Omaggio all'orienteThe splendor of Japanese artistic culture and its deep relationship with nature can be found in this splendid painting by Silvia Salvadori: she creates an ideal bridge between the refined Japanese artistic culture and the art of the Italian Renaissance.
DescriptionThe woman chosen is a young and proud lady in Renaissance clothes, a great lady who brings to mind all the splendor and pride of a people, whose refinement and wisdom, made it and still makes it unique in the world. The style chosen, in fact, refers to the ancient imperial splendor of the golden period of Japanese artistic production, corresponding to the Italian period of the early Renaissance. Also in this valuable work the artist applies the ancient pictorial techniques of the great Tuscan artists of the early Renaissance using the most precious pigments (carmine red from Monte Amiata, cochineal red, pure malachite green and the white of Meudon, or white of Spain, pigment inorganic mineral obtained from the grinding of oysters and used to make the face translucent. It is used in the classical age both in the west and in the east and then rediscovered in the fifteenth century). It is a real attempt to unite the two worlds, heirs of ancient civilizations strong in ancient traditions. In this portrait of a woman, Silvia Salvadori manages to bring Italy and Japan together, renewing an ancient friendship. Silvia takes as a reference the two great strands of oriental painting: Chinese “Kanga” and Japanese “Yamatoe”.
Original: Paint by Silvia Salvadori.
Technique: Egg Tempera and gold on wood
Notes: The Japanese imperial autochthonous style was born around the year 1000 giving life to a flourishing artistic season made up of bright colors, decorations of pure gold, silver. The colors used in that period are very similar to the colors used by Cennino Cennini in Tuscany in the 1300s; malachite green, for example, is often used in the depiction of naturalistic elements and the various pigments of natural and mineral origin are finely ground and joined with metal plates to the pictorial support as described in the book of Cennino's Art.