La riscoperta delle radici della cultura italiana nelle forme molteplici del suo patrimonio storico-artistico, dei suoi paesaggi produttivi, del suo saper fare, del made in Italy -intreccio sapiente di storia, tradizioni e bellezza- si accompagna alla necessità di prevedere "industrie culturali" e "filiere creative" quale approccio lungimirante al tema della crescita, non solo economica, del nostro Paese in uno scenario europeo ancora in parte da delineare. Le matrici identitarie di riferimento per un'Europa realmente unita, pur nelle necessarie differenze, vanno rintracciate in una dimensione culturale che superi i dati schiaccianti delle singole politiche economiche per recuperare il senso di un'operazione culturale più ampia e flessibile capace di riprogrammare i termini dello stare insieme in un comune progetto di crescita e di sviluppo competitivi. Spesso, però, è la prospettiva dalla quale si osservano i fatti a dover essere modificata; la storia del nostro passato è densa di esempi concreti nei quali una visione di futuro possibile è stata tracciata con coerenza, metodo e lungimiranza, ed è da questa prospettiva storica che occorre ripartire. Il contributo proposto intende affrontare il tema della "filiera culturale" impiantata a Napoli dai Borbone a cavallo tra XVIII e XIX secolo secondo una visione culturale ed economica rivelatrice. Dall'editoria, ai sistemi industriali locali -si pensi al Reale Setificio di San Leucio o all'azienda agricola sperimentale di Carditello-, ai laboratori impiantati nell'Albergo dei Poveri, denominato all'uopo "Reale Albergo delle Arti e delle Manifatture", alla scuola di nautica, si delinea la messa a punto di un formidabile sistema produttivo distribuito sul territorio, in taluni casi abbinato alla cooperazione coi privati, che individuava nelle radici culturali della tradizione storico-artistica e artigianale locale le leve per lo sviluppo e la crescita futuri. Il tema dell'industria culturale quale elemento in grado di immettere, nel più ampio sistema economico, un "mercato" della bellezza e della cultura fu avviato nel Settecento non solo quale instrumentum regni ma come progetto in grado d'innescare processi produttivi capaci di alimentare innovazione, ricerca e creatività all'interno di un "polo della conoscenza" sostenuto dalle politiche del Regno. La sola riscoperta di Pompei e di Ercolano, e la campagna di scavi archeologici che ne derivò, con il conseguente rilievo, disegno e pubblicazione delle Antichità di Ercolano, diede il via a studi e ricerche nei più diversi settori della conoscenza e della produzione artistica, donando nuova linfa e ispirazione a pittori, scultori, accademie, architetti che ne riprodussero forme, temi e tecniche.
The rediscovery of the roots of Italian culture in the several forms of its historical-artistic heritage, of its productive landscapes, of its know-how, of the made in Italy - skillful entanglement of history, traditions and beauty - matches the need to foresee "cultural industries" and "creative chains" as a forward-looking approach to the topic of growth of our country in a European scenario that is still partly to be defined. The identity origins of reference for a truly united Europe, despite its necessary differences, must be traced to a cultural dimension that overcomes the crushing data of individual economic policies to recover the sense of a broader and more flexible cultural operation capable of reprogramming the terms of being together in a common project of competitive growth and development. Often, however, it is the perspective from which the facts are observed that must be modified; the history of our past is full of concrete examples in which a vision of a possible future has been traced with coherence, method and foresight, and it is from this historical perspective that we must start again. This paper will address the issue of "cultural industry" implanted in Naples by the Bourbons at the turn of the eighteenth and nineteenth centuries according to a cultural and economic vision revealing. From publishing, to the local industrial systems -such as the Royal Silk Factory of San Leucio or to the experimental farm of Carditello-, to laboratories implanted in the Albergo dei Poveri, to the school boating, takes shape the development of a formidable production system diffused in the area, in some cases combined with cooperation with privates, which identified in the cultural roots of the tradition of art history and local craft the levers for the development and future growth. The theme of the cultural industry as an element capable of introducing, in the wider economic system, a "market" of beauty and culture was started in the eighteenth century not only as an instrumentum regni but as a project capable of triggering productive processes capable of feeding innovation, research and creativity within a "knowledge pole" supported by the policies of the Kingdom. The rediscovery of Pompeii and Herculaneum, and the excavation campaign that ensued, gave rise to studies and research in most fields of knowledge and artistic production, giving new energy and inspiration to painters, sculptors, academies, craftsmen who reproduced its shapes, themes and techniques.
The Bourbons and Naples. Historical perspective of a cultural chain interrupted
Rosa Maria Giusto
2019
Abstract
The rediscovery of the roots of Italian culture in the several forms of its historical-artistic heritage, of its productive landscapes, of its know-how, of the made in Italy - skillful entanglement of history, traditions and beauty - matches the need to foresee "cultural industries" and "creative chains" as a forward-looking approach to the topic of growth of our country in a European scenario that is still partly to be defined. The identity origins of reference for a truly united Europe, despite its necessary differences, must be traced to a cultural dimension that overcomes the crushing data of individual economic policies to recover the sense of a broader and more flexible cultural operation capable of reprogramming the terms of being together in a common project of competitive growth and development. Often, however, it is the perspective from which the facts are observed that must be modified; the history of our past is full of concrete examples in which a vision of a possible future has been traced with coherence, method and foresight, and it is from this historical perspective that we must start again. This paper will address the issue of "cultural industry" implanted in Naples by the Bourbons at the turn of the eighteenth and nineteenth centuries according to a cultural and economic vision revealing. From publishing, to the local industrial systems -such as the Royal Silk Factory of San Leucio or to the experimental farm of Carditello-, to laboratories implanted in the Albergo dei Poveri, to the school boating, takes shape the development of a formidable production system diffused in the area, in some cases combined with cooperation with privates, which identified in the cultural roots of the tradition of art history and local craft the levers for the development and future growth. The theme of the cultural industry as an element capable of introducing, in the wider economic system, a "market" of beauty and culture was started in the eighteenth century not only as an instrumentum regni but as a project capable of triggering productive processes capable of feeding innovation, research and creativity within a "knowledge pole" supported by the policies of the Kingdom. The rediscovery of Pompeii and Herculaneum, and the excavation campaign that ensued, gave rise to studies and research in most fields of knowledge and artistic production, giving new energy and inspiration to painters, sculptors, academies, craftsmen who reproduced its shapes, themes and techniques.I documenti in IRIS sono protetti da copyright e tutti i diritti sono riservati, salvo diversa indicazione.
