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フラ・アンジェリコのフレスコ画における円光の技法II: サン・マルコ修道院の『磔と聖人たち』を中心に
http://hdl.handle.net/2297/48252
http://hdl.handle.net/2297/48252108c5ebb-8249-4d80-8438-9090597eb0c5
名前 / ファイル | ライセンス | アクション |
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ED-PR-ETOH-N-81.pdf (4.3 MB)
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Item type | 学術雑誌論文 / Journal Article(1) | |||||
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公開日 | 2017-10-02 | |||||
タイトル | ||||||
タイトル | フラ・アンジェリコのフレスコ画における円光の技法II: サン・マルコ修道院の『磔と聖人たち』を中心に | |||||
タイトル | ||||||
言語 | en | |||||
タイトル | The Technique of Making Nimbuses in the Fresco of Fra' Angelico (No.2): A Study Focusing on "The Crucifixion and Sainthood" in the San Marco Museum | |||||
言語 | ||||||
言語 | jpn | |||||
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 |
大村, 雅章
× 大村, 雅章× 江藤, 望 |
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著者別表示 |
Omura, Masaaki
× Omura, Masaaki× Etoh, Nozomu |
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書誌情報 |
美術教育学研究 = Studies in Art Education 号 49, p. 81-88, 発行日 2017-03-31 |
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ISSN | ||||||
収録物識別子タイプ | ISSN | |||||
収録物識別子 | 2433-2038 | |||||
出版者 | ||||||
出版者 | 大学美術教育学会 = University Art Education Society of Japan | |||||
抄録 | ||||||
内容記述タイプ | Abstract | |||||
内容記述 | 本研究は,イタリア・ゴシック期のフレスコ画に多用された円光技法について,実証実験を通して明らかにするもの である。これまで,フィレンツェのサンタ・クローチェ教会主礼拝堂壁画『聖十字架物語』の修復に際して得られた研究資料 等に基づき,チェンニーノ・チェンニーニの技法書に則って当時のジョット派の円光技法を解明した。次に,調査をフィレン ツェ派の円光に拡大したところ,ほとんどがジョット派,つまりチェンニーニの技法とほぼ同じであった中,初期ルネサンス の巨匠フラ・アンジェリコの円光は大きく違っていた。当該の円光が採用された作品は,彼の傑作『受胎告知』と『磔と聖人 たち』であり,この二作品に導入された円光にも違いが確認できた。前稿で解明した『受胎告知』の円光技法につづき,本稿 では『磔と聖人たち』の円光技法を明らかにする。In this study, I demonstratively explored the technique of stuccoing nimbuses in gothic period fresco. I identified the technique of the Giotto school based on many precious resources that I was able to collect while restoring the fresco of ‘The Legend of the True Cross’. I identified the technique using ‘Il libero Dell’arte’ (‘The Craftsman’s Handbook’) written by Cennino Cennini. I then expanded my research to include the nimbuses of the Firenze school and proved that even though most of the nimbuses were made with almost the same technique as Cennino Cennini’s definition of the Giotto school technique, nimbuses made by Fra’ Angelico (the great master of early Renaissance fresco) differ greatly from them. I discovered that there was a difference between the nimbuses in two of his masterpieces, ‘The Annunciation’ and ‘The Crucifixion and Saints’. In the last chapter, I investigated the technique used to make the nimbuses in ‘The Annunciation’. In this chapter I will clarify the technique used to make the nimbuses in ‘The Crucifixion and Saints’. | |||||
権利 | ||||||
権利情報 | Copyright © University Art Education Society of Japan 大学美術教育学会 | |||||
著者版フラグ | ||||||
出版タイプ | VoR | |||||
出版タイプResource | http://purl.org/coar/version/c_970fb48d4fbd8a85 | |||||
関連URI | ||||||
識別子タイプ | URI | |||||
関連識別子 | https://www.jstage.jst.go.jp/browse/uaesj | |||||
関連URI | ||||||
識別子タイプ | URI | |||||
関連識別子 | https://www.uaesj.com/ |