Mediating Netherlandish Art and Material Culture in Asia PDF
Preview Mediating Netherlandish Art and Material Culture in Asia
THOMAS DACOSTA KAUFMANN AND MICHAEL NORTH (EDS.) Mediating Netherlandish Art and Material Culture in Asia amsterdam studies in the dutch golden age Mediating Netherlandish Art and Material Culture in Asia Amsterdam Studies in the Dutch Golden Age Editorial Board H. Perry Chapman, University of Delaware Lia van Gemert, University of Amsterdam Benjamin J. Kaplan, University College London Henk van Nierop, University of Amsterdam Eric Jan Sluijter, University of Amsterdam Marc van Vaeck, Katholieke Universiteit Leuven Mediating Netherlandish Art and Material Culture in Asia Thomas DaCosta Kaufmann and Michael North (eds.) Amsterdam University Press Founded in 2000 as part of the Faculty of Humanities of the University of Amsterdam (UvA), the Amsterdam Centre for Study of the Golden Age (Amsterdams Centrum voor de Studie van de Gouden Eeuw) aims to promote the history and culture of the Dutch Republic during the ‘long’ seventeenth century (c. 1560-1720). The Centre’s publica- tions provide an insight into lively diversity and continuing relevance of the Dutch Golden Age. They offer original studies on a wide variety of topics, ranging from Rembrandt to Vondel, from Beeldenstorm (iconoclastic fury) to Ware Vrijheid (True Freedom) and from Batavia to New Amsterdam. Politics, religion, culture, economics, expansion and warfare all come together in the Centre’s interdisciplinary setting. Editorial control is in the hands of international scholars specialised in seventeenth- century history, art and literature. For more information see www.aup.nl/goude- neeuw or http://cf.uba.uva.nl/goudeneeuw/. The publication of this book has been made possible by grants from the Barr Ferree Publication Fund, Department of Art and Archaeology, Princeton University, the Ernst Mortiz Arndt University, Greifswald, the De Gijselaar-Hintzenfonds, the Gravin van Bylandtstichting, and the Louise Thijssen-Schoute Stichting. Cover illustration: Mu’in Musawwir, Portrait of Riza-y ‘Abassi, Drawing a European, 1673. Firestone Library, Princeton University. Cover design: Kok Korpershoek, Amsterdam Lay-out: Crius Group, Hulshout Amsterdam University Press English-language titles are distributed in the US and Canada by the University of Chicago Press. isbn 978 90 8964 569 2 e-isbn 978 90 4851 986 6 nur 640 © All authors / Amsterdam University Press b.v., Amsterdam 2014 All rights reserved. Without limiting the rights under copyright reserved above, no part of this book may be reproduced, stored in or introduced into a retrieval system, or transmitted, in any form or by any means (electronic, mechanical, photocopying, recording or otherwise) without the written permission of both the copyright owner and the author of the book. Every effort has been made to obtain permission to use all copyrighted illustrations reproduced in this book. Nonetheless, whosoever believes to have rights to this material is advised to contact the publisher. Contents Preface 7 Introduction 9 Mediating Cultures Thomas DaCosta Kaufmann and Michael North 1 Terms of Reception 25 Europeans and Persians and Each Other’s Art Gary Schwartz 2 Reconfiguring the Northern European Print to Depict Sacred History at the Persian Court 65 Amy S. Landau 3 Dutch Cemeteries in South India 83 Martin Krieger 4 Coasts and Interiors of India 95 Early Modern Indo-Dutch Cross-Cultural Exchanges Ranabir Chakravarti 5 Art and Material Culture in the Cape Colony and Batavia 111 in the Seventeenth and Eighteenth Centuries Michael North 6 Indische Architecture in Indonesia 129 Peter J. M. Nas 7 The Cultural Dimension of the Dutch East India Company 141 Settlements in Dutch-Period Ceylon, 1700-1800 – With Special Reference to Galle Lodewijk Wagenaar 8 European Artists in the Service of the Dutch East India Company 177 Marten Jan Bok 9 Scratching the Surface 205 The Impact of the Dutch on Artistic and Material Culture in Taiwan and China Thomas DaCosta Kaufmann 10 The Dutch Presence in Japan 239 The VOC on Deshima and Its Impact on Japanese Culture Matthi Forrer and Yoriko Kobayashi-Sato 11 From Optical Prints to Ukie to Ukiyoe 245 The Adoption and Adaptation of Western Linear Perspective in Japan Matthi Forrer 12 Japan’s Encounters with the West through the VOC 267 Western Paintings and Their Appropriation in Japan Yoriko Kobayashi-Sato 13 “To Capture Their Favor” 291 On Gift-Giving by the VOC Cynthia Viallé 14 Circulating Art and Material Culture 321 A Model of Transcultural Mediation Astrid Erll Illustration Credits 329 Index 337 Preface This book is the result of years of planning, Without his inspiration and energy the theme research and writing. It initiated out of dis- group would never have come into existence. cussions held after a session of the Twentieth We still remember the intensive research and International Congress of Historical Sciences, lively discussions of the group and other NIAS- Sydney, Australia, whose papers have been fellows. Consequently another colleague from published in Artistic and Cultural Exchanges NIAS and subsequently scholars elsewhere between Europe and Asia, 1400-1900. Rethinking were asked to contribute to the collection of Markets, Workshops and Collections, ed. Michael essays in this volume. North, Farnham, Surrey, and Burlington, From the beginning this book has been a Vermont, Ashgate, 2010. Thomas DaCosta Kauf- collective undertaking, which could not have mann and Michael North ideated a research been realized without the active assistance program that would continue the direction of several people and institutions in addition suggested in their introduction to that volume. to those already mentioned or cited in the The Princeton Institute for International essays. Gary Schwartz “Englished” the texts and Regional Studies (PIIRS) granted funds of the non-native speakers. Thomas DaCosta that enabled many of the authors of essays Kaufmann would like to acknowledge the in the present volume and other scholars to assistance of Cynthia Huong, Cary Liu, and come to Princeton University in March, 2008 Jamie Kwan with texts in Chinese; of the to participate in a planning seminar. This was Spears Fund of Princeton University, the followed by a similar seminar supported by Academia Sinica, Taiwan Normal University, the Netherlands Institute for Advanced Study the National Taiwan University and colleagues (NIAS) held in Wassenaar, October, 2008. The in those institutions who supported his travel support of PIIRS and NIAS is here gratefully and assisted his research on two trips to China acknowledged. and Taiwan; to Chen Liu for her assistance in The seminar participants then formed a China; and to Elizabeth Osenbaugh and Jamie theme group “The Reception of Netherlandish Kwan for general research and production aid. Art in the Indian Ocean Region and East Asia, Michael North is indebted to Alexander Drost and its Impact on Asian Cultures”, organized by und Jörg Driesner for archival research in the Michael North and Marten Jan Bok, for which Arsip Nasional (Jakarta) and to Antonia Malan, the Netherlands Institute for Advanced Study Laura Mitchell, Susan Newton-King and Nigel (NIAS) provided a host in Wassenaar from Worden for their help and comments in his September, 2009 to January, 2010. Papers by research on Cape Town, and acknowledges his members of the theme group and several other greatest debts to the members of the Greifswald guest scholars were presented at a symposium team consisting of Doreen Wollbrecht, Robert held at NIAS in January, 2010; in most instances Riemer, Hielke van Nieuwenhuize, Friederike they represented preliminary versions of what Schmidt, Sven Ristau, Eric Ladenthin, Richard appears in the present book. For the invitation Höter, Maik Fiedler and Jörn Sander, who bore to NIAS we would like to offer our warmest the brunt of work on the final production of the thanks to its rector Prof. Wim Blockmans. book with great commitment. They not only 8 Thomas DaCosTa Kaufmann anD miChael norTh edited the manuscript and read the proofs, but like to thank the De Gijselaar-Hintzenfonds, also compiled the index. the Gravin van Bylandtstichting, and the We are grateful for grants in support of the Louise Thijssen-Schoute Stichting for their publication from the Barr Ferree Publication financial support. Fund, Department of Art and Archaeology, Princeton University, and the Ernst Moritz Thomas DaCosta Kaufmann and Michael North Arndt University, Greifswald. Finally we would Princeton and Greifswald, Winter 2014 Introduction Mediating Cultures Thomas DaCosta Kaufmann and Michael North The Dutch East India Company (VOC) has drawing attention to the VOC in this context long attracted the attention of scholarship. Its as well.11 Monographic exhibitions and related lengthy history, widespread enterprises, and the publications on several artists who were active survival of massive amounts of documentation in Dutch settlements in Africa and Asia have – literally 1,200 meters of essays pertaining to also appeared.12 The broader material culture the VOC may be found in the National Archives of the world of the VOC, and especially the in The Hague, and many more documents are Cape Colony, has also come into focus.13 Some scattered in archives throughout Asia and in historians of Dutch seventeenth-century art South Africa – have stimulated many works and architecture now situate their subjects in on economic and social history.1 Important relation to the network of trade that was spun publications have also appeared on the trade,2 by the VOC.14 Still, the reciprocal effects of shipping,3 institutional organization,4 and Dutch visual and material culture on Asiatic administration of the VOC.5 Much has also civilizations remain largely unstudied.15 been learned about the VOC and Dutch colonial This situation provides the backdrop for the societies.6 Moreover, the TANAP (Towards a present collection of essays, the fruit of much New Age of Partnership, 2000-2007) project discussion and collaboration. In 2005 a team of has created momentum for research on the scholars was formed to study artistic produc- relationship between the VOC and indigenous tion and reception in relation to commerce societies.7 between the Netherlands and the Indian Ocean In contrast, the role of the VOC in cultural region.16 As it developed, the composition of history and especially in the history of visual the group changed, and it was recognized that and material culture has not yet attracted com- the comparable impact of Asia upon Europe in parable interest.8 To be sure, journals and other general and on Dutch art and material culture travel accounts (some even with illustrations) in particular was much better known than by soldiers, shippers, and VOC officials among the converse, as several essays within suggest. others have been utilized as sources.9 But the Hence it was decided to emphasize the question studies based on them have not been primarily of the possible Dutch (and more broadly Neth- art or cultural historical in character. Books erlandish) impact on those areas in which the such as those by J. De Loos-Haaxman on art, VOC operated from the Cape of Good Hope to artists, and collections in the Netherlands East the Sea of Japan. The research group coalesced Indies have thus until quite recently been the in 2009-2010 at the Netherlands Institute for exception, not the rule.10 Advanced Studies (NIAS) in Wassenaar to However, since 2000 several major exhibi- study the issues involved. tions have dramatically brought European- The essays by this group and its external Asian cultural encounters into the limelight, collaborators represent the results of their
The list of books you might like
