Folding Screens, Cartography, and the Jesuit Mission in Japan, 1580-1614
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FOLDING SCREENS, CARTOGRAPHY, AND THE JESUIT MISSION IN JAPAN, 1580-1614 A thesis submitted to the University of Manchester for the degree of Doctor of Philosophy in the Faculty of Humanities 2015 GIOVANNI RANERI SCHOOL OF ARTS, LANGUAGES and CULTURES Table of Contents List of Illustrations 4 Abbreviations 12 Abstract 13 Declaration 14 Copyright Statement 14 Introduction 16 A Brief Note on the Historical Context 28 1. Things Worth Describing 34 Composite objects and fluid interiors 34 Valignano, cultural adaptation and Japanese etiquette 42 Folding screens as diplomatic gifts 48 The fortress of Azuchi, the Azuchi screens and the rakuchū rakugai-zu theme 52 Nobunaga and the Missionaries 57 The Donation of the Azuchi Screens to Valignano 60 Conclusion to Chapter One 64 2. Ambassadors in effect 66 The organization of the Tenshō embassy 66 Folding screens in the instructions of Valignano to Nuno Rodrigues S.J. 73 The passage of the Tenshō embassy in Portugal and Spain 76 The passage of the Tenshō embassy in Italy 84 The return of the Tenshō envoys to Japan and the embassy to Toyotomi Hideyoshi 98 Conclusion to Chapter Two 102 3. The Visual Arts on the Jesuit Mission in Japan and Namban Screens 106 The visual arts and the Jesuit mission in Japan (1549-1590) 106 Giovanni Niccolò, a Jesuit painter in Japan 115 2 The Jesuit Seminary of Painters: Paintings, Prints, and Books (1590- 1614) 118 Namban Screens 126 Conclusion to Chapter Three 130 4. The Map of the World and Twenty-Eight Cities and the Battle of Lepanto and World Map screens: a religious interpretation 133 The World Maps on Our Japanese Screens and Their European Cartographic Sources 136 Decorative Insets I: Contextualising the Terrestrial World 140 Decorative Insets II: Setting the Terrestrial World in the Heavens 143 Decorative Insets III: On the Earth’s Globe East Meets West 146 Decorative borders: contextualising the world’s peoples, cities and rulers 148 Battles Old and New: the Universal Significance of Christian Victories Over Pagan Foes 157 Conclusion to Chapter Four 162 Conclusion 164 Bibliography 167 Primary Sources 167 Secondary Sources 171 Appendix A 197 Appendix B 199 Glossary 206 Illustrations 208 Word count: 65,094 3 List of Illustrations Figure 1 - Portrait of Alessandro Valignano, engraving, ca. 1600. Source: Wikimedia Commons. 208 Figure 2 – Jōdan section of the ohiroma hall in Hommaru Compound of Edo castle, according to the reconstruction of 1860. Source: from HIRAI 1973. .................................................................. 209 Figure 3 – Unknown artist, Great Audience Hall, Nijō Castle, Kyōto, 1626. Source: Wikimedia Commons. ....................................................................................................................................... 209 Figure 4 – Reconstruction of the tenshu of Azuchi Castle by NAITŌ 1976. Source: MURASE 2004. ........................................................................................................................................................ 210 Figure 5 – Kanō Eitoku, Landscape with Flowers and Birds, 1566, Daitoku-ji temple, Kyōto. Source: ARTstor Collection. .......................................................................................................................... 210 Figure 6 – Kano school, Birds and Flowers of the Four Seasons, pair of six-fold screens, colour on gold leafed paper, each screen (106.7 x 349.9 cm), Momoyama period (1573-1615), early 17th century. New York, The Metropolitan Museum of Art. Source: Wikimedia Commons. ................ 211 Figure 7 – Unknown artist, detail from a pair of six-fold namban screens, colour and gold on paper, 147.6 x 355.8 cm each, early 17th century, private collection. Source: SAKAMOTO 2008: no. 20. ................................................................................................................................................... 212 Figure 8 - Salvator Mundi, detail of figure 10. ................................................................................ 212 Figure 9 – Salvator Mundi, detail of figure 10. .............................................................................. 213 Figure 10 – Kanō Naizen, pair of six-fold namban screens, colour on gold-leaf paper, 155.5 x 364.5 cm each, Kober City Museum, after 1593 and before 1614. Source: SAKAMOTO 2008: no. 3. ..... 214 Figure 11 – Furuyama Moromasa, Shin Yoshiwara, woodprint, 1740’s. Source: ARTstor Collection. ........................................................................................................................................................ 215 Figure 12 – Kanō Eitoku, Rakuchu Rakugai zu, Useugi version, pair of six-fold screens, ink, colour, and gold-leaf on paper, 160.5 x 364.5cm (each), ca. 1565. Yonezawa, Yonezawa City Useugi Museum. Source: Wikimedia Commons. ........................................................................................ 216 4 Figure 13 – Unknown artist, Nagashino Kassenzu Byōbu (screen showing the Battle of Nagashino), ink and colour on paper, 1575. Nagoya, Tokugawa Art Museum. Source: Wikimedia Commons. 217 Figure 14 – Detail of fig. 13. ............................................................................................................ 217 Figure 15 – The first Japanese embassy to Europe, woodblock print by Michael Manger, Augsburg, 1586. Top, from left to right: Julião Nakaura, Father Mesquita, Mancio Ito. Bottom, from left to right: Martinão Hara, Miguel Chijiwa. Source: Wikimedia Commons. ........................................... 218 Figure 16 – Unknown artist(s), Map of the World and Twenty-Eight Cities, pair of eight-fold screens, colour and gold-leaf on paper, 179 x 490 cm (each), left-hand screen at the top, right- hand screen at the bottom. Imperial Household Collection, Tokyo. Source: ODA 1975. .............. 219 Figure 17 – Detail of fig. 16. ............................................................................................................ 220 Figure 18 – Detail of fig. 16. ............................................................................................................ 221 Figure 19 – Detail of fig. 16, decorative inset with North Pole. ...................................................... 221 Figure 20 – Detail of fig. 16, decorative inset with South Pole. ...................................................... 222 Figure 21 – Detail of fig. 16, circular inset showing the earth’s sphere with zodiac belt. .............. 222 Figure 22 – Detail of fig. 16, equestrian portraits of Philip II of Spain and Henry IV of France. ..... 223 Figure 23 – Detail of fig. 16, equestrian portraits of the Holy Roman Emperor Rudolph II and the Ottoman Sultan (possibly Selim II). ................................................................................................. 223 Figure 24 – Detail of fig. 16, equestrian portraits of the Grand Duke of Muscovy and Kings of the Tartars. ............................................................................................................................................ 224 Figure 25 – Detail of fig. 16, equestrian portrait of the King of the Abyssinians and the King of Persia. .............................................................................................................................................. 224 Figure 26 – Detail of fig. 16, decorative border with African and American couples. .................... 225 Figure 27 – Detail of fig. 16, decorative border with Asian and European couples. ...................... 226 Figure 28 – Portugalliae, map of Portugal by Fernando Álvaro Seco (1560) included in Abraham Ortelius’s Theatrum Orbis Terrarum, Antwerp, 1570. Source: Wikimedia Commons. .................. 227 Figure 29 – Detail of fig. 16, map of Portugal after fig. 28.............................................................. 228 Figure 30 – Detail of fig. 16. ............................................................................................................ 229 5 Figure 31 – Detail of fig. 16. ............................................................................................................ 229 Figure 32 – Detail of fig. 16, circular insets describing a solar eclipse (top) and the division of the hours of the day and night over the earth’s East and West hemispheres (bottom). ..................... 230 Figure 33 – Detail of fig. 16, circular inset describing the orbit of the moon around the earth. ... 231 Figure 34 – Detail of fig. 16, circular inset describing a lunar eclipse. ............................................ 232 Figure 35 – Willem Janszoon Blaeu, Nova Nova Orbis Terrarum Geographica ac Hÿdrogr. Tabula, Ex optimis in hoc opere auctoribs desumpta auct. Gul. Ianssonio, 84 x 111 cm (map alone), 143 x 204 cm (including decorative borders). Amsterdam, 1606-7. Photograph of the lost complete map. Source: SCHILDER 1981. .................................................................................................................. 233 Figure 36 - Willem Janszoon Blaeu, Nova Nova Orbis Terrarum Geographica ac Hÿdrogr. Tabula, Ex optimis in hoc opere auctoribs desumpta auct. Gul. Ianssonio, copy of the wallmap in four sheets without decorative borders kept at the Stadt- und Universitätsbibliothek, Bern. Source: SCHILDER 1981. ............................................................................................................................................... 234 Figure 37 – Pieter van den Keere, Nova Orbis Terrarum Geographica Ac Hydrographica Tabula,