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Art in early modern Scotland includes all forms of artistic production within the modern borders of Scotland, between the adoption of the Renaissance in the early sixteenth century to the beginnings of the Enlightenment in the mid-eighteenth century. Devotional art before the Reformation included books and images commissioned in the Netherlands. Before the Reformation in the mid-sixteenth century the interiors of Scottish churches were often elaborate and colourful, with sacrament houses and monumental effigies. Scotland's ecclesiastical art paid a heavy toll as a result of Reformation iconoclasm, with the almost total loss of medieval stained glass, religious sculpture and paintings. In about 1500 the Scottish monarchy turned to the recording of royal likenesses in panel portraits. More impressive are the works or artists imported from the continent, particularly the Netherlands. The tradition of royal portrait painting in Scotland was probably disrupted by the minorities and regencies it underwent for much of the sixteenth century, but it flourished after the Reformation. James VI employed Flemish artists Arnold Bronckorst and Adrian Vanson, who have left behind a visual record of the king and major figures at the court. The first significant native artist was George Jamesone, who was succeeded by a series of portrait painters as the fashion moved down the social scale to lairds and burgesses. The loss of ecclesiastical patronage that resulted from the Reformation created a crisis for native craftsmen and artists, who turned to secular patrons. One result of this was the flourishing of Scottish Renaissance painted ceilings and walls. Other forms of domestic decoration included tapestries and stone and wood carving. In the first half of the eighteenth century there was an increasing professionalisation and organisation of art. Large numbers of artists took the grand tour to Italy. The Academy of St. Luke was founded as a society for artists in 1729. It included among its members Allan Ramsay, who emerged as one of the most important British artists of the era. ==Devotional art== Devotional art acquired from the Netherlands in the later fifteenth and early sixteenth centuries included the images of St Catherine and St John brought to Dunkeld; Hugo van Der Goes's altarpiece for the Trinity College Church in Edinburgh, commissioned by James III, and the work after which the Flemish Master of James IV of Scotland is named.〔 There are also a relatively large number of elaborate devotional books from the late fifteenth and early sixteenth centuries, usually produced in the Netherlands and France for Scottish patrons. These include the prayer book commissioned by Robert Blackadder, Bishop of Glasgow, between 1484 and 1492〔 and the Flemish illustrated book of hours, known as the Hours of James IV of Scotland, given by James IV to Margaret Tudor after 1503 and described by D. H. Caldwell as "perhaps the finest medieval manuscript to have been commissioned for Scottish use".〔D. H. Caldwell, ed., ''Angels, Nobles and Unicorns: Art and Patronage in Medieval Scotland'' (Edinburgh: National Museum of Scotland, 1982), p. 84.〕 Before the Reformation in the mid-sixteenth century the interiors of Scottish churches were often elaborate and colourful. Particularly in the north-east of the country there were highly decorated sacrament houses, like the ones surviving at Kinkell from 1524 and Deskford from 1541.〔I. D. Whyte and K. A. Whyte, ''The Changing Scottish Landscape, 1500–1800'' (London: Taylor & Francis, 1991), ISBN 0-415-02992-9, p. 117.〕 Monumental effigies in churches were usually fully coloured and gilded and dedicated to members of the clergy, knights and their wives. In contrast to England, where the fashion for stone-carved monuments gave way to monumental brasses, in Scotland they continued to be produced until the end of the Medieval period.〔R. Brydall, ''The Monumental Effigies of Scotland: from the Thirteenth to the Fifteenth Century'' (Kessinger Publishing, 1895, rpt. 2010) ISBN 1-169-23232-9.〕〔K. Stevenson, ''Chivalry and Knighthood in Scotland, 1424–1513'' (Boydell Press, 2006), ISBN 1-84383-192-9, pp. 125–8.〕 These include the very elaborate Douglas tombs in the town of Douglas and the tomb built for Alexander McLeod (d. 1528) at Rodel in Harris.〔 Scotland's ecclesiastical art paid a heavy toll as a result of Reformation iconoclasm, with the almost total loss of medieval stained glass, religious sculpture and paintings.〔 The only significant surviving pre-Reformation stained glass in Scotland is a window of four roundels in the St. Magdalen Chapel of Cowgate, Edinburgh, completed in 1544.〔T. W. West, ''Discovering Scottish Architecture'' (Botley: Osprey, 1985), ISBN 0-85263-748-9, p. 55.〕 Wood carving can be seen at King's College, Aberdeen and Dunblane Cathedral.〔 In the West Highlands, where there had been a hereditary caste of monumental sculptors, the uncertainty and loss of patronage caused by the rejection of monuments in the Reformation meant that they moved into another branches of the Gaelic learned orders or took up other occupations. The lack of transfer of carving skills is noticeable in the decline in quality when gravestones were next commissioned from the start of the seventeenth century.〔J. E. A. Dawson, ''Scotland Re-Formed, 1488–1587'' (Edinburgh: Edinburgh University Press, 2007), ISBN 0-7486-1455-9, p. 131.〕 According to N. Prior, the nature of the Scottish Reformation may have had wider effects, limiting the creation of a culture of public display and meaning that art was channelled into more austere forms of expression with an emphasis on private and domestic restraint.〔N. Prior, ''Museums and Modernity: Art Galleries and the Making of Modern Culture'' (Berg, 2002), ISBN 1-85973-508-8, p. 102.〕 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「Art in early modern Scotland」の詳細全文を読む スポンサード リンク
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