scholarly journals Iconology of Chae Yong-shin’s Portraits : Focusing on Portraits with the Folding Screens of Landscape for Background

2018 ◽  
Vol 35 (null) ◽  
pp. 119-145
Author(s):  
김소연
Keyword(s):  
Folding Screens

The Disruptive Presence of the Namban-jin in Early Modern Japan

2012 ◽  
Vol 55 (2-3) ◽  
pp. 581-602
Author(s):  
Alexandra Curvelo
Keyword(s):  
Early Modern ◽  
Social Order ◽  
Visual Display ◽  
The South ◽  
Early Modern Japan ◽  
History Of ◽  
Economic Elites ◽  
Self Knowledge ◽  
First Time ◽  
Folding Screens

Abstract When the Portuguese arrived in Japan around 1543, it was the first time in the history of the archipelago that Western foreigners had entered the country and settled there. These “barbarians from the south” (namban-jin) were considered strangers and viewed with curiosity and suspicion. In Tokugawa Japan (c. 1615-1868), politically marked by territorial unification and the centralization of power, the image of the Europeans that was created and visually registered on folding screens and lacquer-ware was used as a model to frame this presence by both the Japanese political and economic elites and those considered marginal to the existing social order. Namban art, especially paintings, can be seen as a visual display of Japan’s self-knowledge and its knowledge of distant “neighbours.”

Japanese Kinbyobu: The Gold-Leafed Folding Screens of the Muromachi Period (1333-1573). Part I

Artibus Asiae ◽  
1984 ◽  
Vol 45 (1) ◽  
pp. 5 ◽  
Author(s):  
Bettina Klein ◽  
Carolyn Wheelwright
Keyword(s):  
Muromachi Period ◽  
Folding Screens

Depictions of the Journey to the Heavenly Realm in Early Modern Catholic and Japanese Buddhist Iconography

2016 ◽  
Vol 20 (1-2) ◽  
pp. 135-159 ◽  
Author(s):  
Naoko Frances Hioki
Keyword(s):  
Seventeenth Century ◽  
Early Modern ◽  
Spiritual World ◽  
The World ◽  
Folding Screens ◽  
The Church

This article works to identify an intersection of the Catholic and Buddhist pictorial traditions with regard to the symbolism of the journey to the spiritual world. In both Christian and Buddhist traditions, the river/ ocean is a popular symbol that designates the border between this world and the other world. A work of western-inspired Japanese folding screens known as Yōjin Sōgakuzu (Europeans Playing Music) is an outstanding example that makes use of the symbolism of the river to allude to one’s pilgrimage to the other world in the guise of a secular waterfront scene. The folding screens were painted in the seventeenth century by Japanese artists who were affiliated with the art studio founded by the Jesuits. An investigation of European sources of the painting will show how the painters modified the famous Catholic iconography of “The Ship of the Church” to match the taste of the Japanese patrons of the time. Further, comparisons with other Japanese paintings that similarly deal with the theme of the river will show that such secular scenes of waterfront leisure could demonstrate to the Japanese audience the life in the world beyond, as well as a journey to that world they anticipated.

Outgrowing the museum: The heritage Of Rakuchu Rakugai and its modern purposes

2011 ◽  
Vol 14 (6) ◽  
pp. 607-630 ◽  
Author(s):  
Tolina Loulanski ◽  
Vesselin Loulanski
Keyword(s):  
The Past ◽  
Heritage Studies ◽  
History Of ◽  
Japanese Painting ◽  
The City ◽  
History Of Place ◽  
Folding Screens

The Rakuchu Rakugai folding screens represent one of the most brilliant genres of medieval Japanese painting. This article studies the growing significance attributed to such objects from the past, the plurality of messages they convey to people, the increase in meanings, readings and uses they have and the beginning of their new life as ‘heritage’. It is demonstrated that through acquiring a ‘heritage status’ they grow out of the proportions of isolated artistic objects that are silently housed in designated museums, and transform to become an integral part of the city itself, its contemporarity in space, spirit, people and activities, attesting to history of place and local distinctiveness. When would art grow to such dimensions? What is the reason behind this astonishing metamorphosis? We answer these questions, discussing Rakuchu Rakugai from a new heritage perspective that is theoretically grounded in the Heritage Studies literature.

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