1 0 0 0 OA 地を割るポセイドン —『エイコネス』II.14, 16, 17—
- 著者
- 山口 京一郎
- 出版者
- 国際基督教大学比較文化研究会 / ICU Society for the Study of Comparative Culture
- 雑誌
- ICU比較文化 = ICU Comparative Culture (ISSN:03895475)
- 巻号頁・発行日
- no.46, pp.23-46, 2014-03-31
Elder Philostratus’ Eikones contains a series of ekphrasis of paintingsconcerning the division of land by Poseidon: II.14 “Thessaly,” II.16 “Palaemon,”and the second island and the third-fourth islands in II.17 “Islands.” This articlediscusses the composition and links between these parts, concentrating onPoseidon and geographical change, along with their meaning.The formation of the vale of Tempe by Poseidon is described in II.14“Thessaly:” Poseidon is in a threatening posture while breaking mountains, andhis attitude to the emerging plain is welcoming. Also mentioned in “Palaemon”and the third-fourth islands, the story connects these three parts. The openingof the sacred depth of Isthmus of Corinth and its acceptance of Melicertes isdepicted in II.16 “Palaemon,” with Poseidon’s order to open the land and hissmile at Melicertes. The second island in “Islands” (II.17.3) does not containa story of geographical change, but the statue of Poseidon in the painting isdescribed as though it is sailing through the ground by breaking it. The thirdfourthislands (II.17.4) were formerly joined as one, but were broken apart intotwo, like Tempe. Though the description of the islands does not contain Poseidon,the preceding island and the mention of Tempe having earthquakes recalls itssource, Earth-opening Poseidon, or Earth-shaking Poseidon. At the same time,the way of illustrating Tempe here is differs from that in “Thessaly.” Thus, theillustration in the third-fourth islands becomes a supplementary explanation for“Thessaly.” These connections are supported by the verbal link with rJhvgnumi ‘tobreak, break asunder.’ The second island and the third-fourth islands also have aunity owing to its composition. These four parts of geographical stories allow usto read them in reference to each other.Viewing the series on Poseidon and the division of land, we find that theyshare a connection to each other, and the image of the rather gentle grace ofPoseidon or geographical change that sometimes shown long after its rupture. Inaddition, human activity could have participated in making the rupture appeargraceful. In the third-fourth islands, the divided islands look unified due to abridge, and wagons go over it, while ships sail under it.
1 0 0 0 OA フィロストラトス『エイコネス』の古代絵画史的研究
紀元3世紀に2人のフィロストラトスが書いた『エイコネス』(絵たち)は古代エクフラシスの代表作である。本研究では、『エイコネス』各章の記述において、造形の伝統と文学の伝統がどのように混在しているかを精細に考察し、また各作品中の複数場面を明確に区別することに努めた。個々のモチーフや描法、構図が出現したおおよその年代を、場合によってはその特定の典拠まで、推定できる事例は多い。フィロストラトス『エイコネス』全80数章と、彫刻を扱ったカッリストラトス『エクフラセイス』全14章の翻訳註解に加え、エクフラシス、第二期ソフィストなどの問題についても考察し、さらに一部の章について再現図を制作した。