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Photography beyond representation, an anthropological reflection

Rocco De Ciantis 

Representing in images a community that wants to safeguard  origins and traditions; this is the meaning of the photographic project promoted by Expophoto in collaboration with the Umberto Mastroianni Foundation, commissioned by Rocco De Ciantis, (author) and Claudio Brufola (curator), to reaffirm photography at the same time as a cognitive tool, as a popular medium, as a set of technical and cultural devices for the study of certain identity phenomena, to confirm that the light reflected by the subject is fixed by the camera, but permeates the conscience of people, enriches them culturally, makes it a process of identification and cognitive assimilation.

It is following the idea of  L. Wittgenstein that this photographic project presupposes his "theory of knowledge" as identification, which wants to bring the ancient roots of an entire community back to a renewed form of coexistence, based on the feeling of belonging and social cohesion .

Talking about the Ciociaria costume is like talking about the world and in fact this is what it is, being present in most of the museums of the planet and a recurring element in the literature.

This is the ciociaro costume, this incredible monument of Western culture, as few: the indisputable proof and confirmation are that even the greatest artists have immortalized it over more than a century and a half: when mentioning Hubert Robert, B.Pinelli , LLRobert and then Manet, Degas, Renoir, Corot, Cézanne, Hayez, Van Gogh, Picasso, De Chirico and then Leighton, Whistler, Sargent and then even to the futurists Depero, Scipione, Boccioni, Severini and just to stay in the Take care of western art cream, what's left to say? There is no pictorial subject that can boast such paternity. And to remain in the context of the commonly known traditional costumes such as the Scottish or Tyrolean or the Bavarian and other customs, none of them even remotely approaches the resounding success of the Ciociaria costume in Western art, no regional costume in the world has such exceptional documentation as the ciociaro costume!

Everything was born mostly in Valcomino, this small territory between the Liri river and the Garigliano river surrounded by mountains, completely ignored and unknown, always characterized as 'Abbruzzi', -and here is one of the causes of most of the misunderstandings- is entered the geography books only in the early 1900s.

Towards the last decades of the 1700s following earthquakes, pestilence and a particularly virulent famine in those years, without mentioning other reasons, the slow and inexorable exodus and flight began. A constant human flow, both seasonal and non-permanent movements towards the Castelli Romani during the working in the vineyards, towards the poisonous Pontine Marshes, rich in survival possibilities, towards Rome and the most intrepid beyond the Alps, the first to set foot in London, Scotland, Paris ...

But it is in Rome that what we can define happens: a miracle.

Imagine the spectacle in the Eternal City on any street at any time of the day: crowd of priests, monks, nuns, foundlings and foundlings, altar boys and sacristans and brotherhoods, noblemen, strangers, pilgrims with candles and sticks and among them the ciociari and the ciociaris of Valcomino, covered in the clothes they themselves had made with wool, linen and hemp, all grown and produced by them; made from them and dyed by them, with the herbs that grew around and the elements at hand, the bark of the chestnut, the husk of the walnuts, the soot: and here is the miracle: in the midst of all those amorphous and colorless people, those that broke out and imposed themselves were the poor ciociari in their bright and sparkling rags: incredible reds, rarely seen blues, intrusive browns ... and the ridge: no red equal to another, no blue or green like another, a real chromatic symphony. The painters were stunned! Literally. We say ‘rags’ because this is what these creatures actually wore and so the artists themselves defined them in letters to their families. And second reason for surprise was the miserable footwear on the feet when not barefoot: in the eyes of these young painters imbued with classicism, those shoes, in truth a sign of precariousness and misery, seemed to their eyes the shoes that the characters wore they had encountered in their readings Greek or Latin classics. And love was born.

We report what is expressed in: CIOCIARO COSTUME IN THE EUROPEAN ART OF 1800: “Rome at the time, unrepeatable stage of the history of humanity, regurgitated of ciociari and ciociare that carried out the most unexpected trades: vegetable and food vendors, shepherds in the midst of Roman ruins, milkmen, fortune-tellers, fortune-tellers and fortune-tellers, vendors of flowers and matches in tourist places, dancers and waitresses in trattorias and cafes, models and models, junk shops, domestic professions and then, of course, bagpipers and pipers and the organettari. A whole humanity coming largely from Valcomino and from the Ernici and Simbruini localities, garish in the worn outfits that stood out and highlighted on that unique spotlight that was Rome at that time. And foreign artists, from all parts of Europe, even from distant Russia and Scandinavia, imbued with their classic reminiscences, returned to new life, new sensations and upsets and emotions. And not a few even forgot their homelands and settled forever in Rome or in enchanted Naples or in some small village of Simbruini or Ernici ... It was a kind of revival of the classic myth of mermaids, one of the shows that most excited the imagination and fascinated and it was enchanting was the presence of Ciociaria in the midst of the amorphous and colorless crowd that swarmed around: those dazzling costumes in their sumptuous reds, their sparkling blues, those shoes so strange yet so well known, those brown and smooth flesh, those shining black eyes of women , those curly and bristly hair of men, those features parched by the sun and furrowed by fatigue, this humanity - almost a spell - represented for the foreign artists and intellectuals the true and great discovery of their journey and also, in their imagination, the reinterpretation of the classic rural world; this was the real population of Rome that they saw shining and dazzling. The Romans were the ciociari and the ciociari were the Romans. And so it was throughout the coming century. And then gradually a relationship and an agreement that lasted at least one hundred and fifty years began and began. The ciociaro costume evolves and acquires its well-known conformation, which is typical and unique only in this costume. I mean, more simply, that the Ciociaro costume, which is known through the eighteenth-century pictorial production, acquires its physiognomy and its particularities - which are those illustrated in the pictorial works - only and solely following the long and fruitful relationship with the artists foreigners in the Eternal City. It is in this relationship that the Ciociaro costume - as well as the footwear - acquires that aspect of harmony and elegance, of simplicity, even of spartanity such as to induce the scholars who have dealt with it to define it even 'classic' and such as to have become , as mentioned, also the costume of Rome and the costume of Italy in the eyes of the artists. "

And of course the works by the artists traveled all over Europe both at the destinations of private buyers and at the exhibitions and salons that took place in every city of Europe: it was a true invasion of these subjects that never appeared before, revolutionaries: indeed, when had a brigand been seen in these styles or a bagpiper? When did a costume so sparkling with colors? And when did these many humble creatures rise to the honors of painting in such a large copy? And indeed, we are in the first decades of the 1800s, born in the words of Belgian artists in particular, "Italian genre painting" that is, a new pictorial genre was offered to the availability of the History of Western Art, a new open chapter.

The forge and the crucible of facts that we are telling was only in Rome, at that time always and still an unrepeatable and unique theatrical backdrop: those vestiges, those churches and palaces and incredible villas, those almost daily grandiose and pompous religious celebrations, that 'art around everywhere and then those smells, that light, that nature, that atmosphere ... Visitors went into a swoon, many denied homeland and families, to stay: it was the Stendhal syndrome, but permanent and generalized! How many of these artists or writers wrote to their loved ones: "finally in Rome, now I'm really living, now I know what it is to live!" When ever and where were found the conditions to express these shocking concepts! And therefore for the whole century and up to the first decades of the twentieth century it was essentially a hymn to the Ciociaria costume and the Ciociaria models that represented a decisive element.

It should be pointed out that in the first decades of the 1800s the Ciociaria presence is already documented in Paris and it was therefore normal that this humanity in this particular dress could be considered almost a normal ingredient of city life. One of the most visible and even irreverent proofs can be admired in the ancient and grandiose building of the Stock Exchange of the City Hall in Paris 1 where in the wide frescoed band that runs under the dome various events of the time were illustrated by various artists of the time entrepreneurial connected with the trade of grains in the various continents of the earth: well the fresco depicting the European continent is played in the foreground by a splendid couple of ciociari, to document that they were universally known characters, much more so than all the others .... The ciociaro costume, thanks to its various manifestations and manifestations (in painting, in sculpture, in arts and crafts, in literature, in music etc.) had risen, so to speak, to the role of European lingua franca: everyone knew it! Everyone interpreted it and not only painters or sculptors, but also writers, composers, actors, artisans…. It is certain, to complete a concept expressed at the beginning, that it is difficult to enter any museum or gallery on the planet and do not find a work of art hanging there, be it a painting or a sculpture, which does not illustrate the character in ciociaro costume or a model or model. And it is equally difficult - actually unthinkable - to find such success by referring to other subjects.

Another reality, as significant is that in the countries where the Tyrolean costume is worn, or the Scottish or Bavarian one, etc. it is even normal and taken for granted that this dress is worn daily by a large number of people and that certainly in political and religious or personal celebrations and holidays all or almost all citizens wear it, if it is not another element, the hat or the trousers or waistcoat, etc. For the Ciociaria costume instead, the response is different, not so celebrated. Therefore this broad adhesion of the districts of Arpino  in the past days to the square of the city to offer to the objective of the cameras their customs and their clothes and their hairstyles and combinations is the demonstration, in truth, how high and deeply felt are the attention and care of one's costume on the part of the citizens of Arpino and beyond. Certainly they are not the customs of Corot or Bouguereau or Cézanne or Bonnat because by now the situations and contexts are, fortunately, of another nature and taste, but the results under the eyes today in the Piazza di Arpino, are certainly admirable and susceptible of others and even more gratifying developments.

超越表象的摄影，人类学的反思

Rocco De Ciantis 

用图像代表一个想要保护起源和传统的社区；这就是Expophoto与Umberto Mastroianni基金会合作推动的摄影项目的意义，该项目受Rocco De Ciantis(作者)和Claudio Brufola(策展人)委托，旨在重申摄影同时作为一种认知工具、作为一种流行媒体、作为一套研究某些身份现象的技术和文化手段，以确认受试者反射的光被相机固定，但渗透到人们的良心中，丰富他们的文化，使其成为一个认同和认知同化的过程。 正是遵循了维特根斯坦的想法，这个摄影项目以他的“知识理论”为前提，即认同，它希望将整个社区的古老根源带回一种基于归属感和社会凝聚力的新的共存形式。 Ciociaro服装。 谈论Ciociaria服装就像谈论世界，事实上这就是它，存在于地球上大多数博物馆，是文学中反复出现的元素。 这是乔西阿罗的服装，这是西方文化不可思议的丰碑，为数不多:无可争议的证据和证实是，即使是最伟大的艺术家也使它不朽了一个半世纪以上:当提到休伯特·罗伯特、B·皮内利、罗伯特·艾尔·马奈、德加、雷诺阿、柯罗、塞尚、哈耶兹、梵高、毕加索、德·基里科，然后是莱顿、惠斯勒、萨金特，甚至是未来主义者德佩罗、西皮奥内、博乔尼、塞韦里尼，只是为了保持西方艺术精华，没有哪一个画报题材可以夸耀这样的父子关系。要保留在苏格兰或蒂罗尔或巴伐利亚等众所周知的传统服饰和其他习俗的背景下，没有一种服饰能与西方艺术中乔西亚服饰的巨大成功相提并论，世界上没有任何一种地方服饰拥有像乔西亚罗服饰这样的非凡文献！ 一切大多诞生在瓦尔科米诺，这片位于里里河和加里利亚诺河之间的被群山环绕的小领土，完全被忽视和未知，总是被称为“缩写词”，这是大多数误解的原因之一，直到20世纪初才进入地理书籍。 在17世纪的最后几十年，在地震、瘟疫和那几年特别严重的饥荒之后，没有提及其他原因，缓慢而无情的人口外流和逃亡开始了。持续不断的人流，季节性的和非永久性的流向葡萄园工作期间的卡斯特里罗马尼，流向有毒的庞丁沼泽，丰富的生存可能性，流向罗马和最无畏的阿尔卑斯山以外，第一次踏上伦敦，苏格兰，巴黎... 但是在罗马，我们能定义的事情发生了:奇迹。

想象一下永恒之城一天中任何时间任何街道上的景象:一群牧师、僧侣、修女、弃儿和弃儿、祭坛侍童和祭祀者和兄弟会、贵族、陌生人、拿着蜡烛和棍子的朝圣者，其中有瓦尔科米诺的乔西亚里人和乔西亚里人，他们穿着自己用羊毛、亚麻和大麻制成的衣服，都是他们自己种植和生产的；由它们制成，用它们染色，周围生长的药草和手边的元素，栗子的树皮，核桃的外壳，煤烟:这就是奇迹:在所有这些无定形的无色的人群中，那些爆发出来并强加给自己的是穿着明亮闪亮的衣服的可怜的乔奇亚里人:不可思议的红色，很少见到的蓝色，侵扰性的棕色...和山脊:没有红色等于另一个，没有蓝色或绿色像另一个，一个真正的半音阶交响乐。画工们都惊呆了！字面意思。我们说“破布”是因为这是这些生物实际穿的衣服，所以艺术家自己在给家人的信中定义了它们。第二个令人惊讶的原因是不赤脚时脚上那双糟糕的鞋子:在这些充满古典主义的年轻画家眼中，那些鞋子，事实上是不稳定和痛苦的标志，在他们眼里似乎是他们在阅读希腊或拉丁经典时遇到的人物穿的鞋子。爱情诞生了。 我们报道了《1800年欧洲艺术中的罗马服装》中所表达的内容:“当时的罗马，人类历史上不可复制的阶段，重现了进行最意想不到的交易的罗马人和罗马人:蔬菜和食品小贩，罗马废墟中的牧羊人，送牛奶的，算命的，算命的和算命的，在旅游场所卖花和火柴的，在餐馆和咖啡馆里卖花和火柴的，模特和模特，旧货店，家庭职业，当然还有风笛手和风笛手整个人类主要来自瓦尔科米诺、埃尔尼奇和辛布吕尼地区，穿着破旧的服装，凸显了当时罗马的独特魅力。来自欧洲各地的外国艺术家，甚至来自遥远的俄罗斯和斯堪的纳维亚，沉浸在他们的经典回忆中，回到了新的生活，新的感觉，不安和情绪。不少人甚至忘记了自己的家乡，永远定居在罗马、迷人的那不勒斯或辛布吕尼或埃尔尼奇的小村庄...这是美人鱼经典神话的一种复兴，最能激发想象力和着迷的表演之一，令人着迷的是乔西亚娅出现在周围无定型和无色的人群中:那些穿着华丽的红色服装的耀眼的服装，他们闪亮的蓝色，那些如此奇怪但又如此众所周知的鞋子，那些棕色光滑的肉，那些女人闪亮的黑色眼睛，那些男人卷曲而竖起的头发， 那些被太阳烤焦、被疲劳弄皱的特征，这种人性——几乎是一种咒语——对外国艺术家和知识分子来说，代表了他们旅程的真实和伟大的发现，在他们的想象中，也代表了对经典乡村世界的重新解释； 他们看到的是真实的罗马人口，光彩夺目。罗马人就是ciociari，ciociari就是罗马人。在接下来的一个世纪里也是如此。然后渐渐的，一段持续了至少一百五十年的感情和协议开始了，开始了。ciociaro服装演变并获得其众所周知的构造，这是典型的和独特的只有在这种服装。我的意思是，更简单地说，通过18世纪的绘画作品而为人所知的乔西亚罗服装，获得了它的外貌和它的特殊性——这些都在绘画作品中有所说明——仅仅是因为它与艺术家在永恒之城的外国人有着长期而富有成效的关系。正是在这种关系中，乔西亚罗服装——以及鞋类——获得了和谐与优雅、简单、甚至是斯巴达式的特征，以至于促使处理过它的学者甚至将其定义为“经典”，并如前所述，成为艺术家眼中的罗马服装和意大利服装。”

当然，艺术家的作品在欧洲各地旅行，既有私人买家的目的地，也有在欧洲每个城市举行的展览和沙龙:革命者们，这是对这些从未出现过的主题的真正入侵:事实上，什么时候出现过这种风格的强盗或风笛手？什么时候一套服装如此光彩夺目？这些卑微的生物是什么时候在这么大的复制品中获得绘画荣誉的？事实上，我们在19世纪的头几十年里，特别是用比利时艺术家的话来说，诞生了“意大利风俗画”，也就是说，一种新的绘画流派被提供给了西方艺术史，一个新的开放的篇章。

我们所讲述的事实的熔炉和熔炉只存在于罗马，在那个时候，它始终是一个不可复制的独特的舞台背景:那些遗迹，那些教堂和宫殿，那些不可思议的别墅，那些几乎每天都在举行的宏伟而浮夸的宗教庆典，到处都是艺术，还有那些气味，那种光，那种自然，那种氛围...游客们进入了昏迷状态，许多人被剥夺了家园和家庭，留下来:这是司汤达综合征，但永久和普遍！这些艺术家或作家中有多少人写信给他们所爱的人:“终于在罗马，现在我真的活着，现在我知道活着是什么！”何时何地发现了表达这些令人震惊的概念的条件！因此，在整个世纪，直到二十世纪的前几十年，它基本上是对乔西亚服装和乔西亚模特的赞美，代表了一个决定性的因素。

应该指出的是，在19世纪的头几十年里，巴黎已经有了关于乔西亚的记载，因此，穿着这种特殊服装的人几乎可以被认为是城市生活的正常组成部分，这是很正常的。最明显的甚至是最不敬的证据之一可以在巴黎市政厅证券交易所的古老而宏伟的建筑中欣赏到，在穹顶下的宽壁画带中，当时的各种事件由当时与世界各大洲谷物贸易有关的企业家艺术家进行了说明:描绘欧洲大陆的壁画在前景中由一个 一对出色的ciociari夫妇，证明他们是举世闻名的人物，比其他所有人都要出名 ....ciociaro服装，由于其各种表现形式(绘画、雕塑、工艺美术、文学、音乐等)。)可以说已经上升到了欧洲通用语的角色:人人都知道！每个人都解释了它，不仅仅是画家或雕塑家，还有作家、作曲家、演员、工匠…可以肯定的是，要完成一开始表达的一个概念，很难进入这个星球上的任何博物馆或画廊，却找不到悬挂在那里的艺术品，无论是一幅画还是一件雕塑，它都不能说明ciociaro服装中的人物或一个模型或模型。同样困难的是——实际上是不可想象的——通过参考其他学科来找到这样的成功。

另一个重要的现实是，在穿泰罗里服装的国家，或者苏格兰或巴伐利亚服装的国家，等等。这是很正常的，也是理所当然的，很多人每天都穿这种衣服，当然，在政治和宗教或个人庆祝活动和节日中，所有或几乎所有的公民都穿这种衣服，如果它不是另一种元素，那就是帽子、裤子或马甲等。取而代之的是Ciociaria的服装，反应是不同的，不那么著名。因此，在过去的日子里，阿皮诺地区与城市广场的这种广泛的结合，向照相机的目标提供了他们的习俗、他们的衣服、他们的发型和组合，事实上，这表明了阿皮诺和其他地方的公民对自己的服装有多重视和关心。当然，它们不是柯罗、布格罗、塞尚或邦纳的习俗，因为幸运的是，现在的情况和背景是另一种性质和味道，但今天在阿尔皮诺广场看到的结果肯定是令人钦佩的，容易受到其他人甚至更令人满意的发展的影响。

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