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|Other Titles: ||On the Portal Sculpture of Perrecy-les-Forges and the Dating of the Ambulatory Capitals of Cluny III|
|Authors: ||ダーリング 常田, 益代1 Browse this author →KAKEN DB|
|Authors(alt): ||DARLING-TOKITA, Masuyo1|
|Issue Date: ||Oct-1998|
|Journal Title: ||美術史|
|Start Page: ||116|
|End Page: ||135|
|Abstract: ||When trying to establish the chronology of Romanesque sculpture in Burgundy a major obstacle one encounters is the inability to grasp the total appearance of the pivotal monument Cluny III due to its destruction after the French revolution. Although we know that Cluny III was constructed over some forty years beginning around 1088, how the construction proceeded remains unclear. This period from 1088 (ground breaking?) through to 1130 (dedication) also provides the time frame that encompasses the creation of nearly all the important Romanesque architecture and sculpture in Burgundy. While the construction of Cluny III was proceeding, other churches in Burgundy were started and completed. Therefore, the matter we must investigate is how each of these works relates to a particular part of Cluny III. In order to clarify Cluny III's role, the extent of her influence, and the degree of independence of the architecture and sculpture of other regions, it is necessary to approach the subject by simultaneously making a thorough survey of Cluny III along with that of other churches as well.
The present study illuminates the little studied portal sculpture of the former Benedictine priory of Perrecy-les-Forges (Saône-et-Loire). Its undeniable stylistic affinities with the Cluny III ambulatory capitals, works of the second workshop of Brionnais (the Avenas altar, the west portal of Anzy-le-Duc, the narthex portal of Mâcon), and the narthex portals of Vézelay allow us to clarify their chronological relationship. Preceding the stylistic analysis, archeological examinations of the Perrecy portal were also undertaken; the result suggests that the portal configuration was changed in the course of construction and that the current lintel and its extensions could have been made slightly later than the tympanum and corbels.
The stylistic study based on a hand analysis of the Perrecy portal sculptures and the Cluny III ambulatory capitals clarifies the following : 1. The sculptural style of the Second Brionnais workshop formed the foundation of a major Cluniac style from which the ambulatory capitals styles developed (This phase may be termed the "prelude" to Cluniac sculpture.) ; 2. The style that flourished in the eastern end of Cluny III was transmitted first to Perrecy and Vézelay (This phase may be termed the "florescence" of Cluniac sculpture.) ; 3. The sculptures of these two phases are found only among the variations of traditional architecture that prevailed in Burgundy before the introduction of the architectural style of Cluny III.
Integrating these results with the dates suggested from the study of the necking structures of the capitals and those provided from historical documents, we can date the phase of the prelude to Cluniac sculpture to circa 1090-1105 and the phase of the florescence of Cluniac sculpture to circa 1105-1120. Furthermore, the ambulatory capitals may be dated to circa 1105-1110. This conclusion redefines the extent of the influence of Cluny III. It seems only after 1120 that the architectural style of Cluny III spread to such places as Autun and Saulieu. The phenomena we observe here indicates that these churches modeled after Cluny III no longer share typical Cluniac sculptural styles represented by the ambulatory capitals and other works examined in this paper. This fact also suggests a time lag in the transmission of the Cluniac sculptural and architectural styles.|
|Rights: ||初出：美術史 48(1)|
|Appears in Collections:||国際広報メディア・観光学院，メディア・コミュニケーション研究院 (Graduate School of International Media, Communication and Tourism Studies / Research Faculty of Media and Communication) > 雑誌発表論文等 (Peer-reviewed Journal Articles, etc)|
Submitter: 常田 益代