レオナルド・ダ・ヴィンチ 『絵画論』

▪ レオナルド・ダ・ヴィンチ(1452 -1519) o イタリアのルネサンス期を代表する芸術家 o 本名はレオナルド・ディ・セル・ピエーロ・ダ・ヴィンチ (Leonardo di ser Piero da Vinci ) o 絵画、彫刻、建築、音楽、科学、数学、工学、発明、解剖学、地学、地誌学、植物学など o 万能人(uomo universale )、「飽くなき探究心」と「尽きることのない独創性」 o 肖像画『モナ・リザ』と宗教画『最後の晩餐』 o 絵画作品、レオナルドが残したドローイングや科学に関するイラストが描かれた手稿、絵画に対する信念

▪ 手稿

o ルネサンス人文主義 o 13,000ページ、手稿にドローイング o 芸術と自然哲学が融合したもの o レオナルドが興味と関心を持ったあらゆる分野の事象が書かれている。

▪ 「絵の本」から

絵画とほかの芸術との

• 絵画と詩人との相違 • 絵画と音楽との相違 • 絵画と彫刻との相違

遠近法 Perspective • 線的遠近法 • 色彩遠近法 • 消失遠近法 • 空気遠近法

光、影、色

▪ 参考文献

杉浦明平訳 岩波文庫 レオナルドダビンチの手記 （上）
The Notebooks of Leonardo, Da Vinch Irma A. Richter, Oxford University Press

－絵画とほかの芸術との
画家は、自分をする美を見たいと思えば、
肝をつぶす：to be amazed

実際この宇宙の中に本質として、現在としてあるいは想像としてあるものを、かれはまず頭の中に、次は手の中に所有する。そしてそれは非常に優秀なので、それらがいかなるものであろうとも、同時に一眸の中に均衡のとれた調和を生じる。these are of such excellence that they can present a proportioned and harmonious view of the whole, that can be seen simultaneously, at one glance, just as things in nature.

絵画は自然から生まれる、自然の孫。

絵画を軽蔑するものは哲学をも、また自然を愛していない． he who despises painting loves neither philosophy nor nature.

絵と詩の

絵と音楽
音楽は絵画の姉妹という以外に呼びようがない。
眼に比べて第二次的な感官たる聴覚に従い、 for she is depending on hearing, the sense which comes second[1],and her harmony is composed of the union of its proportional parts sounded simultaneously, rising and falling in one or more harmonic rhythms.

「音楽」は「絵画」の姉妹である。だが絵画は音楽に勝り君臨する。なぜならそれは音楽のように生まれた直後に死にはしない。絵画は存在し続け、実際単なる一片の平面にすぎないものに命を吹込んで君に見せるのだから。
But painting excels and ranks higher than music, because it does not fade away as soon as it is born, as is the fate of unhappy music. On the contrary, it endures and has all the appearance of being alive, though in fact it is confined to one surface.

The musician claims that his art is equal to that of the painter, for it, too, is a body composed of many parts – the graces of which may be contemplated by the observer in as many harmonic rhythms as there are and with these rhythms which are born and die it delights the soul of man within him.

But the painter answers that the human body composed of many members does not give pleasure through harmonic rhythms in which beauty has to vary and create new forms, nor is it composed in rhythms which constantly require to be born and to die, but he makes it to last a great number of years and of such excellence that it keeps alive that harmony of proportion which nature with all its force could not keep. How many paintings have preserved the image of divine beauty of which time or sudden death have destroyed Nature’s original world of the painter has survived in nobler form that that of nature, his mistress.

絵と詩との相違について。想像と実体との相違は、影と影ある物体との関係に等しく、詩と絵との間にも同様の比例が存在する。けだし、詩は読者の想像のうちに自分の事柄を並べるのに対して、絵はそれを眼の前にリアルに表現するが、その眼は自然さながらの映像を受け取る。詩の方はその映像をもたずにものを表現するのでそれは絵のように視覚を通して印象に達することがない。

There is the same difference between the poet's and the painter's representation of the human figure as there is between dismembered and units bodies. Because the poet in describing the beauty or ugliness of any figure can only show it to y consecutively, bit by bit, while the painter will display it all at once.
絵画は一瞬のうちに視力をとおしてものの本質を君に示す。しかも、印象が自然の対象をうけいれるのと同じ手段によるのであり、かつ同一時おいてであるが、全体それは感覚を満足させるを構成する諸部分の調和的均衡はこの同一時につくられとのである。
詩も同じ事ですが、眼より効果の乏しい手段によってである。

And the poet's way may be compared to that of musician who all by himself undertakes to sing a composition which is intended for four voices and first sings the part of soprano, and then that of the tenor, then the contralto and finally the bass.

絵は言葉あるいは文字のなす以上の真実さと正確さとをもって自然の諸作品を感官に向って表現するが、文字は絵のなす以上の真実さをもって言葉で表現する。
しかし作者の作品すなわち人間の作品たる言葉を表現する、例えば人間の舌を通る詩その他のごとき(like)学より自然の作品を表現する学の方が一層驚くべきだと言ってよかろう。

Also music when setting her suave melodies in rhythmic divisions of time, composes them I. Her various voices. But the poet I debarred from such harmonious discrimination of voices - he is unable to give an equivalent of musical harmony, because it is beyond his power to say different things simultaneously as the painter does in his harmonious proportions where the component part are made to react simultaneously and can be seen at one and the same time both together and separately.

Thus

The poet ranks far below the painter in the presentation of visible things, and far below the musician in that of invisible things.

If the poet knows how to describe and write down the appearance of forms, the painter can make them so that they appear enlivened with lights and shadows which create the very expression of the faces

Take the case of a poet who describes the beauties of a lady to her love and a painter who portrays her; and you will see whether nature will more incline the enamored judge. surely the proof of the matter should be allowed to rest on the verdict of experience.

We by our art may be called the grandchildren of God.
If poetry treats of moral philosophy, painting has to do with natural philosophy.
If poetry describes the working of the mind, painting considers the working of the mind as reflected in the movement of body.
If poetry can terrify people by fictions of hell, painting can do as much by place the same things before the eye.
Suppose the poet I'd set against the painter to represent be

The eye which is called the window of the soul is the chief means whereby the understanding can most fully and abundantly appreciate the infinite works of nature. If you, historians, or poets, or mathematicians had not seen the things with your eyes, you could report but imperfectly of them in writing.

詩人と画家の会話
詩人：私の学は創意と規則（韻律）とである、これこそ詩の単純な本体だ、つまり素材の創意と各節における押韻とが。
画家：創意と規則（韻律）も持っている。自分の描くべき素材における創意と、描かれた物における規則です。

私:
眼、耳のランキングによって画家、詩人のランキングをしています。同じ文字で書いた部分も人によって理解(頭の中に想像しているもの)は違うだろう
でも、絵によって誰でも同じものを見ている。

ー
絵画の方が

詩よりも優れていると述べているのであり、これが詩と絵画の間の優劣論争

ダ・ヴィンチの「芸術優劣論争パラゴーネ」 と呼ばれる。

絵画と彫刻との相違
彫刻家は画家より大きな肉体的労力によって制作をいとなむのに対して、画家はその作品をよりおおきな知的労力によって造るという点にすぎない。
the art of painting includes in its domain all visible things, and sculpture with its limitations does not, namely the colours of all things in their varying intensity and the transparency of objects.
The sculptor simply shows you the shapes of natural objects without further articice.
The painter can suggest to you various distances by a change in colour produced, by the atmosphere intervening between the object and the eye.

画家はめを取り込む対象の映像はどのように本当の相似光素（シムラクリ）となって瞳に集まるか、大きさの等しい諸対象のうちいずれがより明るく、またはより暗く見えるか、等しい低さのうちいずれが多少とも低く見えるか、等しい高さにおかれた物のうち、いずれが多少ともたかくみえるか。

彫刻は、あらゆる物象の色彩とその縮小はそうすることを許さない。p.207
透明な物見せてくれない．
画家：雨、霧、雲、川、星空、いろんな現象を描く、彫刻はできない。

in the first place, a statue is dependent on certain lights, namely those from above, while a picture carries its own light and shade with it everywhere.
第一に、彫刻は一定の、すなわち上からの光に左右されるが、絵画はいたるころに光ると影とをたずさえてゆく。
しかも、光と影は彫刻に大切なものなのである。 in this respect, the sculptor is helped by the nature of the relief, which produces them of its own accord, while the painter has to create them by his art in places where nature would normally do so.

The sculptor cannot differentiate between the various natural colours of objects.
The lines of perspective of sculptors do not seem in any way true
They can neither represent transparent bodies nor luminous bodies nor reflections, nor shining bodies such as mirrors and like things of glittering surface, nor mists, nor dull weather,etc.

私：You need to picture first and then do the sculpture

ー遠近法 Perspective

遠近法は「絵画」の手綱であり舵である。

Painting is based upon perspective which is nothing else than a thorough knowledge of the function of the eye. And this function simply consists in receiving in a pyramid the forms and colors of all object placed before it.
三つの性質があります。
• 線的遠近法 • 色彩遠近法 • 消失遠近法

1) Linear perspective: perspective of diminution of objects as they recede from the eye
2) the perspective of colour: the way in which colours vary as they recede from the eye
3) the perspective of disappearance : how objects should appear less distinct in proportion as they are more remote. 1) 縮小の理法に関するもの：眼から遠ざかってゆく対象を縮小遠近法 2) 眼から遠ざかってゆく色彩の変化する方法をば意味する 3) 対象が遠ざかるだけぼやけねばならぬかという証明

the science of painting deals with all the colours of the surfaces of bodies, and with the shapes of the bodies thus enclosed. With their relative nearness and distance with the degrees of diminution required as distances gradually increase and this science is the mother of perspective.

空気遠近法

一線上にならんでいるようにみえる様々の建物の違う距離が空気の変化によって識別できるからである。
従って君は壁の上に出ている最も手前の建物はそのままの色で描き、それより遠くにある物はそれだけ輪郭ははっきりしないがそれだけ青く描く、そしてはるかにあるように見せたいものはそれに比例して青色を濃くしなくてはならない。つまり５倍だけとおるはなれているようにしたいとすれば、五倍だけ濃い青色にすべきであろう。

ー光、影、色

影は光よりも大きな力をもっている、というのはそれは物体から光を禁じこれを完全に奪うけれど、光は物体つまり固体からかげをすっかり追拂うということは絶対にできない。
あらゆる色彩は影よりも光のあたる部分における方が美しい。光は色彩を輝いてそお性質を正しく認めさせるのに、影は同じ美しさを弱め曖昧にし、その色の認識を妨げるからこういうことが生まれる。もし反対に黒は光の中より影における方が美しいとしたら、黒は、況や白は、色ではないと答えよう。
Shade is the obstruction of light.

The scientific and true principles of painting first determine what is a shaded object, what is direct shadow, what is cast shadow, and what is light, that is to say, darkness, light, colour, body, figure, position, distance, nearness,motion and rest.

The shadows are of varying degrees of darkness, because they have been abandoned by a varying quantity of luminous rays; and these I call primary shadow

Derived shadow: From these primary shadows there issue certain dark rays, which are diffused through the air and vary in intensity according to the density of the primary shadows from which they are derived.

Moreover these derived shadows in striking upon anything create as many different effects as there are different places where they strike

A shadow may be infinitely dark, and also of infinite degress of absence of darkness.
Shadow is the diminution of light by the intervention of an opaque body, shadow is the counterpart of the luminous rays which are cut off by an opaque body.

[pic]
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[1] According to ancient traditions the five senses ranked in order of nobility, sight came first and then hearing.

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y, sight came first and then hearing.