| Project/Area Number |
62510033
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| Research Category |
Grant-in-Aid for General Scientific Research (C)
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| Allocation Type | Single-year Grants |
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| Research Field |
Fine art history
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| Research Institution | KYUSHU SANGYO UNIVERSITY |
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Principal Investigator |
SHIMOMURA Koji FACULTY OF ARTS, KYUSHU SANGYO UNIVERSITY, 芸術学部, 助教授 (50069514)
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| Project Period (FY) |
1987 – 1988
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| Project Status |
Completed (Fiscal Year 1988)
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| Budget Amount *help |
¥1,500,000 (Direct Cost: ¥1,500,000)
Fiscal Year 1988: ¥500,000 (Direct Cost: ¥500,000)
Fiscal Year 1987: ¥1,000,000 (Direct Cost: ¥1,000,000)
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| Keywords | view of nature / type / law / view of harmony / Vorbild of God / transformation / Vergleichlichkeit / 細部表現 / フェアグライヒリッヒカイト / 分数方式 / モデュール方式 / 人体比例 / 個性的表現 / 奇形 |
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| Research Abstract |
Durer thinks nature as a model of an artist. He esteems naturalistic representation as an ideal of making art. Italian Renaissance artists made works with much simplification and abbreviation of the objects in the interest of aesthetic effects. Durer warns against these method of making works. The different implication of italian terms "convenienza" or "armonia" which mean formative harmony and Durer's german "vergleichlich" is susceptible also in the manner of art making. We can interpret Durer's term as pure reflection of natulal law, ultimately of J.Eckhart's "Vorbild" , and Italians' as the harmonious concord of the parts. The conspicuous details represented in Durer's works originates from his sanctifying of nature and his view of art as reflection of "Vorbild" of God.
As to theory of human proportion , we can find a similar difference. Italians hold that beauty exists in the harmonious proportion of the parts. They seek for sensuous beauty of human body, while Durer seeks for representation of individual character rather than beautiful aspects. Durer studies much more about various types and exact values of measurers. Many human figurers of his works verify this characterization. Ultimately Durer accentuates the importance of transformation, by which he can make many forms out of elementary form. With this transformation, artist creates his formative worlds on the basis of natural law.
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