Artes Tradicionais Japonesas na Actualidade
1974
Artes Tradicionais Japonesas na Actualidade
Exposição organizada pela Embaixada do Japão em Portugal e pela Fundação Calouste Gulbenkian, inaugurada pouco depois do 25 de Abril de 1974. Dedicada às artes tradicionais japonesas desde o século XIX até à década de 1970, a exposição deu a ver um conjunto de 181 peças, visando promover o contacto do público português com a diversidade cultural da arte japonesa.
Exhibition organized by the Embassy of Japan in Portugal and the Calouste Gulbenkian Foundation, inaugurated shortly after the 25th of April 1974. Dedicated to traditional Japanese arts from the 19th century to the 1970s, the exhibition showcased a set of 181 pieces, aiming to promote the contact of the Portuguese public with the cultural diversity of Japanese art.
Esta exposição, dedicada às artes tradicionais japonesas, realizou-se por iniciativa da Fundação do Japão (Tóquio), contando com a organização da Fundação Calouste Gulbenkian (FCG) e da Embaixada do Japão em Portugal.
A Fundação do Japão (Japan Foundation) foi criada no ano de 1972 com a missão de promover o intercâmbio cultural, e esta exposição, que data de 1974, foi a sua primeira iniciativa no domínio expositivo. Esta circunstância, que coexiste com um desejo de estreitar laços de cooperação num período inicial de atividade daquela instituição, certifica igualmente o reconhecimento internacional da FCG.
A mostra procurou apresentar ao público português referências da arte decorativa japonesa do período compreendido entre meados do século XIX e a década de 1970, expondo um conjunto de 181 peças de cerâmica, porcelana, ornamentos, biombos, peças lacadas, objetos em metal, objetos em bambu e têxteis, pertencendo grande parte destas obras à Agência de Assuntos Culturais, responsável, no Japão, pela salvaguarda do património cultural.
O prefácio do catálogo apresenta uma introdução à forma como o Japão e o seu governo entendiam o valor do saber artesanal e do artesão, legislado desde 1955, no âmbito da sua proteção e salvaguarda. Neste sentido, e no quadro da sua Lei da Proteção do Património Cultural, os proprietários destes bens tornavam-se também eles «propriedades culturais», designados «Retentores de Propriedades Importantes Intangíveis». As obras apresentadas foram selecionadas a partir do conjunto de bens deste restrito número de «Retentores», à época apenas 53 indivíduos, 21 dos quais já haviam falecido (Artes Tradicionais Japonesas na Actualidade, 1974).
Desta forma, esta exposição não apenas promoveu o contacto com a diversidade cultural das artes nipónicas, como ainda possibilitou o confronto com entendimentos distintos sobre o valor patrimonial e os conceitos de «arte» e de «artesanato».
Meses antes da inauguração em Lisboa, a exposição fora mostrada ao público parisiense, no Musée National des Arts et Traditions Populaires, tendo seguido para Colónia (Alemanha), após a sua realização em Portugal.
Numa carta enviada pelo diretor do Serviço de Exposições e Museografia da FCG, José Sommer Ribeiro, ao ministro da Embaixada do Japão em Portugal, Tamotsu Nakaya, é referido o período político que se atravessava como justificação para o diminuto número de visitantes da exposição, uma vez que a Revolução de 25 de Abril tinha acontecido apenas alguns dias antes da inauguração, no ano de 1974. Contudo, a exposição foi visitada por cerca de 4000 pessoas (Carta de José Sommer Ribeiro para Tamotsu Nakaya, 24 jun. 1974, Arquivos Gulbenkian, SEM 00055).
O contexto histórico e os aspetos técnicos das artes tradicionais japonesas foram ainda abordados numa conferência dedicada ao tema da exposição, proferida por Joh Okada, presidente do Museu de Arte Moderna de Tóquio, que refletiu igualmente sobre alguns aspetos da presença portuguesa no Oriente durante os séculos XVI e XVII.
Filipa Coimbra, 2016
This exhibition, devoted to Japanese traditional arts, was held on the initiative of the Japan Foundation (Tokyo), and was organised by the Calouste Gulbenkian Foundation (FCG) and the Japanese Embassy in Portugal.
The Japan Foundation had been set up in 1972 to promote cultural exchange, and the 1974 exhibition was its first exhibition initiative. This resulted from a desire for closer cooperation between the Japanese foundation and the Calouste Gulbenkian Foundation when it first opened, and also provided international recognition for the FCG.
The exhibition sought to show the Portuguese public landmarks in Japanese decorative art in the period stretching from the mid-19th century to the 1970s with a set of 181 pieces of pottery, porcelain, ornaments, folding screens, lacquerware, metal objects, bamboo objects and textiles, many of which belonged to the Agency for Cultural Affairs, which is in charge of safeguarding cultural heritage in Japan.
The catalogue preface presents an introduction to the way in which Japan and its government at the time viewed the value of craftsmanship and craftspeople's knowledge, the protection and safeguarding of which has been included in legislation since 1955. Within the framework of its Law for the Protection of Cultural Heritage, the owners of these assets also became cultural properties, known as holders of important intangible properties.
The works presented were selected from a range of assets from this small number of holders, only 53 individuals at the time, 21 of whom had already passed away (Artes Tradicionais Japonesas na Actualidade, 1974).
This exhibition therefore not only promoted contact with the cultural diversity of Japanese arts, but also made enabled comparisons with different understandings of the value of heritage and the concepts of art and craft.
Months before it opened in Lisbon, the exhibition had been shown to the public in Paris, at the Musée National des Arts et Traditions Populaires, and travelled to Cologne (Germany) after its stay in Lisbon.
In a letter sent by the head of the FCG Exhibitions and Museography Department, José Sommer Ribeiro (1924-2006), to the Minister of the Japanese Embassy in Portugal, Tamotsu Nakaya, the political period the country was going through was cited as the reason for the exhibition's low visitor numbers, since the 25 April revolution had happened just a few days before the exhibition opened in 1974. Nonetheless, the exhibition was visited by around 4,000 people (Letter from José Sommer Ribeiro to Tamotsu Nakaya, 24 Jun. 1974, Gulbenkian Archives, SEM 00055).
The historical context and technical features of Japanese traditional arts were also discussed at a conference on the theme of the exhibition held by Joh Okada, director of the Tokyo Museum of Modern Art, who also reflected on some aspects of Portugal's presence in the Orient in the 16th and 17th centuries.
The Japan Foundation had been set up in 1972 to promote cultural exchange, and the 1974 exhibition was its first exhibition initiative. This resulted from a desire for closer cooperation between the Japanese foundation and the Calouste Gulbenkian Foundation when it first opened, and also provided international recognition for the FCG.
The exhibition sought to show the Portuguese public landmarks in Japanese decorative art in the period stretching from the mid-19th century to the 1970s with a set of 181 pieces of pottery, porcelain, ornaments, folding screens, lacquerware, metal objects, bamboo objects and textiles, many of which belonged to the Agency for Cultural Affairs, which is in charge of safeguarding cultural heritage in Japan.
The catalogue preface presents an introduction to the way in which Japan and its government at the time viewed the value of craftsmanship and craftspeople's knowledge, the protection and safeguarding of which has been included in legislation since 1955. Within the framework of its Law for the Protection of Cultural Heritage, the owners of these assets also became cultural properties, known as holders of important intangible properties.
The works presented were selected from a range of assets from this small number of holders, only 53 individuals at the time, 21 of whom had already passed away (Artes Tradicionais Japonesas na Actualidade, 1974).
This exhibition therefore not only promoted contact with the cultural diversity of Japanese arts, but also made enabled comparisons with different understandings of the value of heritage and the concepts of art and craft.
Months before it opened in Lisbon, the exhibition had been shown to the public in Paris, at the Musée National des Arts et Traditions Populaires, and travelled to Cologne (Germany) after its stay in Lisbon.
In a letter sent by the head of the FCG Exhibitions and Museography Department, José Sommer Ribeiro (1924-2006), to the Minister of the Japanese Embassy in Portugal, Tamotsu Nakaya, the political period the country was going through was cited as the reason for the exhibition's low visitor numbers, since the 25 April revolution had happened just a few days before the exhibition opened in 1974. Nonetheless, the exhibition was visited by around 4,000 people (Letter from José Sommer Ribeiro to Tamotsu Nakaya, 24 Jun. 1974, Gulbenkian Archives, SEM 00055).
The historical context and technical features of Japanese traditional arts were also discussed at a conference on the theme of the exhibition held by Joh Okada, director of the Tokyo Museum of Modern Art, who also reflected on some aspects of Portugal's presence in the Orient in the 16th and 17th centuries.
Ficha Técnica
- Iniciativa
- Organizador / Serviço responsável
- Organizador / Parceiro institucional
- Programação (FCG)
- Parceiro institucional
Eventos Paralelos
Publicações
Material Gráfico
![Artesanato Japonês Tradicional e Contemporâneo [conferência por Joh Okada]](https://content.gulbenkian.pt/inarte/5799_1132x2319.jpg)
Fotografias
