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''The Annunciation'' is an oil painting by the Early Netherlandish master Jan van Eyck, from around 1434-1436. It is in the National Gallery of Art, in Washington D.C. It was originally on panel but has been transferred to canvas. It is thought that it was the left (inner) wing of a triptych; there has been no sighting of the other wings since before 1817. It is a highly complex work, whose iconography is still debated by art historians. The picture depicts the Annunciation by the Archangel Gabriel to the Virgin Mary that she will bear the son of God (Luke 1:26-38). The inscription shows his words: ''AVE GRÃ. PLENA'' or "Hail, full of grace...".〔Contracted from 28 "et ingressus angelus ad eam dixit ave gratia plena Dominus tecum benedicta tu in mulieribus ..." - (Latin Vulgate ); 28"And the angel came in unto her, and said, Hail, thou that art highly favoured, the Lord is with thee: blessed art thou among women." Authorised Version. (King James (Authorised) Version )〕 She modestly draws back and responds, ''ECCE ANCILLA DÑI'' or "Behold the handmaiden of the Lord".〔Contracted from 38"dixit autem Maria ecce ancilla Domini fiat mihi secundum verbum tuum et discessit ab illa angelus" Latin Vulgate; 38"And Mary said, Behold the handmaid of the Lord; be it unto me according to thy word. And the angel departed from her." King James/Authorised Version.〕 The words appear upside down because they are directed to God and are therefore inscribed with a God's-eye view. The Seven gifts of the Holy Spirit descend to her on seven rays of light from the upper window to the left, with the dove symbolising the Holy Spirit following the same path; "This is the moment God's plan for salvation is set in motion. Through Christ's human incarnation the old era of the Law is transformed into a new era of Grace".〔(【引用サイトリンク】url=http://www.nga.gov/collection/gallery/gg39/gg39-49.0.html )〕 ==The Temple== The setting develops this theme. Mary was believed in the Middle Ages to have been a very studious girl who was engaged by the Temple of Jerusalem with other selected maidens to spin new curtains for the Holy of Holies.〔Schiller p.34 The source was the apocryphal Protoevangelium of James〕 The book she is reading here is too large to be a lady's Book of Hours; as in other paintings she is engaged in serious study in a part of the Temple (one medieval authority specified that she was reading the Book of Isaiah when Gabriel arrived).〔Schiller pp.34-5, 41-2.〕 The van Eycks were almost the first to use this setting in panel painting, but it appears earlier in illuminated manuscripts, and in an altarpiece of 1397 from the same monastery for which this painting was probably ordered.〔Hand 1986, p.81, who does not mention the altarpiece of 1397 by Melchior Broederlam (from the Chartreuse de Champmol, now Dijon Museum) - Schiller p.49 & (fig 111), also discussed in Purtle 1999,p.4, and in the Losh External link below (fig 4)()〕 The architecture moves from older, round Romanesque forms above, to (slightly) pointed Gothic arches below, with the higher levels largely in darkness, and the floor level well-lit.〔Many recent writers have stressed that the architecture of the buildings is not as anomalous, and therefore symbolic, as it might appear, and as Panovsky thought it. See Harbison pp. 151-57, & 212, also Purtle 1999, p.3-4.〕 The gloom of the Old Covenant is about to be succeeded by the light of the New Covenant. The flat timber roof is in poor repair, with planks out of place.〔Purtle, 1999, p 2 and notes〕 The use of Romanesque architecture to identify Jewish rather than Christian settings is a regular feature of the paintings of van Eyck and his followers, and other paintings show both styles in the same building in a symbolic way.〔Schiller, pp. 49-50. Purtle 1999, p. 4 and notes 9-14. Also see Gallery, and (''The Iconography of the Temple in Northern Renaissance Art'' by Yona Pinson )〕 The decoration of the Temple is naturally all derived from the Old Testament, but the subjects shown are those believed in the Middle Ages to prefigure the coming of Christ the Messiah. In the floor tiles David's slaying of Goliath (centre front), foretells Christ's triumph over the devil. Behind this, Samson pulls down the Temple of the Philistines, prefiguring both the Crucifixion and the Last Judgement, according to medieval authorities. To the left, Delilah is cutting Samson's hair (Betrayal of Christ), and behind he slays the Philistines (Christ's triumph over sin). The death of Absalom and possibly that of Abimelech are identified by some art historians, although only tiny sections are visible. Erwin Panofsky, who developed much of this analysis, proposed a scheme for the significance of the astrological symbols in the round border tiles, and other versions have been suggested.〔Hand pp. 80-1〕 The rear wall has a single stained glass window, where Jehovah stands, above triple plain-glazed windows below, which perhaps suggest the Christian trinity. On either side of the single window are dim wall-paintings of the finding of Moses by Pharaoh's daughter (left, pre-figuring the Annunciation itself), and Moses receiving the Ten Commandments (right, paralleling the New Covenant Christ would bring). Below them are roundels with Isaac and Jacob, for which various symbolic functions have been proposed.〔Hand p.80, Purtle, 1999, pp 5-6〕 The lilies are a traditional attribute of Mary, standing for purity. The empty stool may be an "empty throne", a symbol for Christ going back to early Byzantine art.〔Hand pp 79 & 81〕 抄文引用元・出典: フリー百科事典『 ウィキペディア（Wikipedia）』 ■ウィキペディアで「Annunciation (van Eyck, Washington)」の詳細全文を読む スポンサード リンク
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