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Barroco De Ambos Mundos. Miradas Desde Puebla C o l e c c i ó n B a t i h o j a Estudios Indianos, 15 BARROCO DE AMBOS MUNDOS. Barroco de ambos mundos. Miradas desde Puebla ofrece una serie de trabajos MIRADAS DESDE PUEBLA interdisciplinares y trasatlánticos sobre diversos temas y problemas de este periodo, con particular atención a las modalidades del Barroco de Indias. La diversidad de enfoques y de motivos abordados, sin pretender una impo- sible exhaustividad, permite hacerse cargo de un estado de la cuestión básico que puede ser muy útil para los investigadores o curiosos de un fenó- meno cultural de tanta envergadura a ambos lados del océano. Ignacio Arellano es Catedrático de la Universidad de Navarra y ha sido IGNACIO ARELLANO Ignacio Arellano y Robin Ann Rice (eds.) y Robin Arellano Ignacio profesor visitante en numerosas universidades de todo el mundo. Dirige el Y ROBIN ANN RICE (EDS.) Grupo de Investigación Siglo de Oro (GRISO) de la Universidad de Nava- rra, en donde desarrolla un amplio programa de investigación sobre el Siglo de Oro, que incluye el proyecto de edición crítica de los autos completos de Calderón y Lope de Vega, del teatro completo de Tirso de Molina y Bances Candamo, o la publicación de La Perinola. Revista de investigación quevediana y el Anuario Calderoniano. Robin Ann Rice es Catedrática e investigadora de tiempo completo en la Universidad Popular Autónoma del Estado de Puebla (UPAEP). Miembro del Sistema Nacional de Investigadores (SNI), es Doctora en Filología Hispánica por la Universidad de Navarra. Sus estudios anteriores son del área de Literatura Comparada. Es autora de libros y artículos sobre sor Juana Inés de la Cruz, Isabel de la Encarnación, Vélez de Guevara, Lope de Vega, María de Zayas, Mariana de Carvajal o Miguel de Cervantes, entre otros. CON PRIVILEGIO . EN NEW YORK . IDEA . 2019 BARROCO DE AMBOS MUNDOS. MIRADAS DESDE PUEBLA MIRADAS AMBOS MUNDOS. DE BARROCO 60 IGAS Institute of Golden Age Studies / IDEA Instituto de Estudios Auriseculares BARROCO DE AMBOS MUNDOS. MIRADAS DESDE PUEBLA IGNACIO ARELLANO Y ROBIN ANN RICE (EDS.) INSTITUTO DE ESTUDIOS AURISECULARES (IDEA) COLECCIÓN «BATIHOJA», 60. Serie Proyecto Estudios Indianos (PEI), 15. CONSEJO EDITOR: DIRECTOR:VICTORIANO RONCERO (STATE UNIVERSITY OF NEW YORK-SUNY AT STONY BROOK, E STADOS UNIDOS) SUBDIRECTOR: A BRAHAM MADROÑAL (CSIC-CENTRO DE CIENCIAS HUMANAS Y SOCIALES, E SPAÑA) SECRETARIO: C ARLOS MATA INDURÁIN (GRISO-UNIVERSIDAD DE NAVARRA, E SPAÑA) CONSEJO ASESOR: WOLFRAM AICHINGER (UNIVERSITÄT WIEN, A USTRIA) TAPSIR BA (UNIVERSITÉ CHEIKH ANTA DIOP, S ENEGAL) SHOJI BANDO (KYOTO UNIVERSITY OF FOREIGN STUDIES, J APÓN) ENRICA CANCELLIERE (UNIVERSITÀ DEGLI STUDI DI PALERMO, I TALIA) PIERRE CIVIL (UNIVERSITÉ DE LE SORBONNE NOUVELLE-PARÍS III, FRANCIA) RUTH FINE (THE HEBREW UNIVERSITY-JERUSALEM, I SRAEL) LUCE LÓPEZ-BARALT (UNIVERSIDAD DE PUERTO RICO, P UERTO RICO) ANTÓNIO APOLINÁRIO LOURENÇO (UNIVERSIDADE DE COIMBRA, P ORTUGAL) VIBHA MAURYA (UNIVERSITY OF DELHI, I NDIA) ROSA PERELMUTER (UNIVERSITY OF NORTH CAROLINA AT CHAPEL HILL, E STADOS UNIDOS) GONZALO PONTÓN (UNIVERSIDAD AUTÓNOMA DE BARCELONA, E SPAÑA) FRANCISCO RICO (UNIVERSIDAD AUTÓNOMA DE BARCELONA, ESPAÑA / REAL ACADEMIA ESPAÑOLA, E SPAÑA) GUILLERMO SERÉS (UNIVERSIDAD AUTÓNOMA DE BARCELONA, E SPAÑA) CHRISTOPH STROSETZKI (UNIVERSITÄT MÜNSTER, A LEMANIA) HÉLÈNE TROPÉ (UNIVERSITÉ DE LE SORBONNE NOUVELLE-PARÍS III, FRANCIA) GERMÁN VEGA GARCÍA-LUENGOS (UNIVERSIDAD DE VALLADOLID, E SPAÑA) EDWIN WILLIAMSON (UNIVERSITY OF OXFORD, R EINO UNIDO) Impresión: Ulzama Digital. © De los autores Ilustración de cubierta: Clara Arellano Torres ISBN: 978-1-938795-62-6 Depósito Legal: M-36891-2019 New York, IDEA/IGAS, 2019 ON JESUIT BAROQUE ART IN ASIA: GOA, MACAO AND PEKING (17th-18th CENTURIES) Cristina Osswald CITCEM, Universidade do Porto 1. Introduction This paper discusses Jesuit Baroque art in Asia during the 17th and the 18th centuries. It focuses on three geographical areas: Goa, Macao and Peking. Goa and Macao were two headquarters of both the Império Português do Oriente and of the Padroado Português do Oriente. The des- ignation Estado Português do Oriente was the official designation for the Portuguese empire. Though the system of Padroado Português do Oriente, the Papacy in Rome posited the King of Portugal as the supreme patron of all over- seas missionary activity. Albeit the fact that the Padroado existed until the 19th century, its authority was decisively challenged by Rome from the early 17th century. As, in 1622, the Papacy founded the Sacra Congregatio de Propaganda Fide to assume the leadership of overseas mission. Pope Paul III (Bull Aequum Reputamus) elevated Goa to an Episco- pal See and placed all the vast Portuguese territories situated between the Cape of Good Hope and China under its jurisdiction in 1534. The same Pope (Bull Etsi Sancta et Immaculata) consecrated Goa as an Arch- diocese in 1539. As capital of the Padroado Português do Oriente, Goa hosted all the permanent ecclesiastical administration of the Portuguese missionary enterprise. 184 CRISTINA OSSWALD The Portuguese rented the trading post of Macau to China in 1557. Macau was moreover the gateway of Catholic missionary activity both for China and Japan. Peking was never a Portuguese controlled ter- ritory. Nevertheless, except for some South eastern regions, Catholic presence in China was initially under the authority of the Diocese of Macao, created in 1576.1 The itinerary of the missionaries to China included Goa and Macao. Only in 1687 were the five Jesuits Jean de Fontaney (1643-1710), Joachim Bouvet (1656-1730), Jean-François Gerbillon (1654-1707), Louis Le Comte (1655-1728) and Claude de Visdelou (1656-1737) sent by the French King Louis XIV, in order to break this Portuguese predominance in China. The Jesuits sent by the King of France are commonly designated as the French Jesuits. As in Goa, the Jesuits active as builders, engineers and artists in Chi- na could rely on a myriad European sources of inspiration in form of their previous experience of European art, as well as of engravings, and illustrated books and treatises, such as the illustrated treatises by Vignola, Serlio, Scamozzi, Du Cerceau, or Pozzo2. In addition to different polit- ical, social and religious contexts, arguably, local artists, techniques and materials, as well as patrons may have determined different results in art and in architecture. 2. Jesuit art in Goa The art produced mostly at the commission of Portuguese and other Europeans in Goa assisted to the evolution of a variety of European artistic styles, beginning with the Manueline Style3. Underlying this stay the early Portuguese establishment in this area, and its political and religious centrality. A first period of construction and decoration cov- ering the Manueline, the Renaissance and the Mannerist art occurred during the 16th century. The baroque language marked the second period. It entered into Goan churches probably in form of depicted cycles. The cycle of the life of Saint Ignatius depicted c. 1623 in the Igreja de Santo Inácio 1 Luengo, 2014, p. 282. 2 Vosilla, 2018a, p. 19. 3 The Manueline style or language is a Portuguese version of the Late Gothic style. Its name derives from the King of Portugal D. Manuel (1469-1521). This artistic lan- guage originated during this kingdom, thanks to the flow in Portugal of an incredible richness coming mostly from India and the Orient. ON JESUIT BAROQUE ART IN ASIA: GOA, MACAO AND PEKING 185 (1622-1640) at Rachol, Peninsula of Salsete, is one of the earliest de- picted cycles in Goan churches. Arguably, this oil depicted cycle was based on the Flemish engravings by Peter Paul Rubens (1577-1640) and Jean Baptiste Barbé (1578-1649) that illustrated the Vita Beati P. Ignatii Loiolae Societatis Iesu. This work was printed in Rome in 1622 on the occasion of Loyola’s canonisation. The characteristically triumphant character of the Baroque was es- pecially adequate to visualise the wish of patrons to show their pow- er and richness. Indeed, the change from a Mannerist language into a Baroque one in Goa is closely related with an internal struggle within Catholic church. This struggle involved the Jesuits, which were closely bound to the Portuguese Crown, and the members of the Theatine Order dispatched by the Propaganda Fide to Goa in 1653. The introduction of the Baroque in Goa also coincided with the af- firmation of the local Catholic community with the support of Rome. This process was another aspect of Rome’s wish to combat the Padroado system. The formation of an independent local church is illustrated best by the creation of the Congregação do Oratório de Goa, which was the first Goan order, in 1682. The official recognition to this order was given by Clement XI in 1707. The Igreja do Bom Jesus, that was the main Jesuit church through- out the Orient, was built between 1594 and 1605. Its sacristy was added much later, as its construction is dated between 1652 and 1653. This sacristy was the first Baroque architectural project in Goa. The The- atine church of Nossa Senhora da Divina Providência, better known as S. Caetano, and begun in 1655, was the second baroque architectural project in Goa. The history of the construction of the Igreja de Santana de Talaulim is also related to the affirmation of the local church. It was a Jesuit church founded in 1577. The extant church results from its rebuilt un- dertaken between 1682 and 1689 under the supervision of the Goan priest Francisco do Rego (1638-1689). Santana is thus considered as the first Goan church4. These three buildings share elements characteristic of the Goan Ba- roque. Mention be made to exuberant barrel vaults with lateral penetra- tions, and luminous interiors due to high windows and ingenious light effects created through the combination of engraved and depicted pro- 4 Gomes, Saint Anne’s Church.
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