{"created":"2023-05-15T10:54:59.013351+00:00","id":4731,"links":{},"metadata":{"_buckets":{"deposit":"3619616f-8723-4802-9853-140a74a6497a"},"_deposit":{"created_by":17,"id":"4731","owners":[17],"pid":{"revision_id":0,"type":"depid","value":"4731"},"status":"published"},"_oai":{"id":"oai:juen.repo.nii.ac.jp:00004731","sets":["993:994:1004"]},"author_link":["14472","14473"],"item_10002_biblio_info_7":{"attribute_name":"書誌情報","attribute_value_mlt":[{"bibliographicIssueDates":{"bibliographicIssueDate":"1998-03","bibliographicIssueDateType":"Issued"},"bibliographicIssueNumber":"2","bibliographicPageEnd":"984","bibliographicPageStart":"973","bibliographicVolumeNumber":"17","bibliographic_titles":[{"bibliographic_title":"上越教育大学研究紀要"}]}]},"item_10002_description_5":{"attribute_name":"抄録","attribute_value_mlt":[{"subitem_description":"筆者は1995年にイタリアのフィレンツェの工房にて，チェンニーノ・チェンニーニの『絵画術の書」（伊IL LIBRO DELL’ARTE）に示されている古典的技法を手懸かりに，フレスコ画の組成について，その素材や表現技法を把握すべく模写を通して学ぶ機会を得た。絵を構成する基底材，顔料，箔等に日本画と共通する要素を持つイタリアにおける中世及び，ルネサンスの壁画の素材を研究することによって，日本画の表現技法や素材について新たな可能性を見いだせるものと考える。本稿では，壁画の変遷をたどりながら，特に漆喰壁画に着目し，東洋と西洋の壁画を技法面・組成面から比較し，両者の共通点及び相違点について検討した。今回は芸術性及び技法面においても質の高い作品を生み出した14世紀～17世紀イタリアの壁画の中から，15世紀の最後の10年間の時期にギルランダイオが描いたフィレンツェのサンタ・マリア・ノヴュッラ聖堂の壁画の一部分の模写を試み，あわせて法隆寺の金堂壁画の模写を試みながら，それぞれの特質について考察した。","subitem_description_type":"Abstract"},{"subitem_description":"In 1995 the author had the opportunity to learn about the composition of the fresco, that is, its matrials and expression techniques, through copying it, based on the classical techniques shown in the book \"IL LIBRO DELL' ARTE\" wrirren by Cennino Cennini. Since Italian paintings of the middle age and the wall paintings of the early renaissance period have common elements with Japanese painting, such as base materials, colors foils and so on, studying the elements of the fresco is thought to bring new possibilities of materials and expression techniques to Japanese paintings. This article traced the art history of wall paintings, especially, wall painting of mortar. Firstly, the western wall paintings and the eastern ones were compared from the points of view of techniques and materials, than the similarities and differences between both paintings were pointed out. Next, the author referred to her own experiences of copying both Eruopean and eastern wall paintings, in order to discuss the characteristics of expression in the paintings from both worlds. Copying the European painting was done with a part of wall painting by Domenico Ghirlandaio placed in S. Maria Novella in Florence, Italy, While that of the eastern painting of Horyuji Temple in Nara, Japan.","subitem_description_type":"Abstract"}]},"item_10002_publisher_8":{"attribute_name":"出版者","attribute_value_mlt":[{"subitem_publisher":"上越教育大学"}]},"item_10002_relation_12":{"attribute_name":"論文ID（NAID）","attribute_value_mlt":[{"subitem_relation_type":"isIdenticalTo","subitem_relation_type_id":{"subitem_relation_type_id_text":"AN10284863","subitem_relation_type_select":"NAID"}}]},"item_10002_source_id_9":{"attribute_name":"ISSN","attribute_value_mlt":[{"subitem_source_identifier":"0915-8162","subitem_source_identifier_type":"ISSN"}]},"item_10002_version_type_20":{"attribute_name":"著者版フラグ","attribute_value_mlt":[{"subitem_version_resource":"http://purl.org/coar/version/c_970fb48d4fbd8a85","subitem_version_type":"VoR"}]},"item_creator":{"attribute_name":"著者","attribute_type":"creator","attribute_value_mlt":[{"creatorNames":[{"creatorName":"洞谷,  亜里佐"},{"creatorName":"ドウヤ, アリサ","creatorNameLang":"ja-Kana"}],"nameIdentifiers":[{"nameIdentifier":"14472","nameIdentifierScheme":"WEKO"}]},{"creatorNames":[{"creatorName":"Doya,  Arisa","creatorNameLang":"en"}],"nameIdentifiers":[{"nameIdentifier":"14473","nameIdentifierScheme":"WEKO"}]}]},"item_files":{"attribute_name":"ファイル情報","attribute_type":"file","attribute_value_mlt":[{"accessrole":"open_date","date":[{"dateType":"Available","dateValue":"2015-06-17"}],"displaytype":"detail","filename":"kiyo17_2-35.pdf","filesize":[{"value":"692.9 kB"}],"format":"application/pdf","licensetype":"license_note","mimetype":"application/pdf","url":{"label":"kiyo17_2-35.pdf","url":"https://juen.repo.nii.ac.jp/record/4731/files/kiyo17_2-35.pdf"},"version_id":"a39f11e8-f24f-4c3e-9210-5e9b0a38eb69"}]},"item_keyword":{"attribute_name":"キーワード","attribute_value_mlt":[{"subitem_subject":"漆喰壁画","subitem_subject_scheme":"Other"},{"subitem_subject":"フレスコ","subitem_subject_scheme":"Other"},{"subitem_subject":"石灰","subitem_subject_scheme":"Other"},{"subitem_subject":"ジョット","subitem_subject_scheme":"Other"},{"subitem_subject":"模写","subitem_subject_scheme":"Other"},{"subitem_subject":"チェンニーノ・チェンニーニ","subitem_subject_scheme":"Other"},{"subitem_subject":"wall painting of mortar","subitem_subject_scheme":"Other"},{"subitem_subject":"fresco","subitem_subject_scheme":"Other"},{"subitem_subject":"lime","subitem_subject_scheme":"Other"},{"subitem_subject":"Giotto","subitem_subject_scheme":"Other"},{"subitem_subject":"copy","subitem_subject_scheme":"Other"},{"subitem_subject":"Cennino Cennini","subitem_subject_scheme":"Other"}]},"item_language":{"attribute_name":"言語","attribute_value_mlt":[{"subitem_language":"jpn"}]},"item_resource_type":{"attribute_name":"資源タイプ","attribute_value_mlt":[{"resourcetype":"departmental bulletin paper","resourceuri":"http://purl.org/coar/resource_type/c_6501"}]},"item_title":"東洋と西洋の壁画組成についての考察","item_titles":{"attribute_name":"タイトル","attribute_value_mlt":[{"subitem_title":"東洋と西洋の壁画組成についての考察","subitem_title_language":"ja"}]},"item_type_id":"10002","owner":"17","path":["1004"],"pubdate":{"attribute_name":"PubDate","attribute_value":"2009-05-22"},"publish_date":"2009-05-22","publish_status":"0","recid":"4731","relation_version_is_last":true,"title":["東洋と西洋の壁画組成についての考察"],"weko_creator_id":"17","weko_shared_id":-1},"updated":"2024-03-11T05:01:05.071373+00:00"}