|■Tokyo National Research
Institute for Cultural Properties
||■Center for Conservation
|■Department of Art Research,
Archives and Information Systems
||■Japan Center for
International Cooperation in Conservation
|■Department of Intangible
4th Seminar, screen shows the zushi
KOBAYASHI Koji, senior fellow, conducted a presentation titled Valuation of Raden (Mother-of-Pearl Decoration) – Relationship between Kōdaiji Makie and Namban Lacquer through the Consideration of the Zushi for the Toyotomi Hideyoshi Statue Owned by the Richi-in Temple in Misaki Town at the 4th seminar held by the Department of Art Research, Archives and Information Systems on July 25th, 2022. It was held in hi-bred format, both face to face and online.
The Richi-in Temple in Misaki Town, Osaka Prefecture has passed down a zushi, a miniature shrine ornamented with makie and raden decorations containing a statue of Toyotomi Hideyoshi. It was ordered to be made by Kuwayama Shigeharu, a loyal who served for and became a daimyo (a feudal lord) by Toyotomi Hideyoshi. Hideyoshi was divinized soon after his death. It should be considered that the zushi was created by Kuwayama’s order at the time for him to be deified and worshipped at the shrine in his own territory, thinking of Hideyoshi’s virtue and to repay his kindness. This zushi attracts attention because most of its surface is decorated not only with hira-makie (flat makie) patterns of Kōdaiji makie style but also with raden decorations which no other Kōdaiji makie examples display.
KOBAYASHI discussed the three makie patterns of the “flowering plant scroll,” “chrysanthemum and paulownia,” and “autumn plant scroll” it exhibits. As a result, he pointed out that these patterns’ historical backgrounds and individual classes strongly influenced whether raden decorations were accompanied with a makie of each pattern. Thus, the raden technique was not typical in that period. Furthermore, this zushi suggests a unique position of namban lacquer, which was made for export by European orders and generally ornamented with akikusa (autumn plants) patterns and raden decorations.
It is widely known that some namban lacquers have ununified shapes of shell fragments randomly placed. This has been commonly understood as immature techniques to handle raden decorations or the incondite production level. However, the similar raden techniques are identified on this zushi, which was made to respect Hideyoshi’s memory. Therefore, the negative valuation of this type of raden is clearly denied, which obliges us to find positive meaning. Accordingly, I focused on decorations of ryōshi (decorated paper for writing), which has had a close relationship with makie since the Heian period. I cited some ryōshi cases with haku chirashi (thin foils scattered design and techniques) at that time as examples. Then, I presented the hypothesis that these random raden design expressions were influenced by a sense of beauty shown in ryōshi and adapted for this zushi and raden techniques of namban lacquer.
This process highlighted the unique character of the namban lacquer, which differs from lacquer works crafted based on Japanese tradition and preferences, based on the consideration of the namban lacquer decoration from the viewpoint of makie and raden decorations of the zushi made with a domestic background at that time.
Various discussions were held with comments from Mr. KOIKE Tomio of the Seikado Bunko Art Museum and Mr. KOMATSU Taishu of the Eisei Bunko Museum, as well as many opinions from the participants in the room and online.
Lecture of local history course 2022 at the Ibaraki City Cultural Properties Museum
The Ibaraki City Cultural Properties Museum, Osaka Prefecture, holds an annual local history course of six lectures. KOBAYASHI Koji, a senior fellow, was invited for the first lecture of 2022 and gave a lecture titled Three Seigan and One Zushi: What We Can Know from the Four Portable Christian Shrines Left in Sendaiji and Shimo’otowa Areas on July 16th at the museum.
The Sendaiji and Shimo’otowa, located in the northern parts of Ibaraki City, are villages in which many residents converted to Christianity when Justo Takayama Ukon, a Christian lord, also known as Dom Justo Takayama, took over the areas in the late 16th century. Their religion survived over a period of fierce repression of Christianity during the Edo period until the modern period. Thus, they are widely known as “hidden” Christian villages. Their Christian culture is unique as they passed down many varieties of Christian relics in high volumes. “Miracle” is never overstated because such varieties of relics have not remained in any other hidden Christian areas or villages in Japan. It is well known that the extremely famous painting St. Francis Xavier, Important Cultural Property housed in Kobe City Museum, is among them.
I have studied various Christian objects passed down in these villages, especially seigan, Christian shrines which are containers for holy Christian paintings including images of Christ or Madonna and Child, to explore the reality of Christian belief in Japan. The seigan passed down in these areas are simply coated with black urushi lacquer. This fact and their history obviously show that they were made for domestic believers. Conversely, seigan, categorized as Namban lacquer with the same shape but with gorgeous makie and mother-of-pearl decorated, which were ordered to Japanese workshops by Europeans for export to Europe and Latin America, are also recognized. These two types of seigan show distinct differences despite sharing the same function as Christian objects. The sacred paintings stored in these seigan are associated with its frame with a western conjunction structure, supposed to be made of ebony, and with its frame decorated with makie and made in Japan respectively. These facts imply important questions regarding their backgrounds and manufacturing techniques. Conversely, the zushi exhibits an ivory-made crucifixion on the black cross possibly made of ebony. However, either this crucifixion or zushi have attracted almost no attentions so far and neither their original manufacturing place nor date are yet identified.
This lecture featured the reality of these seigan and zushi; and the ways of Christian acceptance and its religion in Japan from the Momoyama period to the early Edo period, which were revealed through the studies of these seigan and zushi. Approximately 40 participants who were selected by lot during another peak of the COVID-19 pandemic enthusiastically asked questions. I sensed a great interest in Christian culture and history during this time.
The Christian culture and related relics passed down in these areas are precious and unique historic milestones. I would like to further conduct this research and disseminate the outcomes.
Pic 1 “Saddle with European Figures”, Tokyo National Museum Collection (H-1470), donated by SAWA Nobuyoshi in 1873. (from ColBase)
Pic 2 “Yamato-e Painting Study” 1-3 Cover 1.
KOBAYASHI Koji, Head, Trans-Disciplinary Research Section, Department of Art Research, Archives, and Information Systems, gave a presentation titled “Emergence and Transformation of ‘Namban Lacquer’ in Modern and Present Japan – Through its Discourse” in the fourth seminar held by the Department of Art Research, Archives and Information Systems on July 16th, 2021.
The presenter has been working on a comprehensive cultural property study, from the viewpoint of material and cultural history, about Namban Lacquer, which was produced in Kyoto in the early half of the 17th century and exported to Europe and Americas. He made this presentation as he believes that it is necessary to carry out recognition process tracing and explore reference studies to identify when the scholarly interest in “Namban lacquer” started and what path it has followed to the present.
Interest in “Namban lacquer” emerged as a result of the influence of the “Namban” trends in literature, drama, painting, and other fields around the Taisho era, inspired by the study of Japanese Christian history, which started in the early Meiji era. This interest led to the active collection of “Maki-e lacquer depicted Namban patterns” (pic 1) from the early Showa era until the beginning of World War Ⅱ (WWII), which depicted Namban (western) people on Japanese traditional objects. The interest in these “Namban lacquer for domestic use” continued even after WWII. However, when many of the “Namban lacquer for export” that had been exported to Europe started to be imported back into Japan after the 1960s, the interests of lacquer art historians and the exhibit trends were transformed from lacquer for domestic use to lacquer for export, and these trends persist in the present era. While these trends have been mentioned more broadly so far, this presentation delved into further details. For example, the study’s focus on Namban lacquer export was first pointed out by OKADA Jo in the paper titled “On Makie Lacquer Depicted Namban Patterns” in “Yamato-e Painting Study”(pic 2), a fine art history journal published exclusively during WWII. The fact that the interest in lacquerware emerged and expanded to popularity, shifting from domestic use to export, was corroborated by concrete evidence in lacquer exhibits in exhibitions held before and after WWII. Furthermore, he explained that the term “Namban-style export lacquer” used in parallel with the term “Namban lacquer” was proposed by researchers in countries such as UK or the Netherland, where Japanese lacquer was exported throughout the Edo era, while the term “Namban lacquer” was generally used in countries such as Portugal or Spain, to where they were exported mainly in the early Edo era. This means that these two terms are not used in a contradictory sense, but can be understood in comparative ways.
Mr. KOIKE Tomio of the Seikado Bunko Art Museum, Dr. HIDAKA Kaori of the National Museum of Japanese History, and Mr. YAMASAKI Tsuyoshi, President of the Kanazawa College of Art, graciously participated in this seminar as commentators and facilitated a thorough discussion on this presentation, including insufficient points of explanation or contents of recognition. In fact, there are wide varieties of research materials on modern and present periods and we expect there to be more documents and items that are still undiscovered. He will continue to explore further and achieve a more persuasive understanding of the history of research on Namban Lacquer.
At the 5 seminar held by the Department of Art Research, Archives, and Information Systems on November 24, 2020, Dr. TAKEDA Eri, a part-time lecturer from the Toyo Institute of Art and Design delivered a presentation titled “Transitions in Western-Style Paintings from the Momoyama Period to the Final Years of the Edo Period (“Bakumatsu”) – Technical Transitions in Japanese Oil Paintings and the Validation of Art Historical Research and Appraisals in Japan.”
Dr. TAKEDA has been engaged in historical research on and the restoration of Japanese oil paintings for many years. She summarized the traditional techniques used for Japanese oil paintings based on research and reproductive experiments on pieces of artwork on her own. The presentation aimed to clarify how Japanese oil paintings fit in with Japanese art history. As the examples, she focused on the oil paintings of the mid-Edo period that have been found in recent years.
Japanese oil paintings, also known as Yofuga (Western-style paintings), were not recognized until research on Western art began during the early years of the Meiji period. Therefore, the art appraisals that were performed on pre-Meiji Western-style paintings are far from being appropriate in some sense. Considering this historical background, Dr. TAKEDA classified the history of Japanese oil painting into the following three categories: paintings made using the lacquer technique in the Asuka period, the early Western-style paintings in the Momoyama period, and the Western-style paintings influenced by the Netherlands in the Bakumatsu period. She said that the recently discovered mid-Edo period pictures painted with dried oil on the lacquered walls of the Yomeimon Gate of the Nikko Toshogu Shrine suggests a link between the early Western-style paintings in the Momoyama period and their counterparts in Bakumatsu. She pointed out that the painting is likely to be the work of an artist belonging to the Franciscans, which indicates passing down of painting techniques from Momoyama to Bakumatsu.
Professor Emeritus SAKAMOTO Mitsuru, an art historian who has been dedicatedly conducting research mainly on early Western-style painting, and Mr. SATO Noritake from the Association for the Preservation of the Nikko World Heritage Site Shrines and Temples, who has been leading the restoration project of the lacquered decorations of Edo period temples and shrines in Nikko, were invited to the seminar as commentators. Additionally, vigorous discussions were held among the participants who expressed different opinions regarding the oil-painted walls of the Yomeimon Gate and how they should be appraised in the context of Japanese oil painting history.
Screenshot of Tokyo National Research Institute for Cultural Properties’ “Publications” Repository
The Department of Art Research, Archives, and Information Systems publishes investigation/research studies in the journal Bijutsu Kenkyu on a regular basis. This journal was first published in 1932, and its latest issue is No. 431. From November 2020 onwards, the index of Bijutsu Kenkyu (PDF ver.) has been made available on the website of Tokyo National Research Institute for Cultural Properties (https://www.tobunken.go.jp/~joho/index.html) and its institutional repository “Publications” (http://id.nii.ac.jp/1440/00008980/).
The index was created as the sequel of the former index of Bijutsu Kenkyu (for No. 1 to 230) published in 1965. The new index covers more than 2,400 pieces of literature such as editorials and explanations of charts/diagrams. The new index is available both in Japanese and English, and equipped with in-document search functions that can be used for literature search.
The index will be updated every time a new issue of The Bijutsu Kenkyu journal is released.
Lecture at Heiwa Shimin Koen Noh（能）Theater, Oita City
Bungo Province (the south-central region of Oita Prefecture) was ruled by OTOMO Sorin, a famous Christian feudal lord during the Azuchi-Momoyama period. It is a land with a history of missionary work by Francis Xavier and many other European missionaries. An exhibition, “BVNGO NAMBAN: Namban Culture Lord Ōtomo Sōrin Cherished,” was held at the Oita Prefectural Center for Archaeological Research from October 10th to December 13th, 2020. It introduced the relationship between the province and Namban culture and/or Christianity, as well as the results of scientific analysis of Namban cultural artifacts, which has been making great progress in recent years.
The exhibition consisted mainly of the artifacts of the Namban culture, including ceramics excavated from the Bungo-Funai archaeological site, a stronghold ruin of the OTOMO clan, as well as related works preserved in different areas in Japan, including the Namban lacquer and paintings that Tsukumi City has collected over the years. Mr. KOBAYASHI Koji, Head of the Trans-Disciplinary Research Section, Department of Art Research, Archives and Information Systems, spoke at the opening commemorative lecture held on the first day of the exhibition at the request of the organizer. His lecture, titled “Catholic Missionary Activity and Namban Lacquer -Consideration by Scientific Analysis, Comparison with Medal Research- ,” focused on the latest research findings on Christian artifacts and the Namban lacquer, which correlated with the exhibition.
Although the venue was set up with a large seating space in order to reduce the risk of COVID-19 infection, about 200 people attended the lecture, showing the deep interest of the local residents in Namban culture and the history of Christian missionary work.
A scene from the seminar
At the 8th seminar organized by the Department of Art Research, Archives and Information Systems on December 24th, 2019, HAYASHI Yoshimi––a Part-time Lecturer at Tokai University––delivered a presentation titled “Researching Medieval Glass in Japan – Based on the Outcomes in 2018 and 2019.”
Dr. Hayashi has been researching the history of glass in East Asia for many years. For this seminar, she introduced a part of her outcomes from the collection and observational research of Japanese glass products manufactured between the 13th and 16th century, which she has researched after writing her doctoral dissertation in 2018. The actual state of Japanese medieval glass has been almost unknown due to the rarity of its unearthed products. However, in recent years, glass products manufactured during the aforementioned period have been excavated in Kyoto, Hakata and other areas. An improved understanding of Japanese medieval glass is expected based on these products, which will add to the existing literature and materials. Dr. Hayashi mentioned the following three key aspects in the research of Japanese glass produced between the 13th and 16th century: (1) Getting a whole sketch, (2) Determination of production areas, and (3) Consideration from historical and broad-based viewpoints. Then, she presented her views on the manufacturing technique and origin of the glassware unveiled, through her study of written and excavated materials.
Ms. INOUE Akiko, director of the Association for Glass Art Studies, Japan, also attended the seminar as a commentator so as to facilitate a discussion on various front-line topics pertaining to glass history studies, proceeding step-by-step alongside a few researchers.
The Department of Art Research, Archives and Information Systems has been leading in the research and study of the “Cruciform Sword (Minakuchi Rapier),” possessed by Fujisaka Shrine in Minakuchi, Koka City for six consecutive years. In fiscal 2019, to pack up our research, we released our outcomes through a presentation at the ICOM Kyoto, made mainly for overseas experts (https://www.tobunken.go.jp/materials/ekatudo/819071.html), and the 53rd open lecture of the Institute for the public (see the Monthly Report of November: https://www.tobunken.go.jp/materials/katudo/819201.html). Following these, on November 9th, we had a great opportunity to deliver a lecture as an event commemorating the 60th anniversary of the foundation of the Local History Society of Minakuchi Town, Koka City, where this Western-style sword has been handed down to the present time. Under the title of “Challenging the Enigma of ‘Cruciform Sword’ Possessed by Fujisaka Shrine,” jointly with Ms. NAGAI Akiko, curator of the Minakuchi Museum of History and Folklore in Koka City, partner of our research, we reported the research outcomes and historical significance of this sword to local people. The audience of as many as 100 people gathering in the local venue, located just opposite to Fujisaka Shrine, listened to our research report with much interest.
We feel that giving this lecture has allowed us to partially fulfill our research obligation. Returning our attention to preparing our research report with joint researchers, we will tentatively wrap up the study of this Western-style sword.
Presentation for ICFA committee at ICOM Kyoto
For a week, from September 1st to 7th, ICOM Kyoto 2019, the 25th General Conference was held at the Kyoto International Conference Centre as its main venue.
At the ICFA’s (International Committee for Museums and Collections of Fine Arts) individual session “Asian Art in Western Museumns, Western Art in Asian Museums II,” KOBAYASHI Koji from the Department of Art Research, Archives and Information Systems delivered a presentation titled The Minakuchi Rapier, European Sword Produced in Japan jointly with Ms. NAGAI Akiko from the Koka City Minakuchi History and Folkroe Museum.
The Minakuchi Rapier (cruciform sword possessed by Fujisaka Shrine in Koka City) was produced in Japan modeled on a European sword, which was brought Japan in the early 17th century. We have been researching this sword together with experts at home and abroad since 2013. Part of the processes and outcomes have been reported through the articles, “the 10th Seminar Held by the Department of Art Research, Archives and Information Systems ‘Study of the Western Cruciform Sword Possessed by Fujisaka Shrine in Koka City’” (https://www.tobunken.go.jp/materials/katudo/243895.html) and “Research of the Western-style Cruciform Sword Possessed by Fujisaka Shrine in Minakuchi, Koka City, Shiga Prefecture by an Expert from the Metropolitan Museum of Art and an Initial Report at the 7th Seminar Held by the Department of Art Research, Archives and Information Systems” (https://www.tobunken.go.jp/materials/katudo/247392.html).
For this presentation, the later result of analyzing the sword blade at SPring-8 (large-scale synchrotron radiation facility) and historical examination from an overall point of view was added. This presentation aimed at disseminating to the world, including Europe and the United States, the fact that such Western swords existed in Japan in the 17th century when cultural exchange was occurring globally, and that a sword was imitated at that time and has been handed down up to the present time.
At the fully occupied presentation venue, the audience showed much interest in the existence of such a cultural property in Japan through a variety of questions and discussions, including on the background of producing a Western sword replica.
At the 6th Seminar held by the Department of Art Research, Archives and Information Systems on September 24th, 2019, KOBAYASHI Koji, Head of the Trans-Disciplinary Research Section, delivered a presentation titled “Formation Process of Namban Lacquer and Its Dating – Examination Especially Focusing on Christian Portable Oratory.”
There is no consensus on when and how Namban lacquer, which was produced in Kyoto and exported mainly to Europe and America in the early 17th century, started to be utilized. So far, among portable oratories, in which Christian sacred paintings are placed, much attention has been paid only to the ones produced as Namban lacquer. The presenter comprehensively examined the portable oratories produced for Japanese Christians as well, which continued to be handed down to this day in the Sendaiji and Shimo-otowa areas in Ibaraki City, Osaka, well-known as settlements of crypto-Christians; these oratories include the one owned by the General Library of the University of Tokyo, which has a the painting of Christ by NIWA Jacob, who learned painting in seminary in Japan, in addition to the Namban lacquer portable oratories scattered around the world. Among them, a group of oratories without decorative pattern on metal fittings were extracted and compared with a makie decorated Chinese-style chest owned by Toyokuni Shrine, with a miniature shrine ornamented by Namban lacquer patterns of Kodaiji-style makie and raden decoration made for a statue of TOYOTOMI Hideyoshi possessed by Richi-in Temple in Misaki Town, with a relatively older makie shelf having metal fittings, and others. As a result, the presenter concluded that the oratories with no decorative metal fittings are the oldest, estimated to have been produced between the latest 16th century and the earliest 17th century.
This dating of older oratories matches the presenter’s dating of Namban lacquer lectern, which had been estimated to be produced from the early 17th century, i.e., a little later than oratories.
The examination was aimed at exploring the formation process and dating of Namban lacquer. If these results are accepted, it might become a catalyst for reconsideration of various issues involving painters or production areas of sacred paintings and frames placed in the portable oratories, on the reality of Christianity and trade in Japan around the early 17th century as well as the relations between TOYOTOMI Hideyoshi /the Tokugawa shogunate and the Anti-Christian Edicts/Christian missions.
At the seminar attended by Dr. TAKEDA Eri, a restorer of Western early paintings, Professor KOIKE Tomio from Tsurumi University, and many other researchers in related fields from the art museums organizing exhibitions of lacquerware from the Momoyama period, lively discussions were held on diverse topics, right from methodology to various other aspects.
For the fifth seminar in FY 2018, held on October 2nd by the Department of Art Research, Archives and Information Systems, Dr. Yoshimi KAMIYA from Kanazawa University delivered a presentation titled “Shapes of Metal Materials Used for Hira Maki-e Technique—Mainly Focusing on Namban Lacquer Examples .”
Hira Maki-e (flat maki-e) is one of the Maki-e (Japanese lacquer technique sprinkled with gold or silver powder) techniques started in the Azuchi–Momoyama period. Compared to the existing mainstream techniques such as Togidashi Maki-e (polished maki-e) and Taka Maki-e (raised maki-e), it is a simpler technique, where gold or silver powder is sprinkled over the pattern drawn with Urushi lacquer. This technique is considered to have been used for maki-e works in Kodaiji style and Namban lacquerware produced in Kyoto as exports to Europe and Americaby orders from Europeans.
The shapes of the metal powders found on lacquer fragments from Namban lacquerware and similar works produced in the early 17th century, which can be found both at home and abroad, as well as those for maki-e lacquer works made by the presenter for comparison, were observed carefully in a non-destructive manner by using a scanning electron microscope (SEM) and reported.
As a result, Maru-fun, round powders rasped off from the metal body were found for a piece of Namban lacquerware. However, some pieces for in which powder made from gold foil had been used was were recognized for the first time. And even, indicating the possibility that powder. This discovery requires us to re-examine the actual states of production techniques, producers, and workshops for exported lacquer in the early Edo period. This is also an important fact when considering the process of how Keshi-fun Maki-e (maki-e technique using powder from metal foil) first appeared and its history.
For the seminar, Mr. Kazumi MUROSE, a holder of Important Intangible Cultural Property (maki-e) and lacquer art historians in and around Tokyo were invited for an active discussion about the kinds of materials the reported metal powders originate in, the relationship with maki-e masters or artisans depicted in the paintings of craftsmen (Shokuninn-e), the need of factual research in maki-e technical history, and issues on the definition of maki-e.
This presentation revealed the fact that observation of fallen lacquer fragments with an electron microscope is very effective for verification of lacquer production techniques, particularly maki-e technique. Further accumulation and study of analyzed works are much expected for the positioning of and attaching significance to each reported case. Deepening of this research may contribute to clarification of the actual state of the painting technique history since metal powder is among the materials used widely not only for lacquerware but also for paintings.
Workshop hosted by the Department of Art Research, Archives and Information Systems
In Thailand in the 18th century and after, exquisite raden craftwork in which an enormous number of tiny seashell parts are finely combined, has developed. If you have already visited the Grand Palace and Wat Pho famous for Reclining Buddha in Bangkok, the capital of Thailand, you may know it. The raden craftwork has been still continued, although not very extensively. However, there have hardly been any studies on the history of Thailand’s raden; its transition and social significance has not been researched not only in Japan but also even in Thailand. At the 9th seminar held by the Department of Art Research, Archives and Information Systems, Prof. Tomohito TAKATA of Siam University who is specialized in Buddhism art history in Thailand gave a presentation on the history of Thailand’s raden in the early-modern and modern times.
Mr. Takata, first of all, explained that raden works in Thailand are seen on the doors and windows in Buddhism temples, on the pedestal bowl offerings for monks, and on the sutra boxes and Cabinets, they had been donated closely related to Buddhism, and they had been made rather exclusively with strong relationship with the royal family of Thailand. Further, he chose, as the analysis subjects, the temple doors whose dates of making or construction are accurately known and divided the history of raden from the 18th to the early 20th century into three periods according to the differences in the main motifs, patterns and techniques utilized. The three periods are the 1st period (from the middle of the 18th century to the beginning of the 19th century), the 2nd period (from the first half to the middle of the 19th century), and the 3rd period (from the latter half of the 19th century to the beginning of the 20th century). Based on this, he further pointed out that, in the 1st period when the patterns and motifs only included tendril patterns and portrait of the deities in which external influences were hardly observed, the Buddhism values such as the three realms of existence were expressed in raden works like in other wooden sculptures and paintings. In contrast, the 2nd period characterized by appearance of the story of Ramayana as well as Chinese decorative patterns reflects diplomatic relations with China and East Asia during this era. Further, in the 3rd period when the patterns that expressed forms of medallions in raden were made, new relationship between Thailand and the West as well as an increase in power of the royal family gave influence over raden crafting.
The workshop also included participation of Ms. Ayumi HARADA, expert in Thai art history, from Kyushu National Museum and Prof. Norihiko OGURA from Department of Crafts (Urushi-Art) of Faculty of Fine Arts, Tokyo University of the Arts. Ms. Harada gave us comments on the origin of Thai raden, external relations, etc. from the expert’s point of view. Further, Prof. Ogura delivered opinions from a viewpoint of an artist. The workshop also contained active discussion about relationship with Japanese raden works of the 19th century that have been discovered successively in Bangkok in recent years. The workshop could also serve as a good opportunity to recognize significance of Thai raden that had not often been subject to academic discussions.
Research by Dr. Pierre Terjanian
Presentation at the Seminar of the Department
The cruciform sword possessed by Fujisaka Shrine in Minakuchi, Koka City, Shiga Prefecture is a slender Western-style sword, which is said to have been owned by feudal lord Yoshiaki KATO (1563-1631) who served Hideyoshi TOYOTOMI and Ieyasu TOKUGAWA, the founder of the Kato family ruling the Minakuchi Domain in the Tokugawa Shogunate. This sword of excellent workmanship is formed completely differently from those used in Japan or in Asia. A survey conducted by domestic specialists in 2016 revealed that this was a rapier produced in Europe between the 16th and early 17th century and that this is the only Western-style sword handed down to the present time in Japan (reported in TOBUNKEN NEWS No. 65). However, the research conducted at that time did not address some essential problems, such as whether this sword was made in Japan or brought to Japan from Europe, and around which year it was manufactured.
To resolve these problems, we invited Dr. Pierre Terjanian, Arthur Ochs Sulzberger Curator in Charge, Department of Arms and Armor, Metropolitan Museum of Art in New York, which boasts the world’s leading rapier collection. After conducting research in Minakuchi, Dr. Terjanian presented his considerations on this Western sword under the title “European Renaissance Rapiers and the Minakuchi Rapier” at the 7th seminar held by the Department of Art Research, Archives and Information Systems.
According to his consideration, the copper hilt was obviously made in Japan, and the sword blade was probably made in Japan or in Asia, not in Europe. The original European rapier, on which the Minakuchi rapier was modeled, would have been manufactured between 1600 and 1630, but closer to 1630. Moreover, this sword displays less practicability.
His view unveils a new fact utterly unknown so far that Japanese people scrutinized a Western sword from Europe and even manufactured a reproduction of it in the early 17th century in Japan. On the other hand, another fact was also found: that a unique technique was used to connect the hilt to the blade with an advanced screw structure, which has not been confirmed in European rapiers. You can understand that such a unique feature resulted from much effort and ingenious attempts by Japanese artisans of the day who worked hard to accurately reproduce an unfamiliar Western sword with the knowledge and techniques they had.
Thus, the research of a Western-style sword handed down in Minakuchi reveals various facts about the metalwork techniques of the early 17th century and about the acceptance of foreign culture. We will proceed with further research and study, including the issue of where and how this sword was manufactured and by whom. We are planning to disclose the actual situation of this sword and its historical backdrops.
Proceedings of the symposium
Discussion during the symposium
Namban lacquer, which is characterized by its unique style, was made upon the request of Portuguese , Spaniards and others who visited Japan in the latter half of the 16th century and thereafter. It was made in Makie(gold powder lacquer technique) workshops in Kyoto and exported to Western countries up until the first half of the 17th century. Namban lacquer came to be known in Japan around the late 1930s. Quite a few pieces have been brought back to Japan from around the 1970s and found their way into museums and galleries all over the country. Recent investigation has revealed that many pieces are still owned by Christian facilities and other places in Spain and Portugal. In recent years, many exhibitions focusing on Namban lacquer have been held both in and outside Japan, and many of you may have actually seen them before.
One of the major characteristics of Namban lacquer is its appearance, that is, a Western-style vessel decorated by Japanese traditional Makie and Raden (mother-of-pearl decoration). In addition, based on multiple studies, including art-historical, historiographical, organic chemical, wood antomical, conchological, and radiological studies, of its patterns, materials, and techniques, it has become clear that this object is a characteristic cultural asset strongly reflecting the Age of Commerce by having elements from not only Europe and Japan but also various Asian regions, such as East Asia, Southeast Asia, and South Asia.
With the aim of specifically confirming these multiple characteristics of Namban lacquer and sharing the recognition, the symposium was held at the Tokyo National Research Institute for Cultural Properties (TNRICP) for 2 days on March 4th and 5th, 2017, where 12 reports were presented by 11 domestic and foreign experts and enthusiastic discussions were held. Further, the number of participants in this symposium totaled 25 persons from overseas (Europe, the US, and Asia) and 160 persons from various places in Japan, reflecting a growing interest in Namban lacquer among people in Japan and overseas.
A Scene from the 10th Seminar
Fujisakae Shrine is located in Minakuchi, Koka City, Shiga Prefecture, the predecessor of which was Yoshiaki Reisha Shrine founded in the early 19th century in order to enshrine feudal lord Yoshiaki KATO, Founder of the family, governing Minakuchi area in the Edo period. The shrine has a variety of treasures, which are said to have been possessed by Yoshiaki. The Western style sword with a black lacquer sheath, which is said to have been granted by Hideyoshi TOYOTOMI, is one of them. Mostly intact in form, this sword is in no way inferior to the rapiers produced in Europe from the 16th to the 17th century. Although it seems to be the only Western sword handed down to the 21st century in Japan, the rapier has been stored at the Minakuchi Museum of History and Folklore in Koka City for many years without attracting much concern so far.
In September 2016, the rapier was investigated from art historical and physicochemical perspectives by the five members of Ms. Akiko NAGAI (Board of Education in Koka City), Mr. Toshihiko SUEKANE (Tokyo National Museum), Ms. Motoko IKEDA (Kyoto National Museum), Prof. Kazutoshi HARADA (Tokyo University of the Arts), and me, Koji KOBAYASHI. The summary and the outcomes of our study were reported at the 10th Seminar Held by the Department of Art Research, Archives and Information Systems held on February 24th, 2017.
The presentations made by the members are “Historical Background on the Western Cruciform Sword Stored at Fujisakae Shrine” by Ms. Nagai; “Study of the Substantiality and Age of the Rapier Handed Down to Fujisakae Shrine – Reconnaissance with Museum Collections, Excavated artifacts and eary modern genre paintings” by Kobayashi; “Regarding the Western Sword Housed by Fujisakae Shrine” by Mr. Suekane; “The Western Sword Possessed by Fujisakae Shrine: X-ray CT Scanning and Fluorescent X-ray Analysis” by Ms. Ikeda; and “The Western Sword Belonging to Fujisakae Shrine – Comparison with Overseas Materials –” by Prof. Harada. The outcomes of our preliminary study were presented from diversified perspectives, including the reference to historical backdrops on swords and related artifacts, the study of hilt patterns and production techniques from the viewpoint of the metalworking history, the report of the data obtained through CT scanning and fluorescent X-ray analysis, and comparison with rapiers stored overseas, in addition to topics on Fujisakae Shrine and Yoshiaki KATO.
Furthermore, whether this Western sword was produced at home or abroad is an important issue in considering the craftsmanship in the Momoyama period and its historical evaluation. We discussed the issue by exchanging various opinions and views after the presentations, which did not result in any consensus. We recognized the importance of this sword and the necessity of its further research anew.
At the 6th seminar in 2016 organized by the Department of Art Research, Archives and Information Systems on October 25th, 2016, Koji KOBAYASI, Head of the Trans-Disciplinary Research Section, made a presentation titled “Japanese Lacquerware Motifs and Techniques Prevalent during the Late Keicho Period to the Early Kan-ei Period – Dialog between Painting Materials and Lacquerware Passed Down” from the perspective of material culture history. At this presentation, he compared and studied the contents drawn in the picture of “Maki-e Craftsman” composing a folding screen depicting various craftsmen possessed by Kitain Temple in Kawagoe City as an important cultural property and the same picture shown in one of Maekawa family’s books owned by Suntory Museum of Art as an original picture depicting various craftsmen of Kitain Temple’s so as to reconfirm the conventional view that these pictures were painted in the early 17th century. Then, he regarded it as reasonable to consider the landscape age of “Kabuki Picture Scroll” and “Picture of Play in the Residence (folding screen of Sououji Temple)” stored at the Tokugawa Art Museum as important cultural properties as the 1610s (between the late Keicho period and the early Genna period) and around 1630 (around the early Kan-ei period) respectively from several perspectives not referred to in past theories. In addition, he pointed out the possibility that you may recognize the living conditions of those days drawn fairly extensively and accurately in these genre paintings.
As lacquerware having large vine and wisteria patterns and painted lacquerware using silver powder are often depicted in these pictures, he suggested that these lacquerware patterns and techniques were prevalent in the early 17th century (between the late Keicho period and the early Kan-ei period). He also suggested that the pained lacquerware, lacquerware made for trading with Europeans who visited Japan, and painted lacquerware using silver power with large vine and wisteria patterns passed down to today may be produced in this period.
The relation between the contents/expressions of genre pictures in the early modern period and the historical reality is an unsolved issue due to the diverse views posed by scholars in art history and history. During the argument after the presentation of this research, that issue was referred to, leading to active discussion among the participants.