妄想フェルメール3
フェルメールが故郷の町を描いた『デルフト眺望』。プルーストの『失われた時を求めて』には「世界で最も美しい風景画」とあるらしい。が、僕は特に好きな絵ではない。美しい風景画なら他にいっぱいある。活気のなかに一抹の哀感が漂うカナレットの方がずっと好ましい。デルフトには港の活気が皆無。海上貿易から取り残され、衰退まっしぐらの港にしか見えない。そもそも対岸の建築の水の反映像(陽は厚い雲に隠れてる。影じゃない)が、こっちの岸に届くほど狭い(ヨットハーバーか?)。手前の二人の女性がデカすぎるし(3メートル近い?)、その横の後から描き足したらしい2本のポールが意味不明だ。船のともづなを結わえる鉄の固まり(ボラード。石原裕次郎の足をのせた決めポーズのアイテム。ほんとの船乗りはしない)にしては、背が高すぎる。不細工にひろがる雲に青空もかすれ気味だ。とまあ、どこを取ってみても中途半端な絵と思っていた。……と言ってしまうと、かすかに引っかかるものがある。それは何かと思ってよくよく見ると--ホリゾンタルが曖昧なことに気がついた。対岸の建築に何本かある横線のどれかだが、どうも左からつづく塀の上辺らしい。それがやや下がって橋の手すりにつながり、やや上がって右の建物の屋根の下の線につながる。実景をそのまま描いたらこうなった、と言ってしまえばそれまでだが、このホリゾンタルのゆれ加減がこの絵に不安定感(生動感?)を与え、その解決を求めているとしたら? これって、もしかして福岡伸一の十八番「動的平衡」ってやつ? やけに長くて黒く塗りつぶされた反映像--本当はこんなに長くないんじゃないか? そもそも水に映るはずがない遠くの塔まで映ってる。にしても反映像じゃ、いかにも頼りない。そこで再度、二人組の大女にお出まし願う。直立して向かい合い、およそ世間話には不似合いな二人。もしかして、この絵の不安定感(動的平衡)をビス止めする重要な役どころではないだろうか? ついでにその横の例の2本のポールも、映るはずのない塔の反映像を両側から挟んでいる。……なんだか、この絵が好きになりかけてる(笑)。“The View of Delft”, Vermeer's painting of his home town is said to be "the most beautiful landscape painting in the world" in Proust's “In Search of Lost Time”. But it's not my favorite painting. There are many other beautiful landscape paintings. I much prefer Canaletto, which has a touch of pathos in its liveliness. Delft lacks the liveliness of a port. Left behind by maritime trade, it now looks nothing more than a declining port. In the first place, the mirror image of the water of the architecture on the opposite bank (the sun is hidden behind thick clouds, so it is not a shadow) is so narrow that it reaches this bank. The two women in the foreground are too big (nearly 3m?), and the two poles that seem to have been added behind them make no sense. It's too tall for a piece of iron (a bollard. Yujiro Ishihara used to put his feet on it, but real sailors don't). The clouds spread ugly, and the blue sky seemed to fade. Well, no matter where you take it, I thought it was a half-baked picture. When I say it, there is something that is slightly caught. When I wondered what it was and looked closely, I noticed that the horizontal was ambiguous in this painting. It's one of several horizontal lines in the building on the opposite bank, but it seems to be the top of the wall that continues from the left. It goes down a little and connects to the railing of the bridge, and goes up a little and connects to the line under the roof of the building on the right. If the painter were to say that the actual scenery would have been drawn as it is, that would be enough, but is this horizontal sway giving this painting a sense of instability (a sense of animation?), and was it looking for a solution? Could this be Shinichi Fukuoka's big favorite "dynamic equilibrium"? A remarkably long blacked-out reflection--Isn't it really that long? You can see the distant tower that shouldn't be reflected in the water in the first place. Even so, mirror images are unreliable. So, once again, I ask the two big women to come out. The two of them stood upright and faced each other, and were generally unsuitable for small talk. Could it be that it plays an important role in fixing the sense of instability (dynamic equilibrium) in this painting? By the way, the two poles next to it gently sandwiched the reflection of the tower that should not have been reflected. … Somehow, I'm starting to like this picture (lol).前回の横倒しの意味がわからない(笑)