a kensaku loop, with the dual purpose of immobilizing the enemies of the faith and keeping the believers from turning away from the right path.

Statuetta di Buddha Amida

Collezione Edoardo Chiossone 1898 Genova

B-1212

Unità di misura: cm; Altezza: 33.4

Giappone

Buddhas who have achieved perfect enlightenment are called Nyorai (Sanskrit Tathāgata): among them is the Buddha Amida, venerated in the Pure Land Buddhist sect, here seated in the lotus meditation posture. The statue has close affinities with a work commissioned by Shōgun Tokugawa Ietsuna (1641-1680) by Kōjō, the twenty-fifth head of the Shichijō atelier, for the Kan'eijin temple in memory of his mother.

Mirror with four bosses, four animals and ten Buddhist deities, gift of Atsushi Saisho to Edoardo Chiossone,

Collezione Edoardo Chiossone 1898 Genova

B-546

Unità di misura: cm; Diametro: 24.2; Spessore: 0.9; Unità di misura: g

In a written memorial dated November 1881, the General Director of the Printing Bureau of the new Ministry of Finance Polygraphic Institute, Tokunō Ryōsuke, direct superior of Edoardo Chiossone wrote regarding a pair of mirrors (almost identical) donated one to him and the other to Edoardo Chiossone by their mutual friend Saisho Atsushi as a sign of their friendship: "Since the most remote antiquity, mirrors have been considered treasures in our country. Since their intrinsic character is that of being pure, clear and spotless [...] it is exactly like a pure heart to which selfishness and falsehood are unknown [...] Mr. Edoardo Chiossone searches for antiquities with tireless courage, without letting himself be stopped by obstacles; he loves all ancient objects with unheard-of ardour; there is no other way to define him, except as an extraordinary man! One of my friends, Mr. Saisho Atsushi, kept multiple very old mirrors: two of them have the same motifs and figures. He gave one to me, and the other to Mr. Chiossone. I believe Mr. A. Saisho wanted to show our mutual affection and its eternal duration, like that of mirrors. I dare to hope that Mr. Chiossone will want to keep this mirror very precious. In front of this mirror, he will seem to see all three of us together; it would be something so pleasant! The mirror... represents four bosses, four divine animals and ten sacred characters executed in an impeccable manner. The registration is partially deleted, so it cannot be read completely. It's only been a few years since the mirror was unearthed. The metal is covered with a beautiful green patina, a palpable sign of antiquity. Moreover, it is impossible to establish the era from which it dates. 11th month of the 14th year Meiji (November 1881), Tokunō Ryōsuke".
From this memorial we learn how Chiossone was well introduced and respected in Japanese society both that, six years after his move to Japan, he had already begun strenuously to collect artworks and that many of his acquaintances and friends were involved in facilitating the gathering. From Tokunō's writing we also understand that the mirror was buried and that it only came to light after an excavation.
In Japan, in the eighteenth and nineteenth centuries, in fact, there were not only occasional excavations for the creation of plants and infrastructures, well inserted in the Meiji modernization perspective, which led to fortuitous finds but also to real archaeological excavations increased by the growing antiquarian and collector taste: this is probably the case of the gift mirrors of Saisho Atsushi, an imminent politician in charge, over time, of several Prefectures of Japan. An identical specimen, found at the Kongōrin-ji temple in Ōsaka, is kept in the Kyōto National Museum and is on the Japanese national list of Important Cultural Heritage (jūyō bunkazai). These ritual mirrors, whose reflective side is obtained by polishing the bronze (opposite the visible side) are usually decorated with Taoist motifs: our specimen features a rare combination of Taoist decorative motifs and Buddhist figures.   Bronze mirror of ritual use from an unknown archaeological context, with four ashlars, four animals and ten Buddhist deities. The reflective side, opposite to the decorated side, is obtained by polishing the bronze.

Bronze ritual bell

Collezione Edoardo Chiossone 1898 Genova

B-835

Unità di misura: cm; Altezza: 58.4; Larghezza: 27.5; Profondità: 22.8

Giappone, Provincia di Yamato (odierna Prefettura di Nara)

This ritual bell (dōtaku), whose site of origin is unknown, belongs to a type from the then Yamato region of Central Japan, of which only a few examples are known to be preserved in Japan. Initially, dōtaku were made with carved sandstone moulds, which were replaced in a later period by clay moulds that made it possible to create larger, thinner bells and finer, more complex decorations. The water-spiral motif (ryūsui-mon), alternating with a lattice cross-line pattern, is typical of the middle Yayoi period, the era to which the beginning of the Metal Age is dated. The ritual value of this find attests to the development of social and sedentary life, linked to the introduction of agriculture in the Yayoi period and marked by proto-religious propitiatory rituals. Bronze ritual bell (dōtaku) with designs of water spirals (ryūsui-mon) alternating with a lattice cross-line pattern typical of the middle Yayoi period.

Inlay cabinet

Enrico A. D'Albertis 1932

C.D.A 1583

Tipo di misura: altezzaxlarghezzaxspessore; Unità di misura: cm; Valore: 171x72x32

Giappone

Legno a intarsi policromi.

Arredo

Wooden structure with shelves, doors and drawers, covered with wooden inlays in various natural colours in a vast ornamental repertoire of geometric and floral motifs. This interesting piece of furniture was probably acquired by Captain d'Albertis during his first World Tour, in the years 1877-1878. It represents the full technical evolution of the valuable wooden inlay yosegi zaiku 寄木細工 traditionally practised since 1635, i.e. from the beginning of the Edo period (1600 - 1867) in Hakone, a town located on the lake of the same name near Mount Fuji, in the province of Odawara. Fuelled by the immense reserves of precious wood in the surrounding wooded area, this artistic craftsmanship originates from the ancient skills and specific culture of Japanese carpenters, woodworkers and marquetry craftsmen who, in the 8th century, first came into contact with the marquetry decorated artefacts imported for Japanese rulers from Tang-era China (618 - 906 AD).

Sala sensoriale

Sensoriale is a place where time is dilated, the space cosy, the senses finely stimulated. It was created to welcome and experience well-being. The workstation consists of individual elements to be combined in multiple formations: five instruments, a soft seat and a cushion, arranged according to Padovan's geometric principle of harmony. Video projections show fragments of light and flowers. Cedar essence encourages psychophysical relaxation through the sense of smell.

chiefs' club Patu Wahaika

Enrico A. D'Albertis 1932

XIX - 1851 - 1900

C.D.A. 492

Tipo di misura: altezzaxlarghezzaxspessore; Unità di misura: cm; Valore: 36x12.7x2

Nuova Zelanda

Specifica alla produzione maori, in particolare quella lignea, è la moltiplicazione di motivi curvilinei, di spirali, e la copertura totale delle superfici con decorazioni a traforo o incise. Per un lungo periodo l’arte maori è stata descritta rintracciando solo i caratteri del suo aspetto esteriore. In tempi abbastanza recenti la pubblicazione di opere di studiosi maori ha permesso letture e approfondimenti che aprono a una complessità di simboli plastici inseriti in sistemi sociali, politici e religiosi che devono essere compresi nella loro globalità.

Cerimoniale/difensiva/offensiva Portata alla cintura, veniva tenuta con una mano e usata nei combattimenti e nelle cerimonie. Il fendente veniva inferto con il bordo convesso della lama. Cerimonie/combattimenti

Sickle-shaped Maori flat mace with a carved handle adorned with three convexities. The surfaces are decorated in carving with groups of three lines alternating with triangles in relief, arranged on three oblique registers separated from each other by three horizontal bands. Along the inner side of the weapon is carved a stylised figure symbolising a mythological spirit linked to the weapon's spiritual power (mana), which increased in proportion to success in combat. The figure has circular earrings, eyes, a nose and a beak-like mouth from which a tongue protrudes; intertwined tridactile hands clasp the shapeless body. Experts in hand-to-hand combat, the Maoris have devised a wide variety of short clubs carved out of wood - broadly known as patu - designed to deliver sudden, powerful blows from the top down. The wahaika is a distinct type of patu worn daily on the belt, which means 'fish mouth'. These weapons were passed down from generation to generation as family heirlooms.
The multiplication of curvilinear motifs, spirals, and the coverage of the entire surface with fretwork or engraved decorations is characteristic of Maori production, in particular in wood. Historically Maori art has been described by referencing the characteristics of its external appearance. However, more recently the publication of works by Maori scholars has provided interpretations and insights that reveal the complexity of plastic symbols in social, political and religious systems that must be understood in their entirety.