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' (Swedish for "The Sun Dog Painting") is an oil-on-panel painting depicting a halo display, an atmospheric optical phenomenon, observed over Stockholm on April 20, 1535. It is named after the sun dogs ((スウェーデン語:Vädersol), "Weather sun") appearing on the upper right part of the painting. While chiefly noted for being the oldest depiction of Stockholm in colour, it is arguably also the oldest Swedish landscape painting and the oldest depiction of sun dogs. The original painting, which was produced shortly after the event and traditionally attributed to Urban Målare ("Urban () Painter"), is lost, and virtually nothing is known about it. However, a copy from 1636 by Jacob Heinrich Elbfas held in Storkyrkan in Stockholm, is believed to be an accurate copy and was until recently erroneously thought to be the restored original. It was previously covered by layers of brownish varnish, and the image was hardly discernible until carefully restored and thoroughly documented in 1998–1999. The painting was produced during an important time in Swedish history. The establishment of modern Sweden coincided with the introduction of Protestantism and the break-up with Denmark and the Kalmar Union. The painting was commissioned by the Swedish reformer Olaus Petri, and the resulting controversies between him and King Gustav Vasa and the historical context remained a well-kept secret for centuries. During the 20th century the painting became an icon for the history of Stockholm, and it is now frequently displayed whenever the history of the city is commemorated. == Painting == The painting is divided into an upper part depicting the halo phenomenon viewed vertically and a lower part depicting the city as it must have appeared viewed from Södermalm in the late Middle Ages. The medieval urban conglomeration, today part of the old town Gamla stan, is rendered using a bird's-eye view. The stone and brick buildings are densely packed below the church and castle, which are rendered in a descriptive perspective (i.e., their size relates to their social status, rather than their actual dimensions). Scattered wooden structures appear on the surrounding rural ridges, today part of central Stockholm. Though the phenomenon is said to have occurred in the morning, the city is depicted in the evening with shadows facing east.〔Weidhagen-Hallerdt, ''Vädersolstavlan i Storkyrkan, historisk bakgrund''〕 The wooden panel measures 163 by 110 centimetres (64 by 43 inches) and is composed of five vertical deals (softwood planks) reinforced by two horizontal dovetail battens. The battens, together with the rough scrub planed back, have effectively reduced warping to a minimum and the artwork is well preserved, with only insignificant fissures and attacks by insects.〔Rothlind, p 7〕 A dendrochronological examination of the panel by doctor Peter Klein at the Institute für Holzbiologie in Hamburg determined that it is made of pine deals (''Pinus silvestris''), the annual rings of which date from various periods ranging from the 1480s to around 1618. The painting can therefore date no further back than around 1620. This is consistent with the year 1636 given on the frame and mentioned in the parish accounts.〔Rothlind, pp 12-13〕 The dye, covering a semi-transparent red-brownish bottom layer, is emulsion paint containing linseed oil. The painting was apparently painted detail by detail as no under-painting or preparatory sketches have been discovered, except for marks at the centres of the biggest circles indicating that compasses were used. As a result of this, the horizon tilts to the right; an x-ray analysis has shown that the painter tried to compensate for this tilt by altering various elements in the painting, including mountains added along the horizon and the gently leaning spires of the church and the castle. A narrow unpainted border has been left around the image.〔Rothlind, p 10〕 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「Vädersolstavlan」の詳細全文を読む スポンサード リンク
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