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Considerations on the Use of Relief Sculpture in Titian's Annunciation (Basilica di San Domenico Maggiore, Naples)
https://doi.org/10.18999/humfnu.6.357
https://doi.org/10.18999/humfnu.6.357e1c2eec4-e679-4358-9ced-3777b5b5627b
名前 / ファイル | ライセンス | アクション |
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Item type | itemtype_ver1(1) | |||||||
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公開日 | 2023-03-30 | |||||||
タイトル | ||||||||
タイトル | Considerations on the Use of Relief Sculpture in Titian's Annunciation (Basilica di San Domenico Maggiore, Naples) | |||||||
言語 | en | |||||||
著者 |
WANG, Ying
× WANG, Ying
|
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アクセス権 | ||||||||
アクセス権 | open access | |||||||
アクセス権URI | http://purl.org/coar/access_right/c_abf2 | |||||||
キーワード | ||||||||
主題Scheme | Other | |||||||
主題 | Relief | |||||||
キーワード | ||||||||
主題Scheme | Other | |||||||
主題 | Annunciation | |||||||
キーワード | ||||||||
主題Scheme | Other | |||||||
主題 | Titian | |||||||
キーワード | ||||||||
主題Scheme | Other | |||||||
主題 | Reflexivity | |||||||
内容記述 | ||||||||
内容記述 | After examining Titian’s use of painted relief sculpture, it can be concluded that partly influenced by Tuskan-Rome paragone, as a result, Titian consciously and consistently develops the capacity of color and the medium of painting. Titian’s usage of the painted relief sculpture in the Neapolitan Annunciation does not resemble in the artist’s other paintings, nevertheless, it relates closely to the artist’s long career development. The suggestion that Titian deliberately elevates the role of fictive statue, relief, sculpture can be put up. The theory from Le Tableau dans Le Tableau and Images-withinimages broadens the ground for the interpretation of Titian’s Neapolitan Annunciation to root in. The approach of the formal treatment, the quoting from the artist’s own paintings, the practice of the fused media, and the application of the archaizing style on the embedded image manifest Titian’s deliberate utilization of embedding painted relief into painting and the artist’s awareness that the embedded images are not just subordinate to the religious functions but express the artist’s idea as well through various manners and methods. The pictorial reflexive aspects can be evidently and extensively detected not only in the Neapolitan Annunciation but also in Titian’s portrait paintings, mythological paintings and religious paintings. The unique handlings related to the painted relief in the Neapolitan Annunciation can be considered a midway stop that bridges Titian’s life-long attempts at reconciling forms, contents, styles through the versatility of painting. Nevertheless, it is not surprising for Titian who seeks to break through the limitation of the use of color for the contemporary artistic climate of the competition between the Venetians and the Tuscan-Romans not only in the visual arts but also in the humanist culture. The unique treatment and the reflexivity revealed in the work of art demonstrate Titian’s selfawareness of himself as a painter, a colorist and a humanist artist. | |||||||
言語 | en | |||||||
内容記述タイプ | Abstract | |||||||
出版者 | ||||||||
言語 | ja | |||||||
出版者 | 名古屋大学大学院人文学研究科図書・論集委員会 | |||||||
言語 | ||||||||
言語 | eng | |||||||
資源タイプ | ||||||||
資源タイプresource | http://purl.org/coar/resource_type/c_6501 | |||||||
タイプ | departmental bulletin paper | |||||||
出版タイプ | ||||||||
出版タイプ | VoR | |||||||
出版タイプResource | http://purl.org/coar/version/c_970fb48d4fbd8a85 | |||||||
ID登録 | ||||||||
ID登録 | 10.18999/humfnu.6.357 | |||||||
ID登録タイプ | JaLC | |||||||
収録物識別子 | ||||||||
収録物識別子タイプ | PISSN | |||||||
収録物識別子 | 2433-2321 | |||||||
書誌情報 |
ja : 名古屋大学人文学フォーラム en : Humanities Forum, Nagoya University 巻 6, p. 357-372, 発行日 2023-03-31 |