Content／学習内容

• Week1 : Sensing the Divine in Everyday Objects

  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
• Week2 : Aesthetic Technology

  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
• Week3 : The Aesthetics of Black

  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
• Week4 : The White Gleam of Porcelain

  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

• 
  • 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

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