|
Cabinets of curiosities (also known as Kunstkabinett, Kunstkammer, Wunderkammer, Cabinets of Wonder, and wonder-rooms) were encyclopedic collections of objects whose categorical boundaries were, in Renaissance Europe, yet to be defined. Modern terminology would categorize the objects included as belonging to natural history (sometimes faked), geology, ethnography, archaeology, religious or historical relics, works of art (including cabinet paintings), and antiquities. "The Kunstkammer was regarded as a microcosm or theater of the world, and a memory theater. The Kunstkammer conveyed symbolically the patron's control of the world through its indoor, microscopic reproduction."〔Francesaco Fiorani, reviewing Bredecamp 1995 in ''Renaissance Quarterly'' 51.1 (Spring 1998:268-270) p 268.〕 Of Charles I of England's collection, Peter Thomas states succinctly, "The ''Kunstkabinett'' itself was a form of propaganda"〔Thomas, "Charles I of England: The tragedy of Absolutism", A.G. Dickens, ed. ''The Courts of Europe'' (London) 1977:201.〕 Besides the most famous, best documented cabinets of rulers and aristocrats, members of the merchant class and early practitioners of science in Europe formed collections that were precursors to museums. ==History== The term ''cabinet'' originally described a room rather than a piece of furniture. The classic cabinet of curiosities emerged in the sixteenth century, although more rudimentary collections had existed earlier. The Kunstkammer of Rudolf II, Holy Roman Emperor (ruled 1576–1612), housed in the Hradschin at Prague, was unrivalled north of the Alps; it provided a solace and retreat for contemplation〔This is the secretive aspect emphasised by R. J. W. Evans, ''Rudolf II and His World: A Study in Intellectual History'' (Oxford) 1973.〕 that also served to demonstrate his imperial magnificence and power in symbolic arrangement of their display, ceremoniously presented to visiting diplomats and magnates.〔Thomas DaCosta Kaufmann, "Remarks on the Collections of Rudolf II: The Kunstkammer as a Form of Representatio", ''Art Journal'' 38.1 (Autumn 1978:22–28).〕 Rudolf's uncle, Ferdinand II, Archduke of Austria, also had a collection, with a special emphasis on paintings of people with interesting deformities, which remains largely intact as the Chamber of Art and Curiosities at Ambras Castle in Austria. The earliest pictorial record of a natural history cabinet is the engraving in Ferrante Imperato's ''Dell'Historia Naturale'' (Naples 1599) (''illustration, left''). It serves to authenticate its author's credibility as a source of natural history information, in showing his open bookcases at the right, in which many volumes are stored lying down and stacked, in the medieval fashion, or with their spines upward, to protect the pages from dust. Some of the volumes doubtless represent his herbarium. Every surface of the vaulted ceiling is occupied with preserved fishes, stuffed mammals and curious shells, with a stuffed crocodile suspended in the centre. Examples of corals stand on the bookcases. At the left, the room is fitted out like a ''studiolo''〔''Studiolo'': the small retreats in the palaces of Urbino and Gubbio were inlaid with intarsia that figured just such fitted cabinets with feigned lattice doors and shelves filled with scientific instruments, books and small sculptures in ''trompe-l'oeil'' perspective. The Gubbio ''studiolo'' has been reassembled at the Metropolitan Museum; the Urbino ''studiolo'' remains in situ.〕 with a range of built-in cabinets whose fronts can be unlocked and let down to reveal intricately fitted nests of pigeonholes forming architectural units, filled with small mineral specimens.〔Sixteenth-century cabinet-makers serving the luxury trades of Florence and Antwerp were beginning to produce moveable cabinets with similar architectural interior fittings, which could be set upon a carpet-covered table or on a purpose-built stand.〕 Above them, stuffed birds stand against panels inlaid with square polished stone samples, doubtless marbles and jaspers or fitted with pigeonhole compartments for specimens. Below them, a range of cupboards contain specimen boxes and covered jars. Two of the most famously described seventeenth-century cabinets were those of Ole Worm, known as Olaus Wormius (1588–1654) (''illustration, above right''), and Athanasius Kircher (1602–1680). These seventeenth-century cabinets were filled with preserved animals, horns, tusks, skeletons, minerals, as well as other interesting man-made objects: sculptures wondrously old, wondrously fine or wondrously small; clockwork automata; ethnographic specimens from exotic locations. Often they would contain a mix of fact and fiction, including apparently mythical creatures. Worm's collection contained, for example, what he thought was a Scythian Lamb, a woolly fern thought to be a plant/sheep fabulous creature. However he was also responsible for identifying the narwhal's tusk as coming from a whale rather than a unicorn, as most owners of these believed. The specimens displayed were often collected during exploring expeditions and trading voyages. In the second half of the 18th century, Belsazar Hacquet (c. 1735–1815) operated in Ljubljana, then the capital of Carniola, a natural history cabinet ((ドイツ語:Naturalienkabinet)) that was appreciated throughout Europe and was visited by the highest nobility, including the Holy Roman Emperor, Joseph II, the Russian grand duke Paul and Pope Pius VI, as well as by famous naturalists, such as and . It included a number of minerals, including specimens of mercury from the Idrija mine, a ''herbarium vivum'' with over 4,000 specimens of Carniolan and foreign plants, a smaller number of animal specimens, a natural history and medical library, and an anatomical theatre. Cabinets of curiosities would often serve scientific advancement when images of their contents were published. The catalog of Worm's collection, published as the ''Museum Wormianum'' (1655), used the collection of artifacts as a starting point for Worm's speculations on philosophy, science, natural history, and more. In 1587 Gabriel Kaltemarckt advised Christian I of Saxony that three types of item were indispensable in forming a "Kunstkammer" or art collection: firstly sculptures and paintings; secondly "curious items from home or abroad"; and thirdly "antlers, horns, claws, feathers and other things belonging to strange and curious animals".〔B. Gutfleish and J. Menzhausen, "How a Kunstkammer Should Be Formed", ''Journal of the History of Collections'', 1989 Vol I: p. 11.〕 When Albrecht Dürer visited the Netherlands in 1521, apart from artworks he sent back to Nuremberg various animal horns, a piece of coral, some large fish fins and a wooden weapon from the East Indies.〔A Hyatt Mayor, ''Prints and People'', Metropolitan Museum of Art/Princeton, 1971, nos 48.ISBN 0-691-00326-2〕 The highly characteristic range of interests represented in Frans II Francken's painting of 1636 (''illustration, left'') shows paintings on the wall that range from landscapes, including a moonlit scene—a genre in itself—to a portrait and a religious picture (the ''Adoration of the Magi'') intermixed with preserved tropical marine fish and a string of carved beads, most likely amber, which is both precious and a natural curiosity. Sculpture both classical and secular (the sacrificing ''Libera'', a Roman fertility goddess)〔Her base is inscribed LIBER()〕 on the one hand and modern and religious (''Christ at the Column''〔It appears to represent a reduction of a well-known sculpture by Alessandro Algardi.〕) are represented, while on the table are ranged, among the exotic shells (including some tropical ones and a shark's tooth): portrait miniatures, gem-stones mounted with pearls in a curious quatrefoil box, a set of sepia chiaroscuro woodcuts or drawings, and a small still-life painting〔Still life was considered a lesser genre than even portraits or landscapes.〕 leaning against a flower-piece, coins and medals—presumably Greek and Roman—and Roman terracotta oil-lamps, curious flasks, and a blue-and-white Ming porcelain bowl. Cabinets of curiosities were limited to those who could afford to create and maintain them. Many monarchs, in particular, developed large collections. A rather under-used example, stronger in art than other areas, was the Studiolo of Francesco I, the first Medici Grand-Duke of Tuscany. Frederick III of Denmark, who added Worm's collection to his own after Worm's death, was another such monarch. A third example is the Kunstkamera founded by Peter the Great in Saint Petersburg in 1714. Many items were bought in Amsterdam from Albertus Seba and Frederik Ruysch. The fabulous Habsburg Imperial collection included important Aztec artifacts, including the feather head-dress or crown of Montezuma now in the Museum of Ethnology, Vienna. Similar collections on a smaller scale were the complex ''Kunstschränke'' produced in the early seventeenth century by the Augsburg merchant, diplomat and collector Philipp Hainhofer. These were cabinets in the sense of pieces of furniture, made from all imaginable exotic and expensive materials and filled with contents and ornamental details intended to reflect the entire cosmos on a miniature scale. The best preserved example is the one given by the city of Augsburg to King Gustavus Adolphus of Sweden in 1632, which is kept in the Museum Gustavianum in Uppsala. The curio cabinet, as a modern single piece of furniture, is a version of the grander historical examples. The juxtaposition of such disparate objects, according to Horst Bredekamp's analysis (Bredekamp 1995), encouraged comparisons, finding analogies and parallels and favoured the cultural change from a world viewed as static to a dynamic view of endlessly transforming natural history and a historical perspective that led in the seventeenth century to the germs of a scientific view of reality. A late example of the juxtaposition of natural materials with richly worked artifice is provided by the Grünes Gewölbe, the "Green Vaults" formed by Augustus the Strong in Dresden to display his chamber of wonders. The "Enlightenment Gallery" in the British Museum, installed in the former "Kings Library" room in 2003 to celebrate the 250th anniversary of the museum, aims to recreate the abundance and diversity that still characterized museums in the mid-eighteenth century, mixing shells, rock samples and botanical specimens with a great variety of artworks and other man-made objects from all over the world. In seventeenth-century parlance, both French and English, a ''cabinet'' came to signify a collection of works of art, which might still also include an assembly objects of ''virtù'' or curiosities, such as a ''virtuoso'' would find intellectually stimulating. In 1714, Michael Bernhard Valentini published an early museological work, ''Museum Museorum'', an account of the cabinets known to him with catalogues of their contents. Some strands of the early universal collections, the bizarre or freakish biological specimens, whether genuine or fake, and the more exotic historical objects, could find a home in commercial freak shows and sideshows. 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「Cabinet of curiosities」の詳細全文を読む スポンサード リンク
|