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Amsterdam Elsewhere) Amsterdam Elders (Amsterdam Elsewhere) Amsterdam Elders (Amsterdam Elsewhere) is a series of the Amsterdam local newspaper Het Parool on the 10 shared cultural heritage countries highlighting Amsterdam’s shared heritage. The series shows how 'Amsterdammers' (inhabitants of Amsterdam), with their wanderlust and mercantile spirit, have spread the cultural heritage of Amsterdam across the globe throughout the centuries. This document includes all 10 Dutch articles as well as the English translation. This series was support by the Shared Cultural Heritage Matching Fund. PS10 ZATERDAG 24 JANUARI 2015 Titia Bergsma vertrok in 1816 op een Amsterdams schip naar Japan. Ze was de eerste westerse vrouw in eeuwen die voet op Japans grondgebiedzette. Haar beeltenis is nu op zo’n vier miljoen Japanse voorwerpen te vinden. tekst MARIËLLE HAGEMAN De mooie krullen van Titia Het familieportret van Ishizaki Yushi uit 1817, met Jan Cock Blomhoff in een stoel, Titia Bergsma op de sofa met de kleine Johannes aan haar rokken. Tussen hen staat de min Petronella, rechts de Javaanse bedienden. ZATERDAG 24 JANUARI 2015 PS11 Amsterdam Elders Door de reis- en handelslust van onze voorvaderen is het Amsterdams cultureel erfgoed in de loop der eeuwen over de gehele aardbol verspreid. In Amsterdam Elders leest u maandelijks op welke plekken we ooit waren. Deze maand: Japan. lle ogen warenophaargericht Deshima toegewezen gekregen om een handelspost te toen Titia Bergsma op 16 augustus vestigen. De shogun, die het land in naam vandekeizer 1817 vanuit de sloep de vijf treden bestuurde, weerde alle buitenlanders uit Japan, en be- naar het eilandje Deshima be- halve de Chinezen warendeNederlanders de enigen klom. In haar armen hield ze haar die er zaken mochten doen. En dan alleen vanaf Deshi- zoontje Johannes, net anderhalf ma, dat ze slechts één keer per jaar mochten verlaten jaar, in haar kielzog volgde de om in Edo, nu Tokio, geschenken aan de shogunaante min Petronella. De Japanse amb- bieden. tenaren, gekleed in hun ceremo- De Verenigde Oost-Indische Compagnie bestond niële gewaden, bogendiep. sinds 1799 niet meer, maar JanCockBlomhoffwas geko- Sommigenblevenhaaraansta- men om de handelspost nieuw leveninte blazen. ren. Ze hadden nog nooit een westerse vrouw gezien. Haar houding en decolleté ATitia Bergsma wasnaarJapan gekomen met haar De enige vrouwendietoestemming hadden op Deshima man, JanCockBlomhoff,eenAmsterdammerdiealjong te komen, waren Japanse prostituees. De Hollanders het avontuur had opgezocht. De twee hadden elkaar in mochtenondergeen beding hun eigenvrouwenenkin- 1806 in Leeuwarden leren kennen, maar warenpasne- derenmeenemenenTitia wasdeeerste westerse vrouw genjaarlatergetrouwd,nadatJanzijnfortuinhadge- in eeuwen die voet op Japans grondgebied zette. De gou- maakt in Azië. In de zomer van1816warenzemethun verneur van Nagasaki had haar aan land laten gaan, baby Johannes vanuit Amsterdam vertrokken om vanaf maar om te blijvenhadTitia, net als Petronella en Johan- Texel naar Batavia te varen, en vandaar door naar Japan. nes, een verblijfsvergunning nodig. In een verzoekschrift Daar zou JanCockBlomhoffdeNederlandse handels- aan de shogunbenadrukte JanCockBlomhoffdatzijnge- post gaan leiden. Dat hij zijn gezin had meegenomen, zondheid slecht wasendatzijnvrouwwasmeegekomen druiste tegenalleJapanse regels in. om voor hem te zorgen. Ontzet kekendeJapanners toe terwijl Titia arm in Titia wasintussenhetgesprek vandedaginNagasa- arm met haar man naar haar nieuwe huis op Deshima ki. Ambtenaren penden driftig rapportenoverhaar.Voor- liep: in Japan bleef een vrouw altijd een paar passen al haar (rood)blonde krullen vielen op; Japanse vrouwen achter haar man lopen. hadden immers bijna allemaal zwart, stijl haar. Haar In 1641 had de Verenigde Oost-Indische Compagnie, neus vonden de Japanners lang, haar huid erg wit. Verder waarvan de belangrijkste afdeling in Amsterdams zat, beschreven ze haar lengte, haar rechte houding, manier vanlopen,enhaardecolleté. Op 12 september poseerde het gezin Blomhoff voor twee bekende schilders uit Nagasaki, Ishizaki Yushi en Kawahara Keiga. Titia nam plaats achter de piano. Keiga maakte aantekeningenbijzijnschets:zedroeggouden oorbellen, kammetjes in haar haar en een ketting van bloedkoraal. De schilders tekenden verder een familieta- fereeltje, met Titia op de sofa, haar zoontje aan haar rok- ken, Janopeenstoel,Petronella en Javaanse bedienden. Ze werkten hun schetsen later uit en hun leerlingen kopi- eerden die. De schilderingen, tekeningenenschetsen verspreidden zich snel door het hele land en inspireer- den weer andere kunstenaars. In korte tijd werd Titia meer dan vijfhonderd keer afgebeeld. Keizerlijk decreet Eind september kwam er een keizerlijk decreet: Titia mocht niet in Japan blijven. Het gerucht ging dat dat de uitkomst was vaneenpolitieke strijd, waarbij de conser- vatievenhaddengezegevierd. Hetnieuwskwamhard aan. Titia en Jan warenerallebei ziek van. Titia richtte nog een smeekbede totdegouverneur, maar het hielp niets meer. Op 6december 1817 vertrok ze met de kleine Johannes en Petronella weer naar Nederland. Titia Bergsma overleed in het voorjaar van1821.Het nieuws bereikte Blomhoff ruim een jaar later. In 1823 keerde hij zelf terug naar Nederland, met een grote verza- meling Japanse kunst en voorwerpen, waaronder het fa- milieportret op zijde dat Ishizaki Yushi in 1817 geschil- derd had. Hetbevindtzichtegenwoordig in het Rijksmu- seum. Artis kochtlaterveel vandenatuurhistorische voorwerpen die Blomhoff uit Japan had meegenomen. JanCockBlomhoffstierfin1853,hetjaardatJapan open- ging voor de rest vandewereld. TotdietijdhadTitia het beeld vandewesterse vrouw in Japan bepaald. Amsterdamse schepen brachten eeuwenlang koop- waar en kennis naar Japan, maar Titia’s invloed springt misschien wel het meest in het oog. Ze is nog altijd een bekend motief in de Japanse afbeeldingstraditie. Sinds 1817 heeft ze volgens schattingenzo’nviermiljoenJapan- se voorwerpen gesierd. Haar portretten hangeninJapan- se musea, maar ze is ook te zien op souvenirs en ansicht- Deshima kaarten, porselein en houtsnijwerk, en er zijn poppen van Titia en haar zoontje Johannes. Titia is meestal te her- Het kunstmatige, waaiervormige eilandje kennen aan haar krullen en haar ketting vanbloedko- Deshima, voor de kust van Nagasaki, had raal. zo’n beetje het formaat van de Dam in Amsterdam. Er stonden wat huizen, Deze productie is tot stand gekomen met ondersteuning pakhuizen en kantoren, er was een van het Gedeeld Cultureel Erfgoed Programma. moestuin, en er wapperde een www.sharedculturalheritage.nl Nederlandse vlag. Een smalle brug verbond het eilandje met het vasteland van Nagasaki. Meestal woonden er zo’n tien tot vijftien Hollanders op Deshima, voortdurend in de gaten gehouden door Japanse bewakers. Deshima is inmiddels opgeslokt door het almaar uitbreidende Nagasaki, en het wordt nu gerestaureerd. Ook op deze plek is Titia’s beeltenis volop te vinden. SATURDAY 24 JANUARY 2015 Titia’s Beautiful Curls In 1816, Titia Bergsma sailed on a ship from Amsterdam to Japan. She was the first Western woman in centuries to set foot on Japanese soil. Her likeness can now be found on some 4 million Japanese objects. By MARIËLLE HAGEMAN All eyes were trained on Titia Bergsma as she disembarked from the sloop and climbed the five steps to the tiny island of Deshima on 16 August 1817. In her arms she held Johannes, her baby boy who had just reached the age of a year and a half, with the wet nurse, Petronella, following in her wake. The Japanese officials, dressed in their ceremonial garments, bowed deeply. Some kept staring at her, transfixed. They had never seen a Western woman before. Titia Bergsma had come to Japan with her husband, Jan Cock Blomhoff, an Amsterdammer who had sought adventure from a young age. The two had met in 1806 in Leeuwarden, but did not get married until nine years later, after Jan had made his fortune in Asia. In the summer of 1817, they left Amsterdam with their baby Johannes to sail from the Dutch island of Texel to Batavia, and from there onward to Japan, where Jan Cock Blomhoff would be heading up the Dutch trading post. The fact that he took his family with him went against all Japanese rules and norms. Appalled, the Japanese watched as Titia walked arm in arm with her husband to her new home on Deshima. In Japan, a woman always remained a few steps behind her husband. The Dutch East India Company, whose most important branch was in Amsterdam, had been assigned Deshima as the place to establish a trading post in 1641. The Shogun, who governed Japan on behalf of the Emperor, barred all foreigners from the country; and except for the Chinese, the Dutch were the only ones allowed to do business there. And then only from Deshima, which they were permitted to leave just once a year in order to present gifts to the Shogun in Edo (now Tokyo). The Dutch East India Company had ceased to exist in 1799, but Jan Cock Blomhoff had come to breathe new life into the trading post. Her carriage and décolleté The only women who had permission to come to Deshima were Japanese prostitutes. Under no circumstances could Dutchmen take their own women and children with them, and now Titia was the first Western woman to set foot on Japanese soil in centuries. The governor of Nagasaki had allowed her to come on land, but in order to remain, Titia needed a residency permit, as did Petronella and Johannes. In a petition to the Shogun, Jan Cock Blomhoff emphasized that his health was bad and that his wife had accompanied him in order to care for him. In the meantime, Titia had become the talk of the town in Nagasaki. Officials scribbled hasty reports about her. Especially noteworthy were her strawberry blonde curls, because of course almost all Japanese women had straight black hair. The Japanese thought her nose long, her skin extremely white. They also spoke of her height, her erect carriage, her manner of walking and her décolleté. On 12 September, the Blomhoff family posed for two renowned artists from Nagasaki, Ishizaki Yushi and Kawahara Keiga. Titia seated herself at the piano. Keiga made notes for his sketch: she wore gold earrings, combs in her hair and a red coral necklace.
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