Abstract
Traditionally, nanban art has been seen as a simple product of exchanges between Japan, Portugal and Spain. The historiography tends to solely focus on artistic contributions of the Society of Jesus due to the foundation of a painting school in Japan. Thereby, the relevance of the Indo-Portuguese route in the cross-cultural history has been emphasized. However, the research advances of the last decades identify that nanban works consist of artistic inheritances from diverse regions of the world which were connected through the Portuguese and Spanish transoceanic routes. Similarly, Japanese nanban art influenced the artistic productions on the other side of the world. In summary, nanban art cannot be understood without taking into account its global implications. This paper clarifies the changes in epistemological understanding of nanban art, and its redefinitions through a historiographical review. This work also shows the important role of Spanish America in the artistic exchange mechanisms; these interactions occurred reciprocally. Therefore, the New World was one of the regions where Japanese art significantly influenced local productions. To exemplify this phenomenon, we address the influence of nanban art on the mural painting The great martyrdom of Japan in 1597 in Cuernavaca, Morelos, Mexico.
Highlights
Nanban art refers to a wide variety of artistic expressions that arose from the interactions between Japan and the Iberian world in the early modern era
This review aims to show how the idea of nanban art which was initially understood as the result of cultural exchanges between Japan, Portugal and Spain, has been redefined due to advances in research
The study of nanban art has its antecedents in the records concerning Christian images and devotional objects, prepared by Confucianists in the late Edo period, as shown in Kirishitan hōfuku shokibutsu mokuroku 吉利支丹法服諸器物目録 (The inventory of kirishitan costumes and articles, 1800) by Tachihara Suiken (1744-1823), and Kinjōhiun 金城秘韞 by Ōtsuki Gentaku (1757-1827)[6]
Summary
Abstract | Traditionally, nanban art has been seen as a simple product of exchanges between Japan, Portugal and Spain. The New World was one of the regions where Japanese art significantly influenced local productions To exemplify this phenomenon, we address the influence of nanban art on the mural painting The great martyrdom of Japan in 1597 in Cuernavaca, Morelos, Mexico. Los avances de investigación en las últimas décadas identifican que las obras namban se conforman de herencias artísticas de diversas regiones del mundo que estaban conectadas a través de las rutas transoceánicas portuguesa y española. Este trabajo aborda la influencia del arte namban en la pintura mural El gran martirio de Japón en 1597 en Cuernavaca, Morelos, México. Este trabalho aborda a influência da arte namban na pintura mural O grande martírio do Japão em 1597 em Cuernavaca, Morelos, México. Palavras chave | (Tesauro) artes; história da arte; arte asiática; arte latino-americana. (Author) arte namban; arte kirishitan; Arte colonial hispano-americana
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