<?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>2448-654X</journal-id>
<journal-title><![CDATA[Estudios de Asia y África]]></journal-title>
<abbrev-journal-title><![CDATA[Estud. Asia Áfr.]]></abbrev-journal-title>
<issn>2448-654X</issn>
<publisher>
<publisher-name><![CDATA[El Colegio de México A.C.]]></publisher-name>
</publisher>
</journal-meta>
<article-meta>
<article-id>S2448-654X2016000300623</article-id>
<title-group>
<article-title xml:lang="es"><![CDATA[Giuseppe Castiglione (Lang Shining), precursor de la primera mundialización pictórico-arquitectónica]]></article-title>
<article-title xml:lang="en"><![CDATA[Giuseppe Castiglione (Lang Shining), Forefather of the First Pictorial-architectural Globalization]]></article-title>
</title-group>
<contrib-group>
<contrib contrib-type="author">
<name>
<surname><![CDATA[Castilla]]></surname>
<given-names><![CDATA[Manuel V.]]></given-names>
</name>
<xref ref-type="aff" rid="Aff"/>
</contrib>
</contrib-group>
<aff id="Af1">
<institution><![CDATA[,Universidad de Sevilla  ]]></institution>
<addr-line><![CDATA[ Sevilla]]></addr-line>
<country>Spain</country>
</aff>
<pub-date pub-type="pub">
<day>00</day>
<month>12</month>
<year>2016</year>
</pub-date>
<pub-date pub-type="epub">
<day>00</day>
<month>12</month>
<year>2016</year>
</pub-date>
<volume>51</volume>
<numero>3</numero>
<fpage>623</fpage>
<lpage>646</lpage>
<copyright-statement/>
<copyright-year/>
<self-uri xlink:href="http://www.scielo.org.mx/scielo.php?script=sci_arttext&amp;pid=S2448-654X2016000300623&amp;lng=en&amp;nrm=iso"></self-uri><self-uri xlink:href="http://www.scielo.org.mx/scielo.php?script=sci_abstract&amp;pid=S2448-654X2016000300623&amp;lng=en&amp;nrm=iso"></self-uri><self-uri xlink:href="http://www.scielo.org.mx/scielo.php?script=sci_pdf&amp;pid=S2448-654X2016000300623&amp;lng=en&amp;nrm=iso"></self-uri><abstract abstract-type="short" xml:lang="es"><p><![CDATA[Resumen La obra del hermano lego jesuita Giuseppe Castiglione (nombre chino, Lang Shining, 1688-1766), desarrollada en la China Qing, no fue suficientemente conocida sino hasta el siglo XX, y se ha investigado muy poco sobre su papel precursor de la primera mundialización artística. Su aproximación a China fue primordialmente de carácter apostólico, como consecuencia de la acción misional. Esta misión estuvo basada en un proceso inculturador fundamentado, a su vez, en el intercambio de las ciencias y las artes. Este artículo pone de manifiesto el riguroso conocimiento que sobre perspectiva matemática lineal había adquirido Castiglione en Europa, y la trascendencia que tuvo en la hibridación cultural y artística en la China del siglo XVIII. Su posible repercusión en manifestaciones artísticas posteriores en otros territorios constituye el tema central del trabajo. Desde el punto de vista artístico, dada su privilegiada posición en la corte imperial, el artista jesuita jugó un papel decisivo en los nuevos métodos pictórico-arquitectónicos que se desarrollaron en la dinastía Qing. Sus murales, retratos, caballos, flores y pájaros, fueron elogiados y admirados por el emperador Qianlong, y mucho tiempo después por diseñadores y pintores europeos. Al simbolismo y la sensibilidad de la pintura asiática, Castiglione añadió el misterio del ilusionismo mágico que encierra la perspectiva matemática lineal europea, que contenía la llave y el secreto del conocimiento geométrico de Lang Shining. Sin embargo, sus efectos no fueron exclusiva-mente artísticos, sino que en muchos casos tuvieron una vigorosa dimensión apostólica. La dimensión religiosa que presuponemos en las pinturas de los artistas jesuitas fue una herramienta esencial en el proceso de inculturación; en este sentido, G. Castiglione usó la perspectiva no sólo como una técnica que gustaba a los emperadores, y fundamentalmente al emperador Qianlong, sino también como un poderoso instrumento de difusión evangélica. Por otro lado, como arquitecto, G. Castiglione fue un pionero en el diseño, la implementación y la ejecución de un proyecto monumental que se materializó en la construcción de los palacios de estilo europeo en los Jardines de la Perfecta Brillantez (Yuanming Yuan), en Beijing. En este original contexto, demostrar que los conceptos teóricos, las ideas, los métodos y los conocimientos del artista jesuita han influido en realidades artísticas posteriores es una difícil tarea. Pero es innegable que en su producción artística se encuentran anticipos de algunos de los significados que se le atribuyen en la actualidad al concepto de mundialización. G. Castiglione, misionero, pintor y arquitecto, proyectó en China el trinomio ciencia-arte-religión desde su propia transformación intelectual. Su doble condición, cortesana y misionera, lo llevó a organizar una inteligente hibridación artística chino-europea con dos objetivos fundamentales. El primero de ellos fue satisfacer los deseos del emperador reinante; el segundo, lograr un clima adecuado para el ejercicio de la acción misional. Ambos convergen en lo que entendemos por primera mundialización o primera globalización pictórico-arquitectónica.]]></p></abstract>
<abstract abstract-type="short" xml:lang="en"><p><![CDATA[Abstract The work of the Jesuit lay brother Giuseppe Castiglione (Lang Shining, 1688-1766) developed in Qing China was relatively unknown until the twentieth century. As a result, there is very little research on his pioneering role in the first artistic globalization. Castiglione&#8217;s approach to China was mainly apostolic due to missionary action. This mission was based on an enculturation process throughout the exchange of both science and art. This article reveals the rigorous training in linear mathematical perspective Castiglione had acquired in Europe and the importance that it had in the artistic and cultural hybridization in China in the eighteenth century. Thus, its possible impact on later art forms in other territories is the central theme of this work. The Jesuit artist, from an artistic point of view and due to his privileged position at the imperial court, played a decisive role in the new pictorial-architectural methods that were developing in the Qing Dynasty. His murals, portraits, and paintings of horses, flowers and birds were praised and admired by Emperor Qianlong, and much later by European designers and artists. Castiglione enhanced the symbolism and sensitivity of Asian painting with the mystery of the illusionistic magic involving the European perspective. This contained the key and the secret of the geometrical knowledge of Lang Shining. Nevertheless, these effects were not exclusively artistic, but in most cases had a vigorous apostolic dimension. This religious dimension, which we presuppose in Jesuit artists&#8217; paintings, was an essential tool in the process of enculturation. In this sense, G. Castiglione used the linear perspective, not only as a technique that charmed Emperor Qianlong, but also as a powerful instrument for evangelical diffusion. On the other hand, as an architect, G. Castiglione was a pioneer in the design, implementation and execution of monumental architectural pro-jects, which materialized in the construction and interior decoration of the European Palaces at the Gardens of Perfect Brightness (Yuan Ming Yuan) in Beijing. In this original context, it is a difficult task to prove that the theoretical ideas, methods and knowledge of the Jesuit artist have influenced later artistic realities. However, it is undeniable that an early concept of the current meaning of globalization is found in his artistic production. G. Castiglione developed his own intellectual transformation in China as missionary, painter and architect. Castiglione also played a dual role as courtier and missionary, performing an artistic hybridization between East and West with two fundamental objectives. The first was to satisfy the wishes of the reigning emperor. The second, achieving an appropriate environment for the exercise of missionary activity. Both converge on what we call the &#8220;first pictorial-architectural globalization&#8221;.]]></p></abstract>
<kwd-group>
<kwd lng="es"><![CDATA[G. Castiglione]]></kwd>
<kwd lng="es"><![CDATA[mundialización]]></kwd>
<kwd lng="es"><![CDATA[perspectiva lineal]]></kwd>
<kwd lng="es"><![CDATA[pintura]]></kwd>
<kwd lng="es"><![CDATA[arquitectura]]></kwd>
</kwd-group>
</article-meta>
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