Transform your classroom! From a live webinar: Dr. Stephanie Porras on Hispano Philippine ivories

Summary

This discussion delves into Hispano-Philippine ivories, highlighting their unique role in early modern global art networks. Carved in Manila by Chinese artisans, these ivories were crafted from African elephant tusks and shipped to Spain via the Manila galleon. They exemplify the fusion of Asian, African, and European influences, challenging students to reconsider art history's traditional geographies. The ivories, primarily religious, were not only luxury exports but also pivotal in the Counter-Reformation's artistic expression, offering a rich case study in material culture and global exchange.

Takeaways

• 🌐 Hispano-Philippine ivories are significant for studying global networks in the early modern period, illustrating the interconnectedness of art across different regions.
• 🎨 These ivories are carved in Manila by immigrant Chinese carvers from South China and shipped to Mexico via the Manila galleon, highlighting the trade routes of the era.
• 🚢 The Manila galleon, starting from 1565, played a crucial role in the annual trade between Manila and Acapulco, facilitating the movement of these ivories.
• 🖼️ The ivories were luxury exports, not just for local use, indicating a global market for these intricate artworks.
• 🌍 The geography of these ivories extends beyond the Manila galleon to include the Indian Ocean trade and transatlantic connections, showcasing a truly global circulation.
• 📜 The use of prints from Antwerp as models for the ivories points to the artistic interplay between different centers of production within the Spanish Empire.
• 🎭 The subject matter of the ivories, such as St. Michael, reflects the Counter-Reformation and the broader Catholic resurgence, tying the art to religious and historical contexts.
• 🐘 The material study of these ivories, made from African elephant tusks, provides insights into trade networks and the movement of materials and techniques across the Indian Ocean.
• 🖌️ The carving techniques and the use of multiple pieces of ivory to create larger sculptures show the ingenuity and craftsmanship of the carvers in Manila.
• 🏛️ The ivories were not only for religious spaces but also found in domestic contexts, indicating their role in both public and private devotion.

Q & A

Why were Hispano-Philippine ivories chosen as a case study for discussing global networks in art history?

Hispano-Philippine ivories were chosen because they represent a paradigmatic object that can be inserted into surveys of Latin American or Spanish art, and they exemplify the global networks of the early modern period due to their intricate geographies and production processes.

What is the significance of the Manila galleon in the context of Hispano-Philippine ivories?

The Manila galleon, which connected Manila and Acapulco annually starting in 1565, was crucial as it facilitated the transportation of these ivories, which were carved in Manila and shipped to various parts of the world, indicating their global circulation.

How do Hispano-Philippine ivories contribute to the understanding of art history's role in the humanities?

These ivories open discussions about the importance of material study and the reconstruction of archives, showing how art history can contribute to the broader understanding of history and global trade networks.

Why were the Hispano-Philippine ivories produced specifically in the Philippines and not elsewhere?

The production in the Philippines was due to the confluence of materials, such as African ivory, and makers, like immigrant Chinese carvers, which were available in Manila, along with the existing market for luxury items.

What is the connection between the prints used as models for the ivories and their global circulation?

The prints used as models for the ivories were produced in places like Antwerp and circulated globally, ending up in Manila where they served as inspiration for the sculptures, highlighting the interconnectedness of artistic production across empires.

How do the materials and techniques used in Hispano-Philippine ivories reflect global trade and cultural exchange?

The use of African ivory, carving techniques from Fujian and South Asia, and gilding with Japanese lacquer in the production of these ivories reflects the complex global trade networks and cultural exchanges of the period.

What role did the iconography of St. Michael play in the Counter-Reformation and how is it represented in Hispano-Philippine ivories?

St. Michael, as the conqueror of rebel angels, was a figure used by the Counter-Reformation Church to symbolize the defeat of heresy. His iconography in Hispano-Philippine ivories connects to this broader global narrative and was also made the patron saint of the Philippines in the 17th century.

How do the physical characteristics of Hispano-Philippine ivories, such as their scale and composition, provide insights into their production?

The large scale and composite nature of Hispano-Philippine ivories, often made from multiple pieces of ivory, indicate the ingenuity of the carvers and the limitations they worked within. This also suggests the use of African ivory due to its size and coloration.

What can the study of materials in Hispano-Philippine ivories reveal about trade networks not documented in official archives?

The material study of these ivories can provide insights into trade networks that are not represented in official Spanish archives, such as the presence of African ivory and carving techniques from South Asia, indicating a rich and complex trade history beyond the documented records.

Are there any examples of secular subject matter in Hispano-Philippine ivories, or were they primarily religious?

Hispano-Philippine ivories were primarily religious, reflecting the devotional context and the Counter-Reformation era. While there may be a few exceptions, such as a dog sculpture, the majority of the ivories were produced for religious spaces or had religious subjects.