BATEREN（CHRISTIAN MISSIONARY）STATUE, Azuchi-Momoyama Period（1573–1603CE）

This piece is a wooden statue of a Bateren (Christian Missionary) created during the Azuchi-Momoyama period (1573–1603 CE). Standing at 43.5 cm tall and weighing approximately 1.6 kg, the statue, though small, exudes a dignified presence, with soft hues of red and yellow still faintly visible. In areas where the paint has worn away, the bare wood subtly reveals itself, quietly narrating the passage of over four centuries.

The base of the statue bears the inscription "Nagaoka Excavated," indicating its origin. Nagaoka thrived during the Edo period as a crucial junction on the Northern Road, a place where faith and trade intersected. The history of hidden Christians was not confined to Kyushu; it indeed thrived in these northern regions as well.

The term "Bateren" is derived from the Portuguese word "Padre" (father), and the black robes, draped cape, and white collar worn by this statue evoke the image of a Jesuit priest. The slightly downcast gaze and the gesture of one hand gently raised convey a spiritual dignity, as if bestowing blessings and guiding the faithful. The expression, embodying both severity and compassion, seems to communicate the sentiments of missionaries who crossed the seas, carrying the faith of a distant land.

Since the arrival of Francis Xavier in the mid-16th century, Christianity spread rapidly alongside Nanban culture. Under the patronage of Nobunaga, churches and seminaries were established throughout the land, and techniques of painting and sculpture were introduced. However, the situation drastically changed with Toyotomi Hideyoshi's edict expelling the Bateren. Persecution intensified, and the once openly displayed Bateren statues were hidden from public view, becoming objects of secret devotion.

The C-shaped posture of this statue, with its body slightly twisted, likely draws inspiration from European prints. Yet, this movement possesses a certain modesty, blending seamlessly into the tradition of Japanese wood carving. The interplay between Western chiaroscuro techniques and the flat decorative style characteristic of Japan reflects the cultural clashes and fusions experienced by this nation.