Page 199 - JAPAN THE SHAPING OFDAIMYO CULTURE 1185-1868

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This painting, now mounted as a tween the figurai groupings. A hint of del containing a three-nail design, a
four-fold screen, was originally part of a set professional training in the Kano-school symbol of Christ's Passion; a confessional
of eight sliding-door panels. The remain- style is evident in the red peonies in the with a circular map of the world on its
ing four have been mounted as an eight- foreground and the mountains in the outer wall; and a smaller building, proba-
fold screen, now in a private collection. background, both frequently depicted by bly an oratory, its roof surmounted by a
These works were reportedly in the Aizu- artists of the Kano school. gold cross-shaped finial. From the gate is-
Wakamatsu Castle, the home of Leon The themes depicted derive from the sues a party of missionaries to greet the
Gamo Ujisato (1556-1595), a Christian dai- Catholic missions in Japan. The musicians traders, who, led by the elegantly dressed
myo, and his son Gamo Hideyuki (1583- in extravagant dress and the attendants at captain under a red parasol, proceed from
1612), and remained there until 1644, when the small Temple of Love in the right-hand the left. The two parties meet at the cen-
they changed hands and were kept by the screen are clearly related to the theme of ter of the screen.
Matsudaira family until the Meiji Restora- profane love. Christian symbolism is evi- In the left screen a galleon with a high
tion in the nineteenth century. MR dent in the wine press in panel six of the prow and stern sails into the harbor, dwarf-
same screen, signifying the Sacrifice. Jesu- ing a small boat on its starboard side,
113 European musicians its not only taught Japanese artists how to which is unloading cargo to the shore. The
pair of six-fold screens; color and gold paint using Western techniques, but also blue water contrasts with the white spray
on paper tried to impart something of their Chris- of waves, as do the fanciful colors of the
l
each 102.5 x 308.0 (403/8 x 121 /^) tian message through what seemed to be crews' costumes with the gold clouds.
Momoyama period, early iyth century secular themes. The daimyo who commis- An early genre painting, this work is
sioned works such as these were largely attributed to Kano Mitsunobu, who, in
Eisei Bunko, Tokyo Christian converts or at least supporters of 1593, was called from Kyoto to Nagoya in
Important Cultural Property commerce and communication with Euro- northern Kyushu to decorate the castle
peans. MR headquarters Hideyoshi had built during
This work is one of many extant paintings
of Western genre scenes. Interest in Euro- his Korean expedition of 1592-1593. Mi-
pean dress, lifestyle, and landscape, as il- 114 Arrival of the southern barbarians tsunobu reportedly observed the Portu-
lustrated in imported copies of European attributed to Kano Mitsunobu guese in Kyushu; thus the details such as
engravings, explains the great appeal of (1565-1608) the costumes in this work are believed to
these screens in Momoyama and Edo Ja- pair of six-fold screens; ink, color, and have been based on life. YS
pan. The brilliant colors and gold would gold leaf on paper
have catered to the extravagant tastes of each 164.0 x 365.0 (64 V* x 1433/4) 115 Sights in and around Kyoto
the Momoyama-period daimyo. Momoyama period, c. 1593 pair of six-fold screens; ink, color, and
In the right screen two women are Nanban Bunkakan, Osaka gold leaf on paper
x
2
playing the viol and the harp to ardent lis- each 160.5 3 3-5 (63 Vs x 1273/3)
teners. Other figures in the foreground are Portuguese traders were the earliest Euro- Edo period, after 1620
immersed in conversation! The sea, dotted peans to come to Japan, followed by the Osaka Municipal Museum, Osaka
with ships, stretches behind the main fig- Jesuits in the 15405. The foreigners were
ures. The left screen is less centered, with called nanbanjin, or "southern barbari- Sights in and around Kyoto (Rakuchu raku-
pairs of men conversing in the foreground ans/' and the art that deals with them is gai) as a subject originated in urban land-
and an expanse of water to the left. In called nanban art. This pair of screens, the scape paintings of Kyoto done in the
both screens distant figures and buildings earliest-known example of this type, de- 14705. The earliest extant screens, how-
in the mountainous landscape create picts the arrival of Portuguese traders in ever, postdate the first quarter of the six-
small, isolated scenes. Details such as the Nagasaki. teenth century and were painted by
European dress and musical instruments In the right screen, behind a row of Kano-school painters: by Motonobu in the
are well executed; however, the artist was shops and partially hidden by gold clouds, 1530$; by Motonobu's grandson, Eitoku, in
not adept in the Western technique of per- is a view of the Catholic mission situated the 15605; and by Eitoku's son, Mitsunobu,
spective, contributing to a lack of unity be- high on a hill. Included are a tatami- in the 15805. A forerunner of genre paint-
matted chapel, its altar marked by a roun- ing, their focus shifts from a view of the

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