http://pavlovsdogxschrodingerscat.blogspot.jp/2015/03/blog-post_11.html
今朝、こんな夢を見た。
ため池のような中川運河の水が
山のように盛り上がり
川下のほうから蒸気船にのった白楽天があらわれる
白楽天は自転車のペダルを漕いで
鵜のかたちをした真っ黒な船は
蒸気船なのに、なぜだか積んでいる
クーリングタワーから
黙黙と白い煙をあげている
白楽天が漕ぐペダルのリズムに合わせて
鵜頭のくちばしが開閉し
吸い込んだ水と一緒に
ぼらが吐き出される
やがて
松重閘門のほうから
貧しい木舟にのって漁師に化身した
住吉明神が
ボロ布をまとい
全身、胡粉を塗ったいでたちで
あらわれ
白楽天と問答する
東に、高速道路と松重閘門
西に、名鉄電車と新幹線
南向き
中間にある絶好のロケーションの
森石油の屋上からは
左目が住吉明神をとらえ
右目が白楽天をとらえ
左耳が住吉明神の謡をとらえ
右耳が白楽天の謡をとらえ
問答がよく聞こえるはずなのに
新幹線の走る音にかき消され
はっきりと聞き取りにくい
問答は四年もつづいた
けっきょく
問答の内容は
よく聴き取れないままに
いつのまにか鏡面にもどった運河を
白楽天は名古屋港に向かって
去っていった
中川運河白楽天図屏風の段
2015年3月11日 14:46
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Leonardo da Vinci "A political allegory" 1495
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"A political allegory" Leonardo da Vinci / Royal Collection Trust/© Her Majesty Queen Elizabeth II 2016
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https://www.royalcollection.org.uk/collection/912496/a-political-allegory
Leonardo da Vinci (Vinci 1452-Amboise 1519)
A political allegory c.1495
Red chalk
Royal Collection Trust/© Her Majesty Queen Elizabeth II 2016
A drawing of a sailboat at sea, in the stern of which a wolf sits with his right paw on a compass, and his left paw holding the tiller. The mast is an olive tree. The compass points straight at an eagle, which is perched on a globe resting on the shore. A rocky landscape forms the background. It is generally accepted that the drawing has a political meaning, though suggested interpretations have varied widely - an allegory on the magnetic north pole, on river navigation, or on the relationship between Pope Leo X and King Francis I around 1515-16. The eagle apparently wears the French crown, and the wolf is very probably the Pope, steering the Ship of the Church (in St Ambrose's exegesis the Ship of the Church has as its mast the Cross of Christ; rather than using a pictorially disruptive crucifix, Leonardo substituted the Tree of Life, a branch of which was planted on Adam's grave, itself growing into a tree from which ultimately the Cross was fashioned). Analysis of the drawing style points to a date in the mid-1490s. The dry handling of the red chalk is that of the sketches in Leonardo's Manuscript H (Paris, Institut de France), and the watermark is identical to that on a sheet of studies of men in action of the same period (912643). The comparison with MS H is not confined to style, for that notebook of c.1493-4 contains most of Leonardo's notes on animal allegories and shows that he was at that time fascinated by such symbolism. Excepting the nurturer of Romulus and Remus, the wolf is almost always a negative symbol, of gluttony, rapaciousness and corruption of all kinds - characteristics regularly associated with the then pope, Alexander VI, by his many enemies. In September 1494 the army of Charles VIII of France entered Italy to press the King's claim to the throne of Naples. Though Alexander VI considered ordering the papal troops to resist Charles, his position was undermined by internal dissent and by the end of 1494 Charles was in Rome. Alexander frustrated Charles's demands to acknowledge him as ruler of Naples, but was unable to prevent him marching on the city (taking with him as a hostage the Pope's son Cesare Borgia) and usurping the throne. This seems then to be the context of Leonardo's allegory, a weakened Alexander VI cowering before and being guided by the magnificence of the French King. In the 1490s Leonardo was artist to the Sforza court in Milan, which had been closely involved with the affairs of Alexander VI. But in 1494 Ludovico Sforza abandoned his carefully forged alliance with the papacy, realigning himself with the French and allowing the troops to march through Lombardy unopposed, and the prevailing sentiment at the Milanese court would have been openly pro-French. The sheet was probably a finished work of art intended for a member of the Sforza court. The drawing does not bear a Melzi number and may have a different early provenance from the bulk of the Leonardos at Windsor. Adapted from Royal Treasures, A Golden Jubilee Celebration, London 2002. For a fuller treatment see M. Clayton, 'Leonardo's Gypsies, and the Wolf and the Eagle', Apollo, August 2002, pp. 27-33.
Provenance
[Perhaps bequeathed to Francesco Melzi; from whose heirs purchased by] Pompeo Leoni, c.1582-90; Thomas Howard, 2nd Earl of Arundel, by 1630; Probably acquired by Charles II; Royal Collection by 1690
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白楽天図屏風 尾形光琳
http://pavlovsdogxschrodingerscat.blogspot.jp/2015/03/blog-post.html
