ロマネスク彫刻におけるグロテスクの問題
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Employing the Bakhtin's 'grotesque-realism' theory, N. Kenaan-Kedar says that marginal sculptures of Romanesque architecture introduce an individual 'anti-models' as people from the margins of society : jugglers, acrobats, musicians, fools, etc., contrasting with official sculpture, hierarchical and symmetrical. But, in fact, these lower orders are found not only in corbels but on the central places in Romanesque churches as choir capitals and tympanums. This means that here exists another 'grotesque' proper to Romanesque than 'grotesque-realism' proper from Gothique naturalism. I try to analyse aspects of the 'Romanesque grotesque', using Bakhtin's essential and general categories of 'grotesque' : hybrid situation, generation and degeneration, relativity, dynamism and continuity, spectacles in square, scenes of everyday life and so on. The Romanesque sculpture is also essentially 'grotesque' because of its ornamental dialectic syntax. The opposition between official dogmatic art and marginal of lower orders has not yet been clearly separated. The dogmatic themes themselves are represented in grotesque images as Jonah swallowed and disgorged by a whale or many hybrid animals as sin. These grotesque images are polyvalent in dogmatic or in folkloric meanings according to points of view of the spectators mind. In this archaique grotesque phase, this folkloric culture and mentality would have been shared by directors (clerks as Suger) and sculptors, but perhaps in opposite directions : for example, mouth of Leviathan as Hell image for Christian dogma but as metaphor of Fertility, Generation and Degeneration for traditional peoples. When Saint Bernard blamed the grotesque images, they were going to disappear from the dogmatic central images to meet on topographic margins as 'grotesque realism' in Gothic Cathedrals.
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