Page 343 - Chinese and japanese porcelain silk and lacquer Canepa

Fig. 4.1.1.1.19 Namban lectern (shokendai)
Momoyama period (1573–1615)
Height: 35cm; width: 31cm
Museo San Esteban PP Dominicos, Salamanca
Fig. 4.1.1.1.20 Namban lectern (shokendai)
Momoyama period (1573–1615)
Dimensions: 31.5cm x 50cm
Convent of Santa Maria Magdalena,
Medina del Campo, Valladolid

Christianity. According to Casado Paramio, the lectern may have been taken or sent as 106 Ibid., pp. 408–409.
107 t was founded in 1552 by Rodrigo de Dueñas, a rich
I
a gift to this convent of Augustinian nuns by one of the chaplains from the Philippine merchant and important finance minister of Charles
Augustinian Order. There is also a small oratory that instead of a sacred painting has I (r. 1519–1556), and his wife D. Catalina Cuadrado, as
108
an Augustine Foundation to cater for young people
a Sicilian silver crucifix inlaid with coral attached to the back panel in the Monasterio in difficulties and to supply basic education for the
children of poor families. The lectern, now in the
de las Trinitarias Descalzas in Madrid, which was most likely given to the monastery Museo de Arte Oriental of Valladolid, is published
by the benefactress María de Villena y Melo, or by a family member of Juana Manuel in José Manuel Casado Paramio, ‘Atril Namban’, in
Vv. Aa., Clausuras: el patrimonio de los conventos
de Portugal. de la provincial de Valladolid. 1 Medina del Campo,
109
Valladolid, 1999, pp. 116–117; José Manuel Casado
Six liturgical lacquers made to order in the Namban style during the Momoyama Paramio, ‘Atril Namban’, in Alfredo J. Morales
and early Edo periods are of particular interest to this study. All appear to be unique Martínez (ed.), Filipinas, puerta de Oriente:
de Legazpi a Malaspina, exhibition catalogue,
examples of their types. These include a small hanging oratory of shallow almost square Sociedad Estatal para la Acción Cultural Exterior-
Lunwerg, Madrid and Barcelona, 2003, p. 249, no.
shape, dating to the late sixteenth century, now in a private collection in Oporto, 123; and Kawamura, 2013, pp. 282–283, ill. 48.
which has an opening at the top for inserting a religious oil painting and a sliding 108 Casado Paramio, 2003, p. 249.
109 The monastery was founded in 1602 by San Juan
panel that opens to the right. A hexagonal domed tabernacle in the Peabody Essex Bautista de la Concepción (1561–1613), under the
110
patronage of Sancho de la Cerda y Portugal, I
Museum, constructed with a panelled base and six angled plinths on which stand pairs Marquis de la Laguna de Camero-Viejo (?–1575) and
of pillars, all supporting a hexagonal dome surmounted by a tall finial, appears to have his second wife María de Villena y Melo, who was a
Lady of the House of Braganza. Sancho de la Cerda y
been made after an Indo-Portuguese model (Fig. 4.1.1.1.21). The shape of this type Portugal was the son of Juan II de la Cerda y Silva, 4th
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Duke of Medinaceli (1556–1564) and Juana Manuel
of tabernacle, dating to c.1580–1615, may have in turn derived from that of silver de Portugal (1520–1568), daughter of Sancho I de
tabernacles of large size made by Iberian silversmiths in the early sixteenth century, Noronha Portugal, 2nd Count of Faro. The crucifix
may have been acquired during the time Sancho’s
which served to hold the monstrance containing the Holy Host carried in procession father was Viceroy of Sicily (1556–1564). The oratory
is published in Yayoi Kawamura, ‘Obras de laca del
on Corpus Christi day. A comparable example similarly made in the manner of a arte namban en los Monasterios de la Encarnación
112
hexagonal temple by Juan de Orna in Burgos in 1526, called a custodia in Spanish, can y de las Trinitarias de Madrid’, Reales Sitios, vol.
XXXVIII, No. 147, 2001, p. 6. For a discussion of the
be found in Santo Domingo de Silos in Barcelona. This suggests that the lacquer crucifix, see J. M. Cruz Valdovinos, Platería europea
113
en España, 1300–1700, Madrid, 1997, pp. 292–293. Fig. 4.1.1.1.21 Namban tabernacle
tabernacle could have been intended to hold a monstrance containing the Holy 110 The metal suspension ring at the top was intended Momoyama period (1573–1615), c.1600
Host, or perhaps a sacred statuette. A standing shrine or retable of deep rectangular both for hanging the oratory and securing the Height: 60.1cm; width: 29.8cm
painting. A comb-case with a mirror in black Peabody Essex Museum,
form with a tall triangular pediment in a private collection in Japan has an unusual lacquered wood inlaid in mother-of-pearl showing Salem, Massachusetts (inv. no. E76704)

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