放蕩息子の散財 ―長崎版画《阿蘭陀人康楽之図》と西洋製銅版画との関連を中心に
The Prodigal Son's Spending in Excess - A Nagasaki Print and Western Copperplate Prints Depicting a Scene of a Slutty Banquet in the 18th Century -
塚原 晃
( TSUKAHARA Akira )
本稿は長崎版画《阿蘭陀人康楽之図》と極めて類似した西洋製版画を明示するとともに、18世紀後期から19世紀前期にかけて世界的な広まりと変容をみせた、ある特定図像の系列にこの長崎版画が属することを実証するものである。1751年にセバスチアン・ルクレール(子)画とされるエングレーヴィング、またはこれを1750年代以降に模倣したイギリス製メゾチントなどに描かれる宴会風景は、そのテーブルの配置や人物のポーズが「阿蘭陀人康楽之図」とほぼ同様であり、影響関係が明らかである。これらの銅版画は、ルカ福音書の「放蕩息子」のたとえ話を題材にしたシリーズ物のひとつである。デルフト製陶磁器の絵付にも描かれるなど、この図様は欧州である程度評判を得たと考えられる。さらに上述の銅版画がオランダ船によって日本にも舶来し、18世紀末期から19世紀前半にかけての様々な絵画作品に、この酩酊し抱き合う男女のイメージが転用されている。
This article identifies a Western print very similar to the Nagasaki print "Orandajin Koraku no zu (Dutchman's Pastime)" and demonstrates that it belongs to a particular iconographic family that spread and changed worldwide in the late 18th and early 19th centuries. This banquet scenes depicted in the engravings published by Sebastien Leclerc (1751), or in English mezzotints that imitated them after the 1750s, are similar to the " Orandajin Koraku no zu " in their table arrangements and poses of the figures, and the relationship of influence among them is clear. These engraving prints are the part of a series based on the parable of the Prodigal Son in the Gospel of Luke. This iconic pattern by Leclerc is thought to have gained a certain degree of popularity in Europe, as it was also depicted on Delft porcelain. The above-mentioned European prints were also shipped to Japan by Dutch ships, and the image of the intoxicated man and woman embracing was used in various Japanese paintings from the end of the 18th century to the first half of the 19th century.
This article identifies a Western print very similar to the Nagasaki print "Orandajin Koraku no zu (Dutchman's Pastime)" and demonstrates that it belongs to a particular iconographic family that spread and changed worldwide in the late 18th and early 19th centuries. This banquet scenes depicted in the engravings published by Sebastien Leclerc (1751), or in English mezzotints that imitated them after the 1750s, are similar to the " Orandajin Koraku no zu " in their table arrangements and poses of the figures, and the relationship of influence among them is clear. These engraving prints are the part of a series based on the parable of the Prodigal Son in the Gospel of Luke. This iconic pattern by Leclerc is thought to have gained a certain degree of popularity in Europe, as it was also depicted on Delft porcelain. The above-mentioned European prints were also shipped to Japan by Dutch ships, and the image of the intoxicated man and woman embracing was used in various Japanese paintings from the end of the 18th century to the first half of the 19th century.
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2023-09-13
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