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Mongol elements in Western medieval art can be seen in European works of art ranging from the 13th to the 15th century.〔The subject has been especially described by Rosamond E. Mack, in ''Bazaar to Piazza: Islamic Trade and Italian Art, 1300–1600''.〕 They encompass artistic areas such as painting and textile manufacture, and mainly consist in the European use of Mongol 'Phags-pa script in Medieval European art, as well as the representation of "Tartar" cloth and Mongol soldiers in a number of contemporary European paintings. ==Mongol script in medieval art== During the period of interaction between the Mongols and the West, from the late 13th century to early 14th century, some Italian painters incorporated Mongol script (particularly the 'Phags-pa script) into their religious painting.〔"During the Pax Mongolica a few Italian painters imitated a Mongol script called 'Phags Pa", in (Mack p.51 )〕〔(''The art, science, and technology of medieval travel'' by Andrea Kann p.94 )〕 Examples can be seen especially in the frescos of the Upper Church of San Francesco at Assisi, or in the paintings of Giotto and related painters.〔〔"The Assisi painters, and Giotto as is shown below, were imitating a Mongol script before 1307, when reports of Friar John of Montecorvino's success in Beijing arrived in the West, precipitating major missionary efforts in central Asia and China" (Mack, p.51 )〕 These inscriptions often imitated the Mongol 'Phags-pa, probably discovered by the artists through Mongol paper money or ''paiza'' (travel passes) such as those Marco Polo was issued with during his travels.〔(Mack, p.52 )〕 Frescos of Saint Jerome, Augustine and Pope Gregory I in the Church of San Francesco in Assisi (1296–1300) are known where they study books written in pseudo-Mongol.〔"The texts of Jerome (Fig.43, destroyed in the 1997 earthquake), Augustine and Pope Gregory I are written in squared units of vertical, horizontal, and curved strokes that can be called pseudo-Mongol. Though the artist has aligned the units horizontally on the page in Western style, the script itself imitates 'Pags Pa, which is written vertically" in (Mack, p.52 )〕 The famous Renaissance painter Giotto and his pupils often combined Arabic and 'Phags-pa script in their paintings.〔(Mack, p.54 )〕 In Giotto's ''The Crucifixion'' (1304-1312/1313), soldiers wear tunics inscribed with pseudo-Mongol bands.〔(Mack, p.61 )〕 In Giotto's ''Madonna and Child'' (1320–1330), the Virgin Mary's robe is decorated with a hem in a mix of Arabic and Mongol script.〔 Giotto again used the Mongolian script in the Scrovegni Chapel.〔 Besides the influence of exchanges between the Western and Mongol realms during the period, the exact reason for the incorporation of Mongol script in early Renaissance painting is unclear. It seems that Westerners believed 13–14th century Middle-Eastern scripts (such as Mongol and Arabic) to be the same as the scripts current during Jesus's time, and thus found it natural to represent early Christians in association with them. This may have been partly because some objects from the Islamic era with inscriptions were treated as relics.〔(Mack, p.52 ), (Mack, p.69 )〕 Another reason might be that artist wished to express a cultural universality for the Christian faith, by blending together various written languages, at a time when the church had strong international ambitions.〔"Because the Arabic and 'Pag Pa were associated with the Holy Land and the Early Christian Era, the frames could emphasize the origin and age of the images they surround. Perhaps they marked the imagery of a universal faith, an artistic intention consistent with the Church's contemporary international program." (Mack, p.69 )〕 Possibly, the usage of Mongol cultural markers was also a way to express the eastern links of European religious orders such as the Franciscans.〔 In the East, a certain degree of cultural and artistic interaction is known due to the development of Christianity among the Mongols. The use of the Mongol script in association with representations of Christianity can be seen for example in Nestorian Christian steles, such as those found in Quanzhou which are dated to the 14th century.〔 The use of Phags-pa Mongol script in Medieval European painting had remained unnoticed however, until it was first identified in the 1980s by the Japanese scholar Hidemichi Tanaka.〔"Hidemichi Tanaka in a brilliant insight has persuasively established that Giotto was exposed to Mongol ''Phags-pa'' script, and that he used it as a decorative motif at Padua and elsewhere." in (Arnold, p.124 )〕 His findings were published in his 1983 paper ''The Mongolian Script in Giotto Paintings at the Scrovegni Chapel at Padova''.〔''The Mongolian Script in Giotto Paintings at the Scrovegni Chapel at Padova'' in Europäische Kunst um 1300, Akten des XXV. Internationalen Kongresses für Kunstgechichte, 1983 (''The oliphant: Islamic objects in historical context'' Avinoam Shalem p.96 Note 56 )〕 Kufic Arabic script is even more often used in a similar way, known as Pseudo-Kufic. File:Giotto Crucifixion circa 1330 with soldier wearing headband in pseudo Mongol script.jpg|Giotto's ''Crucifixion'' with soldier wearing headband in pseudo-Mongol script, circa 1330.〔 File:Madonna and Child with Saints and Angels Filippo di Memmo Siena circa 1350.jpg|''Madonna and Child with Saints and Angels'', Filippo di Memmo, Siena, circa 1350. File:Saint Lawrence enthroned with Saints and Donors by Fra Filippo Lippi circa 1440.jpg|''Saint Lawrence'', by Fra Filippo Lippi, circa 1440. 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「Mongol elements in Western medieval art」の詳細全文を読む スポンサード リンク
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