Albergo a Treviso, costruzione 17° secolo, villa di lusso

Mostre a Treviso 2011

Mostre a Treviso 2011.

TREVISO -CASA DEI CARRARESI The Major Exhibitions "The Silk Road and Chinese Civilisation" at the Casa dei Carraresi, Treviso have been made possible by the energy and dedication of the President of the Fondazione Cassamarca, the Honourable Dino De Poli. With great foresight regarding the developing international situation and the rapid transformation of the Asian continent, he has focussed on China and India as the emerging powers which are changing our vision of the world in the 21st century. Adriano Màdaro has been asked by the Fondazione Cassamarca to act as curator for a further four exhibitions: three with India between 2012 and 2015 and after others with Tibet and Japan. Agreements have recently been reached with the respective museum authorities in New Delhi and Lhasa.
The organisation of the Major Exhibitions at the Casa dei Carraresi will be undertaken by Sigillum, the company responsible for the previous exhibitions dedicated to the Birth of the Heavenly Empire
(2005 - 2006) and to Genghis Khan (2007 - 2008).

The Sections

The Dynasty of "Splendour"
Ming, or Splendour, was the name which, in 1368, the revolutionary leader Zhu Yuanzhang gave to the dynasty that he founded in Nanking after bringing down the Yuan dynasty of the Mongols. Under the Ming, an extraordinary period in Chinese history began. Regarded as a second renaissance following that of the Tang, the period witnessed a flowering of the arts and a rapid development of manufacturing, particularly of porcelain and silk.
Between the late 16th and mid-17th century the Chinese empire grew to be the greatest economic power in the world, and its fabulous wealth became an irresistible attraction for the West. The opening up of the sea routes attracted not only merchants but also missionaries, above all the Jesuits, who were at the forefront of cultural and scientific exchange as well as bearing witness to the greatness of Ming China.

The Secrets of the Forbidden City
The third exhibition dedicated to China will focus on the Forbidden City in Beijing, the fabulous palace built between 1406 and 1421 by Yongle, the third emperor of the Ming Dynasty. A virtual visit will be made possible by a magnificent model in paulownia wood (on a scale of 1:200; occupying 40 sq. m.) accurately recreating every detail. 14 master craftsmen supervised by 3 architects have worked for 2 years to produce the model exclusively for the exhibition. The majority of the 350 exhibits come from the collections and the vaults of the imperial palaces. Precious jewels, magnificent silk robes, rare porcelain and objects from the everyday life of the imperial family will stand beside delicate paintings, golden statues, fine pieces of jade, rare textiles and beautifully worked furniture; all items of enormous historical and artistic value. A special section will be dedicated to Matteo Ricci, the famous Italian Jesuit, who at the beginning of the 17th century introduced western science to the court and brought Europe closer to the Chinese Empire. Rare documents, ancient texts and ingenious mechanisms for the study of astronomy from the Ricci collections in Macerata, (the native city of the great missionary) and from the Museum of Astronomy in Rome will be on display.

Triumph of Jade and Gold
Jade and gold and the colour purple can be considered the three elements that best represent the magnificence of the Ming period, one of the richest in the long history of China. Reddish purple, or vermilion, is the colour of much of the lacquer and of the very walls of the Forbidden City. The imperial jade known as "sheep fat" is far more precious than the green variety, and was exclusively reserved for the use of the court. Gold was the external mark of imperial dignity, but the refined skills of the Ming goldsmiths transformed it into objects of extraordinary imaginative power and symbols of splendour and wealth. Jade and gold combined with the precious stones that arrived as tribute from other Asian countries to create jewellery which, five hundred years later, seems of surprisingly modern taste and refined execution. These precious ornaments lavishly displayed the wealth of the empire and reminded outsiders of its powerful position at the true centre of the world. This aspect of the Ming period is also well represented in the rich collection of jewellery contained in the

"Impressionist" Painting
Painting developed significantly under the Ming, and the works which have survived are an important element in our studies of the society and court life of the time. The Ming artists drew powerful inspiration from those of the Song period, and their works can be divided into four very different genres. The magnificent series of paintings included in the exhibition displays, for the first time outside China, a rich synthesis of the various styles of Ming painting: rolls of silk depicting stories from literature and scenes from everyday life; portraits; "impressionist" landscapes illustrating the Taoist concept of the relationship between man and nature; and animals and plants also revealing the clear influence of Taoist thought.
The pictures come from the imperial collections of the Forbidden City and from the museums of Nanking (the town which gave birth to the dynasty), of Zhenjiang and of Hubei.

Refined Sculptures
The production of Buddhist statues had been widespread in China since the second century A.D., and under the Ming a new impulse was given particularly in the use of bronze. Techniques for casting and applying gilding developed significantly, and the Chinese empire, in offering protection to Tibetan lamaist Buddhism, strengthened the relationship between priests and politicians, and favoured the construction of temples and monasteries. Buddhist iconography, rich in Tibetan models and mythology, influenced Chinese artists, who developed a rich and varied style of their own, which despite being anchored to the traditions of the past, under the Ming became more refined and more Chinese in character. The technical advances, the skills of the artists and the great variety of artistic interpretation are all amply displayed in the works contained in the exhibition.

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