You can read the original interview in Italian on Hanabi Temple's website.
An interview with Marta Boscolo Marchi, Director of the Museum of Oriental Art in Venice, takes us to Japan among armor, lacquerware, palanquins, and fascinating insights into the history and future of the collection.
Did you know that to admire authentic Japanese art in person, you don’t necessarily need to board a plane? In Italy, several museums and institutions house and exhibit artworks and artifacts from Japan spanning various eras. Some collections primarily consist of 19th-century ceremonial armor and weapons, while others include ukiyo-e prints, bronzes, and exquisite lacquerware. Many of these works arrived in Italy from the East in the 19th century, thanks to the travels of businessmen, artists, and diplomats. In all cases, they serve as tangible and invaluable historical records, testifying to European travelers' interest in Japanese craftsmanship at the time.
Today, we want to shine a light on the Museum of Oriental Art in Venice, located on the top floor of Ca’ Pesaro. The museum was established after World War I when the Italian state received the collection of Count Enrico di Borbone, Duke of Bardi, as war reparations. He had traveled to Asia in the late 19th century, collecting numerous works, particularly Japanese ones. Despite conservation challenges, art critic Nino Barbantini managed to create the evocative exhibition design that we can still admire today.
Dr. Marta Boscolo Marchi, the museum’s director, kindly granted us an interview, inviting us to discover this prestigious institution and its treasures. You can listen to the full interview in the dedicated episode of the Hanabi Temple podcast, embedded at the bottom of this page.
The History of the Museum of Oriental Art in Venice and the Barbantini Display
Hanabi Temple: First of all, thank you for this interview! We have already mentioned the origins of the museum, so I’d like to start by asking: what have been the most significant or curious historical moments that have shaped the Museum of Oriental Art in Venice as we see it today?
Dr. Marta Boscolo Marchi: The museum has always sought to preserve the Barbantini display because it was a crucial museological intervention in the history of Italian museology. However, there are conservation challenges because a museum established in 1928, as you can imagine, adhered to different preservation standards. Over time, greater awareness of preventive conservation has also developed.
One of the most significant changes was the transformation of the “Hall of Religions” into a storage area by the previous director, Fiorella Spadavecchia. The storage area is the heart of the museum, the result of significant investment in terms of both effort and funding. However, creating this space meant losing one of the most important and evocative rooms. This hall originally displayed butsudan (Buddhist altars for private devotion), sculptures depicting Buddhist or other religious subjects. Additionally, for conservation reasons, many of the displayed armors were moved to storage due to damage from years of exposure to light. The dramatic effect of a parade of standing samurai, so impressive to visitors climbing the wooden staircase designed by Barbantini, was lost. Today, the restored armors are exhibited in display cases that protect them from light and dust.
The Collection and Storage
HT: In the past, the armors were displayed standing, whereas today they are seated to protect them from wear—almost as if they were resting after standing for so long! In your response, you have already mentioned some of the treasures housed in the museum. To give our readers a sense of the collection’s scale, can you provide an approximate number of objects?
MBM: On-site, we have just over 17,000 pieces. I say “on-site” because we also have significant external storage, such as at the former Institute of Anthropology in Padua. Between 1936 and 1942, we sent about 2,000 pieces there that were considered more anthropological in nature—at least according to the perspective of the time. Soon, they will be displayed in the Museum of Nature and Man, which the University of Padua is developing. Many of these works are Japanese, but there are also Burmese and Thai artifacts. Barbantini particularly favored sending Southeast Asian pieces rather than Japanese ones to external storage, meaning that Ca’ Pesaro mainly retained the Japanese collection. In fact, Japanese masterpieces make up about three-fifths of the entire collection—a clear majority!
The Geographic Origins of the Collection
HT: Burma, Thailand, Japan. From which other geographic areas do your artifacts originate?
MBM: Indonesia is well represented, as is China, where Enrico di Borbone stayed for about five months with his wife and a small entourage. His time there allowed him to acquire numerous works, primarily porcelain, but also textiles, particularly silk. In contrast, the Japanese collection offers greater variety.
Armor and Their Conservation
HT: Not all of the museum’s pieces are always visible to the public. Which ones are inaccessible, and why?
MBM: The primary reasons are conservation-related, as I mentioned earlier. These are extremely delicate works that should be kept constantly away from light. This applies especially to lacquerware and large folding screens, which are not currently on display but are exhibited on special occasions. Many Chinese objects are also not regularly displayed due to space constraints. These include court garments, Chinese lacquerware, and a portion of the porcelain collection.
The Evolution of the Collection
HT: The core collection, as we’ve noted, is due to Enrico di Borbone’s donation. Have there been other major contributions to the museum, such as significant bequests or particularly valuable donations? Do you also make acquisitions? If so, what criteria guide your selections?
MBM: Among the donations, one of the most notable is the Thai Buddha received in the late 1980s in memory of Anna Veruda. Generally, these gifts are linked to collectors who have passed away. Recently, we presented the Aldo Guetta collection, which consists mainly of Buddhist sculptures from the Himalayan and Southeast Asian regions, donated by Sonia and Liana Guetta Finzi.
As for acquisitions, we recently purchased a preparatory drawing for a print by Hiroshige. When reviewing the museum’s budget at the end of the year, if there are any funds left (laughs), we invest them in acquisitions. Another option is preemptive purchasing of works that sellers attempt to export abroad, which must first go through an export commission review. Unfortunately, we have sometimes had to pass on acquisitions due to financial constraints.
The Museum’s Layout and Temporary Exhibitions
HT: How is the museum currently arranged for visitors?
MBM: As we’ve mentioned, we work within the constraints of a historically significant yet challenging exhibition design. The 1928 display cases don’t meet today’s conservation needs. We have modified some while maintaining their original appearance, such as by inserting sealed metal compartments.
The layout remains largely unchanged: six rooms are dedicated to Japan, one to China, and one to Southeast Asia. However, the Southeast Asian room groups together items from Thailand, Burma, and Indonesia, which might be disorienting for visitors. Nonetheless, we chose to preserve Barbantini’s original vision.
The Museum’s Most Important Pieces
HT: If a visitor had limited time, which pieces would you recommend they focus on?
MBM: There are certainly some must-sees! Near the entrance, the two groups of samurai armor stand beside an important 11th-century Khmer sculpture in sandstone. Also noteworthy is the onna norimono (a palanquin for noblewomen)—there aren’t many like it in Italy.
Other highlights include the two Buddhist guardian statues from the Kamakura period, which have been restored and are showcased in a dedicated display case. Finally, the museum houses extraordinary musical instruments, such as our koto.
Conservation Challenges
HT: Given your museum’s specialization, do you require unique restoration techniques or specialists compared to other Italian institutions?
MBM: Absolutely. Japanese folding screens and lacquerware pose major conservation challenges. Paper hinges on screens are especially difficult to restore, and even a one-millimeter misalignment can prevent them from folding properly.
As for lacquerware, unfortunately, Italy lacks restorers trained in urushi (Japanese lacquer). Instead, restorations here are done with acrylic resins, which cause issues.
The Passion for Japan and Its Impact on Museums
HT: I would like to ask you a question about Japan in a broader sense: in recent years, it seems that the Italian public has become increasingly fascinated by the Land of the Rising Sun. Have you noticed this trend in visits to the museum as well?
MBM: Yes, I must say that in recent years, we have organized even more events, encouraged by our visitors themselves. The number of attendees at our thematic tours has also increased over the years. In 2019, however, we were forced to close—not because of COVID-19, but due to the damage caused by the flood on November 12, 2019. Throughout that year, we engaged almost 800 people in various events, in addition to school visits. There is undoubtedly great curiosity and interest. Naturally, some topics attract more attention than others: the Japanese sword, for instance, has an immense appeal. Themes related to religions, such as Buddhism, as well as fashion, including kimonos and textiles, are also very popular.
Painted Shell for the Game of Kai Awase
Painted shell for the game of kai awase, Japan, Edo period (1603–1868). Shell, painted and gilded paper.
Current Challenges
HT: Regarding the closure caused by COVID-19, what changes did you have to go through? Which were the most radical? Were there any positive aspects that you might want to keep in the future?
MBM: Like all museums, we had to make our collection available online at https://orientalevenezia.beniculturali.it. During that period, we gave the final push to our website, which was already in progress, completing its English version. We also launched regular features on our social media channels, such as #oggiparliamodi (Today We Talk About), a Monday deep dive into the museum's artworks. Every Saturday, we hosted virtual workshops for children, who would then send us photos of their creations from home. This helped us maintain a good relationship with our audience, and they responded positively by following us closely, especially in the early months of lockdown. We also produced videos that are still available on the Direzione regionale Musei del Veneto YouTube channel and on our social media pages.
The New Venetian Location and Hopes for the Museum’s Future
HT: The museum will soon move to a new location. What are your hopes for the future in the San Gregorio venue? Do you expect new acquisitions, or do you see it as an opportunity to better showcase your existing collection?
MBM: A larger space will allow us to display more artworks and have a dedicated exhibition area for temporary shows. This will be a great advantage for the museum, as it could foster valuable exchanges with other institutions. We would also like to expand our educational offerings for schools and researchers. I hope that the move to the new location will give the museum the visibility it deserves because it truly is an extraordinary institution. I believe it is one of the most important museums in Europe for the Edo period. Hopefully, everything will go well!
HT: That is precisely why we want to encourage our readers to visit Venice and explore the museum, which is a true gem in the Italian cultural landscape. It is a must-see destination for all enthusiasts of Japanese art and culture. To conclude and thank the Director, I would like to ask if you have a message for our readers.
MBM: I would certainly encourage them to visit us as soon as possible, to read about and take an interest in Oriental culture, and to go beyond what is available in Italy. The world is vast, and every corner of our wonderful planet holds positive surprises!
HT: We couldn’t agree more with this beautiful message!