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A Comparative Iconography of the Netherlandish Print in the 16th Century

16 世纪荷兰版画的比较图像学

基本信息

批准号：
07801013
负责人：
KAMBARA Masaaki
金额：
$ 0.64万
依托单位：
KOBEGAKUIN UNIVERSITY
依托单位国家：
日本
项目类别：
Grant-in-Aid for Scientific Research (C)
财政年份：
1995
资助国家：
日本
起止时间：
1995 至 1996
项目状态：
已结题

项目摘要

I have studied the Netherlandish artist Hieronymus Bosch, who took an active part at the end of the 15th century. I have understood with the process of research that the source of the image of Bosch is in the popular print circulated to people. The iconography of Bosch was turned into a print and was spread after his death and became the sources of images of many artists. And the Netherlandish prints were in no time brought about even in Japan through Spain and Portugal and were copied in a large screen as a painting. Thus an altarpiece of Bosch and the screen picture of Momoyama and Edo period are tied with one thread. In this case we need to catch the "print" as a medium of information rather than a medium of art, so that the new direction is open to conventional research. The Netherlandish print in the 16th century is suitable for "dictionary", even if we observe it from the internationality and the abundance of vocabulary as a common language. And after tidying these dictionaries in terms of the theme of iconography, we have moved the comparative research with an ukiyoe print of our country. It is then important to find out a common iconographical theme to both. Although I attempted before a experimental comparison "the prodigal son and the called Kabukimono", it was the study of comparative iconographycal learning of figures in Japan and Netherlands which appear and are common to Baroque ages print. Those were, with the point that customs in that time brought forth them together, the same character appropriate to popular prints from a common base called an urbanized information society. In this time I studied the iconography of the "quack doctor" that appeared as the theme of the 16-17th century print and analyzed in detail about the model in the Netherlands especially. I want the study with regard to the handling of the same theme of an ukiyoe as a future theme.

我研究过荷兰艺术家希耶勒斯·博施，他在世纪末积极参与了这一活动。在研究的过程中我了解到，博世的形象来源于流传于民间的印刷品。博世的肖像画被制成印刷品，并在他去世后传播，成为许多艺术家的图像来源。荷兰版画很快就通过西班牙和葡萄牙传到了日本，并被复制在大屏幕上作为绘画。因此，博世的祭坛画与桃山和江户时代的屏幕画面是一根线。在这种情况下，我们需要将“印刷品”视为信息媒介而不是艺术媒介，以便新的方向对传统研究开放。16世纪的荷兰版画适合“词典”，即使我们从国际性和作为共同语言的词汇丰富性来观察。并在对这些辞书进行图像学主题的整理后，与我国的一部浮世绘版画进行了比较研究。因此，重要的是要找到一个共同的肖像主题，以两者。虽然我尝试之前的实验比较“浪子和所谓的歌舞伎”，这是比较图像学的研究在日本和荷兰的数字出现，是常见的巴洛克时代的打印。这些都是，与当时的习俗带来了他们在一起，同样的性格适合流行的印刷品从一个共同的基础称为城市化的信息社会。在此期间，我研究了作为16- 17世纪世纪版画主题出现的“江湖医生”的图像学，并特别对荷兰的模型进行了详细的分析。我想研究关于浮世绘作为未来主题的同一主题的处理。