著者

馬場 雅美

出版者

北海道東海大学

雑誌

北海道東海大学紀要. 人文社会科学系 (ISSN:09162089)

巻号頁・発行日

vol.3, pp.1-20, 1990

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The focus of this paper is not on the iconography, but on the backgrounds and frameworks of the frescoes in the church of Saint-Jaques-des-Guerets. These paintings are an example of uni-white backgrounds typical of the Romanesque mural paintings. The researchers have explained that the white backgrounds were used due to shortage of funds. However, analyses of details of their remaining frameworks and backgrounds discloses a symbolic system in architecture, frameworks and backgrounds. I reconstructed the ornamentaion system in this church as follows : 1)the mandorla of the Christ consists of the single but valuably colored three dimensional patterns ("light pattern" whrch I suggested in my preceeding papers in '89); 2)the same patterns which are repeated but doubled with simpler colors are not framing the two dogmatic scenes that of the "Crucifixion" and of the "Maestas Domini, " as F. Gaborit said, but framing the walls between windows (pl. 3); 3)this patterns are hierarchilized between the apse (double patterns) and the nave (simple patterns); 4)two contrasting colored bands pearled in the middle are framing and dividing the scenes; 5)the white curtain patterns are found all around under the scenes; 6)the architectonic frames in the paintings have two categories : the symbolic and abstract frame (sacred frame of Jacob) and the scenery decor (scenes of saint Nicolas and the Birth of Christ); 7)the white backgrounds unify all scenes except the underground or infernal scenes (grey and red backgrounds) at the "Descent to the Limbo." In this ornamental program, the central window situated between the two dogmatic panels functions as the "light-God, " because the Hand of God appears there and this window is surmounted by the "Agnus Dei." The "light patterns" of the Mandorla reflect some significant parts of architecture : the top of walls with the ceiling as heaven and the windows transforming natural light to transcendental light. The light from the 12 openings each signed by a cross expresses itself as divine light by the "light pattern" frames which are equivalent to the Mandorla's. And the mystic events are developed on the white backgrounds as plenitude of this transcendental light. The white curtains must cover these mystic scenes and reveal their identity to initiators under the hieratic or perpendicular perspective. The sources of these uni-white backgrounds will be some illuminations as the Alquin Bible or the Gauzlin Gospel Book, produced at the School of Tours, the scriptorium located not so far from this Saint-Jacques-des-Guerets. Behind the white backgrounds' use, I find Carolingian high intellectuals under the neo-platonic influences.

著者

馬場 雅美

出版者

北海道東海大学

雑誌

北海道東海大学紀要. 芸術工学部 (ISSN:02884992)

巻号頁・発行日

vol.17, pp.65-74, 1998-03-20

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En ce qui conserne de l'art de la Fin de Siecle a prague, sa recherche vient de se mettre en route apres la liberation du pouvoir communiste qui devalorisait l'Art Nouveau. Ici, nous allons decrire des circonstances artistiques des 1880 aux 1890,1'epoque de transposition de 1'historicisme a la "Secession" tcheque ou l'Art Nouveau a prague, que nous connaissons encore peu au Japon.