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翻訳と辞書　辞書検索 [ 開発暫定版 ] スポンサード リンク Annunciation in Christian art ： ウィキペディア英語版 Annunciation in Christian art The Annunciation has been one of the most frequent subjects of Christian art.〔''The Oxford Companion to Christian Art and Architecture'' by Peter Murray and Linda Murray 1996 ISBN 0198661657 page 23〕〔''Images of the Mother of God:'' by Maria Vassilaki 2005 ISBN 0754636038 pages 158-159〕 Depictions of the Annunciation go back to early Christianity, with the Priscilla catacomb in Rome including the oldest known fresco of the Annunciation, dating to the 4th century.〔''The Annunciation To Mary'' by Eugene LaVerdiere 2007 ISBN 1568545576 page 29〕 ==Middle Ages and Renaissance== Particularly popular during the Middle Ages and Renaissance, it appears in the work of almost all of the great masters. The figures of the Virgin Mary and the archangel Gabriel, were favorite subjects of Roman Catholic Marian art. Works on the subject have been created by Sandro Botticelli, Leonardo da Vinci, Caravaggio, Duccio di Buoninsegna, Jan van Eyck, Murillo, and thousands of other artists. The mosaics of Pietro Cavallini in Santa Maria in Trastevere in Rome (1291), the frescos of Giotto in the Scrovegni Chapel in Padua (1303), Domenico Ghirlandaio's fresco at the church of Santa Maria Novella in Florence (1486), and Donatello's gilded sculpture at the church of Santa Croce, Florence (1435) are famous examples. The composition of depictions is very consistent, with Gabriel, normally but not always standing on the left, facing the Virgin, who is generally seated or kneeling, at least in later depictions. Typically Gabriel is shown in near-profile, while the Virgin faces more to the front. She at least is usually shown indoors, or in a porch of some kind, in which case Gabriel may be outside the building entirely, in the Renaissance often in a garden, which refers to the hortus conclusus, sometimes an explicit setting for ''Annunciations''. The building is sometimes clearly the Virgin's home, but is also often intended to represent the Jerusalem Temple, as some legendary accounts placed the scene there. The Virgin may be shown reading, as medieval legend represented her as a considerable scholar, or engaged in a domestic task, often reflecting another legend that she was one of a number of virgins asked to weave a new Veil of the Temple. Late medieval commentators distinguished several phases of the Virgin's reaction to the appearance of Gabriel and the news, from initial alarm at the sudden vision, followed by reluctance to fulfill the role, to a final acceptance. These are reflected in art by the Virgin's posture and expression. In Late Medieval and Early Renaissance the impregnation of the Virgin by God may be indicated by rays falling on her, typically through a window, as light passing through a window was a frequent metaphor in devotional writing for her virginal conception of Jesus. Sometimes a small figure of God the Father or the Holy Spirit as a dove is seen in the air, as the source of the rays. At this period Gabriel, especially in northern Europe, is often shown wearing the vestments of a deacon on a grand feastday, with a cope fastened at the centre with a large morse (brooch). Especially in Early Netherlandish painting, images may contain very complex programmes of visual references, with a number of domestic objects having significance in reinforcing the theology of the event. Well-known examples are the Mérode Altarpiece of Robert Campin, and the ''Annunciation'' by Jan van Eyck in Washington. 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 in Christian art」の詳細全文を読む スポンサード リンク 翻訳と辞書 : 翻訳のためのインターネットリソース Copyright(C) kotoba.ne.jp 1997-2016. All Rights Reserved.