Map of Kyushu and the Korean Straits and South Korea Antique world maps HQ

The artwork presents a geographical depiction centered on a landmass identified as Giapan, alongside the waters of the Korean Straits and the southern portion of the Korean peninsula. The cartographer employed a distinct color palette: a warm ochre dominates the representation of the land, contrasting sharply with the deep blue used for the surrounding ocean. This contrast immediately draws attention to the geographical features themselves.
The rendering style is characterized by a degree of stylization rather than strict topographical accuracy. Coastlines are simplified and generalized, suggesting an understanding based on observation and perhaps limited firsthand experience. The interior of the landmass remains largely undefined, indicated only by the consistent ochre tone, which obscures any detailed representation of terrain or settlements.
A network of lines radiates outward from a central point within the Korean Straits, likely representing navigational routes or bearings. These lines intersect with labels identifying specific locations and bodies of water – Mare della China (Sea of China), “Stretto di Tsushima” (Tsushima Strait) - written in an elegant script. The presence of these labels underscores the practical purpose of this map: to aid navigation and facilitate understanding of a distant region.
Framing the central image is an ornate border composed of intertwined foliage, scrolls, and decorative motifs rendered in red, gold, and black. This elaborate frame serves not only as a visual embellishment but also elevates the status of the map, suggesting its importance or value to the patron who commissioned it. The cartouche at the top, though largely illegible due to the image quality, further reinforces this sense of formality and authority.
Subtly embedded within the artwork are indications of European interest in East Asia during a period of expanding maritime exploration. The map’s existence implies a desire for knowledge about distant lands, potentially driven by trade ambitions or geopolitical considerations. The labeling in what appears to be Italian suggests that the work was created for an audience familiar with European languages and cartographic conventions. Ultimately, this depiction offers a glimpse into the early stages of European engagement with East Asia, revealing both curiosity and a degree of cultural distance.