著者

千速 敏男

出版者

美学会

雑誌

美學 (ISSN:05200962)

巻号頁・発行日

vol.38, no.3, pp.34-47, 1987-12-31

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The still-life painting, essentially founded on the realistic depiction, becomes established as a genre, when it overcomes the "disguised symbolism". Some attempt to dispense with the "disguised symbolism" appeared in the late 15th century (H. Memling), and then, in the middle of the 16th century, realistic depictions of still-life were fostered by the positive life-style of bourgeoisie and the popularity of the natural history (P. Aertsen, L. tom Ring). But they were restricted to the religious or moral subjects. In the end of the 16th century or the beginning of the 17th century, when the acute feelings for the transiency of the nature, stimulated by the new view of the nature (e. g. G. Bruno), and the grief about the transiency of the human affairs, connected with this view, were popularized, the still-life painting was firmly established as a genre. This fact will be made visible by the difference in the type of "vanitas"-motives of between J. de Gheyn and his followers. De Gheyn used literary motives, and expressed the old type of the vanitas idea connected with the doctrine of salvation. But his followers used new motives, which appeal visually to us for the transiency of the nature or human affairs.