ブックタイトルRILAS 早稲田大学総合人文科学研究センター研究誌

概要

RILAS 早稲田大学総合人文科学研究センター研究誌

WASEDA RILAS JOURNALキリストNO. 1 (2013.伝サイクル10)の変容とスヴェティ・ニコラ聖堂の装飾プログラムキリスト伝サイクルの変容とスヴェティ・ニコラ聖堂の装飾プログラム──後期ビザンティン聖堂(13~15世紀)における儀礼化の進展──菅原裕文The Transformation of the Christological Cycle in Byzantine Churchesand the Iconographic Program of Sveti Nikola in Varo?, MacedoniaHirofumi SUGAWARAAbstractThe aim of this paper is to consider how the elaborate iconographic program of Sveti Nikola in Varo?, Macedonia(1200/1289), was established. It is the artistic tendency of 13 th -century Byzantine churches to interpolate newimages, such as the Ascension to the Cross were interpolated into the existing Passion Cycle.This enlargement of the Passion Cycle was already well underway in the middle Byzantine period through liturgyand literature. After the age of Iconoclasm (730?843), the preachers wrote the dramatic and sentimentalhomilies that related to the Passion of the Christ in order to defend His human nature. Such Passion homilies wereintroduced to the liturgy of Passion Week in 11 th century and became sources of images relating to the Passionsuch as the Lamentation of the Virgin.During the 11 th and 12 th centuries, the Byzantines took inceasingly more interest in classical Greek literature.Christos Paschon (11 th - 12 th century) was written as an imitation of ancient Greek tragedy, and may have beenread as a literary study among devotees of the classics. Mystery of the Passion, a practicable scenario of the Passionplay, was written by the 13 th century and covered all Passion episodes beginning with the Resurrection ofLazarus. These works demonstrate that the story of Christ’s Passion was well popularized out of the context of theChurch by the 13 th century.In Byzantium, new imagery had been introduced into literature first, then into art. In light of this picture, itcould be said that the enlargement of the Passion Cycle in 13 th -century churches was brought about popularizationof the Passion in middle Byzantine era. Painters enlarged the Passion cycle in accordance with the new images todramatize the images impressively. The Passion Cycle in Sveti Nikola can be seen as the culmination of suchingenuity of 13 th -century and as a major turning point.序マケドニア共和国(旧ユーゴ)、プリレプ郊外にヴァロシュという小さな村がある。ビザンティン時代には150超の聖堂が林立するほど栄えたと伝わるが、今では道端に馬が繋がれ、特産の煙草が香る鄙びた村にすぎない。この村にあるスヴェティ・ニコラ聖堂(図1) ?のフレスコは、マケドニアに留まらず、ビザンティン世界でも屈指の保存状態を誇り、かつての繁栄を偲ばせる縁となっている。スヴェティ・ニコラ聖堂は間口5.07m×奥行9.39m×高さ7.7m、丈の高い小さな単廊式の聖堂ナルテクスである。小聖堂によくあることだが、拝廊はない。聖堂のファサードは下部が石組み、上部が煉瓦積みで造られている。1200年頃に石組みの聖堂が建設され、1298年に地元の貴族ヴェコスと妻マリア、息子カプザの寄進により、アプシスを除く上部が改築されたが知られる?。43