Art in Rome around 1600 and paleochristian culture

这项研究旨在阐明古基督教文化是如何被重新评价的，以及它是如何反映在罗马教堂的装饰中，并影响罗马艺术场景及其艺术家的。1600年前后的罗马艺术被认为是从晚曼纳主义到原始巴洛克的“过渡”，这在艺术史上具有至关重要的意义。当时，旧基督教文化在反改革运动中复兴。不仅教堂，而且贵族的“宫殿”也反映了这些神圣形象的合法性，17世纪欧洲的绝对主义也采用了这种方法。这一趋势广泛传播，耶稣会传教将其带到了遥远的日本。日本的“南板艺术”深深植根于这些反改革艺术之中，但在一定程度上受到了日本艺术传统的影响。这种变化在Kakure-Kirisitan(秘密基督徒)的绘画中表现得尤为突出，我们可以在长崎小岛上找到这种变化，即使是现在，它也被虔诚的村庄作为偶像崇拜。我将这些图像与耶稣会原始圣像联系起来进行研究，以思考变形的过程和原因。卡拉瓦乔则是本研究的中心艺术家。他在罗马旅居期间的作品正是反映了这一趋势，因此我考察了在反改革影响下与罗马艺术的具体关系。我收集了关于这位艺术家的文章，出版了《卡拉瓦乔：神圣与远见》一书。

This research aims to clarify how paleochristian culture was revaluated and how it was reflected in the decoration of the churches in Rome and influenced the Roman art scene and its artists. Art in Rome around 1600 has been designated "transition" from late Mannerism to proto Baroque, which has crucial importance in the history of art. At that time paleochristian culture revived in the course of counter-reformation movement.Not only churches but also "palazzo" of aristocrat reflected these sacred images to insist their legitimacy and 17^<th> century absolutism in Europe applied this method.This trend has spread widely and Jesuit mission carried it far away to Japan. Japanese "Nanban Art" was deeply rooted in these counter-reformation art but somewhat changed by Japanese artistic tradition. This change is prominent in the paintings by "Kakure-Kirisitan"(secret christians), which we can find in the small island of Nagasaki even now was worshipped as icon by devout village. I researched these images in relation to Jesuit original icon to consider the process and reason of transfiguration.Caravaggio on the other hand is the central artist in this research. His works during Roman sojourn were reflected precisely this trend so I examined the concrete relationship with the Roman art under counter reformation influence. I gathered the articles on this artist and published the book "Caravaggio : Sacredness and Vision".