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レオナルドとヴィニョーラ : 遠近法のふたつの血脈
https://keisen.repo.nii.ac.jp/records/157
https://keisen.repo.nii.ac.jp/records/15796309cbf-f8d0-4b4c-99bf-73c99f540067
| 名前 / ファイル | ライセンス | アクション |
|---|---|---|
レオナルドとヴィニョーラ (1.4 MB)
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| Item type | 紀要論文(ELS)_JAIRO Cloud（WEKO3）対応_9c8f75df(1) | |||||
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| 公開日 | 2006-03-01 | |||||
| タイトル | ||||||
| タイトル | レオナルドとヴィニョーラ : 遠近法のふたつの血脈 | |||||
| タイトル | ||||||
| タイトル | Leonardo and Vignola : Two Genealogies in Perspective | |||||
| 言語 | en | |||||
| 言語 | ||||||
| 言語 | jpn | |||||
| 資源タイプ | ||||||
| 資源タイプ識別子 | http://purl.org/coar/resource_type/c_6501 | |||||
| 資源タイプ | departmental bulletin paper | |||||
| ページ属性 | ||||||
| 内容記述タイプ | Other | |||||
| 内容記述 | P(論文) | |||||
| 論文名よみ | ||||||
| その他のタイトル | レオナルド ト ヴィニョーラ : エンキンホウ ノ フタツ ノ ケツミャク | |||||
| 著者名(日) |
池上, 英洋
× 池上, 英洋 |
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| 著者名よみ |
イケガミ, ヒデヒロ
× イケガミ, ヒデヒロ |
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| 著者名(英) |
IKEGAMI, Hidehiro
× IKEGAMI, Hidehiro |
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| 著者所属(日) | ||||||
| 値 | 恵泉女学園大学 | |||||
| 著者所属(英) | ||||||
| 言語 | en | |||||
| 値 | Keisen University | |||||
| 抄録(英) | ||||||
| 内容記述タイプ | Other | |||||
| 内容記述 | The architect Giacomo Barozzi da Vignola wrote his book in 1583 : Le due regole della prospettiva (The two rules of perspective). As the title of the book indicates, there were two different systems in the history of perspective : the "Costruzione legittima (the legitimate construction)" and the "Costruzione per punto di distanza (the construction with the distance point)". Both had their origins in the primitive concept shown by the great intellect in the first stage of Renaissance, Leon Battista Alberti. After Alberti, perspective was developed by uncountable theorists and artists as Filarete, Uccello, Piero della Francesca, Durer and so on. It is still widely believed that the theory of perspective was completed in the age of the high.Renaissance and the development was terminated. We know well about the history of perspective from Alberti to the high. Renaissance. But the latter half of the history has never revealed his true face. We don't know well about the intermediate steps to explain a kind of "missing ring" from the high-Renais-sance to Vignola. Leonardo da Vinci is the symbolic artist of the high-Renaissance and he is believed as the man who used perfect perspective. Yes, surely he was. The pictorial spaces created by Leonardo were good examples to see the fruit that the man had obtained by such a development. But once we start to reconsider the true practical procedures applied for his paintings in different periods in his life, such as the "Annunciation", the "Adoration of the Magi" and the "Last supper", we can notice that Leonardo had a diversity of perspective. Moreover, it is clear that Leonardo himself was still in the state of confusion of trials and errors, even though he is believed to be a perfect erspectivist. The different types of perspective in Leonardo's painting are not exactly the same as in Vignola's treatise, but we can find a suggestive relationship between them. It is also interesting to know they had actual relation through a forgotten intellectual Francesco di Giorgio Martini. This reconsideration we made will be useful to excavate hereafter the true appearance of the two genealogies in the history of the perspective and to see the change of man's conception of space. | |||||
| 雑誌書誌ID | ||||||
| 収録物識別子タイプ | NCID | |||||
| 収録物識別子 | AA12120901 | |||||
| 書誌情報 |
恵泉女学園大学紀要 en : Keisen University Bulletin 巻 18, p. 163-183, 発行日 2006-03 |
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