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II) was introduced to the public by NISHIMURA Tei in Kokka, No. 776, 1956, but no one has made a full discussion and analysis of its style and its pictorial elements.\n The intention of the present author in this paper is to take up the screen with the battle scene of this pair and study this problem by seeking the source of its motifs and similar elements in contemporary European pictorial work.\n In this number, the author first points out that the screen painting of the battle scene of Lepanto derived its motifs and patterns chiefly from Cornelis Cort\u0027s engraving, “ Battle of Scipio against Hannibal at Zama” (Pl. VI) done in 1567 after a drawing by Giulio Romano. This print is catalogued in L\u0027oeuvre gravée de Cornelis Cort by Bierens de Haan, La Haye, 1946, under the number 197, and is also discussed in the papers of B. de Haan, who refers also to the drawing of Giulio Romano in the same book.\n Until 1565 Cort worked in the print shop of Hieronymus Cock in Antwerp, in an art field which was then enjoying high prosperity. And after 1567 he worked in Rome mainly for the shop of A. Lafrery. At that time, the process of print production was shared by disigners, engravers, printers and sellers, and this whole process was directed by the owner of the entreprise. H. Cock and A. Lafrery are representative owners and worked as engravers themselves. This was a new phenomenon which naturally came about in order to fill the growing demand for prints.\n Speaking of the print which provided the pictorial source for the screen painting now in question, it was drawn by Giulio Romano and engraved by C. Cort both coinsidentally being among the most prominent artists of the time. But prints in general, including works by less famous artists, were commanding a more influential position in European art and life than ever. And, at the same time, they were becoming a medium for the diffusion of European culture, particularly of European art, to Latin America and the Far East. This screen is an example of a case in which the style of European Mannerism in a wide sense was introduced to these areas through the medium of prints. 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レパント戦闘図屏風について 上―日本初期洋風画とヨーロッパにおけるその背景―
https://tobunken.repo.nii.ac.jp/records/6677
https://tobunken.repo.nii.ac.jp/records/66774813dc27-fd0f-4239-a5c1-21eb1867e048
名前 / ファイル | ライセンス | アクション |
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246_30_Sakamoto_Redacted.pdf (15.8 MB)
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Item type | 学術雑誌論文 / Journal Article(1) | |||||
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公開日 | 2017-10-05 | |||||
タイトル | ||||||
タイトル | レパント戦闘図屏風について 上―日本初期洋風画とヨーロッパにおけるその背景― | |||||
タイトル | ||||||
言語 | en | |||||
タイトル | Screen Painting of the Battle of Lepanto: A Study of Early Western Style Painting in Japan and Its Background in Europe (Part I) | |||||
言語 | ||||||
言語 | jpn | |||||
キーワード | ||||||
主題Scheme | Other | |||||
主題 | レパント戦闘図屏風(兵庫 村山長挙氏蔵)・ジゥリオ・ロマーノ原図コルネリス・コルト版刻スキピオとハンニバルの闘い(ミュンヒェン版画室蔵)初期障屏画 | |||||
キーワード | ||||||
言語 | en | |||||
主題Scheme | Other | |||||
主題 | Screen with the Painting Entitled “Battle of Lepanto,” Owned by Mr. Murayama Nagataka, Hyogo / “Battle of Scipio against Hannibal at Zama” by Cornelis Cort, after a Drawing by Giulio Romano, Kupferstichkabinett, Munich | |||||
資源タイプ | ||||||
資源タイプ識別子 | http://purl.org/coar/resource_type/c_6501 | |||||
資源タイプ | journal article | |||||
著者 |
坂本, 満
× 坂本, 満× Sakamoto, Mitsuru |
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抄録 | ||||||
内容記述タイプ | Abstract | |||||
内容記述 | The pair of folding screens, one with paint ing entitled Battle of Lepanto and the other with a world atlas, owned by Mr. MURAYAMA Nagataka, (Pl. II) was introduced to the public by NISHIMURA Tei in Kokka, No. 776, 1956, but no one has made a full discussion and analysis of its style and its pictorial elements. The intention of the present author in this paper is to take up the screen with the battle scene of this pair and study this problem by seeking the source of its motifs and similar elements in contemporary European pictorial work. In this number, the author first points out that the screen painting of the battle scene of Lepanto derived its motifs and patterns chiefly from Cornelis Cort's engraving, “ Battle of Scipio against Hannibal at Zama” (Pl. VI) done in 1567 after a drawing by Giulio Romano. This print is catalogued in L'oeuvre gravée de Cornelis Cort by Bierens de Haan, La Haye, 1946, under the number 197, and is also discussed in the papers of B. de Haan, who refers also to the drawing of Giulio Romano in the same book. Until 1565 Cort worked in the print shop of Hieronymus Cock in Antwerp, in an art field which was then enjoying high prosperity. And after 1567 he worked in Rome mainly for the shop of A. Lafrery. At that time, the process of print production was shared by disigners, engravers, printers and sellers, and this whole process was directed by the owner of the entreprise. H. Cock and A. Lafrery are representative owners and worked as engravers themselves. This was a new phenomenon which naturally came about in order to fill the growing demand for prints. Speaking of the print which provided the pictorial source for the screen painting now in question, it was drawn by Giulio Romano and engraved by C. Cort both coinsidentally being among the most prominent artists of the time. But prints in general, including works by less famous artists, were commanding a more influential position in European art and life than ever. And, at the same time, they were becoming a medium for the diffusion of European culture, particularly of European art, to Latin America and the Far East. This screen is an example of a case in which the style of European Mannerism in a wide sense was introduced to these areas through the medium of prints. The artists of Japanese Western-style painting of the time tried to adopt elments of European painting of a sort of Mannerism, and this screen might well be said to be an actual example of this. |
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書誌情報 |
美術研究 en : The bijutsu kenkyu : the journal of art studies 号 246, p. 30-44, 発行日 1967-03-10 |