13世紀後半期の中部イタリアに見る新たな磔刑図像について

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In 1260, Nicola Pisano made a new iconography of the crucifixion in his pulpit of Pisa Baptistery, where the fainting Virgin is supported by Holy women. It has been said that this iconography was born under an influence of the "Meditations on the Life of Christ" of Franciscan order. This was followed by his another pulpit of Siena Cathedral of 1268 and also by his son Giovanni's two pulpits in Pistoia and Pisa around 1300. In paintings also this iconography can be recognized, for example Cimabue's large "Crucifixion" in the north transept of the upper church of San Francesco in Assisi about 1280 or a series of Sienese Duccio's panels, from the late thirteenth century to Cathedral "Maesta" of 1311. And Florentine Giotto also rendered the fainting Virgin in his fresco in Scrovegni Chapel about 1305. In this essay, this new iconogrphy of the crucifixion in the thirteenth century Central Italy is examined. The motif of the fainting Virgin is new, which is not mentioned in four Gospels, but in the "Meditations." In this iconography, Saint John the Evangelist often stands near the Virgin. Expressing the Virgin and John together on one side is derieved from the Fourth Evangel, and therefor has a long tradition. But this episode is also mentioned in the "Meditations." So in this new iconography, this motif may be also related to the latter. And John's this position at the beginning of the crucifixion seems to be kept also in the ending where the Virgin faints. In double Crucifixions by Cimabue in Assisi John, standing together with the Virgin in the first scene, supports the fainting Virgin together with Holy women, in the second. But there are only three exceptional ones in Tuscany which depict John at the right side of the cross, therefor the opposite side of the fainting Virgin, with the Centurion. The earliest one is a mural of the lower church of Siena Cathedral. And this mural cycle seems to have been strongly influenced by the contemporaly Umbrian paintings. The National Gallery of London posesses an interesting Umbrian crucifx by the "Maestro di San Francesco, " depicting the fainting Virgin supported by Holy women on the left apron, and John with the Centurion on the right. In Umbrian crucifix there had been a long tradition depicting crucifixion figures in the apron since the twelfth century, and then was born another one placing the Virgin and John full length at the each end of horiziontal stem respectively, in the last third of the thirteenth century. When a new motif of the fainting Virgin came into these traditions, the Virgin returned to the left apron again to be supported, then John to the opposite, and such a crucifix as London one may have been made. The Seinese mural seems to have been influenced by this Umbrian type, rather than Byzantine models in Italy, such as of Aquileia or Monreale. Since this type is very rare in Tuscany, limited to Sienese only, it may be less plausible that such Byzantine models influenced remarkably on only three Sienese paintings. At the end of the thirteenth century, Duccio made a new type in his triptych of the Museo di Pie Disposizione in Siena, where the Virgin fainting backward and supported by Holy women from back, also joins hands with John. Here are rendered both the beginning and the ending of the crucifixion together. On the other hand, Giotto depicted the shareing of the Holy cloth and the fainting Virgin together in Scrovegni Chapel, having united the episode of the "Meditation" with that of Synoptic Gospels in one scene. By these two masters, at the end of the thirteenth century or the very beginning of the fourteenth, the basic elements of large compositions of the fourteenth century seems to have been satisfactorily prepared.
東海大学の論文

13世紀後半期の中部イタリアに見る新たな磔刑図像について

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東海大学 | 論文

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