ミケランジェロ「最後の審判」

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書誌事項

タイトル別名
  • Michelangelo; The Last Judgment
  • ミケランジェロ サイゴ ノ シンパン

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説明

The compositional principle of zonal structure keeps, under the influence of Neoplatonism, on being used in his monumental works, such as the Sistine Ceiling, the Medici Chapel and the Tomb of Julius II, but is discarded in the Last Judgment. This change has been interpreted as an artistic expression of his religious outlook in relation to the Italian Catholic Reformation. This interpretation is right in large part, but we can nevertheless point out the inner, though transformed, continuance between them, when we pay attention to the analytical composition of the Sistine Ceiling and the Last Judgment : we can connect them with each other through the motif of "jubaku" which reveals a state of mind captured by something invisible and enormous. In the former this motif is found in the part of the spandrels and lunettes where figures are imprisoned and huddle together within a dark and rigidly framed space. In the latter it is evolved and enlarged on to a cosmological level where all figures are captured by the resolving movement in a unlimited gloomy space. And this transformation of motif creates a unified vision of the world as fatum (fatality). It is this vision that comes into existence through the enlargement of jubaku-motif and the disappearance of zonal structure, and that also shows his last religious stage, judging from the fact that his crushed portrait is interpolated in the Last Judgment itself.

収録刊行物

  • 美学

    美学 27 (4), 14-32, 1977

    美学会

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