Art in Rome around 1600 and paleochristian culture

1600 年左右的罗马艺术和古基督教文化

基本信息

批准号：
14510078
负责人：
MIYASHITA Kikuro
金额：
$ 2.11万
依托单位：
Kobe University
依托单位国家：
日本
项目类别：
Grant-in-Aid for Scientific Research (C)
财政年份：
2002
资助国家：
日本
起止时间：
2002 至 2004
项目状态：
已结题

项目摘要

This research aims to clarify how paleochristian culture was revaluated and how it was reflected in the decoration of the churches in Rome and influenced the Roman art scene and its artists. Art in Rome around 1600 has been designated "transition" from late Mannerism to proto Baroque, which has crucial importance in the history of art. At that time paleochristian culture revived in the course of counter-reformation movement.Not only churches but also "palazzo" of aristocrat reflected these sacred images to insist their legitimacy and 17^<th> century absolutism in Europe applied this method.This trend has spread widely and Jesuit mission carried it far away to Japan. Japanese "Nanban Art" was deeply rooted in these counter-reformation art but somewhat changed by Japanese artistic tradition. This change is prominent in the paintings by "Kakure-Kirisitan"(secret christians), which we can find in the small island of Nagasaki even now was worshipped as icon by devout village. I researched these images in relation to Jesuit original icon to consider the process and reason of transfiguration.Caravaggio on the other hand is the central artist in this research. His works during Roman sojourn were reflected precisely this trend so I examined the concrete relationship with the Roman art under counter reformation influence. I gathered the articles on this artist and published the book "Caravaggio : Sacredness and Vision".

本研究旨在阐明古基督教文化是如何被重新评估的，以及它是如何反映在罗马教堂的装饰中并影响罗马艺术界及其艺术家的。 1600年左右的罗马艺术被称为从晚期矫饰主义到原始巴洛克的“过渡”，这在艺术史上具有至关重要的意义。当时的古基督教文化在反宗教改革运动中复兴。不仅教堂，贵族的“宫殿”也反映了这些神圣的形象以维持其合法性，17世纪欧洲的专制主义也采用了这种方法。传播广泛，耶稣会传教将其远传至日本。日本的“南蛮艺术”深深植根于这些反宗教改革的艺术之中，但又因日本的艺术传统而有所改变。这种变化在“Kakure-Kirisitan”（秘密基督徒）的画作中表现得尤为突出，我们在长崎这个小岛上也能看到这种画作，即使现在，它仍被虔诚的村庄视为偶像而崇拜。我研究了这些与耶稣会原始圣像相关的图像，以考虑变形的过程和原因。另一方面，卡拉瓦乔是这项研究的中心艺术家。他在罗马逗留期间的作品正是反映了这种趋势，所以我考察了他与反宗教改革影响下的罗马艺术的具体关系。我收集了有关这位艺术家的文章并出版了《卡拉瓦乔：神圣与愿景》一书。