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Mythological elements in Ornament and Sacred Imagery in Ancient and Medieval Art of the Celts

凯尔特人古代和中世纪艺术中的装饰和神圣意象中的神话元素

基本信息

批准号：
09610064
负责人：
UEDA Takahiro
金额：
$ 2.05万
依托单位：
Ritsumeikan University
依托单位国家：
日本
项目类别：
Grant-in-Aid for Scientific Research (C)
财政年份：
1997
资助国家：
日本
起止时间：
1997 至 2000
项目状态：
已结题

项目摘要

This research, with an introductory illustration of the history of the Celtic art in ancient and medieval times, proposes an analytical description and interpretation on the typical Celtic ornaments, in order to discuss on the Celtic visual communication which could be an aesthetic contribution to represent our vision about nature and life in abstract forms. Because the Celtic ornaments, especially seen in La Tene metal warks, the Gallo-roman coins and the illuminated manuscripts of the medieval Insular Art, are so unique in style that their forms significantly suggest the obsessive curiosity about the vital changing and animation of forms, which should fairly represents Celtic mythological and cosmological visions though the abstract character as W. Worringer proposed in Abstraktion und Einfuhlung (1908). In other words such Celtic type of art should be called Anti-Anthropomorphic art, contrary to the Greco-roman classical Anthropomorphic art or figurative type of art.In this research, the analysis of Celtic abstract and ornamental forms resulted the more essential character in form of, so called, 'Shape-changing ambiguity' correspond with the Celtic mythological theme of 'Metamorphosis of beings'. Celtic art continued to evoke a dense, ever changing world. The artist showed the animate principles in nature, living on in the secret places of the imagination. Such Celtic style in art, through the main analysis of the style of icons and ornaments of Gallo-roman coins shows a key for recognition of the vision of life and nature kept by the people called Celts who built the basic stratum of European civilization. This also resulted an answer why such ornamental expressions had attracted not only art historians but also modern artists like Kandinsky, who inventively put ornament like motives into art of abstract painting by a method influenced by psychological and musicological thoughts starting from the early twentieth century against those of the ancient naturalism.

本研究通过对古代和中世纪凯尔特艺术发展史的介绍，对典型的凯尔特装饰品进行分析描述和解读，探讨凯尔特视觉传达对我们用抽象的形式来表达对自然和生活的看法的美学贡献。由于凯尔特人的装饰品，尤其是在拉泰内的金属器皿、高卢-罗马钱币和中世纪岛屿艺术的彩饰手稿中所见，在风格上是如此独特，其形式明显地暗示了对形式的生命变化和动画的痴迷好奇，这应该相当好地代表了凯尔特人的神话和宇宙观，尽管W. Worringer在Abstraktion und Einfuhlung（1908）中提出。换句话说，这种凯尔特类型的艺术应该被称为反拟人艺术，与希腊罗马古典拟人艺术或具象艺术类型相反。在本研究中，凯尔特抽象和装饰形式的分析导致了形式上更本质的特征，所谓的“形状变化的模糊性”与凯尔特神话主题“变形的生物”相对应。凯尔特艺术继续唤起一个密集的，不断变化的世界。艺术家展示了自然界中的生命原则，生活在想象的秘密地方。通过对高卢-罗马钱币中的圣像和装饰风格的分析，可以看出凯尔特人在艺术上的这种风格是一把钥匙，可以让我们认识到作为欧洲文明基础阶层的凯尔特人对生命和自然的看法。这也解释了为什么这种装饰性的表达不仅吸引了艺术史学家，也吸引了像康定斯基这样的现代艺术家，他们创造性地将装饰性的动机引入抽象绘画艺术中，这种方法受到世纪初开始的心理学和音乐学思想的影响，反对古代自然主义。