| Project/Area Number |
10610058
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| Research Category |
Grant-in-Aid for Scientific Research (C)
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| Allocation Type | Single-year Grants |
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| Section | 一般 |
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| Research Field |
Fine art history
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| Research Institution | KYOTO UNIVERSITY |
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Principal Investigator |
NAKAMURA Toshiharu Kyoto University, Graduate School of Letters, Associate Professor, 文学研究科, 助教授 (60198223)
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| Project Period (FY) |
1998 – 2000
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| Project Status |
Completed (Fiscal Year 2000)
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| Budget Amount *help |
¥2,800,000 (Direct Cost: ¥2,800,000)
Fiscal Year 2000: ¥700,000 (Direct Cost: ¥700,000)
Fiscal Year 1999: ¥700,000 (Direct Cost: ¥700,000)
Fiscal Year 1998: ¥1,400,000 (Direct Cost: ¥1,400,000)
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| Keywords | Flemish Painting / Jan Brueghel I. / Rubens / Still Life / Madouna and Child |
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| Research Abstract |
"Madonna and Child Surrounded by a Flower Garland" is a special form of religious painting which was suggested by the cardinal of Milan Federico Borromeo in 1608. For the first work of this type Jan Brueghel the elder painted a flower garland, and Hendrik van Balen the image of the Madonna and Child. The documents written by Federico show that his main interest was focused on the meticulous depiction of flowers, while he paid little attention to the Madonna and Child, although for the Catholics, it was an important image for worship. This new form of religious image was invented by Borromeo to make good use of the skills of a flower still life painter. But the painters in charge of painting the Madonna and Child could not easily loose. They made various interesting artistic arrangements to demonstrate their skills as figure painters. Thus the "Madonna and Child Surrounded by a Flower Garland" became an important form of image in which the flower painter and the figure painter would compete with each other. In this study, I investigated the paintings Jan painted in collaboration with Rubens from this viewpoint of artistic emulation. Rubens' interest in the illusionistic depiction was also considered regarding its relation to the ancient and Renaissance traditions. The patterns of admiration for the realistic depictions of flowers were also studied by comparing the reactions of the Japanese in the Edo Period to a flower still life by van Royen, imported from The Netherlands, with European poems praising flower paintings.
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