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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 Christ Crowned with Thorns (Bosch, London) ： ウィキペディア英語版 Christ Crowned with Thorns (Bosch, London) ''Christ Crowned with Thorns'' is a work by Hieronymus Bosch painted sometime between 1490 and 1500. It currently resides in the National Gallery in London. ==Painting== The painting presents the viewer with a double departure; "the painting differs dramatically from the artist's own usual style" and "it differs subtly from the standardised representation of the scene as it had been evolved during the preceding centuries". Like generations of artists before him, Bosch was expected to turn out a repertoire of scenes from the Passion of Christ. The earthly sufferings and Crucifixion of Christ had gradually been given greater prominence since a shift in theological emphasis during the ninth century.〔 (The veneration of Christ had centred on the exaltation of his image as Christ in Majesty until that time.) This had led to a greater demand for devotional images of Christ's Passion. Preoccupation with the Passion had been fostered particularly by Bernard of Clairvaux during the 12th century. By Bosch's time the Passion and the Stations of the Cross had been "parcelled out into a complex system for devotional meditation, represented by a sequence of standardised scenes"〔 – the poor saw them in the stained glass windows of their churches and painted on its walls. The physical cruelty of the tormentors and the pain of Christ's sufferings had also become more overt in their expression over time. (For example, in Lucas Cranach the Elder's 'The Crowning with Thorns' – early representations of the 'Crowning with Thorns' showed nothing of the suffering and pathos that characterised the late medieval scene.) In a break with this tradition, instead of the usual violence, Bosch shows the scene before the violence hits. The question arises – why this deliberate restraint. Bosch was quite capable of reproducing the standard version of the ''Crowning with Thorns'', indeed he does so in the grisaille painting of the Mass of Saint Gregory on the outside of the wings of The Epiphany Altarpiece, painted around the same time as this picture. And his two other known paintings of the ''Crowning with Thorns'' retain the traditional sense of violence and pathos that this painting transcends. One is known only from copies, but the second, a tondo in the Escorial is unanimously acknowledged as Bosch's work. Compared with most of his work, the burghers of 's-Hertogenbosch would probably have found this ''Christ Crowned with Thorns'' shockingly 'modern', particularly in its composition. His use of a group of half-length figures isolated against a plain background, with the central figure of Christ looking out towards the viewer, had its origins in Northern Italy. In the opinion of Richard Foster and Pamela Tudor-Craig (in their book ''The Secret Life of Paintings''), the composition Bosch uses can be traced back to a prototype by Leonardo da Vinci: his picture of 'Christ Disputing among the Doctors', painted in 1504, probably for Isabella D'Este. The painting is now lost and we know it only from a copy by Bernardino Luini. The seminal influence of Leonardo is reflected in other pictures of the same subject painted by his contemporaries. Albrecht Dürer, whose career overlaps with Bosch's travelled twice from Nuremberg to Venice where he was profoundly influenced by the work of Leonardo. While in Venice, in 1506, Dürer painted his own version of ''Christ Disputing among the Doctors'' – a 'close-up' view, borrowed from Leonardo. Although there is no evidence that Hieronymus Bosch ever left his home town of S'Hertogenbosch, equally there is no proof that he spent his entire life rooted at home. Even if he did not travel as far as Italy, a wealthy man like Bosch must have had the opportunity, at least, to catch the Italian influence at second-hand. Perhaps it was Dürer who provided the link between Leonardo's use of this arrangement of figures and its appearance in Bosch's painting. Apart from the basic composition, two other aspects of Dürer's ''Christ Disputing among the Doctors'' find echos in Bosch's ''Christ Crowned with Thorns'' – the carefully differentiated faces of the people around Christ and the choreographed interplay of their hands. 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「Christ Crowned with Thorns (Bosch, London)」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.