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Asian Cities Depicted by European Painters ― Clues from a Japanese Folding Screen

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Asian Cities Depicted by European Painters ― Clues from a Japanese Folding Screen 113 Asian Cities Depicted by European Painters ― Clues from a Japanese Folding Screen Junko NINAGAWA ヨーロッパ人が描いたアジアの諸 都市 ―日本の萬国図屏風を手がかりに 蜷 川 順 子 東京の三の丸尚蔵館が所蔵する八曲一双の萬国図屏風には、制作当時の日本に知られ ていた最新の世界のイメージが描かれている。その主要な源泉は1609年のいわゆるブラ ウ=カエリウスの地図だと考えられるが、タイトルに名前のあるブラウ（1571‒1638）が1606 年に制作し1607年に出版したメルカトール図法による世界地図が、本件と深くかかわって いる。この地図は、その正確さ、地理的情報の新しさ、装飾の美しさなどの点で評判が 高く、これを借用したり模倣したりする他の地図制作者も少なくなかった。カエリウス（1571 ‒c. 1646）もそうした業者のひとりで、1609年に上述のブラウの世界地図を正確に模倣し たブラウ = カエリウスの地図を出版した。 カトリック圏のポルトガル人やスペイン人は、プロテスタント圏の都市アムステルダムで活 躍していたブラウの地図をその市場で購入することもできたが、カトリック圏の都市アント ウェルペンの出身であるカエリウスの方が接触しやすかったものと思われる。おそらくは 彼らの要請により、自身も優れた地図制作者であったカエリウスが1606/07年のブラウの 世界地図を正確に模倣し、そのことによる業務上の係争を避けるために、制作後ただち に同市から出帆する船の積荷に加えさせたのであろう。 ポルトガル人がこの地図を日本にもたらし、そのモチーフを使った屏風の制作に関わっ たことは明らかである。都市図のもっとも大きい区画をポルトガルの地図が占め、1606/07 年のオランダの地図にはなかったカトリックの聖都ローマの都市図が上段の中心付近に置 かれている。ポルトガル領内の第二の都市インドのゴアが、地図の装飾の配置から考えて ほぼ中心にあるのは、インドを天竺として重視した仏教徒にアピールするためであろうか。 こうすることで、日本におけるポルトガル人の存在を認めるよう日本の権力者に促す意図が あったのかもしれない。ここではさらに、制作に関わったと思われる日本人画家の関心な どを、アジアの都市図の描き方を手がかりに論じた。 114 A Japanese folding screen illustrated with twenty-eight cityscapes and portraits of eight sovereigns of the world [Fig. 1], the pair to a left-hand one depicting a world map and people of diff erent nations [Fig. 2], preserved in the Sannomaru Shōzōkan, or the Museum of the Imperial Collections, Tokyo, is widely recognized as one of the earliest world imageries known to Japan at that time 1）. It is said to have been a tribute pre- Fig. 1 Map of Famous Cities [Bankoku e-zu]（Right Screen） Momoyama period（the late 16th‒the early 17th century） A pair of folding screens with eight‒fold panels, color on paper 194.8 cm × 516.3 cm Fig. 2 Map of the World and the People（Left Screen） Momoyama period（the late 16th‒the early 17th century） A pair of folding screens with eight‒fold panels, color on paper 194.8 cm × 516.3 cm 1） The folding screens belonged to national property in 1989 and the museum opened in 1993. The paintings were depicted after the Western style between the second half of the 16th century and around 1621 ― the year of the Great Martyrdom of Genna after several proscriptions of Christian- ity ― in styles known as early Yōfūga （‘Western, or European-style painting’）, Namban Bijutsu Asian Cities Depicted by European Painters 115 sented around the time of the Meiji Restoration （1867‒68） by the Tokugawa family of Sunpu （present-day Shizuoka Prefecture）, which was related to the Edo Bakufu （Tokugawa ‘Shogunate’）, or the military governor of Japan in the Edo era（1603‒1867） , to the Imperial family 2）. Some say the screen was commissioned by a Japanese nobleman during the early 17th century, while some say it was commissioned by a Jesuit group trying to survive in Japan during the prosecution of Christians in Japan ― mainly those prosecuted by the Edo Bakufu in 1612 and 1613 3）. A document of 1611 says that Ieyasu Tokugawa, a former shogun （1603‒05） and a man of considerable power, invited two courtiers to discuss foreign countries in front of a biombo（a byōbu, or ‘folding screen’） with a world map on it 4）. Another document says that a biombo with a world map on it was imported and presented to the Sunpu family in 16115）. We have, however, no evidence that these documents refer to the folding screens in question as a lot of folding screens with world maps on them are known to have been made around the time6）. （‘Art in the Portuguese or Spanish style’）, and others. For example references in European languages, see Maria Helena Mendes Pinto, Lacas Namban em Portugal. Presença Portuguesa no Japão, Lisbon: Edições INAPA, 1990; and F.A. Baptista Pereira, Arte Portuguesa da Época dos Descobrimentos / Portuguese Art at the Time of Discoveries, Lisbon: CTT Correios de Portugal, 1996. 2） Yasumasa Oka, ‘Nijūhachi-Toshi Bankokuzu-Byōbu （‘Map of the World and Famous Cities Screens’）’, Kōshitsu no Meihō（‘The Imperial Treasures’）, 9 [Sannomaru Shōzōkan 2], Tokyo: Asahi- Shinbunsha, 1999, pp.290‒91. 3） For the former, see Mitsuru Sakamoto, ‘Namban-Byōbu to Yōfūga （‘Folding Screens with Portuguese or Spanish-style paintings on and Western, or European-style paintings’）, in Genshoku- Nihon no Bijutsu XXV [Namban Bijutsu], Tokyo: Shōgakukan, 1970, pp.30‒35 and p.40. For the lat- ter, see Oka, Nijūhachi-Toshi, pp.290‒91. 4） See the document for 20 September 1611, in the Sunpu Seiji-Roku（‘Political Chronicle of Sunpu’） Vol.I （of 8 volumes）, preserved in the Ryukoku University Library, Kyoto. The names of the courtiers are Hyōe = Fujihiro Hasegawa and Shōzaburō = Mitsutsugu Gotō, the latter of whom is reportedly the author. 5） Tōdai-ki and Sunpu-ki（‘Chronicle of Sunpu’）, ed. by Zoku Gunsho-Ruijū Kanseikai, Tokyo: Zoku Gunsho-Ruijū Kanseikai, 1995. It is documented that the one is ‘imported’, but probably only the imagery was imported and the screen was made in Japan. 6） About eighty examples of Yōfūga are known, including portraits, maps, and others. For an example of another world map, see the World Map and Four Large Cities in the World preserved in Kobe City Museum, Japan. See also ‘An Essay of Catalogue Raisonné of Namban Art. Part One: Japanese Early European-Style Painting（written in Japanese）’, Bulletin of the National Museum of Japanese History, Vol.LXXV, 1997, pp.98‒111. 116 Taking about two years for transportation from Europe to Japan into consideration and the images depicted on it, the model of the world map would have been made in 1609 at the latest 7）. Actually, the main source for this screen has been presumed to be the so-called Blaeu-Kaerius map of 1609, the current whereabouts of which is unknown8）. Researching the details of the screen’s image sources among old European maps would be a fascinating task, but it would need more space than currently allocated for my discussion. Instead, I will focus on the depictions of Asian cities in the right-hand screen, mainly two Indian ones: Goa and Calicut, which were copied after the cityscapes seen in the European map by Japanese painters, and discuss the changes in portraying cities. First, however I will briefl y survey the model map of 1609 before turning to the two cities. 1 The so-called Blaeu-Kaerius map of 1609 As the title indicates, the map of 1609 belongs to the Dutch wall maps of the world created in the 17th century. Reviewing the series of precursors, such maps ― each printed on several sheets ― were published in the Netherlands as early as the second half of the 16th century, the honor of being the pioneer in this fi eld is bestowed upon the Antwerp scholar Abraham Ortelius（1527‒98） , who published a large map of the world in eight sheets in 1564 preceding his Theatrum Orbis Terrarum （1570）9）. Five years 7） The time span of two years is calculated based on the traveling data of Francisco Xavier. It took him about one year and one month to travel from Lisbon to Goa （from 7 April 1541 to 6 May 1542） and about four months from Goa to Kagoshima, the southern area of Japan（from 15 April 1549 to 15 August 1549）. The transit connections were not always smooth and we have to factor in the time required for making the Byōbu after the engraving of the map. cf. Exh. Cat. St. Francis Xavier-His Life and Times（written in Japanese）, Kawasaki City Museum etc., 1999, p.12. 8） The only known copy is a second edition from 1619: Bibliothèque Nationale, Paris, Ge C 4931. The title along the upper edge of the map reads: ‘NOVA ORBIS TERRARUM GEOGRAPHICA/AC HYDROGRAPHICA TABULA, EX OPTIMIS IN HOC OPERE AUCTORIB.s DESUMPTA.’ Günter Schilder, ‘Willem Jansz. Blaeu’s wall map of the world on Mercator’s projection of 1606/07 and its infl uence’, Imago Mundi, 31（1979）, pp.36‒54. 9） NOVA TOTIVS TERRARVM ORBIS IVXTA NEO= / [hereafter, this mark means that the line breaks here in the middle of the word on the map although it should be one word] TERICORVM TRADITIONES DESCRIPTIO. / [hereafter, this mark means that the line breaks here on the map] ABRAH.ORTELIO / ANTVERPIANO AVCT. / ANNO DOMINI / M. CCCC. LXIIII. Eight cop- Asian Cities Depicted by European Painters 117 later, the well-known geographer and cosmographer Gerard Mercator （1512‒94） devel- oped a new method of projection, which ushered in a new era in map-making, and was used in the creation of a much larger map of the world on 24 copperplate sheets in 1569 10）. Next, Petrus Plancius（1552‒1622） , the ‘Father of Dutch Cartography,’ produced his infl uential large map of the world in eighteen sheets in 1592, not by using Mercator’ s method but by a simple cylindrical projection11）. Thus, Ortelius, Mercator, Plancius and Waghenaer ― who published his Mirror of Navigation in 1585 ― are the most important precursors for Willem Janszoon Blaeu （hereafter, his name is abbreviated as Willem Jansz.）（1571‒1638） , whose name is included in the title of Kaerius’ 1609 map12）. Willem Jansz. was born to a herring packer in the village of Alkmaar, or Uitgeest 13）. perplate sheets measuring 875 × 1500 mm. There are two known copies of this map, one in Uni- versitätsbibliothek Basel, and the other in the British Library, Map Library, London. For the bibli- ography, see Günter Schilder, Three Worldmaps by Francois van den Hoeye of 1661, Willem Jan- szoon（Blaeu） of 1607, Claes Janszoon Visscher of 1650, Amsterdam: Nico Israel, 1981, p.23. 10） NOVA ET AVCTA ORBIS TERRAE DESCRIPTIO AD VSVM NA / uigantium emendatè accommodate. There is a dedication to Wilhelm, Duke of Gulik, Kleef and Berg, Count of the Marches and Ravensburg, and Lord of Ravenstein in the top left cartouche. Twenty-four copper- plate sheets measuring 1431 × 2111 mm. Bibliothèque Nationale, Paris; Universitätsbibliothek Basel. For further locations, variations and bibliography, see Schilder, Three Worldmap, p.23. 11） NOVA ET EXACTA TERRARVM OR= / BIS TABVLA GEOGRAPHICA AC HYDROGRAPH- ICA. ANTVERPIAE, APVD IOAN= / NEM BAPTISTAM VRIENT. There is a dedication to Archduke Albert of Austria, signed Johannes / Baptista Vrient, who was able to sell this map in the southern Netherlands, against which the northern Netherlands were then at the Eighty Year’s War（1568‒1648） .
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    INFORMATION TO USERS This manuscript has been reproduced from the microfilm master. UMI films the text directly from the original or copy submitted. Thus, some thesis and dissertation copies are in typewriter face, while others may be from any type of computer printer. The quality of this reproduction is dependent upon the quality of the copy submitted. Broken or indistinct print, colored or poor quality illustrations and photographs, print bleedthrough, substandard margins, and improper alignment can adversely affect reproduction. In the unlikely event that the author did not send UMI a complete manuscript and there are missing pages, these will be noted. Also, if unauthorized copyright material had to be removed, a note will indicate the deletion. Oversize materials (e.g., maps, drawings, charts) are reproduced by sectioning the original, beginning at the upper left-hand corner and continuing from left to right in equal sections with small overlaps. Each original is also photographed in one exposure and is included in reduced form at the back of the book. Photographs included in the original manuscript have been reproduced xerographically in this copy. Higher quality 6" x 9" black and white photographic prints are available for any photographs or illustrations appearing in this copy for an additional charge. Contact UMI directly to order. University Microfilms International A Bell & Howell Information Company 300 North Zeeb Road. Ann Arbor. Ml 48106-1346 USA 313/761-4700 800/521-0600 Order Number 9330527 Among the cannibals and Amazons: Early German travel literature on the New World Dunlap, Samuel Roy, Ph.D. University of California, Berkeley, 1992 Copyright ©1992 by Dunlap, Samuel Roy.
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