| Project/Area Number |
21320026
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| Research Category |
Grant-in-Aid for Scientific Research (B)
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| Allocation Type | Single-year Grants |
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| Section | 一般 |
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| Research Field |
Aesthetics/Art history
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| Research Institution | Tohoku University |
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Principal Investigator |
OZAKI Akihiro 東北大学, 大学院・文学研究科, 教授 (80160844)
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| Co-Investigator(Kenkyū-buntansha) |
KOFUKU Akira 独立行政法人国立美術館国立西洋美術館, 学芸課, 研究員 (00150045)
MOTOKI Kouichi 山形大学, 人文学部, 教授 (10125669)
MORI Masahiko 宮城学院女子大学, 学芸学部, 教授 (90137612)
HAGA Kyoko 東北大学, 大学院・文学研究科, 准教授 (80421840)
HUKAYA Michiko 尾道市立大学, 芸術文化学部, 准教授 (30433379)
廣川 暁生 國學院大學, 文学部, 講師 (20534887)
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| Co-Investigator(Renkei-kenkyūsha) |
MATUI Michiko 東北学院大学, 教養学部, 教授 (40142898)
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| Project Period (FY) |
2009 – 2012
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| Project Status |
Completed (Fiscal Year 2012)
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| Budget Amount *help |
¥14,690,000 (Direct Cost: ¥11,300,000、Indirect Cost: ¥3,390,000)
Fiscal Year 2012: ¥3,380,000 (Direct Cost: ¥2,600,000、Indirect Cost: ¥780,000)
Fiscal Year 2011: ¥3,120,000 (Direct Cost: ¥2,400,000、Indirect Cost: ¥720,000)
Fiscal Year 2010: ¥3,640,000 (Direct Cost: ¥2,800,000、Indirect Cost: ¥840,000)
Fiscal Year 2009: ¥4,550,000 (Direct Cost: ¥3,500,000、Indirect Cost: ¥1,050,000)
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| Keywords | マンデル / 『絵画の書』 / 『北方画家列伝』 / ヴァザーリ / ネーデルラント / 美術理 論 / カーレル・ファン・マンデル / 「北方画家列伝」 / レンブラント / ディゼーニョ / ドルチェ / 線描芸術 / 聖と俗 / イタリア / ドイツ / スペイン / 絵画の書 / 北方画列伝 |
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| Research Abstract |
The biggest results of research of "the Karel van Mander's Netherlandish "Lives" commentary" is completed. In the process of this translation study, our study clarified the following points.(1) Mander described history of Netherlandish paintings in 15, the 16th century, and, in"Schilder-Boeck," he used inventie (idea / originality), teyckenconst (line drawing art), wel verwen (coloring) on this occasion. (2) Mander wrote "Schilder-Boeck" independently, and, particularly, utilized a artistic theory on paintings of Venice, the chromatology which, in particular, was lectured on in "Aretino" of Lodovico Dolce in form to be opposed to "Lives" of Vasari. He reversed the essence and the relations of the essence and attribute,namely, sense of values of Vasari, was reversed,in teckenconst of Mander, while being strongly conscious of desegno of Vasari. Mander unified color in Venice and disegno of Florence, and drawing and color were tied to one with the painting. The most important element is a color downplayed as an attribute. (3)Paintings do notexist independently. The existence is prescribed by onlookers. In other words, the significances of the paintings are created in "between" paintings and collectors. In this study, historical view of Mander became clear and was able to open the new horizon for the studies of the Netherlandish paintings.
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