著者
福田 淑子
出版者
美学会
雑誌
美学 (ISSN:05200962)
巻号頁・発行日
vol.71, no.1, pp.97-108, 2020 (Released:2022-02-16)

This paper focuses on the iconography of Filippino Lippi’s altarwall painting for Carafa’s chapel in the Basilica of Santa Maria sopra Minerva, which was dedicated to the Virgin Annunciation and Saint Thomas Aquinas. Filippino painted the conclusion of the chapel’s thematic program onto the altarwall, which combines the Annunciation with the Assumption through a highly illusionistic representation. This composition is rare as the cycle of the Virgin’s life; therefore, I tried to explain not only why these two themes were selected, but also Carafa’s intention to contrive his chapel. Accordingly, this study begins with the supposition that this altarwall exhibits the Mariology of Thomas. As for the basis of my opinion, Carafa was one of the Cardinal Protectors of the Dominicans, moreover, his unusual dedicated service to the Dominicans may have stemmed from his personal devotion to Thomas. Following the above, I try to interpret the iconography of this altarwall in the context of the Mariology of Thomas, referring to his chief work, the Summa Theologica. Finally, I suggest that Filippino’s pictorial style may refer to an aspect of Carafa’s religious milieu and that the theological program of the chapel draws upon an intention to show off his place.