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RILAS 早稲田大学総合人文科学研究センター研究誌

WASEDA RILAS JOURNAL NO. 3 (2015.ペルシア10)の写本挿絵における中国由来の岩山表現ペルシアの写本挿絵における中国由来の岩山表現本間美紀The Influence of Chinese Painting Techniques on Rocks Depictedin Landscape Paintings of Persian MiniatureMiki HOMMAAbstractThis essay discusses the depiction of rocks in Persian paintings. It primarily focuses on works from theIlkhanid (1258-1353) to Jalayrid (1336-1432) periods, during which the Persian style of landscape paintingwas established, and conducts a comparison of these works with Chinese landscape painting styles.The landscape style of Persian painting developed during the Ilkhanid period under the influence of Chinesetechniques. Chinese pictorial elements, such as brush strokes, the suggestion of perspective, the use of highlighting,shading, and several motifs of Chinese origin were adopted during this period. From the secondhalf of the 14th century onwards, primarily during the Jalayrid period, Persian artists deliberately incorporatedfaces into the landscape of their manuscript paintings, and this convention continued until the Timurid(1370-1507) and Safavid (1501-1736) periods.Early works depicting mountainous scenes featuring rock faces and rock figures were an essential step inthe evolution of Persian landscape depiction, as these motifs appeared after the Timurid period and wereincorporated into the classical style of Persian painting. It is generally agreed today that the precursor tothese rock faces are the Chinese rock-painting conventions of the Sung (960-1126) and Yuan (1272-1368)periods, however, a satisfactory study of this development is still required. It has been proposed that therock faces derives from Chinese landscape painting and the techniques used to paint the rocks also originatedfrom the Chinese ink painting style. This essay follows the theory that the rock face paintingtechniques were of Chinese origin and compares Persian mountainous landscapes with those of Chinesepainting in more details. This analysis reveals one aspect of Chinese influence on the establishment of thePersian style of landscape painting.It is hoped that the present study will encourage the exploration of the hitherto unexamined Chineseinfluence on the development and the formation of classical styles in Persian painting.はじめにペルシアの写本挿絵は、様々な様式や流派が影響し合いながら、15世紀のティムール朝(1370-1507年)で古典様式として完成され(1)、続くサファヴィー朝(1501-1736年)で成熟期を迎えたと言われている(2)。15世紀に完成した古典様式は後世の模範とされ、ペルシアの領域のみならず、ムガル朝(1526-1858年)やオスマン朝(1299-1922年)の写本挿絵にも影響を及ぼした(3)。古典様式については、今のところ明確に定義されていないが(4)、グルーベやレンツは、シャー・ルフ(Sh?h Rukh1377-1447年)の息子でヘラート総督であったバーイスングル(B?ysunghur 1397-1433年)をパトロンとする写本挿絵を古典様式と称していることから(5)、本稿でもバーイスングル写本をペルシアの写本183