<?xml version="1.0" encoding="ISO-8859-1"?><article xmlns:mml="http://www.w3.org/1998/Math/MathML" xmlns:xlink="http://www.w3.org/1999/xlink" xmlns:xsi="http://www.w3.org/2001/XMLSchema-instance">
<front>
<journal-meta>
<journal-id>0121-8417</journal-id>
<journal-title><![CDATA[Historia y Sociedad]]></journal-title>
<abbrev-journal-title><![CDATA[Hist. Soc.]]></abbrev-journal-title>
<issn>0121-8417</issn>
<publisher>
<publisher-name><![CDATA[Facultad de Ciencias Humanas y Económicas de la Universidad Nacional de Colombia, Sede Medellín]]></publisher-name>
</publisher>
</journal-meta>
<article-meta>
<article-id>S0121-84172019000100021</article-id>
<article-id pub-id-type="doi">10.15446/hys.n36.73460</article-id>
<title-group>
<article-title xml:lang="en"><![CDATA[Nanban Art and its Globality: A Case Study of the New Spanish Mural The Great Martyrdom of Japan in 1597]]></article-title>
<article-title xml:lang="es"><![CDATA[Arte namban y su globalidad: un caso del mural novohispano El gran martirio de Japón en 1597]]></article-title>
<article-title xml:lang="pt"><![CDATA[A Arte namban e sua globalidade: um caso do mural novohispano O grande martírio do Japão em 1597]]></article-title>
</title-group>
<contrib-group>
<contrib contrib-type="author">
<name>
<surname><![CDATA[Arimura]]></surname>
<given-names><![CDATA[Ríe]]></given-names>
</name>
<xref ref-type="aff" rid="Aff"/>
</contrib>
</contrib-group>
<aff id="Af1">
<institution><![CDATA[,Universidad Nacional Autónoma de México  ]]></institution>
<addr-line><![CDATA[Mexico City ]]></addr-line>
<country>Mexico</country>
</aff>
<pub-date pub-type="pub">
<day>00</day>
<month>06</month>
<year>2019</year>
</pub-date>
<pub-date pub-type="epub">
<day>00</day>
<month>06</month>
<year>2019</year>
</pub-date>
<numero>36</numero>
<fpage>21</fpage>
<lpage>56</lpage>
<copyright-statement/>
<copyright-year/>
<self-uri xlink:href="http://www.scielo.org.co/scielo.php?script=sci_arttext&amp;pid=S0121-84172019000100021&amp;lng=en&amp;nrm=iso"></self-uri><self-uri xlink:href="http://www.scielo.org.co/scielo.php?script=sci_abstract&amp;pid=S0121-84172019000100021&amp;lng=en&amp;nrm=iso"></self-uri><self-uri xlink:href="http://www.scielo.org.co/scielo.php?script=sci_pdf&amp;pid=S0121-84172019000100021&amp;lng=en&amp;nrm=iso"></self-uri><abstract abstract-type="short" xml:lang="en"><p><![CDATA[Abstract Traditionally, nanban art has been seen as a simple product of exchanges between Japan, Portugal and Spain. The historiography tends to solely focus on artistic contributions of the Society of Jesus due to the foundation of a painting school in Japan. Thereby, the relevance of the Indo-Portuguese route in the cross-cultural history has been emphasized. However, the research advances of the last decades identify that nanban works consist of artistic inheritances from diverse regions of the world which were connected through the Portuguese and Spanish transoceanic routes. Similarly, Japanese nanban art influenced the artistic productions on the other side of the world. In summary, nanban art cannot be understood without taking into account its global implications. This paper clarifies the changes in epistemological understanding of nanban art, and its redefinitions through a historiographical review. This work also shows the important role of Spanish America in the artistic exchange mechanisms; these interactions occurred reciprocally. Therefore, the New World was one of the regions where Japanese art significantly influenced local productions. To exemplify this phenomenon, we address the influence of nanban art on the mural painting The great martyrdom of Japan in 1597 in Cuernavaca, Morelos, Mexico.]]></p></abstract>
<abstract abstract-type="short" xml:lang="es"><p><![CDATA[Resumen Tradicionalmente, el arte namban ha sido visto como un simple producto de intercambios entre Japón, Portugal y España. La historiografía tiende a centrarse únicamente en las contribuciones artísticas de la Compañía de Jesús por establecer una escuela de pintura en Japón. De este modo, se ha enfatizado la relevancia de la ruta indo-portuguesa en la historia intercultural. Sin embargo, los avances de investigación en las últimas décadas identifican que las obras namban se conforman de herencias artísticas de diversas regiones del mundo que estaban conectadas a través de las rutas transoceánicas portuguesa y española. De igual modo, el arte namban japonés influyó en las producciones artísticas del otro lado del mundo. En resumen, el arte namban no puede entenderse sin tener en cuenta sus implicaciones globales. Este artículo dilucida los cambios en la comprensión epistemológica del arte namban y sus redeiniciones mediante una revisión historiográica. También resalta la importancia de América hispánica en los mecanismos de intercambio artístico. Estas interacciones se dieron de manera mutua, ya que el Nuevo Mundo es una de las regiones donde el arte japonés tuvo una influencia significativa en las producciones locales. Para ejemplificar este fenómeno, este trabajo aborda la influencia del arte namban en la pintura mural El gran martirio de Japón en 1597 en Cuernavaca, Morelos, México.]]></p></abstract>
<abstract abstract-type="short" xml:lang="pt"><p><![CDATA[Resumo Tradicionalmente, a arte namban tem sido vista como um simples produto de intercâmbios entre Japão, Portugal e Espanha. A historiografia tende a se centrar unicamente nas contribuições artísticas da Companhia de Jesus por estabelecer uma escola de pintura no Japão. Deste modo, tem sido enfatizada a relevância da rota indo-portuguesa na história intercultural. Não obstante, os avanços nas pesquisas das últimas décadas identiicam que as obras namban se conformam como herança artística de diversas regiões do mundo que estavam conectadas através das rotas transoceânicas portuguesas e espanholas. De igual modo, a arte namban japonesa influiu nas produções artísticas do outro lado do mundo. Em resumo, a arte namban não pode ser entendida sem ter em conta suas implicações globais. Este artigo clariica as mudanças na compreensão epistemológica da arte namban e suas redeinições mediante uma revisão historiográica. Também ressalta a importância da América hispânica nos mecanismos de intercâmbio artístico. Estas interações se deram de forma mútua, já que o Novo Mundo é uma das regiões onde a arte japonesa teve uma influência significativa nas produções locais. Para exemplificar este fenómeno, este trabalho aborda a influência da arte namban na pintura mural O grande martírio do Japão em 1597 em Cuernavaca, Morelos, México.]]></p></abstract>
<kwd-group>
<kwd lng="en"><![CDATA[(Thesaurus) arts]]></kwd>
<kwd lng="en"><![CDATA[art history]]></kwd>
<kwd lng="en"><![CDATA[Asian art]]></kwd>
<kwd lng="en"><![CDATA[Latin American art. (Author) nanban art]]></kwd>
<kwd lng="en"><![CDATA[kirishitan art]]></kwd>
<kwd lng="en"><![CDATA[Spanish American colonial art.]]></kwd>
<kwd lng="es"><![CDATA[(Tesauro) artes]]></kwd>
<kwd lng="es"><![CDATA[historia del arte]]></kwd>
<kwd lng="es"><![CDATA[arte asiático]]></kwd>
<kwd lng="es"><![CDATA[arte latinoamericano. (Author) arte namban]]></kwd>
<kwd lng="es"><![CDATA[arte kirishitan]]></kwd>
<kwd lng="es"><![CDATA[arte colonial hispanoamericano]]></kwd>
<kwd lng="pt"><![CDATA[(Tesauro) artes]]></kwd>
<kwd lng="pt"><![CDATA[história da arte]]></kwd>
<kwd lng="pt"><![CDATA[arte asiática]]></kwd>
<kwd lng="pt"><![CDATA[arte latino-americana. (Author) arte namban]]></kwd>
<kwd lng="pt"><![CDATA[arte kirishitan]]></kwd>
<kwd lng="pt"><![CDATA[Arte colonial hispano-americana]]></kwd>
</kwd-group>
</article-meta>
</front><back>
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