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Study on "Trattato della Pittura" by Leonardo - Materials and Techniques of Fainting -

列奥纳多《Trattato della Pittura》研究 - 昏厥的材料和技术 -

基本信息

批准号：
59450008
负责人：
KAZUHIRO SUSOWAKE
金额：
$ 2.75万
依托单位：
Gakusyuin University
依托单位国家：
日本
项目类别：
Grant-in-Aid for General Scientific Research (B)
财政年份：
1984
资助国家：
日本
起止时间：
1984 至 1986
项目状态：
已结题

来源：
https://kaken.nii.ac.jp/en/grant/KAKENHI-PROJECT-59450008/
关键词：
Leonardo da Vinci Art History of Italian Renaissance Treatise on Painting Codex Urbinas Latinus 1270 Manuscript Francesco Melzi Milano Biblioteca Apostolica Vaticana アルベルティ

项目摘要

This study aims at general research on Leonardo's literal heritage, "Treatise on Painting"(the Codex Urbinas Latinus 1270; hereinafter called as the Codex). The ultimate purpose of this study is placed on confirming the authenticity of the Codex, that is, the meaning of the Codex in the Western Art History, while I read through in detail the portions which deal with the techniques of painting in the Volumes 3 to 8, taking into account the applicant's former "Study on the Codex Urbinas 1270, Volumes 1 and 2", and referring to various kinds of manuscripts and translations.The Codex is not in the least an easy material to read. The whole volumes were copied from the manuscripts in Tuscan in the 15th and 16th century. The copyist is considered to be Francesco Melzi, a painter in the 16th century, born in Lombardy.1. In 1984, the first year of this study, I started with the work of perusing the whole Codex, counting on various kinds of manuscripts and translations.2. In 1985, the second year, I investigated minutely again the parts which I could not understand in 1984, and collected and compared similar terms, while reading through the whole volumes.3. In 1986, the third year, in parallel with rescrutinizing the left parts incomprehensible, I classified and arranged the figures attached to the Codex. Comparative study could be made of the 60 pieces that were collatable with the original manuscripts handed down to today.Of the above achievements, in addition to several articles already published in the form of thesis, a lecture at the International Society in the autumn of 1987 and an essay, "On the Figures in the Codex Urbinas Latinus 1270" are being prepared.

本研究旨在对列奥纳多的文字遗产《画论》(The Codex Urbinas Latinus 1270；以下简称Codex)进行一般性研究。这项研究的最终目的是确认抄本的真实性，即《抄本》在西方艺术史上的意义，而我则详细阅读了第三卷至第八卷中涉及绘画技法的部分，考虑到申请人以前的《1270卷大都市研究》，并参考了各种手稿和翻译。整卷书都是从15世纪和16世纪的托斯卡纳手稿抄袭而来的。抄写者被认为是弗朗西斯科·梅尔齐，一位出生于伦巴第1世纪的画家。1984年，也就是这项研究的第一年，我开始了通读全书的工作，依靠各种手稿和翻译。1985年，也就是第二年，我又详细地调查了1984年我看不懂的部分，在通读全卷的同时，收集并比较了类似的术语。1986年，也就是第三年，在对难以理解的剩余部分进行重新拼写的同时，我对法典附件中的数字进行了分类和整理。可以对这60篇可以与今天流传下来的原始手稿进行比较研究。在上述成就中，除了已经以论文形式发表的几篇文章外，1987年秋在国际社会举行的一次讲座和一篇题为《关于拉丁美洲城市法典中的数字1270》的论文正在筹备中。