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Nanban trade

1543–1614 period of Japanese history

  • 22 min read
  • 7 chapters

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Through European people, Trade route and Cannon

The Nanban trade as a form of European contact began with Portuguese explorers, missionaries, and merchants in the Sengoku period and established long-distance overseas trade routes with Japan. The resulting technological and cultural exchange included the introduction of matchlock firearms, cannons, galleon-style shipbuilding, and Christianity to Japan, among other cultural aspects. The Nanban trade declined in the early Edo period with the rise of the Tokugawa shogunate which feared the influence of Christianity in Japan, particularly the Roman Catholicism of the Portuguese. The Tokugawa issued a series of Sakoku policies that increasingly isolated mainland Japan from the outside world and limited European trade to Dutch traders on the artificial island of Dejima, under total scrutiny.

First contacts

Japanese accounts of Europeans

Following contact with the Portuguese on Tanegashima in 1543, the Japanese were at first rather wary of the newly arrived foreigners. The culture shock was quite strong, especially because Europeans were not able to understand the Japanese writing system nor accustomed to using chopsticks.

They eat with their fingers instead of with chopsticks such as we use. They show their feelings without any self-control. They cannot understand the meaning of written characters. (from Boxer, Christian Century).

European accounts of Japan

The island of Jampon, according to what all the Chinese say, is larger than that of the Léquios, and the king is more powerful and greater and is not given to trading, nor are his subjects. He is a heathen king, a vassal of the king of China. They do not often trade in China because it is far off and they have no junks, nor are they seafaring men.

— Tomé Pires

The first comprehensive and systematic report of a European about Japan is the Tratado em que se contêm muito sucinta e abreviadamente algumas contradições e diferenças de costumes entre a gente de Europa e esta província de Japão of Luís Fróis, in which he described Japanese life concerning the roles and duties of men and women, children, Japanese food, weapons, medicine, medical treatment, diseases, books, houses, gardens, horses, ships and cultural aspects of Japanese life like dances and music. Several decades later, when Hasekura Tsunenaga became the first Japanese official arriving in Europe, his presence, habits and cultural mannerisms gave rise to many picturesque descriptions circulating among the public:

"They never touch food with their fingers, but instead use two small sticks that they hold with three fingers."
"They blow their noses in soft silky papers the size of a hand, which they never use twice, so that they throw them on the ground after usage, and they were delighted to see our people around them precipitate themselves to pick them up."
"Their Scimitar-like swords and daggers cut so well that they can cut a soft paper just by putting it on the edge and by blowing on it." ("Relations of Mme de St Tropez", October 1615, Bibliothèque Inguimbertine, Carpentras).

Renaissance Europeans were attracted by Japan's purported immense richness in precious metals, mainly owing to Marco Polo's accounts of gilded temples and palaces, but also to the relative abundance of surface ores characteristic of a volcanic country (this was before large-scale deep-mining became possible in industrial times). Japan was to become a major exporter of copper and silver during the period. At its peak, around 1615-25, as much as one third of global silver production was Japanese.

Japan was also noted for its comparable or even exceptional levels of population and urbanization relative to the nations of the West at the time (see list of countries by population in 1600). Many Europeans became quite fascinated with Japan, with Alessandro Valignano even writing that the Japanese "excel not only all the other Oriental peoples, they surpass the Europeans as well".

Early European visitors noted the quality of Japanese craftsmanship and metalsmithing. The later sources, most notably those written after the end of Japan's isolation period, also report Japanese blades, and swords in general, as good quality weapons with notable artistic value.

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