ロマネスク壁画背景地に関する覚書(三) : ブリネイ教区聖堂内陣壁画の場合
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After my preceding papers which analysed the background structure of the frescoes of Montoire, examples of the relation between mandorla system and painting backgounds and architecture frames, and the ones of Saint-Jacques-des-Gueret, example of uni-white backgrounds, here I have tried to analyse the system of stripe polychrome backgrounds as well as frameworks and scenery architecture. The frameworks are clearly structured by the prismatic effect patterns : 1) three dimensional patterns like Greek meander and checkered zigzag pattern on the grey grounds accompagnied by white points; 2) abstract "clair-obscure" effect in the palmette-lily pattern; 3) uni-white palmette-lily pattern. While the meander pattern zone surrounds all of the top of walls of the choir as a diadem, the checkered zigzag pattern ribbons starting from the two sides of the west wall entrance reach to and concentrate in the east central window functioning as an "epiphany" in place of the synthetic image as the Maestas Domini or the Crucifixion which is lacking in this church. The two zones of striped polychrome backgrounds divided for appearance by the checkered ribbon frameworks might be regarded as only one total background. Only 4 color stripes whose borders are always high-lighted by a white line are repeated irregularly : the shades such as ochre-red=4,green=3,ochre-yellow=2,white=1,consist of the rhythm of abstract clair-obscure as follows : from under to upper 1-4-2-3-4-3-4-2,shortening the scale of stripes of each color in proportion as it rises to the upper part of the wall. This subtle system of clair-obscure background produces a plenitude of divine light and of its movement, in which the holy history of salvation is developed. The entrados of the choir entrance arch is also luminous because of the colored background placed side by side like 1-2-3-4-2-4-1-2-4-2-1-4-1 as a "ladder of Jacob". According to this analysis, it is impossible to regard Romanesque striped backgrunds as the result of oversight of the abstraction of natural landscape (Deschamps & Thibout) or as a screen only for detaching images (H. Focillon). This is a system of visualization of the Transcendental Light, which seems to be another kind of Impressionism, a Romanesque Impressionism, especially invented by Romanesque mural painters who learned lessons from the Carolingian miniatures and of their neo-platonic ideas.
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