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Please use this identifier to cite or link to this item: http://hokuga.hgu.jp/dspace/handle/123456789/1206

Title: 主題「最後の晩餐」を辿って
Other Titles: A Survey of Some Works of Art on the Theme of "The Last Supper"
Authors: 高久, 眞一
TAKAKU, Shinichi
Issue Date: 30-Nov-1993
Publisher: 北海学園大学人文学会
Abstract: This paper consists of critical comments on each of the thirty-five works of art on the theme of "The Last Supper"; the works selected here are the ones which, except the very early ones, have deviated from and subsequently enriched the main stream. This survey has stumbled over the following two stones: Firstly, why was John the Evangelist, one of the twelve disciples, represented so often and over so long a period through the history of Christian fine arts, as dozing or sound sleeping, secure in the bosom of Jesus or close against him, at the very tense and solemn moment of the scene? He was portrayed as rude, indifferent, or lazy, apparently an anti-climax to the keen atmosphere; his somnolent figure, so established, hints as if he were canonized as the patron saint for the insomniacs. One suggestion this paper offers on the question of John's seemingly sacrilegious posture at the table of the Last Supper is that he was rendered in early works as leaning on Jesus' bosom, true to the Gospel according to St. John 13: 25, and this led later artists to accentuate John's privileged position and to portray him as closing his eyes in an ecstasy of thrilling joy. The next step was to describe him as securely and ill-manneredly sleeping prostrate on the table until it was established as a convention. Secondly, the baffling fact that in Tintorettoe's work painted for San Giorgio Maggiore in Venice Judas Iscariot is portrayed as sitting at the opposite side of the table just alone separate from the rest of the group-so far conventional-, clothed in the cardinal's habit, unmistakably so deep rich red. This figure is very similar in appearance to the cardinal, so intended and obvious in the established habit, pictured as sitting to the left side of Jesus across the table in The Feast in the House of Levi or miscarried The Last Supper by Paolo Veronese. This paper, however, simply raises the question, offering no answer.
URI: http://hokuga.hgu.jp/dspace/handle/123456789/1206
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