departmental bulletin paper

Departmental Bulletin Paper

Text

フィロカリア. 2025, 42, p. 105-149

大阪大学大学院人文学研究科　芸術学専攻

Japanese

Text

2025-03-27

Among so-called “Nanban art,” works that use European iconographic sources and techniques such as shading and perspective to depict secular themes such as images of armed monarchs, battle scenes, world maps, and rural hunts occupy an important sphere alongside Nanban folding screens and works of Christian iconography. Some of these Western-style paintings of secular themes have been reworked in the course of their preservation to this day, but there remain not a few examples that were originally painted on folding screens and are thought to have been placed in the interior spaces of Japanese architecture. This paper focuses on a series of folding screens based on Dutch-made largeformat world maps and sheds light on the environment in which they were created. Chapter 1 examines the outline of and previous research on Western-style paintings based on the world map with accompanying topographical illustrations developed by Amsterdam cartographer Willem Blaeu, focusing on the Bankoku Ezu byobu (Screen of World Map) in the collection of the Sannomaru Shozokan collection of the Imperial Palace, Tokyo. Western-style painting screens with world map at their center combine elements that often contain various iconographic sources, including those of the Jesuits. Previous research has considered them to have been produced under the direction of the Jesuits in Japan as gifts to influential people such as feudal lords. But there is no sufficient evidence to support this premise. In chapter 2, we reexamine the motifs that originated from the iconographical sources of the Jesuits, and demonstrate how these works carefully eliminate or modify iconographic elements directly related to Christianity or the Jesuits. For example, the landscape of Rome depicted in the Shozokan version of the Screen of World Map replicates the images of buildings associated with the Jesuits based on illustration in a Jesuit publication, but omits the seal of the Jesuit displayed on the façade of the buildings in the original image. This kind of deliberate manipulation of images to remove Christian or Jesuit elements is not limited to the Shozokan’s Screen of World Map. Then, why was this manipulation carried out? In Chapter 3, We more precisely estimate the period when the iconographical sources that served as models for the Western-style screens arrived in Japan, taking into account previously unreferenced materials such as shipping records from the Indian trade routes of the time. This sets the upper limit for the production period of the series of works̶including the Shozokan version of the Screen of World Map̶at 1612 (Keicho 17), or possibly 1613 (Keicho 18). This period coincides with the attack on the Portuguese ship Nossa Senhora da Graça in Nagasaki, which destabilized relations with Portugal, the nation that had monopolized trade with Japan until then. It was also when the Tokugawa government under Ieyasu abruptly tightened its control over Christianity in preparation for the decisive issuance of the Christian ban. At the same time, the Netherlands repeatedly sent envoys to Japan, increasing its presence as a new diplomatic and trade partner. Chapters 4 and 5 demonstrate that the diplomatic environment surrounding Japan at the time the work was created̶clarified in the previous chapter̶provided the foundation for the iconographical expression of Western-style folding screens, which incorporated the latest geographical and topographical knowledge of the world while deliberately excluding Christian elements. The chapters further clarify that the primary contributors to the conception of these works were close vassals of the Tokugawa government under Ieyasu, who were responsible for directing foreign policy and making decisions regarding the control of Christianity. Notably, Goto Shozaburo, Ieyasu’s direct assistant in Sunpu, and Hasegawa Sahei, who was appointed magistrate of Nagasaki, played central roles in welcoming and negotiating with the continuous stream of diplomatic envoys from various countries. They had access to world maps and other documents and images that had been accumulated as diplomatic gifts within the administration. This paper concludes that the Western-style screen paintings̶byobu or folding screens̶designed to reconstruct the latest global knowledge on a medium suited to Japanese architectural spaces, were created under their initiative. What emerges here is the agency of the Japanese side, positioned at the forefront of early modern Europe’s colonial expansion into the world.

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101329

オランダ製世界地図に依拠する洋風画屏風と徳川家康の近臣たち : 慶長一四年~二○年頃の外交環境との関連を中心に

岡田, 裕成

大阪大学大学院人文学研究科　芸術学専攻

Japanese

2025-03-27

フィロカリア

42

105

149

https://hdl.handle.net/11094/101329