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X-WR-CALDESC:Events for SEA Junction
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DTSTART;VALUE=DATE:20251106
DTEND;VALUE=DATE:20260107
DTSTAMP:20260418T231719
CREATED:20251106T025938Z
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UID:29067-1762387200-1767743999@seajunction.org
SUMMARY:Exhibition “Raccorti Indonesiani di Vetro – Indonesian Glass Tales”
DESCRIPTION:Event Background \nSEA Junction is on the road! The Museo Internazionale delle Marionette Antonio Pasqualino\, in collaboration with\, will host a special collection of glass painting\, one of Indonesia’s visual storytelling traditions\, through the exhibition “Indonesian Glass Tales”. The exhibition presents a selection of fifty glass paintings representing these themes from the private collection of O’ong Maryono (1953–2013)\, a renowned Indonesian martial arts master\, and his wife\, anthropologist Rosalia Sciortino\, originally from Palermo. Begun in 1986\, the collection now comprises over three hundred works\, sixty of which are exhibited at the Museum of Ethnology in Hanoi\, Vietnam. For the first time in Italy\, part of the collection is featured at the Antonio Pasqualino International Puppet Museum\, in collaboration with the cultural centre for Southeast Asia\, SEA Junction. The exhibition bears witness to the aesthetic beauty and narrative richness of an art form on the verge of extinction\, offering the public the opportunity to discover it\, learn about it and promote its preservation. \nGlass painting\, based on a “reverse” technique in which details are applied first and backgrounds last\, originated in Europe towards the end of the 14th century. After spreading across the continent\, particularly within the former Austro-Hungarian Empire\, it continued to expand globally\, along different paths\, each time taking on specific forms while adapting to local realities and contexts. In Sicily\, we enjoy a well-established tradition of glass painting\, documented since the late 18th century\, centered on religious subjects and distinguished by its intense and vibrant colours. Equally vivid\, but less well-known and of more recent origin\, is the Indonesian tradition. Its beginnings remain uncertain\, but it is assumed that glass painting reached the archipelago via trade routes from Europe or directly from Guangdong (Canton) and Macao in China\, possibly absorbing along the way artistic influences from Gujarat in India\, Persia and the Arab world. Only at the beginning of the 20th century\, when glass became a common and therefore accessible construction material\, glass painting became localized and began to circulate widely\, especially in Java and Bali\, but also in several cities on the island of Sumatra. \nIn the two main locations\, this phenomenon followed two distinct trajectories\, which gave rise to autonomous styles with little or no interaction between them. In Java\, glass painting initially developed in the royal circles of Cirebon\, Jogjakarta\, Surakarta\, Demak\, and Madura\, and later spread among the common population. In Bali\, glass painting flourished in the village of Nagasepaha\, Buleleng and became a communal tradition that has been passed down from generation to generation in the same village to this day\, with both traditional and innovative artworks that reflect developments in modern society. Indonesian glass paintings encompass a wide range of themes\, as artists often work on commission\, adapting to the patron’s personal tastes and intended use. Still\, certain subjects recur consistently over time. Among these are the wayang (puppet) characters drawn from the two great Indian epics\, the Mahabharata and the Ramayana\, deeply acculturated and reinterpreted in the Indonesian cultural context. \nIn Central Java\, these characters include the Punakawan\, a family of jesters\, who entertain audiences during shadow puppet shows with their humour and ancestral wisdom. Indonesia’s religious pluralism is also reflected in its glass paintings\, which depict biblical scenes and the Hindu pantheon. Islam\, as the country’s majority religion\, is very present through numerous popular\, decidedly non-fundamentalist\, expressions. Indonesian history depicted through heroes and collective memories\, is also prominent\, as are folk stories and scenes inspired by nature and everyday life. If you are in the area\, please come visit! \nIn Italian \nLa mostra Racconti Indonesiani di Vetro presenta cinquanta dipinti su vetro che rappresentano questi temi\, provenienti dalla collezione privata di O’ong Maryono (1953–2013)\, rinomato maestro indonesiano di arti marziali\, e di sua moglie\, l’antropologa Rosalia Sciortino\, originaria di Palermo. Iniziata nel 1986\, la collezione raccoglie oggi oltre trecento opere\, di cui sessanta sono esposte al Museo di Etnologia di Hanoi\, in Vietnam. Per la prima volta in Italia\, questi dipinti sono protagonist nella mostra ospitata presso il Museo Internazionale delle Marionette Antonio Pasqualino\, realizzata in collaborazione con il centro culturale per il Sud-est asiatico SEA Junction. L’esposizione mette in luce la straordinaria bellezza estetica e la ricchezza narrativa di una forma d’arte ormai in via di estinzione\, offrendo al pubblico l’opportunità di scoprirla\, conoscerla e promuovere la sua tutela. \nLa pittura su vetro\, basata su una tecnica “al rovescio” in cui i dettagli vengono applicati per primi e gli sfondi per ultimi\, è nata in Europa verso la fine del XIV secolo. Dopo essersi diffusa nel continente\, in particolare nell’allora Impero austro-ungarico\, ha continuato ad espandersi nel mondo\, lungo percorsi diversi\, assumendo di volta in volta forme specifiche e adattandosi alle realtà e ai contesti locali. In Sicilia\, godiamo sin dalla fine del XVIII secolo\, di una consolidate tradizione di pittura su vetro\, primariamente di carattere religioso e contraddistinta da colori intensi e vibranti. \nAltrettanto vivace\, ma meno nota e di più recente affermazione\, è la tradizione Indonesiana. Le sue origini restano incerte\, ma si suppone sia giunta nell’arcipelago attraverso vie commerciali\, dall’Europa o direttamente da Guangdong (Canton) e Macao in Cina\, possibilmente assorbendo lungo il tragitto influenze artistiche del Gujarat in India\, della Persia e del mondo Arabo. Solo agli inizi del XX secolo\, quando il vetro diventa un materiale da costruzione comune e quindi accessibile\, la pittura su vetro inizia a localizzarsi e a circolare ampiamente\, soprattutto a Giava e Bali\, ma anche in diverse città dell’isola di Sumatra. \nNelle due località principali\, questo fenomeno segue due traiettorie distinte\, che hanno dato origine a stili indigeni con scarsa o nulla interazione reciproca. A Giava\, la pittura su vetro si sviluppa inizialmente negli ambienti delle corti reali di Cirebon\, Jogjakarta\, Surakarta\, Demak\, e Madura\, per diffondersi successivamente tra la popolazione comune. A Bali\, invece\, fiorisce nel villaggio di Nagasepaha\, Buleleng\, tramandandosi da generazione in generazione nello stesso villaggio sino ad oggi\, con opere sia tradizionali sia innovative. \nI soggetti affrontati dai dipinti su vetro indonesiani sono molteplici\, ma i più ricorrenti sono i personaggi wayang (marionette) tratti dalle due grandi epopee indiane\, il Mahabharata e il Ramayana\, profondamente acculturate e rielaborate nel contesto locale\, anche attraverso l’inclusione di figure autoctone come la famiglia dei Punakawan\, giullari e consiglieri dei protagonisti. Anche la pluralità religiosa dell’Indonesia trova spazio nelle pitture su vetro con rappresentazioni di scene bibliche e del pantheon di Dei induisti. L’Islam\, in quanto religione maggioritaria\, è molto presente mediante numerose espressioni in chiave popolare\, mai fondamentaliste. La storia Indonesiana\, raffigurata attraverso eroi e memorie collettive\, è pure preminente\, così come le narrazioni popolari e i richiami alla natura e alla vita quotidiana. \n \nFor more information\, please email: info@seajunction.org or phone/wa: +66970024140 \nOrganizers \nSEA Junction\, established under the Thai non-profit organization Foundation for Southeast Asia Studies (ForSEA)\, aims to foster understanding and appreciation of Southeast Asia in all its socio-cultural dimensions- from arts and lifestyles to economy and development. Conveniently located at Room 407-8 of the Bangkok Arts and Culture Center or BACC (across MBK\, BTS National Stadium)\, SEA Junction facilitates public access to knowledge resources and exchanges among students\, practitioners and Southeast Asia lovers. For more information see www.seajunction.org\, join the Facebook group:  http://www.facebook.com/groups/1693058870976440/ and follow us on twitter and Instagram @seajunction \nThe Antonio Pasqualino International Puppet Museum of Palermo operates in the field of national and international\, traditional and contemporary puppetry\, founded in 1975 by the Association for the Conservation of Popular Traditions. It houses a vast collection of over 5\,000 pieces\, including marionettes\, hand puppets\, shadow puppets\, and stage machines from all over the world. For information on the current exhibition and updates\, please visit https://www.museodellemarionette.it/en/ \n
URL:https://seajunction.org/event/exhibition-raccorti-indonesiani-di-vetro-indonesian-glass-tales/
LOCATION:Museo Internazionale delle marionette Antonio Pasqualino\, Palermo\, Italy
CATEGORIES:Event
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