アイテムタイプ |
Article |
ID |
|
プレビュー |
画像 |
|
キャプション |
|
|
本文 |
AN00150430-00000083-0111.pdf
Type |
:application/pdf |
Download
|
Size |
:2.4 MB
|
Last updated |
:Sep 30, 2010 |
Downloads |
: 806 |
Total downloads since Sep 30, 2010 : 806
|
|
本文公開日 |
|
タイトル |
タイトル |
様式の受容と創造 : マニエーラ・ラティーナの成立をめぐって
|
カナ |
ヨウシキ ノ ジュヨウ ト ソウゾウ : マニエーラ・ラティーナ ノ セイリツ オ メグッテ
|
ローマ字 |
Yoshiki no juyo to sozo : Maniera Ratina no seiritsu o megutte
|
|
別タイトル |
名前 |
The reception and formation of a style : around the formation of the "Maniera Latina"
|
カナ |
|
ローマ字 |
|
|
著者 |
名前 |
末吉, 雄二
|
カナ |
スエヨシ, ユウジ
|
ローマ字 |
Sueyoshi, Yuji
|
所属 |
慶應義塾大学文学部
|
所属(翻訳) |
|
役割 |
|
外部リンク |
|
|
版 |
|
出版地 |
|
出版者 |
名前 |
三田哲學會
|
カナ |
ミタ テツガクカイ
|
ローマ字 |
Mita tetsugakukai
|
|
日付 |
出版年(from:yyyy) |
1986
|
出版年(to:yyyy) |
|
作成日(yyyy-mm-dd) |
|
更新日(yyyy-mm-dd) |
|
記録日(yyyy-mm-dd) |
|
|
形態 |
|
上位タイトル |
名前 |
哲學
|
翻訳 |
|
巻 |
|
号 |
83
|
年 |
1986
|
月 |
11
|
開始ページ |
111
|
終了ページ |
135
|
|
ISSN |
|
ISBN |
|
DOI |
|
URI |
|
JaLCDOI |
|
NII論文ID |
|
医中誌ID |
|
その他ID |
|
博士論文情報 |
学位授与番号 |
|
学位授与年月日 |
|
学位名 |
|
学位授与機関 |
|
|
抄録 |
This paper reinvestigates the old but yet controversial problem : what is the most decisive factor for the formation of Giotto's art? The role of Byzantine "volume style" in the development of italian painting during the 13th century-a role which the famous byzantinist Kitzinger defined as that of midwife-must not be overestimated. Because the 14th century italian painters, patrons and literary men had the awareness that their contemporal painting was "moderna" and that there was a gap between the painting before Giotto and after. The reception of a style does not always occur wherever the channels of transmission exist. It needs aspiration or sympathy for the art and the society which creates the art. Nicola Pisano and his "bottega" is known as the channel through which the Gothic art spread into Italy. Giotto was sure to have a contact with this "bottega", so the Gothic sculpture at least was available to him. In the Scrovegni Chapel, Giotto represented Gothic architectures with the pointed arch, a characteristic formal element of Gothic architecture, as the symbol of the ideal and spiritual world. Here we can see Giotto had the aspiration for the Gothic art. And the church of San Francesco in Assisi where Giotto's new art was formed was rebuilt and decorated under the edict by Innocent III, which expressed clearly the aspiration for the Gothic art and culture. The importance of the role of Gothic sculpture for the creation of the new painting by Giotto deserves special emphasis.
|
|
目次 |
|
キーワード |
|
NDC |
|
注記 |
|
言語 |
|
資源タイプ |
|
ジャンル |
|
著者版フラグ |
|
関連DOI |
|
アクセス条件 |
|
最終更新日 |
|
作成日 |
|
所有者 |
|
更新履歴 |
|
インデックス |
|
関連アイテム |
|