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

Artibus Asiae ◽  
1984 ◽  
Vol 45 (2/3) ◽  
pp. 169
Keyword(s):  
Muromachi Period ◽  
Folding Screens

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

Japanese Kinbyobu: The Gold-Leafed Folding Screens of the Muromachi Period (1333-1573). Parts II-IV

Artibus Asiae ◽  
1984 ◽  
Vol 45 (2/3) ◽  
pp. 101
Author(s):  
Bettina Klein ◽  
Carolyn Wheelwright
Keyword(s):  
Muromachi Period ◽  
Folding Screens

Otogi-zoshi. Short Stories of the Muromachi Period

1974 ◽  
Vol 29 (2) ◽  
pp. 181 ◽  
Author(s):  
Chieko Irie Mulhern
Keyword(s):  
Short Stories ◽  
Muromachi Period

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.”

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