オリエント
Online ISSN : 1884-1406
Print ISSN : 0030-5219
ISSN-L : 0030-5219
ローマ壁画における静物画を連ねた構成について
飯島 章仁
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ジャーナル フリー

1998 年 41 巻 2 号 p. 194-212

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In the Pompeian wall-painting, we can see depictions of wild birds, animals, fruits, fishes, bottles, plates etc. These themes are seemingly very similar to the still life motif of our age. But they may have connotation different to ours. In ancient Greece, dining and symposion were held as part of some religious rite. This ceremonial nature is discernible also in the Pompeian wall-painting, where depictions of hanged birds or dedicated fruits are sometimes visible by the side of altars. We can interpret these representations as reminiscent of old tradition of ceremonial dining.
In the Pompeian wall-painting, panel-like flamins were used to array representations of various kind of these themes. Sometimes they are composed to make serial arrangement of still life motifs, located in the series of panel-like pictures of middle zone or in the frize-like area of upper zone of wall.
Serial disposition of still life is often found in the rooms of symposion or dining called as triclinium or oecus. These motifs may be used to demonstrate the variety of different agricultural products or wild creatures of estate of host family. Representation of variety and richness of domestic products is very suitable each to show the generosity and hospitality of hosts, as well as the aesthetic value of their skillful depiction.

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