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Lot Essay
In the early 17th century, the Edo bakufu enforced a national seclusion policy (sakoku), leaving only Hirado and Nagasaki open as ports for foreign affairs. Completed in 1636, the man-made island of Dejima in Nagasaki was originally built to confine Portuguese residents. Following the expulsion of the Portuguese in 1639 and the closure of Hirado in 1641, the Dutch were relocated to Dejima. From then on till Perry’s arrival in 1853, Nagasaki became Japan’s sole gateway for foreign contact—specifically with the Chinese and the Dutch—through which scientific knowledge and cultural influences left a lasting impact.
It was in this unique context that Nagasaki painting developed in the 18th century. Artists permitted to reside in Nagasaki were exposed to both Chinese and European art, drawing inspiration that contributed to the richness and diversity of Edo-period painting.
Kawahara Keiga studied under the prominent Nagasaki painter Ishizaki Yushi (1768-1846) and went on to serve as the hired painter for the Dutch Factory at Dejima. He produced numerous works depicting Japanese landscapes and nature, as well as the lives of Europeans in Japan. Many of his paintings were sent to the Netherlands during his lifetime, commissioned by the Dutch government. Today, he is regarded as the most recognized Dejima artist. Although investigated twice during his career for alleged espionage, his oeuvre offers an invaluable perspective into Nagasaki society during the Edo period.
The current painting depicts the lively Nagasaki port, with Dutch, Chinese, and Japanese ships. There are identical examples in the Kyushu National Museum (https://collection.kyuhaku.jp/advanced/8277.html) and Kobe City Museum (https://www.kobecitymuseum.jp/collection/detail?heritage=367311).
Hendrick Doeff was the kapitan, or the chief trader of the Dutch East India Company in Dejima from 1803-1817. Upon his appointment to be opperhofd, a realistic portrait was done and attributed to Kawahara Keiga, now in the collection of Kobe City Museum (https://bunka.nii.ac.jp/heritages/detail/456559).
It was in this unique context that Nagasaki painting developed in the 18th century. Artists permitted to reside in Nagasaki were exposed to both Chinese and European art, drawing inspiration that contributed to the richness and diversity of Edo-period painting.
Kawahara Keiga studied under the prominent Nagasaki painter Ishizaki Yushi (1768-1846) and went on to serve as the hired painter for the Dutch Factory at Dejima. He produced numerous works depicting Japanese landscapes and nature, as well as the lives of Europeans in Japan. Many of his paintings were sent to the Netherlands during his lifetime, commissioned by the Dutch government. Today, he is regarded as the most recognized Dejima artist. Although investigated twice during his career for alleged espionage, his oeuvre offers an invaluable perspective into Nagasaki society during the Edo period.
The current painting depicts the lively Nagasaki port, with Dutch, Chinese, and Japanese ships. There are identical examples in the Kyushu National Museum (https://collection.kyuhaku.jp/advanced/8277.html) and Kobe City Museum (https://www.kobecitymuseum.jp/collection/detail?heritage=367311).
Hendrick Doeff was the kapitan, or the chief trader of the Dutch East India Company in Dejima from 1803-1817. Upon his appointment to be opperhofd, a realistic portrait was done and attributed to Kawahara Keiga, now in the collection of Kobe City Museum (https://bunka.nii.ac.jp/heritages/detail/456559).