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Made in Japan? questioning the collaborations underlying namban art /Little, Lalaine Bangilan. January 2008 (has links)
Thesis (M.A.)--State University of New York at Binghamton, Department of Art History, 2008. / Includes bibliographical references.
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The European presence in Japanese screen painting of the late sixteenth and early seventeenth centuriesMeehan, Olivia Anne January 2011 (has links)
In 1543, after more than a century of exploration and expansion, the first Europeans, the Portuguese, landed on the Isle of Tanegashima fl ~lib, off the southern island of Kyushu, Japan. Their arrival has been described in Japanese as kamikaze 1$ 00,, 'by the winds of the gods', or by accident. Indeed the Portuguese did not intend to visit Japan; their landing on Japanese shores was caused by severe weather conditions. The focus of this dissertation is the so-called Nanban byobu l�J~ MOO. Southern Barbarian folding screen paintings, depicting the arrival of Portuguese merchants and missionaries on Japanese shores. The paintings are classified as kinsei shokifuuzokuga ili:t!t1'.JJ~OO.{~@ (Early Modern Genre Painting) depicting scenes from contemporary life in and around the city. They were designed and produced by Japanese artists for Japanese patrons and audiences, they were not items made for export. Typically the screens were displayed in pairs, each screen consisting of two, six or eight panels and are divided into groups of 'arrival scene' paintings; the first group shows the departure of the Portuguese 'Black Ship' from a foreign port on the left screen and the right the arrival of the ship to Japan, the next group show the arrival of the Portuguese 'Black Ship' to Japanese shores on the left screen and on the right screen is a procession of Portuguese merchants and missionaries through the streets of a Japanese port town. Around ninety screens survive and can be found in collections worldwide. The aim of this study is to 're-contextualise' these paintings in the Japanese interior space and the practice of Japanese painting workshops. It intends to challenge the frequent use of European sources to decipher and make meaning of the iconography of Nanban byobu by reconsidering their place in the development of Japanese painting in the early modern period.
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Portuguese Ships on Japanese Namban ScreensYamafune, Kotaro 2012 August 1900 (has links)
Namban screens are a well-known Japanese art form that was produced between the end of the 16th century and throughout the 17th century. More than 90 of these screens survive today. They possess substantial historical value because they display scenes of the first European activities in Japan. Among the subjects depicted on Namban screens, some of the most intriguing are ships: the European ships of the Age of Discovery.
Namban screens were created by skillful Japanese traditional painters who had the utmost respect for detail, and yet the European ships they depicted are often anachronistic and strangely. On maps of the Age of Discovery, the author discovered representations of ships that are remarkably similar to the ships represented on the Namban screens. Considering the hypothesis that ships of some of the Namban screens are copies of ships represented on contemporary European cartography, the author realized that one particular historical event connecting Europe and Japan may be the source of these representations. This was the first visit of the Japanese Christian embassy, the Tensho Embassy, to Rome, in 1582. Its journey to Europe and its following visit to the Taiko, or first effective leader of Japan, Hideyoshi Toyotomi, may have been a trigger for the production of one of the most well-known Japanese artworks, the Namban screens.
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Emergent consciousness about the self depicted in the world map screensGotō, Tomoko 11 1900 (has links)
A pair of eight-fold screens entitled "World-Map-and-Twenty-Eight-City" represents a colorful world map with the figures of peoples of the world on one screen.
The painting is punctuated by numerous city markers, with the largest indicating the city
of Rome. On the other screen, twenty-eight cities of the world and Christian and Muslim
kings in ceremonial attire on horseback are depicted. This pair of screens was probably
produced in the early seventeenth century. It was most likely painted by Jesuit-trained
Japanese painters who had learned western themes and painting techniques: perspective
and chiaroscuro. Until the sixteenth century, Japanese experience with and knowledge of the world was limited to its neighbouring lands, such as China, Korea, and India. Beyond the realm
of Japan lay worlds formed through fascination and the imagination. In 1543, however,
this changed with the appearance of the Portuguese, who journeyed to Japan in the pursuit
of new lands to develop trade and to spread Christianity. The Portuguese and their
culture had a strong impact on Japanese thoughts and activities, including the creation of
many screens with European motifs and new views of the world at large. This pair of
screens was drawn upon Dutch prototype made by Petrus Kaerius (1571-1646) in 1609.
In my thesis I will examine how "World-Map-and-Twenty-Eight-City" screens
performed a two-fold function. I will first examine how the screens marked Jesuit
propagation of Christianity in Japan, and second I will examine how the screens
articulated what might be called an emergent sense of Japanese collective identity. By
this I do not mean identity based on nationalism, which emerged in Japan only in the
nineteenth century. Rather, I mean an increasing awareness of the Self in relation to
Other, and not only in relation to those outside the geographic confines of Japan but also
within. What I intend to explore is how definitions of geography and culture in world
map screens, and specifically "World-Map-and-Twenty-Eight-City" screens, prompted
viewers to acknowledge a more distinctive Self.
The end of the sixteenth and the beginning of the seventeenth centuries was a
transitional moment for both the Jesuits and Portugal. Religiously, the Jesuits were in
conflict with the Japanese government and, as well their authority was undermined by
Mendicants from the Philippines. These conflicts were compounded further by the spread
of Protestantism in Europe. Similarly, after a short prosperous trade in Asia, rising
economic and political power of the Netherlands and England gradually pushed
Portuguese trade out of Asia.
By comparing "World-Map-and-Twenty-Eight-City" screens with "In-and-Around-
Kyoto" screens, I argued that the Jesuit's hidden agenda of glorifying Christendom and
God's order on earth emerged. Moreover, by comparing this pair with "Four-Continent-and-
Forty-Eight-People" screens, I detect the emergence of sense of a Japanese Self, that
was forged in relation to the Europeans. Although the screens give the impression of the
orderly and peaceful world, they mask the unstable situation which the Jesuits and
Portugal were experiencing at the time.
In the end, I propose that "World-Map-and-Twenty-Eight-City" screens transformed
and reworked the Dutch prototype from a geographical mode to one that is highly
decorative. Rather than articulating a Japanese view of the world, the screens maintained
the notion of a powerful Catholic world.
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Emergent consciousness about the self depicted in the world map screensGotō, Tomoko 11 1900 (has links)
A pair of eight-fold screens entitled "World-Map-and-Twenty-Eight-City" represents a colorful world map with the figures of peoples of the world on one screen.
The painting is punctuated by numerous city markers, with the largest indicating the city
of Rome. On the other screen, twenty-eight cities of the world and Christian and Muslim
kings in ceremonial attire on horseback are depicted. This pair of screens was probably
produced in the early seventeenth century. It was most likely painted by Jesuit-trained
Japanese painters who had learned western themes and painting techniques: perspective
and chiaroscuro. Until the sixteenth century, Japanese experience with and knowledge of the world was limited to its neighbouring lands, such as China, Korea, and India. Beyond the realm
of Japan lay worlds formed through fascination and the imagination. In 1543, however,
this changed with the appearance of the Portuguese, who journeyed to Japan in the pursuit
of new lands to develop trade and to spread Christianity. The Portuguese and their
culture had a strong impact on Japanese thoughts and activities, including the creation of
many screens with European motifs and new views of the world at large. This pair of
screens was drawn upon Dutch prototype made by Petrus Kaerius (1571-1646) in 1609.
In my thesis I will examine how "World-Map-and-Twenty-Eight-City" screens
performed a two-fold function. I will first examine how the screens marked Jesuit
propagation of Christianity in Japan, and second I will examine how the screens
articulated what might be called an emergent sense of Japanese collective identity. By
this I do not mean identity based on nationalism, which emerged in Japan only in the
nineteenth century. Rather, I mean an increasing awareness of the Self in relation to
Other, and not only in relation to those outside the geographic confines of Japan but also
within. What I intend to explore is how definitions of geography and culture in world
map screens, and specifically "World-Map-and-Twenty-Eight-City" screens, prompted
viewers to acknowledge a more distinctive Self.
The end of the sixteenth and the beginning of the seventeenth centuries was a
transitional moment for both the Jesuits and Portugal. Religiously, the Jesuits were in
conflict with the Japanese government and, as well their authority was undermined by
Mendicants from the Philippines. These conflicts were compounded further by the spread
of Protestantism in Europe. Similarly, after a short prosperous trade in Asia, rising
economic and political power of the Netherlands and England gradually pushed
Portuguese trade out of Asia.
By comparing "World-Map-and-Twenty-Eight-City" screens with "In-and-Around-
Kyoto" screens, I argued that the Jesuit's hidden agenda of glorifying Christendom and
God's order on earth emerged. Moreover, by comparing this pair with "Four-Continent-and-
Forty-Eight-People" screens, I detect the emergence of sense of a Japanese Self, that
was forged in relation to the Europeans. Although the screens give the impression of the
orderly and peaceful world, they mask the unstable situation which the Jesuits and
Portugal were experiencing at the time.
In the end, I propose that "World-Map-and-Twenty-Eight-City" screens transformed
and reworked the Dutch prototype from a geographical mode to one that is highly
decorative. Rather than articulating a Japanese view of the world, the screens maintained
the notion of a powerful Catholic world. / Arts, Faculty of / Art History, Visual Art and Theory, Department of / Graduate
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