Alternative Titleニコラ・プッサン ノ コウキ シュウキョウガ ニ カンスル ソウゴウテキ ケンキュウ
Nikora Pussan no kōki shūkyōga ni kansuru sōgōteki kenkyū
A comprehensive study on late religious paintings by Nicolas Poussin
Note (General)type:text
17世紀フランス「古典主義」を代表する画家ニコラ・プッサン(1594-1665)は, その活動のほとんどをローマで行ったが, 彼が後半生に描いた宗教画は, 教会のための公的な装飾画や祭壇画ではなく, 美術愛好家に向けたタブローであり, トリエント公会議後のローマ・バロック美術とは様式においても, 意味や機能の点でも一線を画す独特の性格を持つ。彼の宗教画研究は, 近世の歴史画研究に新しい展望を開き得る重要な課題である。
本年度は, プッサンが1650年にローマで制作した《盲人を癒すキリスト》を中心に検討した。先行研究は, この作品から「色彩の生成」や「視覚」の寓意を読み取ってきたが, 注文主である「リヨンの商人レノン氏」がフランスのカトリック改革と連動する慈善活動に熱心な信仰厚い人物であったことを考慮するならば, 宗教画としての側面についてもさらに詳しい考察が必要である。
イエスは公生涯に何度も盲人を癒す奇跡を起こしており, 実際に画家が典拠とした福音書の箇所については意見が分かれ, 今なお特定されていない。そこで本研究では, 本作品に関する王立絵画彫刻アカデミーの講演会の分析, 当時の聖書の挿絵版画との比較, 作品に描き込まれたエンブレム的モティーフの解読を行ない, これまで本作品の題材として言及されてこなかったヨハネ福音書9章のエルサレムでの生まれつきの盲人の治癒の場面と本作品が関連すること, さらに同箇所についてのアウグスティヌスやコルネリウス・ア・ラピデによる聖書解釈と作品の描写が呼応していることを指摘した。そこに見られるキリストの慈悲による罪の浄化という意味の連想は, 注文主の信仰や慈善活動とも密接に関わるものである。以上の分析から, 本作品は, 聖書の複数の箇所を連想させながら, 「盲人の治癒」という奇跡がもつ聖書釈義的な意味層での思索と瞑想を鑑賞者に促すものであったことを示し, プッサンのタブローにおける宗教画の特質の一端を明らかにした。
Nicolas Poussin (1594-1665), a painter who represents the 17th century French "classicism", was mostly active while living in Rome, however, the religious paintings he created in the latter half of his life were not decorative paintings for walls and altarpieces in churches aimed at the public, but rather they were tableaux for art lovers, and in terms of format, style, function of works and interpretation of the subject, there is a distinctive line drawn between them and the Roman Baroque art after the Council of Trent. The research on his religious paintings is an important task that can open up new perspectives on the research of history paintings in early modern times.
This year, the focus of our investigation was on Christ Healing the Blind (1650, Louvre Museum) painted by Poussin in Rome in 1650. Preceding research works have read the allegory of "the generation of color" and the allegory of "vision" from between the lines of this work, however when it is considered that the client for the painting was "Reynon, a silk merchant from Lyon" who was an earnest and devout participant in charity activities associated with reforms in French Catholicism, a further inquiry on its aspects as a religious painting appears to be necessary.
Jesus has healed the blind many times in his ministry, however, opinions have divided regarding the parts of the Gospels that the painter actually used as the authority, and they have not been identified yet. Therefore, in this research, we have conducted an analysis of the conference of the Royal Academy of Painting and Sculpture in 1667 regarding this work, made a comparison of contemporary biblical illustrations, deciphered the emblematic motif depicted in the work and pointed out the fact that this work is related to the scene of Jesus healing a man born blind in Jerusalem in the Gospel of John (9 : 1–12), which has not been referenced as a theme of this work so far, as well as the fact that the biblical exegesis of the Gospel of John by St. Augustine and Cornelius a Lapide regarding the same parts correlates with depictions in this work. An association with an allegorical meaning of the purification of sins by the mercy of Christ seen there is closely related to the faith and philanthropic activities of the client who ordered the picture. Based on the above analysis, it was shown that this work encourages viewers to think and meditate on the inherent exegetical meaning of the miracle of the healing of the blind by drawing associations with several parts in the Bible, this way a part of characteristics of religious paintings among the tableaux by Poussin was revealed.
Sourcehttps://koara.lib.keio.ac.jp/xoonips/modules/xoonips/download.php?koara_id=2017000001-20170278
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