誰が「産む」のか? : レオナルドとミケランジェロにおける創造性の理念について
1992 年 42 巻 4 号 p. 34-45
詳細
1992 年 42 巻 4 号 p. 34-45
The aim of this paper is to demonstrate the different origin of Leonardo's and Michelangelo's idea of creativity by analyzing their artistic expression, especially their representation of the madonna as the holder of productive or creative ability. Leonardo's madonnas before 1480 were represented as teenage girls without grown-up wombs ; that is, Leonardo's early madonnas are represented not as the mothers who embody the productity of nature but as the virgins who are only the holy instrument of God the Father. But after 1480, especially in "the Burlington House Cartoon", Leonardo succeeded in the representation of the motherhood as Productivity itself by introducing the image of St. Anna as a kind of the great mother. On the contrary, Michelangelo's earliest madonna was a king of the great mother. Michelangelo acquired this image by a special adaptation of the "Platytera" which stands for the holy womb giving birth to God's son. But in the painting of the Holy Family "Tondo Doni", the real productive power was now given to the father Joseph who takes the posture of michelangeresque type of "Platytera". Christ was handed over through the madonna into Joseph's own hands to show that the Child as the product does not belong to the mother but the father.
