Page 339 - Chinese and japanese porcelain silk and lacquer Canepa

82 Published in Kyoto National Museum, 2007, pp. 230–
Fig. 4.1.1.1.17 Namban table
Momoyama period (1573–1615)
Late sixteenth century
Height: 50.4cm; length: 113cm; width: 59.3cm
© Jorge Welsh, London-Lisbon
and a bodkin to close the letters, and everything else required, such as seals’. It seems Francis of Paola (1416–1507), see Vinhais and Welsh,
80
2009, pp. 164–69, no. 17.
likely that the Jesuits would have ordered such writing boxes, which would have been 72 One other such lectern will be discussed in the
much more expensive than one made in the Namban style, for their personal use or following pages of this Chapter.
73 Published in Sezon Museum of Art, 1993, p. 208,
to give as gifts to powerful daimyō, who had converted to Christianity and supported no. 187; and Canepa, 2011/2, pp. 89–90, fig. 10. I am
grateful to Katsura Yamaguchi, Christie’s International
their mission in Japan. There are also a few extant Namban low tables of rectangular Director, Japanese and Korean Art, for providing me
shape (ranging from 36 to 50cm in height) without Christian iconography dating to with an image of this lectern and of a standing shrine
or retable from this private collection.
the Momoyama period (Fig. 4.1.1.1.17). The rectangular tops of these tables are 74 Published in Vinhais and Welsh, 2003, pp. 42–45,
81
no. 4; and Canepa, 2011/1, pp. 90–91, fig. 11.
decorated with cartouches of flowering plants and birds or animals. These sometimes 75 Published in Impey and Jörg, 2005, p. 109, ill. 193.
I
include mythical animals, such as Chinese Buddhist Lions with curling manes, which 76 bid., p. 109, ill. 194.
77 Mentioned in Curvelo, 2012, p. 246 (p. 512, English
resemble closely those depicted in a six-panel folding screen painted by Kanō Eitoku version).
78 Published in Jackson and Jaffer, 2004, p. 114, pl. 8.13.
in the Sannomaru-Shozokan (The Museum of the Imperial Collections) in Tokyo. 79 Large boxes of rectangular shape, known as paper
82
These tables, as Impey and Jörg have noted, were most likely ordered by the Jesuits case (ryōshi-bako), were made in the Heian period
(794–1185) to hold writing utensils and paper, as
to be used as portable altars in Japan. Although the shape and construction of their evidenced by the example depicted in a handscroll
83
entitled The Tale of Prince Genji, dating to the
bases varies, they closely follow Iberian and Indo-Portuguese models. Low tables eleventh or twelve century, illustrated in Masako
84
such as these, with either two pairs of legs and stretchers that dismantle, or two pairs Shôno-Sládek, The Splendour of Urushi. The Lacquer
Art Collection at the Museum of East Asian Art,
of legs joined by stretchers that fold inwards, would have been easily transportable by Cologne, 1994, p. 280, fig. 41. According to Earl, the
evolution of writing box types reached a high point
the Jesuits, who were constantly travelling from one congregation to another. Lacquer in the Muromachi period (1333–1573). Joe Earle
tables as well as lecterns and chalice boxes, appear to have been first recorded in August (ed.), The Toshiba Gallery: Japanese Art and Design,
London, 1986, p. 64.
1616, when the Jesuit Father Manuel Barreto (c.1563–1620) listed ‘ten Japanese tables 80 Jesuitas na Ásia-Japão. B. A. ms. 49–IV–53, leaves 100
and 155. Cited in Mendes Pinto, 1990, p. 51.
…five lacquered lecterns [?] … nine urushi chalice boxes …’ among the goods he was 81 For a detailed discussion on these tables, and the
leaving in Japan to his successor, Father Manuel Borges (?–1633). In addition, ‘one only extant full-size table of European proportions
also dating to the Momoyama period in the National
hundred Japanese tables’ are mentioned in the list of liturgical ornaments lent to the Museum in Warsaw (formerly in the Wilanów Castle,
Poland), see Vinhais and Welsh, 2003, pp. 78–83, no.
Seminar. From these excerpts it is clear that a large number of tables were made for 11; Impey and Jörg, 2005, p. 195, ill. 467 a, b, c and d;
85
the Jesuits. The mention of ‘nine urushi chalice boxes’ by Father Manuel Barreto is and Vinhais and Welsh, 2008/1, pp. 284–288, no. 36.
The Wilanów Castle table was included in the 1993
interesting, as no lacquer objects that could be described as chalice boxes appear to exhibition Japan und Europa, 1543–1929 in Berlin.
338 Silk, Porcelain and Lacquer
233, no. 67. have been recorded. This type of chalice box would most probably have been ordered
83 The use of Namban tables as altars was first
suggested by Oliver Impey in 2003. See Oliver Impey, to protect, perhaps when travelling, a copper or silver-gilt chalice used to serve the
‘Introduction’, in Vinhais and Welsh, 2003, pp. 14 and consecrated wine during the Catholic Mass. This suggests that there might have been a
82. Their use as altars was again mentioned in Impey
and Jörg, 2005, p. 196. number of other liturgical lacquers made to order for the Jesuits that have not yet been
84 Portuguese tables of comparable shape dating to
the seventeenth century are published in Teresa Pais identified. An inventory taken in 1628 of the belongings of Viceroy Don Francisco
and Armândio de Sousa, Quinta das Cruzes – Museu, da Gama in Goa, listing ‘small boxes from Japan’ and ‘circular boxes from Japan’,
Madeira, 1996, p. 37, no 59; and Fernanda Castro
Freire, 50 dos Melhores Móveis Portugueses, Lisbon, indicates that small circular boxes were also made to order for Portuguese individuals,
1995, pp. 30–31. For a Spanish table in the Museo
86
de Artes Decorativas in Madrid of similar date, see which were intended for secular use.
Alberto Cottino, Mobiliário do século XVII – Franća, The involvement of the Jesuits in the cultural and artistic exchanges that first
Espanha, Portugal, Lisbon, 1989, p. 63. An Indo-
Portuguese table in the Museu Nacional de Arte occurred between Japan and Europe in the second half of the sixteenth century is
Antiga is published in Maria Helena Mendes Pinto,
Os Móveis e o seu Tempo. Mobiliário Português do undeniable. The Jesuits, who were well aware of the high quality and artistic value of
Museu Nacional de Arte Antiga Séculos XV–XIX, Japanese lacquer objects, referring to them as ‘brincos do Japão’, were responsible for
Lisbon, 1985, p. 52, no. 35.
85 BA, cod. 49-V-5, fl. 196 a 206 v. Memorial das couzas both introducing Japanese lacquer and spreading a taste for it among the royalty, clergy
da Procuratura desta Prov.a, e o Padre M.el Barreto
entregou, hindose pa Japão em Agosto de 1616 and nobility in Renaissance Europe. From the instructions given by Father Alessandro
ao P.e M.el Borges seo successor na Procuratura. Valignano to Father Nuno Rodrigues, when organizing the first official Japanese
This document, as noted by Curvelo, has not been
published in its totality. In the extracts cited by mission to Europe in 1583, known as the Tenshô Embassy, we learn that lacquer
Mendes Pinto, are listed ‘130 Japanese tables’. See objects were not only sent by the Jesuits as diplomatic gifts to the King of Spain/
Mendes Pinto, 1990, p. 32, note 65. In the extracts
cited by Curvelo, which are also cited here, are listed
‘ten Japanese tables’ and ‘one hundred Japanese Portugal and the Pope in Rome, but also to other individuals. He wrote: ‘Amongst the
tables’, which is only a total of 110 Japanese tables. things that they are taken, are those items that are being sent to Rome to the Pope,
Curvelo, 2001, pp. 32–33.
86 Biblioteca Nacional, Lisbon (hereafter cited as which should not be tampered with in any way. Father Gabriel Afonso procurador,
BNL), Res. Cod. 1986. Relação dos bens de Dom will seek information as to whether it is convenient to take some brincos from Japan
Francisco da Gama, Conde da Vidigueira, 17° Vice-
Rei da Índia, e entre os Governadores 25°, quinto do on behalf of the boys to offer to His Majesty and to the Cardinal, and will also … see
nome, terceiro do apelido e dos Condes quinto (…),
1628. Cited as dating to 1627 in Mendes Pinto, 1990, what would be convenient to give to the others who will help in this matter, keeping in
p. 69. A transcription of the document made by Lina mind the occasion when they will be offered, so that everyone is given something…’.
87
Maria Marrafa de Oliveira for the project ‘A Casa
Senhorial em Lisboa e no Rio de Janeiro (séculos In November 1584, Philip II received the gifts offered by the four young Japanese
XVII, XVIII e XIX). Anatomia dos interiores’ (PTDC/ envoys representing the Christian clans of Kyūshū, who had travelled to Europe via
EAT-HAT/112229/2009), dates it to 1628. For more
information, see httpp://www.casaruibarbosa.gov. Macao, Malacca and India. Father Luís Fróis in his Tratado dos Embaixadores Iapões
88
br/acasasenhorial/index.php/fonts-documentais/
inventarios. Accessed May 2015. It is important to que forão a Roma no anno de 1582 describes the gifts as ‘pieces from Japan, one desk
note that Mendes Pinto mentions that the inventory made of cane with its drawers, beautifully arranged, one vase for washing hands made
listed daistables (presumably a type of table to be
placed on a dais or platform) from Japan and large of wood very well gilded with ground gold, which is put underneath the varnish; one
tables from Japan decorated in gold and mother-of-
pearl, but these objects are not listed in the recent delicate basket which contained many items, and His Majesty was astonished to see so
transcription made by Marrafa de Oliveira.
87 The transcription of the original text in Portuguese many pieces stored in such a small space, especially a small liquor flask that was very
reads: ‘Das mais cousas levão tirados as q se mandão well lacquered. The basket was the most talked about thing, and it was shown to all
pera Roma a N.P. nas qaes não se ha de bolir em
nhuna man.a [maneira], farão consulta com entrevir the Dukes and Grandees present, all of whom praised their invention, painting and
nella o P.e Gabriel Afonso procurador, pera ver artifice; and one long rectangular box for letters from Japan, well worked and gilded.
se convem dar algu brinco de Japão da parte dos
meninos a S. M.de y ao Cardeal, y ahi mesmo … His Majesty … remarked, looking again and again, that the work was quite different
verão o que convem dar a outros q hão de ajudar
no despacho com sua mj.de de considerando o tpo from that made in China’. According to Hidaka, the lacquer pieces were a basin
89
[tempo] quando iho han de dar, pera q se dem a tõo or aquamanile (suiban), a set of food storage boxes stacked up in a basket (sagejû)
…’. Archivum Storico Compagnia de Gesù (hereafter
cited as ASCG), Japonica Sinica 22, fl. 51. Padre and a long document box (fubaco). These lacquer objects, as Kawamura has noted,
90
Alessandro Valignano, S.J., Regimento e Instrução do
q hadi fazir o Padre Nuno Rois q vay por Procurador à appear to have been made for the Japanese domestic market, rather than for export.
Roma, 1583. Cited in Leiria, 2002, p. 51, note 6.
88 The Japanese envoys, Miguel Chijiwa, Mâncio Ito, One cannot fail to wonder if the long document box would have been similar to the
Julião Nakaura and Martinho Hara, were sponsored box that contained the letter sent by Toyotomi Hideyoshi to the Viceroy of India in
by the three daimyô of Kyūshū: Arima Harunobu
(Arima), Ômura Sumitada (Ômura) and Ôtomo Sorin 1591, after receiving the Embassy upon its return from Europe, which was described
(Bungo). Mentioned in Ibid., p. 50; and Curvelo, by Father Luís Froís as ‘…a kind of box, that in Japan is used only for letters, and
2001, p. 27. For more information on the Tenshô
Embassy and the gifts brought with them, see Y. this box is a marvelous and very rich piece, that without doubt if anyone in all of
Okamoto, ‘Kyûshû sankô keno shisetsu no zôtôhin’,
in Y. Okamoto, Momoyamajidai no Kirisutokyô Bunka, Europe saw it, they would admire the delicacy and perfection of that object; because
Tokyo, 1948, pp. 155–206; R. Yûki, Shinshiryô. Tennshô it is entirely covered inside, and outside, by a kind of varnish, that in Japan is called
shônen shisetsu, Kirisitan Kenkyû, no. 29, Tokyo,
1990; and Kawamura, 2013, pp. 266–267 (pp. 52–53 urushi; sprinkled with gold ground as fine as sand; it is a very laborious masterpiece,
English version).
Trade in Japanese Lacquer 339