Propaganda Fidei: Die Nantang-Kirche Und Die Jesuitischen Sakralräume Im Peking Der Frühen Neuzeit

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Propaganda Fidei: Die Nantang-Kirche Und Die Jesuitischen Sakralräume Im Peking Der Frühen Neuzeit Inauguraldissertation zur Erlangung der Doktorwürde der Philosophischen Fakultät der Ruprecht-Karls-Universität Heidelberg, Institut für Kunstgeschichte Ostasiens Propaganda fidei: Die Nantang-Kirche und die jesuitischen Sakralräume im Peking der Frühen Neuzeit vorgelegt von Lianming Wang aus Zhejiang, VR China September 2014 Erstgutachter: Prof. Dr. Lothar Ledderose Zweitgutachterin: Prof. Dr. Melanie Trede Externe Betreuerin: Apl. Prof. Dr. Claudia von Collani (Würzburg) finanziert durch Geschwister Supp Stiftung (01.2010-12.2012) Exzellenzinitiative der Graduiertenakademie der Universität Heidelberg (10.2010) Ricci Institute for Chinese and Western Cultural History, University of San Francisco (03.2013) Heinz-Götze-Stiftung für Kunstgeschichte Chinas (07.2013; 03.2014) Inhaltsverzeichnis Einleitung Mission, Kunst und Globalität: Defizite und Konzeptionen…………………...................1 Forschungsgeschichte……………………………………………………………............15 Kapitel I: Stadt, Öffentlichkeit und der jesuitischer Urbanismus 1.1 Gründung der Mission in Peking, 1601-05………………………………….............20 Hintergrund……………………………………………………………………........21 Geschenk, Freundschaft und Netzwerk…………………………………….............22 1.2 Erwerb des Grundstücks, 1605……………………………………………...............24 1.3 Erschaffung eines Orientierungspunktes……………………………………............28 Das Xuanwu-Tor……………………………………………………………….......28 Bauplatz im Wandel der Zeit………………………………………………….........31 1.4 Stadt, Öffentlichkeit und die jesuitische „sakrale Strategie“………………..............33 Die topographische Tradition der Jesuitenanlage…………………………..............33 Die Nantang-Kirche im Spiegel der kartographischen Werke des 18. Jahrhunderts……………………………………………………………………......38 Fazit: Topographie und Propaganda……………………………………………............40 Kapitel II: Baugeschichte: Die sukzessive Erweiterung des Sakralbaus 2.1 Die Vorgeschichte: Die „Ricci-Kirche“, 1610-11……………………………..........43 2.2 Adam Schall von Bell und der Neubau, 1650-52…………………………..........….46 Die Kirche und Mission in der Zeit zwischen 1610 und 1644……………..............46 Baufinanzierung………………………………………………………………........49 Rohbau…………………………………………………………………………......51 Innenausstattung…………………………………………………...…………........55 2.3 Der Zustand zu Zeiten Ferdinand Verbiest, 1660-88………………………............57 Dongtang: Die portugiesische Zwillingskirche……………………………...........59 Die Xitang-Kirche, der Hausgarten und die Turmbauten…………………............56 2.4 Ecclesia collegii Pekinensis: Ausbaumaßnahmen im Kontext ordensinterner Konkurrenz, 1704-11…………………………………………………………........64 Die französische Beitang-Kirche als Konkurrenzprojekt…………………..............64 Ausbaumaßnahmen unter Thomas Pereira…………………………………............67 2.5 Instandhaltung im Laufe des 18. und 19. Jahrhunderts……………………..............72 Renovierungsmaßnahmen unter Giuseppe Castiglione und Fernando B. Moggi…………………………………………………………………………....72 Wiederaufbau, 1775…………………………………………………………......75 Der Zustand unter Laurant Guillon, ca. 1860…………………………….. .........78 Kapitel III: Beschreibende Rekonstruktion des Baus des 18. Jahrhunderts 3.1 Bildquellen zur Rekonstruktion: Die „Lissabonner Zeichnungen“………................81 Das Rätsel der Bildinhalte……………………………………………….........……84 Die Dongtang-Zeichnung……………………………………………………..........85 Bildquellen des 19. Jahrhunderts……………………………………........………..87 Grundrissaufnahme………………………………………………………….......…88 3.2 Das Verhältnis zwischen Bauten diverser Periode: Lage, Größe und Proportion…………………………………………………………………...……….....90 Lage der Sakralbauten…………………………… …………………………......90 Baudimension…………………… …………………………………….....................91 Grundriss…………………………………….………………………….....................94 Außenbau……………………………………………………………….................….97 Innenraum…………………………………………………………….....................…98 Eine zusammenfassende Rekonstruktion………………………………………............102 Kapitel IV: Architektur, weltliche Macht und Identität 4.1 Zur Vielfältigkeit baulicher Produktion der Jesuiten……………………...............104 Der eingeschränkte Blick……………………………………………………........104 Zwei Möglichkeiten der Interpretation……………………………………............105 4.2 Propaganda versus Repräsentation: Das Beispiel von St. Paul zu Macau Die Gründungsgeschichte………………………………………………..….............111 Architektur………………………………………………………………….....................113 Die Fassade und die „doppelte Bildlichkeit“………………………………..............114 „Der Altar in der Öffentlichkeit“: Transfer eines iberischen Modells…....................117 Die Debatte über „Decorum“…………………………………………….…............118 Mariä Himmelfahrt oder Mariens Krönung? ...................................................... ......121 Evonne Levy und die Propaganda-Theorie……………………………….................124 4.3 Modul – Zitat – Repräsentation: Zur modularen Produktion der Jesuitenarchitektur in Ostasien………………………………………………................................................126 Grundriss – Kuppel – Fassade: Bauteile als Verweisformen……………...................127 Imitation – Zitat – Paraphrase: Begriffsbestimmung……………………...................133 Lothar Ledderose und das „Modul“ in der Architektur…………………...................136 4.4 Das portugiesische Goa als Impulsgeber………………………………….................139 Die frühe Phase goanischer Sakralarchitektur……………………………................140 S. Paulo und die Zitate der Renaissancearchitektur………………………................141 Santa Sé und die festen Module goanischer Sakralarchitektur…………...................143 Bom Jesus und die Standarisierung goanischer Baumodule……………...................145 4.5 Fassade als Repräsentation königlicher Identität………………………….................148 Charles de Belleville und die Beitang-Fassade……………………………...............150 Die französischen Vorbilder…………………………………………………...........153 4.6 Gezähmte Natur als Spiegel der Macht: Das Beispiel des jesuitischen Gartens……………………………………………………………………………...........153 Der Garten in der Darstellung der „Pariser Malerei“…………………….................155 Peking: Jean-Denis Attiret, Nicolas d'Incarville und der Bau des Beitang-Gartens………………………………………………………………..........157 La Flèche und die Tradition des jesuitischen Gartens…………………….................165 Fazit: Ordensarchitektur im Spannungsfeld weltlicher Machtansprüche ………………………………………………………………................168 Kapitel V: Bilder im Sakralraum: Diffusion, Botschaft und Illusion 5.1 Verbreitung der christlichen Ikonographie im 17. Jahrhundert: Das Präludium……………………………………………………………….........172 Die „Philippine-Madonna“…………………………………………………...........176 Nagasaki: Nicolòs Salvador mundi und S. Maria Maior…………………..............179 Rom: Geschenke für den Kaiser……………………………………………..........192 Die Gebrüder Wierix, die japanischen Exil-Künstler und die frühe Bildpraxis in Macau…………………………………………………………..............................196 Die religiöse Malerei zu und nach der Zeit Schalls…………………… ........... ....199 5.2 „…wie in der Halle der Zehn Höllenkönige“: Giuseppe Castigliones Beiträge zu den Sakralräumen in Peking………………………………............................................208 Die malerische Ausstattung, 1719…………………………………………...........209 „Die Form des Himmels“: Die malerische Erneuerung, 1729………….................221 5.3 „Verehrung des Herzen Jesu“: Die visuellen Experimente in der Zeit nach Castiglione…………………………………………………………………............235 Die „Pariser Malerei“: Resonanz, Inhalt und Aufbau……………………..............236 Der „Prolog“ des Ereignisses………………………………………………...........240 Hof, Architektur und Erzählrahmen……………………………………….............242 Figure, Kostüme und das „heilige Ereignis“: Eine Opferzeremonie zu Ehren des Herrn des Himmels?..................................................................................................243 Zur Authentizität des Bildinhaltes: Die Beitang-Kirche und ihre Text- und Bildquellen…………………………………………………………………….......248 Pierre-Martial Cibot und sein Bericht über das Fest des Heiligen Herzen……………………………………………………...................……….......250 Bildtyp, Stil und Herkunft: Die Wechselwirkung zwischen Kirche und Hof………………………………………………………………..…………….....255 Fazit: Kopie, Intermedialität und Identität……………………………………..............265 Literaturverzeichnis Bildnachweis * Preliminary draft, please do not cite or circulate without authors’ permission. The complete book version will be released in 2018. Lianming Wang Einleitung “The art history of the Jesuit is the art history of the world” Gauvin A. Bailey (1999, S. 47) Mission, Kunst und Globalität: Defizite und Konzeptionen Die vorliegende Untersuchung beschäftigt sich mit den materiellen Aspekten der jesuitischen Mission außerhalb ihres europäischen Rahmens. Im Zentrum der Diskussion steht ein Schlüsselbauwerk des portugiesischen Padroado (Padroado Português)1: die Nantang-Kirche (Nantang 南堂; oder: Südkirche) in Peking. Der Namen der Kirche hängt mit ihrer Lage zu anderen Kirchen in Peking zusammen. In den Quellen wurde sie zunächst als Tianzhu tang 天主堂 (Halle des Herrn des Himmels; oder: l’église du Sauveur; SS. Salvador)2, ab 1654 „das portugiesische Kolleg“ (Collège portugais), sowie ab 1662 als Xitang 西堂 (Westkirche) wegen Gründung der St. Josef-Kirche (Dongtang 東堂; Ostkirche) bezeichnet.3 Nachdem die Beitang-Residenz 北堂 (Nordkirche) der französischen Jesuiten und die Xitang der Lazaristen 1703 resp. 1723 zur Vollendung kamen, wurde sie schließlich zur Nantang umbenannt. 1775, nach dem Wiederaufbau, erhielt die Kirche den Namen Nossa Senhora da Assumção (Kirche der Himmelfahrt Mariä). Von ihrer Gründung im Jahre 1605 bis zur Auflösung des Jesuitenordens war die 1 Das Padroado-System, das vor dem Hintergrund der europäischen
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