For my show and tell project I wanted to represent the stereotypical depiction of “southern barbarians”. For some context, during the 17th century, the Edict of 1635 was ordered as a law to follow. This was the closing of Japan from the rest of the world (meaning, no one can leave nor enter) and this edict had an exception for Dutch and Chinese traders (until 1853). This policy of seclusion was prompted by the fear and misunderstanding of the spread of Christianity, which was an act of desire for the monopolization of foreign trade and a gruesome act against Christians. There was also another law, Completion of the Exclusion in 1639, which Tokugawa then excluded foreign influences from Japan to preserve their culture/political stability. The Fate of the Embassy from Macoa in 1640 by Antonio Cardin S.J. was sent by the Portuguese, in hope of regaining the ability to trade (the representatives were all put to death), which just further presents the aggressive fear Tokugawa felt towards Christians and the terrifying force and power he is willing to use to prevent them from entering Japan. During the time of foreign trade, there were traditional Japanese art pieces, defined as Nanban, or “southern foreigners”, that depict the way the Japanese viewed the foreigners. Many of these artworks are extremely stereotypical, with physical features: mustaches, small beards, long noses, hats, ruffles, and large pants. There was also an exaggeration of height, wearing capes, or having “exotic” creatures i.e. birds, elephants, peacocks, tigers, etc. I recreated this portrayal of the foreigners by including all of these features shown above. I chose to draw a man with baggy clothing, ruffles, a cape and hat, facial hair, a long nose, and a bird.
Hoakley. “From Silk to Canvas: 2 Saints and Namban Screens.” The Eclectic Light Company, 18 Aug. 2015, https://eclecticlight.co/2015/08/18/from-silk-to-canvas-2-saints-and-namban-screens/.
“Closing the Country.” In David John Lu. Japan: A Documentary History, 220-228. Armonk, NY: M.E. Sharpe, 1997.
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