@article{oai:nagoya.repo.nii.ac.jp:02001044,
 author = {王, 穎 and WANG, Ying},
 journal = {名古屋大学人文学フォーラム, Humanities Forum, Nagoya University},
 month = {Mar},
 note = {Titian’s Annunciation in San Domenico Maggiore of Naples indicates the artist’s mature ideas for the Christian subject Annunciation and his understanding of the devotional needs from his patron. Nevertheless, studies on this work of art are insufficient. The contemporary scholar and writer Bartolomeo Maranta’s Discourse attempts at an analytical critique on Titian’s Naples Annunciation. However Maranta’s Discourse readily focuses on Titian’s masterly depiction of the archangel Gabriel, meanwhile the representation of Mary, the conventional major figure of the subject Annunciation, is less discussed. Despite that Gabriel in Titian’s Naples Annunciation exhibits the artist’s innovative conceptions and mature skills, the depiction of Mary does play an important role in the success of the Naples Annunciation as well. Titian depicts a type of Mary not only to underline the virtue of submission and humility but also to reveal the sophisticated social relationships. The fact that the humble Mary was favored by the Hapsburg royalties is preferred by the patron for his prestigious social status and promising political career. Such association can be detected from Titian’s coherence of the representation of Mary in both the Naples Annunciation and an earlier piece of Annunciation finished around 1535, which was finally sent to the Emperor Charles V and then presented as a gift to the Empress Isabella. Titian’s deliberation on portraying Mary can also be attested by two different copies after Titian’s 1535 Annunciation, an engraving and a colored piece. Moreover, in the Naples Annunciation, Titian depicts a relief related to a certain Christian subject as a method to show the veneration of the Virgin. The utilization of combining the relief and the figure of Mary by the veil not only references from the multiple-layers of the religious connotations but also results from the cultural, economic and political contexts that the artist lives, which indicate the sixteenth century interactive circles between artists and patrons and disclose the sophisticated relationships of art, religion and politics.},
 pages = {297--312},
 title = {Mary in Titian’s Annunciation in San Domenico Maggiore of Naples},
 volume = {4},
 year = {2021}
}