La laca japonesa de exportación en España. Del estilo Namban al pictórico

Abstract

Se estudias los estilos y técnicas de tres escritorios de laca japonesa de los siglos XVI y XVII. Palabras clave: Laca japonesa de exportación; Namban; Estilo pictórico; Sevilla. The paper studies styles and techniques of three cabinets of Japanese lacquer of the 16 th and 17 th centuries.

Influence of Japanese Namban Lacquer in New Spain, Focusing on Enconchado Furniture

“…[37][38]-clearly lacquerware decorated in the makie technique. As a consequence of the success of Japanese lacquer amongst the first Europeans who made contact with Japan, namely the Portuguese and Spanish, a new lacquer type specifically for European export arose in the last decades of the sixteenth century, called Namban lacquer, studied by different researchers [7][8][9][10][11][12][13][14]. This furniture of European style and use, decorated with the gold of makie and mother-of-pearl, was made between approximately 1580 and 1630 (Figure 1).…”

“…Thirteen scenes of la Pasión de Cristo (the Passion of Christ) and la vida de la Virgen María (the Life of the Virgin Mary) can be found on both the front and back, respectively, and the frames of these scenes and the edges of the cross are profusely decorated with vegetal motifs. At first sight, it evokes the work from the viceroyalty of New Spain14…”

Coleccionismo y colecciones de la laca extremo oriental en España desde la época del arte namban hasta el siglo XX

“…El tríptico del convento de las Trinitarias Descalzas de Madrid puede proceder de la colección de la familia fundadora. Sancho de la Cerda, tercer hijo del duque de Medinaceli y Juana Manuela de Portugal, y casado con María Melo de Villena, también portuguesa, y cuñado del duque de Lerma, se hallaba muy cercano a esa cultura del coleccionismo exótico que promovían los objetos llegados al puerto de Lisboa 24 . Se trata de un tríptico de pequeñas dimensiones, muy apreciado por los misioneros en Japón a falta de los objetos litúrgicos esenciales.…”

The Splendour of Glitter: Silver Leaf in barniz de Pasto Objects

“…During the colonial period, quicksilver, as mercury was also known, was primarily used for processing of gold and silver. Barba mentions its use as early as 1574 in the mines The borders framing the compositions are often made of tinted silver leaf and within them are Nanban-influenced designs [27], such as those found on the casket of the Victoria and Albert Museum in London (W. . Recent analysis of this piece has revealed the presence of calomel used in the fine white lines with a matte finish, according to Humphrey et al (p. 150).…”