This study examines images of Nagasaki produced in early modern Japan in order to illuminate how different cultures were perceived and depicted in the area. From the early 17th century, Nagasaki was the only city in Japan to trade with foreign countries. This unusual situation makes the city an exceptional case whenobserving the meeting, colliding and merging of different cultures. This study focuses especially on images of the Tōjinyashiki (唐人屋敷, Chinese Quarter) and the Dejima (出島, Dutch Trading Post). Images of these two areas are among the most distinctive types of depiction of Nagasaki, as well as being symbols of Nagasaki port. Many paintings depicting these two foreign residences were produced, often in pairs, and in formats such as scroll paintings, prints and screen paintings. Through a careful reading and analysis of the Nagasaki images, this study aims to investigate the convergences and negotiations of Western civilization (represented and brought by the Dutch) and East Asian civilization (represented and conveyed by the Chinese) with local Japanese culture. It is hoped that this will further our understanding of the diverse and dynamic visual cultures produced by encounters with European and East Asian cultures in the Nagasaki area.
|Translated title of the contribution||Depicting Nagasaki: the Tōjinyashiki and Dejima Pictures|
|Original language||Chinese (Traditional)|
|Journal||미술사연구 Misulsa Yeongu|
|Publication status||Published - 2016|