ピサ国立美術館20番板絵とジウンタ・ピサノの磔刑のキリストの表現に見る13世紀前半期のピサ絵画とビザンティンの関係をめぐる試論
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The Crucifix no.20 of the Museo di San Matteo at Pisa, dating from the beginning of thirteenth century, represents dead Christ on the center. Christ's body slightly curves elegantly, and his face seems as sleeping rather than tortured with dying. The chiaroscuro is weak, that we can feel little massiveness in Christ's body. On the other hand, Giunta Pisno, who acted in the second quarter of this century, depicts really tortured, dying and therefor dramatized Christ, on his signed three crucifixes in Assisi, Pisa and Bologna. Further his Christ has real massiveness with the exact chiaroscuro. Both the Crucifix no.20 and those by Giunta have been pointed out to be strongly influenced by Byzantine art. But as we saw, the Christ of the Crucifix no.20 and that of Giunta do not share similer impressions or qualities. Therefor each one must have been influenced respectively by different models in diverse currents of Byzantine culture. In this short essay, the models are reexamined and the relation between Byzantine and Pisan painting in the first half of thirteenth century is searched. Close to the Crucifix no.20 is a Crucifixion fresco of the chruch of Studenica Monastery in Serbia, dating from 1208 or 09. Here Christ's body is elongated and gently curved, the face is calm, and the whole impression is elegant and refined, as that of the Crucifix no.20. The fresco is considered to have been depicted by artists from Constantinopolis. So the style of Studenica is a metropolitan one in the late Comnenian culture. In the Cathedral of Mazara del Vallo in Sicily, there is a mid thirteenth century crucifix, showing dead Christ whose style is close to those of the Crucifix no.20 and the Studenica fresco. And a miniature in the "Edgerton Sacramentary" of the British Museum dating from 1229-44, made in Jerusalem, shows also similar crucified Christ. Both in west and east legions from Studenica, those works, showing similar styles to that of Studenica, exist. This fact seems to mean that the late Comnenian style, such as Studenica's one, was widely spreaded and favored around the Mediterranean Christian world in the first half of thirteenth century. And the Crucifix no.20 of Pisa could be considered to have been made in this current. Giunta's works are often compared with a Crusader Crucifixion miniature in the "Perugia Missal," dating form the third quarter of the century. Giunta is considered as already dead in 1257, so the date of the miniature may be too late to have been a model for Giunta. But Pisa had flourishingly traded with Constantinopolis since 1111. Therefor it seems strongly probable that some earlier miniatures than Perugian one were already transported to Pisa. Furthermore, crucified Christ on an icon in the Monastery of St. Catherine at Mt. Sinai dating from c. 1200, already shares the strong and exact chiaroscuro and the dramatic expression with Giunta's one. And it has been pointed out that at the turning point form the twelfth to the thirteenth century, the style of Byzantine art largely changed into more dramatic, humanistic and realistic one. These surviving works and the transformation of Byzantine art at this period seem to lead to an inference that at the beginning of thirteenth century, Pisan painting had been influenced by the late Comnenian style, but in the second quarter of the century a new and revolutional wave, sometimes mixed with Crusader art, was introduced to Pisa, and these two different styles distinguished the expression of the Christ of the Crucifix no.20 from that of Giunta Pisano.
- 東海大学の論文
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- ピサ国立美術館20番板絵とジウンタ・ピサノの磔刑のキリストの表現に見る13世紀前半期のピサ絵画とビザンティンの関係をめぐる試論