ドゥッチョ《マエスタ》の説話的図像に関する考察 : 自然の事物・風景と情感の表現

概要

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Duccio was aware of effectiveness of natural landscapes in depicting sentiment in religious iconography. In his Maesta, the high altarpiece of the Siena's Cathedral, rocky mountains, hills, trees and parts of ground play important roles to portray psychological dramas in narrative scenes of the life of Christ. Between the Agony in the Garden and the Arrest of Christ the shapes of grounds and rocks change. In the Arrest, the front edge of ground is rugged with several small crevices, increasing a riotous feature of the event. A more dynamic upheaval of the rock, with a shady precipice, seems to push the disciples out of the scene and a tree standing alone between two groups of people reflects Christ's isolation. Transformation of ground is also observed between the Crucifixion and the Descent from the Cross. In the former the rugged ground rises steeply to enhance a turbulent atmosphere of the tragedy, while in the latter the ground's shape changes into a calmer one in consonant with the saddened people around the Cross. Other scenes from the Infancy, the Mission, the Passion and the post-Resurrection scenes are discussed selectively, among which the most remarkable landscape is found in the Noli me tangere.
活水女子大学の論文
2003-03-31