講義「器文化と日本人 １.漆器」
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分野 | 建築・芸術
静物画のスペクタクル――レンブラントとフェルメールを中心に「鑑賞者・物質性・脱領域」を考える
- ネーデルラント美術
- レンブラント・ファン・レイン
- ヨハネス・フェルメール
- 静物画
- 歴史画
この講義では、レンブラントとフェルメールに焦点を絞り、「静物画」をキーワードとして考えていきます。 普通には「静物画」とは、花や果物などを描いた絵というように理解されていますが、ここでいう「静物画」は、もっと広い意味をもっています。主題としてばかりでなく、人であれ事物であれ装飾的に描かれたものを「静物画」として捉えていきます。そして、この立ち位置からレンブラントとフェルメールの世界を探っていきます。 いわば、17世紀の古典主義によって確立された「歴史画」を頂点とし「静物画」を最下位に置くジャンルという見方を一旦括弧に入れ、二人の絵に描かれた人々や事物が宗教的あるいは寓意的なシンボルとしてではなく、対象そのものに魅了され描かれたものであることを浮かびあがらせます。 言い換えるなら、モノを観念的にではなく、感性的に捉える態度こそが地上を神の世界とみなす宗教体験ともいうことができます。同時にそれは、新たな現実感覚の誕生でもありました。
©東北大学. Last Update
2026-08-06
Content／学習内容
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In Week 1, we will examine how the birth of “still life”—which focuses on objects—did not arise solely from a growing secular trend, but emerged within the interplay of opposing vectors between the sacred and the secular. What kind of drama unfolded there?
- 1-0. Introduction
- 1-1. “The Birth of Painting” and “Still Life”
- 1-2. The Description of Objects across Genres
- 1-3-1. The Novelty of the van Eyck Brothers' “Ghent Altarpiece”, Part 1
- 1-3-2. The Novelty of the van Eyck Brothers' “Ghent Altarpiece”, Part 2
- 1-4. The Birth of “Still Life”
- 1-5. “Study of Hermit Crab and Witchcraft”, Part 1
- 1-6. “Study of Hermit Crab and Witchcraft”, Part 2
- 1-7. Allegory and Depiction in “Vanitas (The Vanity of Life)”, Part 1
- 1-8. Allegory and Depiction in “Vanitas (The Vanity of Life)”, Part 2
- 1-9-1. Paradoxical Paintings, Part 1
- 1-9-2. Paradoxical Paintings, Part 2
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In Week 2, we will focus primarily on Rembrandt’s etchings.
In particular, we will examine works in which multiple figures are depicted within a single etching, as if they were studies, to identify a new approach to artistic production that resonates with still life painting. We will explore who Rembrandt truly was—a figure who pioneered the new realm of the etching as compelling merchandise rivaling painting and revealed a new facet of himself as a Painter-Printmaker.- 2-0. Introduction
- 2-1. Rembrandt's Gaze Directed at "the Grouping of Heads"
- 2-2. Disappearance of Hierarchies for All Subjects
- 2-3-1. Collectors of Still-Life Etchings, Part 1
- 2-3-2. Collectors of Still-Life Etchings, Part 2
- 2-4. Rembrandt and the Print Collectors
- 2-5. What Is Unfinished in Art?
- 2-6. Pygmalion
- 2-7. The Role of White Space in Rembrandt’s Etchings
- 2-8. Rembrandt’s Artistic Strategy, Part 1
- 2-9. Rembrandt’s Artistic Strategy, Part 2
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In Week 3, we will contemplate Rembrandt and “Asia” while observing the delicate world woven from monochrome tones found in his etchings. We will reveal that Rembrandt’s black backgrounds reflect not merely the monochrome nature of etching, but the underlying European concept of “melancholy” that has flowed through European culture since ancient Greece.
- 3-0. Introduction
- 3-1. Gaze toward the East
- 3-2. The Ottoman Empire and the Netherlands, Part 1
- 3-3. The Ottoman Empire and the Netherlands, Part 2
- 3-4. Study of Mughal Miniatures, Part 1
- 3-5-1. Study of Mughal Miniatures, Part 2a
- 3-5-2. Study of Mughal Miniatures, Part 2b
- 3-6. Rembrandt and Washi, Part 1
- 3-7. Rembrandt and Washi, Part 2
- 3-8. The Depths of Black
- 3-9. The Aesthetics of Black
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In Week 4, we will examine the new sensibility expressed by Vermeer in the 17th century—an era of globalization—by focusing on the “white” that appears in his works. We will explore how Vermeer’s art, as manifested through white, was a product of the encounter between Europe and Asia, and also marked the dawn of a new artistic creation.
- 4-0. Introduction
- 4-1. Encounters between the Netherlands and Asia
- 4-2. White Gleam – Birth of a New Aesthetic, Part 1
- 4-3-1. White Gleam – Birth of a New Aesthetic, Part 2a
- 4-3-2. White Gleam – Birth of a New Aesthetic, Part 2b
- 4-4. Vermeer and Chinese Porcelain, Part 1
- 4-5-1. Vermeer and Chinese Porcelain, Part 2a
- 4-5-2. Vermeer and Chinese Porcelain, Part 2b
- 4-6. Vermeer and Chinese Porcelain, Part 3
- 4-7. Willem Kalf and Chinese Porcelain
- 4-8. The Birth of a New Sensibility through Still Life
Staff／スタッフ
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- 講師
尾崎 彰宏東北大学名誉教授
Contact／お問合せ先
東北大学オープンオンライン教育開発推進センター
Email: secretary.mooc@grp.tohoku.ac.jp
