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ジャガイモを食べる人々

F82JH764}}The Potato Eaters  is an oil painting by Dutch artist Vincent van Gogh painted in April 1885 in Nuenen, Netherlands.It is in the Van Gogh Museum in Amsterdam. The original oil sketch is at the Kröller-Müller Museum in Otterlo, and he made lithographs of the image, which are held in collections including the Museum of Modern Art in New York City. The painting is considered to be one of Van Gogh's masterpieces.

Prompt: ジャガイモを食べる人々はどのように抽象を説明していますか？英語で出力して下さい。

Kröller-Müller Museum
Museum of Modern Art
Nuenen
Van Gogh Museum
Vincent van Gogh


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ジャガイモを食べる人々

F82JH764}}The Potato Eaters  is an oil painting by Dutch artist Vincent van Gogh painted in April 1885 in Nuenen, Netherlands.It is in the Van Gogh Museum in Amsterdam. The original oil sketch is at the Kröller-Müller Museum in Otterlo, and he made lithographs of the image, which are held in collections including the Museum of Modern Art in New York City. The painting is considered to be one of Van Gogh's masterpieces.

Prompt: ジャガイモを食べる人々に関して、どのように抽象が議論されていますか？英語で出力して下さい。

Kröller-Müller Museum
Museum of Modern Art
Nuenen
Van Gogh Museum
Vincent van Gogh


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ジャガイモを食べる人々

During March and the beginning of April 1885, Van Gogh sketched studies for the painting and corresponded with his brother Theo, who was not impressed with his current work nor the sketches Van Gogh sent him in Paris. He began working on The Potato Eaters while living with his parents in Nuenen, a rural town which was home to many farmers, labourers and weavers. He worked on the painting from 13 April until the beginning of May, when it was mostly done except for minor changes that he made with a small brush later the same year.Van Gogh said he wanted to depict peasants as they really were. He deliberately chose coarse and ugly models, thinking that they would be natural and unspoiled in his finished work.Writing to his sister Willemina two years later in Paris, Van Gogh still considered The Potato Eaters his most successful painting: "What I think about my own work is that the painting of the peasants eating potatoes that I did in Nuenen is after all the best thing I did". However, the work was criticized by his friend Anthon van Rappard soon after it was painted. This was a blow to Van Gogh's confidence as an emerging artist, and he wrote back to his friend, "you... had no right to condemn my work in the way you did" , and later, "I am always doing what I can't do yet in order to learn how to do it." .Vincent Van Gogh is known to have admired the Belgian painter Charles de Groux and in particular his work The blessing before supper. De Groux's work is a solemn depiction of a peasant family saying grace before supper. The painting was closely linked to Christian representations of the st Supper. Van Gogh's The Potato Eaters was inspired by this work of de Groux and similar religious connotations can be identified in Van Gogh's work.

Prompt: ジャガイモを食べる人々に焦点を当てて、その作曲を説明してください。英語で出力して下さい。

Anthon van Rappard
Charles de Groux
Nuenen


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ジャガイモを食べる人々

During March and the beginning of April 1885, Van Gogh sketched studies for the painting and corresponded with his brother Theo, who was not impressed with his current work nor the sketches Van Gogh sent him in Paris. He began working on The Potato Eaters while living with his parents in Nuenen, a rural town which was home to many farmers, labourers and weavers. He worked on the painting from 13 April until the beginning of May, when it was mostly done except for minor changes that he made with a small brush later the same year.Van Gogh said he wanted to depict peasants as they really were. He deliberately chose coarse and ugly models, thinking that they would be natural and unspoiled in his finished work.Writing to his sister Willemina two years later in Paris, Van Gogh still considered The Potato Eaters his most successful painting: "What I think about my own work is that the painting of the peasants eating potatoes that I did in Nuenen is after all the best thing I did". However, the work was criticized by his friend Anthon van Rappard soon after it was painted. This was a blow to Van Gogh's confidence as an emerging artist, and he wrote back to his friend, "you... had no right to condemn my work in the way you did" , and later, "I am always doing what I can't do yet in order to learn how to do it." .Vincent Van Gogh is known to have admired the Belgian painter Charles de Groux and in particular his work The blessing before supper. De Groux's work is a solemn depiction of a peasant family saying grace before supper. The painting was closely linked to Christian representations of the st Supper. Van Gogh's The Potato Eaters was inspired by this work of de Groux and similar religious connotations can be identified in Van Gogh's work.

Prompt: ジャガイモを食べる人々の作曲を説明してください。英語で出力して下さい。

Anthon van Rappard
Charles de Groux
Nuenen


section

ジャガイモを食べる人々

During March and the beginning of April 1885, Van Gogh sketched studies for the painting and corresponded with his brother Theo, who was not impressed with his current work nor the sketches Van Gogh sent him in Paris. He began working on The Potato Eaters while living with his parents in Nuenen, a rural town which was home to many farmers, labourers and weavers. He worked on the painting from 13 April until the beginning of May, when it was mostly done except for minor changes that he made with a small brush later the same year.Van Gogh said he wanted to depict peasants as they really were. He deliberately chose coarse and ugly models, thinking that they would be natural and unspoiled in his finished work.Writing to his sister Willemina two years later in Paris, Van Gogh still considered The Potato Eaters his most successful painting: "What I think about my own work is that the painting of the peasants eating potatoes that I did in Nuenen is after all the best thing I did". However, the work was criticized by his friend Anthon van Rappard soon after it was painted. This was a blow to Van Gogh's confidence as an emerging artist, and he wrote back to his friend, "you... had no right to condemn my work in the way you did" , and later, "I am always doing what I can't do yet in order to learn how to do it." .Vincent Van Gogh is known to have admired the Belgian painter Charles de Groux and in particular his work The blessing before supper. De Groux's work is a solemn depiction of a peasant family saying grace before supper. The painting was closely linked to Christian representations of the st Supper. Van Gogh's The Potato Eaters was inspired by this work of de Groux and similar religious connotations can be identified in Van Gogh's work.

Prompt: ジャガイモを食べる人々はどのように作曲を説明していますか？英語で出力して下さい。

Anthon van Rappard
Charles de Groux
Nuenen


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ジャガイモを食べる人々

During March and the beginning of April 1885, Van Gogh sketched studies for the painting and corresponded with his brother Theo, who was not impressed with his current work nor the sketches Van Gogh sent him in Paris. He began working on The Potato Eaters while living with his parents in Nuenen, a rural town which was home to many farmers, labourers and weavers. He worked on the painting from 13 April until the beginning of May, when it was mostly done except for minor changes that he made with a small brush later the same year.Van Gogh said he wanted to depict peasants as they really were. He deliberately chose coarse and ugly models, thinking that they would be natural and unspoiled in his finished work.Writing to his sister Willemina two years later in Paris, Van Gogh still considered The Potato Eaters his most successful painting: "What I think about my own work is that the painting of the peasants eating potatoes that I did in Nuenen is after all the best thing I did". However, the work was criticized by his friend Anthon van Rappard soon after it was painted. This was a blow to Van Gogh's confidence as an emerging artist, and he wrote back to his friend, "you... had no right to condemn my work in the way you did" , and later, "I am always doing what I can't do yet in order to learn how to do it." .Vincent Van Gogh is known to have admired the Belgian painter Charles de Groux and in particular his work The blessing before supper. De Groux's work is a solemn depiction of a peasant family saying grace before supper. The painting was closely linked to Christian representations of the st Supper. Van Gogh's The Potato Eaters was inspired by this work of de Groux and similar religious connotations can be identified in Van Gogh's work.

Prompt: ジャガイモを食べる人々に関して、どのように作曲が議論されていますか？英語で出力して下さい。

Anthon van Rappard
Charles de Groux
Nuenen


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ジャガイモを食べる人々

Van Gogh made a lithograph of the composition The Potato Eaters before embarking on the painting proper. He sent impressions to his brother and, in a letter to a friend, wrote that he made the lithograph from memory in the space of a day.Van Gogh had first experimented with lithography in The Hague in 1882. Though he appreciated small scale graphic work and was an enthusiastic collector of English engravings he worked relatively little in graphic mediums. In a letter dated around 3 December 1882 he remarks

Prompt: ジャガイモを食べる人々に焦点を当てて、そのリトグラフを説明してください。英語で出力して下さい。


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ジャガイモを食べる人々

Van Gogh made a lithograph of the composition The Potato Eaters before embarking on the painting proper. He sent impressions to his brother and, in a letter to a friend, wrote that he made the lithograph from memory in the space of a day.Van Gogh had first experimented with lithography in The Hague in 1882. Though he appreciated small scale graphic work and was an enthusiastic collector of English engravings he worked relatively little in graphic mediums. In a letter dated around 3 December 1882 he remarks

Prompt: ジャガイモを食べる人々のリトグラフを説明してください。英語で出力して下さい。


section

ジャガイモを食べる人々

Van Gogh made a lithograph of the composition The Potato Eaters before embarking on the painting proper. He sent impressions to his brother and, in a letter to a friend, wrote that he made the lithograph from memory in the space of a day.Van Gogh had first experimented with lithography in The Hague in 1882. Though he appreciated small scale graphic work and was an enthusiastic collector of English engravings he worked relatively little in graphic mediums. In a letter dated around 3 December 1882 he remarks

Prompt: ジャガイモを食べる人々はどのようにリトグラフを説明していますか？英語で出力して下さい。


section

ジャガイモを食べる人々

Van Gogh made a lithograph of the composition The Potato Eaters before embarking on the painting proper. He sent impressions to his brother and, in a letter to a friend, wrote that he made the lithograph from memory in the space of a day.Van Gogh had first experimented with lithography in The Hague in 1882. Though he appreciated small scale graphic work and was an enthusiastic collector of English engravings he worked relatively little in graphic mediums. In a letter dated around 3 December 1882 he remarks

Prompt: ジャガイモを食べる人々に関して、どのようにリトグラフが議論されていますか？英語で出力して下さい。


section

ジャガイモを食べる人々

Van Gogh is often associated in people's minds with the Post-Impressionist movement, but in fact his artistic roots lay much closer to home in the artists of the Hague School such as Anton Mauve and Jozef Israëls.In a letter to his brother Theo written mid-June 1884, Vincent remarks:</ref>}}Before Vincent painted The Potato Eaters, Israëls had already treated the same subject in his A Peasant Family at the Table and, judging from a comment in a letter to Theo 11 March 1882, Vincent had seen this  and had been inspired to produce his own version of it. Compositionally, the two are very similar: in both paintings the composition of the painting is centered by a figure whose back is turned to the viewer. As well as an interest gained by A Peasant Family at the Table, Vincent had an appreciation for a simpler lifestyle. Vincent was known to disregard the finer things, once writing in a letter to his brother Theo:Van Gogh seemed to emotionally identify with the middle class, although he was from a family who were quite well-off. The subject was that of the harsh reality of life in the working class. He also simply admired the sustainability of the potato, or aardappel in Dutch. Aardappel literally translates to "earth apple," which paints an idea of a simpler, hearty lifestyle.

Prompt: ジャガイモを食べる人々に焦点を当てて、そのハーグ派の影響を説明してください。英語で出力して下さい。


section

ジャガイモを食べる人々

Van Gogh is often associated in people's minds with the Post-Impressionist movement, but in fact his artistic roots lay much closer to home in the artists of the Hague School such as Anton Mauve and Jozef Israëls.In a letter to his brother Theo written mid-June 1884, Vincent remarks:</ref>}}Before Vincent painted The Potato Eaters, Israëls had already treated the same subject in his A Peasant Family at the Table and, judging from a comment in a letter to Theo 11 March 1882, Vincent had seen this  and had been inspired to produce his own version of it. Compositionally, the two are very similar: in both paintings the composition of the painting is centered by a figure whose back is turned to the viewer. As well as an interest gained by A Peasant Family at the Table, Vincent had an appreciation for a simpler lifestyle. Vincent was known to disregard the finer things, once writing in a letter to his brother Theo:Van Gogh seemed to emotionally identify with the middle class, although he was from a family who were quite well-off. The subject was that of the harsh reality of life in the working class. He also simply admired the sustainability of the potato, or aardappel in Dutch. Aardappel literally translates to "earth apple," which paints an idea of a simpler, hearty lifestyle.

Prompt: ジャガイモを食べる人々のハーグ派の影響を説明してください。英語で出力して下さい。


section

ジャガイモを食べる人々

Van Gogh is often associated in people's minds with the Post-Impressionist movement, but in fact his artistic roots lay much closer to home in the artists of the Hague School such as Anton Mauve and Jozef Israëls.In a letter to his brother Theo written mid-June 1884, Vincent remarks:</ref>}}Before Vincent painted The Potato Eaters, Israëls had already treated the same subject in his A Peasant Family at the Table and, judging from a comment in a letter to Theo 11 March 1882, Vincent had seen this  and had been inspired to produce his own version of it. Compositionally, the two are very similar: in both paintings the composition of the painting is centered by a figure whose back is turned to the viewer. As well as an interest gained by A Peasant Family at the Table, Vincent had an appreciation for a simpler lifestyle. Vincent was known to disregard the finer things, once writing in a letter to his brother Theo:Van Gogh seemed to emotionally identify with the middle class, although he was from a family who were quite well-off. The subject was that of the harsh reality of life in the working class. He also simply admired the sustainability of the potato, or aardappel in Dutch. Aardappel literally translates to "earth apple," which paints an idea of a simpler, hearty lifestyle.

Prompt: ジャガイモを食べる人々はどのようにハーグ派の影響を説明していますか？英語で出力して下さい。


section

ジャガイモを食べる人々

Van Gogh is often associated in people's minds with the Post-Impressionist movement, but in fact his artistic roots lay much closer to home in the artists of the Hague School such as Anton Mauve and Jozef Israëls.In a letter to his brother Theo written mid-June 1884, Vincent remarks:</ref>}}Before Vincent painted The Potato Eaters, Israëls had already treated the same subject in his A Peasant Family at the Table and, judging from a comment in a letter to Theo 11 March 1882, Vincent had seen this  and had been inspired to produce his own version of it. Compositionally, the two are very similar: in both paintings the composition of the painting is centered by a figure whose back is turned to the viewer. As well as an interest gained by A Peasant Family at the Table, Vincent had an appreciation for a simpler lifestyle. Vincent was known to disregard the finer things, once writing in a letter to his brother Theo:Van Gogh seemed to emotionally identify with the middle class, although he was from a family who were quite well-off. The subject was that of the harsh reality of life in the working class. He also simply admired the sustainability of the potato, or aardappel in Dutch. Aardappel literally translates to "earth apple," which paints an idea of a simpler, hearty lifestyle.

Prompt: ジャガイモを食べる人々に関して、どのようにハーグ派の影響が議論されていますか？英語で出力して下さい。


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ジャガイモを食べる人々

Thieves stole the early version of The Potato Eaters, the Weaver's Interior, and Dried Sunflowers from the Kröller-Müller Museum in December 1988. In April 1989, the thieves returned Weaver's Interior in an attempt to gain a $2.5 million ransom. The police recovered the other two on 14 July 1989; no ransom was paid.On 14 April 1991, the Vincent van Gogh National Museum was robbed of twenty major paintings including the final version of The Potato Eaters. However, the getaway car suffered a blown tire, and the thieves were forced to flee, leaving the paintings behind. Thirty-five minutes after the robbery, the paintings were recovered.

Prompt: ジャガイモを食べる人々に焦点を当てて、その窃盗を説明してください。英語で出力して下さい。


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ジャガイモを食べる人々

Thieves stole the early version of The Potato Eaters, the Weaver's Interior, and Dried Sunflowers from the Kröller-Müller Museum in December 1988. In April 1989, the thieves returned Weaver's Interior in an attempt to gain a $2.5 million ransom. The police recovered the other two on 14 July 1989; no ransom was paid.On 14 April 1991, the Vincent van Gogh National Museum was robbed of twenty major paintings including the final version of The Potato Eaters. However, the getaway car suffered a blown tire, and the thieves were forced to flee, leaving the paintings behind. Thirty-five minutes after the robbery, the paintings were recovered.

Prompt: ジャガイモを食べる人々の窃盗を説明してください。英語で出力して下さい。


section

ジャガイモを食べる人々

Thieves stole the early version of The Potato Eaters, the Weaver's Interior, and Dried Sunflowers from the Kröller-Müller Museum in December 1988. In April 1989, the thieves returned Weaver's Interior in an attempt to gain a $2.5 million ransom. The police recovered the other two on 14 July 1989; no ransom was paid.On 14 April 1991, the Vincent van Gogh National Museum was robbed of twenty major paintings including the final version of The Potato Eaters. However, the getaway car suffered a blown tire, and the thieves were forced to flee, leaving the paintings behind. Thirty-five minutes after the robbery, the paintings were recovered.

Prompt: ジャガイモを食べる人々はどのように窃盗を説明していますか？英語で出力して下さい。


section

ジャガイモを食べる人々

Thieves stole the early version of The Potato Eaters, the Weaver's Interior, and Dried Sunflowers from the Kröller-Müller Museum in December 1988. In April 1989, the thieves returned Weaver's Interior in an attempt to gain a $2.5 million ransom. The police recovered the other two on 14 July 1989; no ransom was paid.On 14 April 1991, the Vincent van Gogh National Museum was robbed of twenty major paintings including the final version of The Potato Eaters. However, the getaway car suffered a blown tire, and the thieves were forced to flee, leaving the paintings behind. Thirty-five minutes after the robbery, the paintings were recovered.

Prompt: ジャガイモを食べる人々に関して、どのように窃盗が議論されていますか？英語で出力して下さい。


section

ジャガイモを食べる人々

Prompt: ジャガイモを食べる人々に焦点を当てて、その参照を説明してください。英語で出力して下さい。

List of works by Vincent van Gogh
Vincent van Gogh


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ジャガイモを食べる人々

Prompt: ジャガイモを食べる人々の参照を説明してください。英語で出力して下さい。

List of works by Vincent van Gogh
Vincent van Gogh


section

ジャガイモを食べる人々

Prompt: ジャガイモを食べる人々はどのように参照を説明していますか？英語で出力して下さい。

List of works by Vincent van Gogh
Vincent van Gogh


section

ジャガイモを食べる人々

Prompt: ジャガイモを食べる人々に関して、どのように参照が議論されていますか？英語で出力して下さい。

List of works by Vincent van Gogh
Vincent van Gogh


section

ジャガイモを食べる人々

The Potato Eaters , oil on canvas,  The Potato Eaters , oil on canvas,

Prompt: ジャガイモを食べる人々に焦点を当てて、その外部リンクを説明してください。英語で出力して下さい。


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ジャガイモを食べる人々

The Potato Eaters , oil on canvas,  The Potato Eaters , oil on canvas,

Prompt: ジャガイモを食べる人々の外部リンクを説明してください。英語で出力して下さい。


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ジャガイモを食べる人々

The Potato Eaters , oil on canvas,  The Potato Eaters , oil on canvas,

Prompt: ジャガイモを食べる人々はどのように外部リンクを説明していますか？英語で出力して下さい。


section

ジャガイモを食べる人々

The Potato Eaters , oil on canvas,  The Potato Eaters , oil on canvas,

Prompt: ジャガイモを食べる人々に関して、どのように外部リンクが議論されていますか？英語で出力して下さい。


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ウラジーミルの生神女

other_title_1 = Our dy of Vladimir wikidata = Q546241 image = Virgin of Vladimir.jpg image_upright = 1 alt =  caption =  artist = Unknown year = 1131 completion_date =  medium = Tempera movement =  subject = Virgin Mary height_metric = 104 width_metric = 69 length_metric =  diameter_metric =  height_imperial =  width_imperial =  length_imperial =  diameter_imperial =  dimensions =  dimensions_ref =  metric_unit = cm   imperial_unit = in   weight =  designation =  condition =  museum = Tretyakov Gallery city = Moscow coordinates =  owner =  accession =  italic title = no}}The Virgin of Vladimir, also known as Vladimir Mother of God, Our dy of Vladimir , is a 12th-century Byzantine icon depicting the Virgin and Child and an early example of the Eleusa iconographic type. It is one of the most culturally significant and celebrated pieces of art in Russian history. Many consider it a national palladium with several miracles of historical importance to Russia being attributed to the icon. Following its near destruction in the thirteenth century, the work has been restored at least five times.The icon was painted by an unknown artist most likely in Constantinople. It was sent to Kiev as a gift before being transferred to the Assumption Cathedral in Vladimir. It is traditionally said that the icon did not leave Vladimir until 1395, when it was brought to Moscow to protect the city from an invasion by Timur, although the historical accuracy of this claim is uncertain. By at least the sixteenth century, it was in the Dormition Cathedral in Moscow where it remained until it was moved to the State Tretyakov Gallery after the Russian Revolution.It was subject to an ownership dispute in the 1990s between the gallery and Moscow Patriarchate, which ended with its relocation to the Church of St. Nicholas in Tolmachi. An arrangement was made to operate the church with dual status as a house church and part of the museum. The icon remains there today, and is only accessible via an underground passage from the gallery to the church, where liturgies are still held.

Prompt: ウラジーミルの生神女に焦点を当てて、その抽象を説明してください。英語で出力して下さい。

Church of St. Nicholas in Tolmachi
Constantinople
Eleusa icon
Moscow
Russia
Russian Revolution
Virgin of Vladimir
Timur
Tretyakov Gallery


section

ウラジーミルの生神女

other_title_1 = Our dy of Vladimir wikidata = Q546241 image = Virgin of Vladimir.jpg image_upright = 1 alt =  caption =  artist = Unknown year = 1131 completion_date =  medium = Tempera movement =  subject = Virgin Mary height_metric = 104 width_metric = 69 length_metric =  diameter_metric =  height_imperial =  width_imperial =  length_imperial =  diameter_imperial =  dimensions =  dimensions_ref =  metric_unit = cm   imperial_unit = in   weight =  designation =  condition =  museum = Tretyakov Gallery city = Moscow coordinates =  owner =  accession =  italic title = no}}The Virgin of Vladimir, also known as Vladimir Mother of God, Our dy of Vladimir , is a 12th-century Byzantine icon depicting the Virgin and Child and an early example of the Eleusa iconographic type. It is one of the most culturally significant and celebrated pieces of art in Russian history. Many consider it a national palladium with several miracles of historical importance to Russia being attributed to the icon. Following its near destruction in the thirteenth century, the work has been restored at least five times.The icon was painted by an unknown artist most likely in Constantinople. It was sent to Kiev as a gift before being transferred to the Assumption Cathedral in Vladimir. It is traditionally said that the icon did not leave Vladimir until 1395, when it was brought to Moscow to protect the city from an invasion by Timur, although the historical accuracy of this claim is uncertain. By at least the sixteenth century, it was in the Dormition Cathedral in Moscow where it remained until it was moved to the State Tretyakov Gallery after the Russian Revolution.It was subject to an ownership dispute in the 1990s between the gallery and Moscow Patriarchate, which ended with its relocation to the Church of St. Nicholas in Tolmachi. An arrangement was made to operate the church with dual status as a house church and part of the museum. The icon remains there today, and is only accessible via an underground passage from the gallery to the church, where liturgies are still held.

Prompt: ウラジーミルの生神女の抽象を説明してください。英語で出力して下さい。

Church of St. Nicholas in Tolmachi
Constantinople
Eleusa icon
Moscow
Russia
Russian Revolution
Virgin of Vladimir
Timur
Tretyakov Gallery


section

ウラジーミルの生神女

other_title_1 = Our dy of Vladimir wikidata = Q546241 image = Virgin of Vladimir.jpg image_upright = 1 alt =  caption =  artist = Unknown year = 1131 completion_date =  medium = Tempera movement =  subject = Virgin Mary height_metric = 104 width_metric = 69 length_metric =  diameter_metric =  height_imperial =  width_imperial =  length_imperial =  diameter_imperial =  dimensions =  dimensions_ref =  metric_unit = cm   imperial_unit = in   weight =  designation =  condition =  museum = Tretyakov Gallery city = Moscow coordinates =  owner =  accession =  italic title = no}}The Virgin of Vladimir, also known as Vladimir Mother of God, Our dy of Vladimir , is a 12th-century Byzantine icon depicting the Virgin and Child and an early example of the Eleusa iconographic type. It is one of the most culturally significant and celebrated pieces of art in Russian history. Many consider it a national palladium with several miracles of historical importance to Russia being attributed to the icon. Following its near destruction in the thirteenth century, the work has been restored at least five times.The icon was painted by an unknown artist most likely in Constantinople. It was sent to Kiev as a gift before being transferred to the Assumption Cathedral in Vladimir. It is traditionally said that the icon did not leave Vladimir until 1395, when it was brought to Moscow to protect the city from an invasion by Timur, although the historical accuracy of this claim is uncertain. By at least the sixteenth century, it was in the Dormition Cathedral in Moscow where it remained until it was moved to the State Tretyakov Gallery after the Russian Revolution.It was subject to an ownership dispute in the 1990s between the gallery and Moscow Patriarchate, which ended with its relocation to the Church of St. Nicholas in Tolmachi. An arrangement was made to operate the church with dual status as a house church and part of the museum. The icon remains there today, and is only accessible via an underground passage from the gallery to the church, where liturgies are still held.

Prompt: ウラジーミルの生神女はどのように抽象を説明していますか？英語で出力して下さい。

Church of St. Nicholas in Tolmachi
Constantinople
Eleusa icon
Moscow
Russia
Russian Revolution
Virgin of Vladimir
Timur
Tretyakov Gallery


section

ウラジーミルの生神女

other_title_1 = Our dy of Vladimir wikidata = Q546241 image = Virgin of Vladimir.jpg image_upright = 1 alt =  caption =  artist = Unknown year = 1131 completion_date =  medium = Tempera movement =  subject = Virgin Mary height_metric = 104 width_metric = 69 length_metric =  diameter_metric =  height_imperial =  width_imperial =  length_imperial =  diameter_imperial =  dimensions =  dimensions_ref =  metric_unit = cm   imperial_unit = in   weight =  designation =  condition =  museum = Tretyakov Gallery city = Moscow coordinates =  owner =  accession =  italic title = no}}The Virgin of Vladimir, also known as Vladimir Mother of God, Our dy of Vladimir , is a 12th-century Byzantine icon depicting the Virgin and Child and an early example of the Eleusa iconographic type. It is one of the most culturally significant and celebrated pieces of art in Russian history. Many consider it a national palladium with several miracles of historical importance to Russia being attributed to the icon. Following its near destruction in the thirteenth century, the work has been restored at least five times.The icon was painted by an unknown artist most likely in Constantinople. It was sent to Kiev as a gift before being transferred to the Assumption Cathedral in Vladimir. It is traditionally said that the icon did not leave Vladimir until 1395, when it was brought to Moscow to protect the city from an invasion by Timur, although the historical accuracy of this claim is uncertain. By at least the sixteenth century, it was in the Dormition Cathedral in Moscow where it remained until it was moved to the State Tretyakov Gallery after the Russian Revolution.It was subject to an ownership dispute in the 1990s between the gallery and Moscow Patriarchate, which ended with its relocation to the Church of St. Nicholas in Tolmachi. An arrangement was made to operate the church with dual status as a house church and part of the museum. The icon remains there today, and is only accessible via an underground passage from the gallery to the church, where liturgies are still held.

Prompt: ウラジーミルの生神女に関して、どのように抽象が議論されていますか？英語で出力して下さい。

Church of St. Nicholas in Tolmachi
Constantinople
Eleusa icon
Moscow
Russia
Russian Revolution
Virgin of Vladimir
Timur
Tretyakov Gallery


section

ウラジーミルの生神女

The icon is a tempera painting on wood,  in size, with the central  portion being original and the rest being a later expansion undertaken possibly to accommodate a larger riza. The icon depicts Jesus Christ as a child being held in the arms of his mother, Mary. They embrace cheek to cheek, with the child gazing towards and reaching for Mary. She holds him with one arm and solemnly looks out towards the viewer. The faces and hands are painted with greenish olive sankir, a mix of ochre pigment and soot, and transparent layers of brighter ochre; the child's face is rendered in a lighter shade than the mother's, perhaps to reflect the difference in their age. The child's clothes are painted with dark ochre and gold. The original painting bore the inscription ΜΡ ΘΥ, an abbreviation for 'Mother of God', of which only parts survive.Among icons of Virgin Mary with Jesus, Our lady of Vladimir is classed as an Eleusa icon , due to the tender attachment between mother and child. Theologians and believers have also commented upon the icons symbology and the religious sentiments it inspires. Contemplating the icon, theologian Henri Nouwen, remarked that the Virgin's eyes glance at neither the child or the viewer but appear to "look inward and outward at once"; that her free hand gestures towards the baby to "open a space for us to approach Jesus without fear"; and, that the child is shown as "a wise man dressed in adult clothes." Literary scholar, S. S. Averintsev interpreted the mix of maternal tenderness and poignant sorrow seen in Mary's expression, as representative of the emotions generated by the events of Nativity and Calvary, respectively.Its artistic quality has been highly praised. Art historian David Talbot Rice said that "[Our dy of Vladimir] ...is admitted by all who have seen it to be one of the most outstanding religious paintings of the world." Art historian George Heard Hamilton praises its "craftsmanship and conception", and notes how in its representation of the subject's faces, the icon subtly transitions from its normal use of contour lines to a refined surface texture. It is painted in an artistic style typical for Byzantine art of the period with features including smaller mouths, refined eyes, and elongating Mary's nose. However, by avoiding the use of demarcating line, as became common in later Byzantine art, and by setting up the complex interplay of the mother and child's glances, the icon adds to the illusion of life in the piece. The child's features are reminiscent of classical sculpture, though the artist renders an expression truer to an actual infant's. The expressive and humanistic character of the icon differentiates it from earlier Byzantine art and exemplify the artistic developments seen during the Komnenos dynasty.

Prompt: ウラジーミルの生神女に焦点を当てて、その説明を説明してください。英語で出力して下さい。

Byzantine art
David Talbot Rice
Eleusa icon
George Heard Hamilton
Henri Nouwen
Jesus
Jesus


section

ウラジーミルの生神女

The icon is a tempera painting on wood,  in size, with the central  portion being original and the rest being a later expansion undertaken possibly to accommodate a larger riza. The icon depicts Jesus Christ as a child being held in the arms of his mother, Mary. They embrace cheek to cheek, with the child gazing towards and reaching for Mary. She holds him with one arm and solemnly looks out towards the viewer. The faces and hands are painted with greenish olive sankir, a mix of ochre pigment and soot, and transparent layers of brighter ochre; the child's face is rendered in a lighter shade than the mother's, perhaps to reflect the difference in their age. The child's clothes are painted with dark ochre and gold. The original painting bore the inscription ΜΡ ΘΥ, an abbreviation for 'Mother of God', of which only parts survive.Among icons of Virgin Mary with Jesus, Our lady of Vladimir is classed as an Eleusa icon , due to the tender attachment between mother and child. Theologians and believers have also commented upon the icons symbology and the religious sentiments it inspires. Contemplating the icon, theologian Henri Nouwen, remarked that the Virgin's eyes glance at neither the child or the viewer but appear to "look inward and outward at once"; that her free hand gestures towards the baby to "open a space for us to approach Jesus without fear"; and, that the child is shown as "a wise man dressed in adult clothes." Literary scholar, S. S. Averintsev interpreted the mix of maternal tenderness and poignant sorrow seen in Mary's expression, as representative of the emotions generated by the events of Nativity and Calvary, respectively.Its artistic quality has been highly praised. Art historian David Talbot Rice said that "[Our dy of Vladimir] ...is admitted by all who have seen it to be one of the most outstanding religious paintings of the world." Art historian George Heard Hamilton praises its "craftsmanship and conception", and notes how in its representation of the subject's faces, the icon subtly transitions from its normal use of contour lines to a refined surface texture. It is painted in an artistic style typical for Byzantine art of the period with features including smaller mouths, refined eyes, and elongating Mary's nose. However, by avoiding the use of demarcating line, as became common in later Byzantine art, and by setting up the complex interplay of the mother and child's glances, the icon adds to the illusion of life in the piece. The child's features are reminiscent of classical sculpture, though the artist renders an expression truer to an actual infant's. The expressive and humanistic character of the icon differentiates it from earlier Byzantine art and exemplify the artistic developments seen during the Komnenos dynasty.

Prompt: ウラジーミルの生神女の説明を説明してください。英語で出力して下さい。

Byzantine art
David Talbot Rice
Eleusa icon
George Heard Hamilton
Henri Nouwen
Jesus
Jesus


section

ウラジーミルの生神女

The icon is a tempera painting on wood,  in size, with the central  portion being original and the rest being a later expansion undertaken possibly to accommodate a larger riza. The icon depicts Jesus Christ as a child being held in the arms of his mother, Mary. They embrace cheek to cheek, with the child gazing towards and reaching for Mary. She holds him with one arm and solemnly looks out towards the viewer. The faces and hands are painted with greenish olive sankir, a mix of ochre pigment and soot, and transparent layers of brighter ochre; the child's face is rendered in a lighter shade than the mother's, perhaps to reflect the difference in their age. The child's clothes are painted with dark ochre and gold. The original painting bore the inscription ΜΡ ΘΥ, an abbreviation for 'Mother of God', of which only parts survive.Among icons of Virgin Mary with Jesus, Our lady of Vladimir is classed as an Eleusa icon , due to the tender attachment between mother and child. Theologians and believers have also commented upon the icons symbology and the religious sentiments it inspires. Contemplating the icon, theologian Henri Nouwen, remarked that the Virgin's eyes glance at neither the child or the viewer but appear to "look inward and outward at once"; that her free hand gestures towards the baby to "open a space for us to approach Jesus without fear"; and, that the child is shown as "a wise man dressed in adult clothes." Literary scholar, S. S. Averintsev interpreted the mix of maternal tenderness and poignant sorrow seen in Mary's expression, as representative of the emotions generated by the events of Nativity and Calvary, respectively.Its artistic quality has been highly praised. Art historian David Talbot Rice said that "[Our dy of Vladimir] ...is admitted by all who have seen it to be one of the most outstanding religious paintings of the world." Art historian George Heard Hamilton praises its "craftsmanship and conception", and notes how in its representation of the subject's faces, the icon subtly transitions from its normal use of contour lines to a refined surface texture. It is painted in an artistic style typical for Byzantine art of the period with features including smaller mouths, refined eyes, and elongating Mary's nose. However, by avoiding the use of demarcating line, as became common in later Byzantine art, and by setting up the complex interplay of the mother and child's glances, the icon adds to the illusion of life in the piece. The child's features are reminiscent of classical sculpture, though the artist renders an expression truer to an actual infant's. The expressive and humanistic character of the icon differentiates it from earlier Byzantine art and exemplify the artistic developments seen during the Komnenos dynasty.

Prompt: ウラジーミルの生神女はどのように説明を説明していますか？英語で出力して下さい。

Byzantine art
David Talbot Rice
Eleusa icon
George Heard Hamilton
Henri Nouwen
Jesus
Jesus


section

ウラジーミルの生神女

The icon is a tempera painting on wood,  in size, with the central  portion being original and the rest being a later expansion undertaken possibly to accommodate a larger riza. The icon depicts Jesus Christ as a child being held in the arms of his mother, Mary. They embrace cheek to cheek, with the child gazing towards and reaching for Mary. She holds him with one arm and solemnly looks out towards the viewer. The faces and hands are painted with greenish olive sankir, a mix of ochre pigment and soot, and transparent layers of brighter ochre; the child's face is rendered in a lighter shade than the mother's, perhaps to reflect the difference in their age. The child's clothes are painted with dark ochre and gold. The original painting bore the inscription ΜΡ ΘΥ, an abbreviation for 'Mother of God', of which only parts survive.Among icons of Virgin Mary with Jesus, Our lady of Vladimir is classed as an Eleusa icon , due to the tender attachment between mother and child. Theologians and believers have also commented upon the icons symbology and the religious sentiments it inspires. Contemplating the icon, theologian Henri Nouwen, remarked that the Virgin's eyes glance at neither the child or the viewer but appear to "look inward and outward at once"; that her free hand gestures towards the baby to "open a space for us to approach Jesus without fear"; and, that the child is shown as "a wise man dressed in adult clothes." Literary scholar, S. S. Averintsev interpreted the mix of maternal tenderness and poignant sorrow seen in Mary's expression, as representative of the emotions generated by the events of Nativity and Calvary, respectively.Its artistic quality has been highly praised. Art historian David Talbot Rice said that "[Our dy of Vladimir] ...is admitted by all who have seen it to be one of the most outstanding religious paintings of the world." Art historian George Heard Hamilton praises its "craftsmanship and conception", and notes how in its representation of the subject's faces, the icon subtly transitions from its normal use of contour lines to a refined surface texture. It is painted in an artistic style typical for Byzantine art of the period with features including smaller mouths, refined eyes, and elongating Mary's nose. However, by avoiding the use of demarcating line, as became common in later Byzantine art, and by setting up the complex interplay of the mother and child's glances, the icon adds to the illusion of life in the piece. The child's features are reminiscent of classical sculpture, though the artist renders an expression truer to an actual infant's. The expressive and humanistic character of the icon differentiates it from earlier Byzantine art and exemplify the artistic developments seen during the Komnenos dynasty.

Prompt: ウラジーミルの生神女に関して、どのように説明が議論されていますか？英語で出力して下さい。

Byzantine art
David Talbot Rice
Eleusa icon
George Heard Hamilton
Henri Nouwen
Jesus
Jesus


section

ウラジーミルの生神女

Our dy of Vladimir is on display at the Church of St. Nicholas in Tolmachi. As a result of an agreement between the Tretyakov and Moscow Patriarchate, the church is both an active Russian Orthodox house church and functioning museum.In 1997, the Tretyakov completed a full restoration of the church. In order to house the famous icon, a temperature controlled bulletproof glass case was commissioned. On 7 September 1996, Our dy of Vladimir was first installed in the special case located within the church, and the next day Patriarch Alexy II consecrated the church. According to Archpriest Nikolai Sokolov, the rector for the church, the case would able to withstand the firing of a Kalashnikov rifle as well as many other potential hazards.Due to its dual status as both church and museum, visitors are allowed to pray before the icon and divine Liturgies are regularly held on selected days. However, visitors can only enter the church through the Tretyakov Gallery and via the underground passageway.

Prompt: ウラジーミルの生神女に焦点を当てて、その場所、表示を説明してください。英語で出力して下さい。

Church of St. Nicholas in Tolmachi
Kalashnikov rifle
Moscow
Russia
Tretyakov Gallery


section

ウラジーミルの生神女

Our dy of Vladimir is on display at the Church of St. Nicholas in Tolmachi. As a result of an agreement between the Tretyakov and Moscow Patriarchate, the church is both an active Russian Orthodox house church and functioning museum.In 1997, the Tretyakov completed a full restoration of the church. In order to house the famous icon, a temperature controlled bulletproof glass case was commissioned. On 7 September 1996, Our dy of Vladimir was first installed in the special case located within the church, and the next day Patriarch Alexy II consecrated the church. According to Archpriest Nikolai Sokolov, the rector for the church, the case would able to withstand the firing of a Kalashnikov rifle as well as many other potential hazards.Due to its dual status as both church and museum, visitors are allowed to pray before the icon and divine Liturgies are regularly held on selected days. However, visitors can only enter the church through the Tretyakov Gallery and via the underground passageway.

Prompt: ウラジーミルの生神女の場所、表示を説明してください。英語で出力して下さい。

Church of St. Nicholas in Tolmachi
Kalashnikov rifle
Moscow
Russia
Tretyakov Gallery


section

ウラジーミルの生神女

Our dy of Vladimir is on display at the Church of St. Nicholas in Tolmachi. As a result of an agreement between the Tretyakov and Moscow Patriarchate, the church is both an active Russian Orthodox house church and functioning museum.In 1997, the Tretyakov completed a full restoration of the church. In order to house the famous icon, a temperature controlled bulletproof glass case was commissioned. On 7 September 1996, Our dy of Vladimir was first installed in the special case located within the church, and the next day Patriarch Alexy II consecrated the church. According to Archpriest Nikolai Sokolov, the rector for the church, the case would able to withstand the firing of a Kalashnikov rifle as well as many other potential hazards.Due to its dual status as both church and museum, visitors are allowed to pray before the icon and divine Liturgies are regularly held on selected days. However, visitors can only enter the church through the Tretyakov Gallery and via the underground passageway.

Prompt: ウラジーミルの生神女はどのように場所、表示を説明していますか？英語で出力して下さい。

Church of St. Nicholas in Tolmachi
Kalashnikov rifle
Moscow
Russia
Tretyakov Gallery


section

ウラジーミルの生神女

Our dy of Vladimir is on display at the Church of St. Nicholas in Tolmachi. As a result of an agreement between the Tretyakov and Moscow Patriarchate, the church is both an active Russian Orthodox house church and functioning museum.In 1997, the Tretyakov completed a full restoration of the church. In order to house the famous icon, a temperature controlled bulletproof glass case was commissioned. On 7 September 1996, Our dy of Vladimir was first installed in the special case located within the church, and the next day Patriarch Alexy II consecrated the church. According to Archpriest Nikolai Sokolov, the rector for the church, the case would able to withstand the firing of a Kalashnikov rifle as well as many other potential hazards.Due to its dual status as both church and museum, visitors are allowed to pray before the icon and divine Liturgies are regularly held on selected days. However, visitors can only enter the church through the Tretyakov Gallery and via the underground passageway.

Prompt: ウラジーミルの生神女に関して、どのように場所、表示が議論されていますか？英語で出力して下さい。

Church of St. Nicholas in Tolmachi
Kalashnikov rifle
Moscow
Russia
Tretyakov Gallery


section

ウラジーミルの生神女

Even more than most, the original icon has been repeatedly duplicated for centuries, and many copies also have considerable artistic and religious significance of their own. According to Suzanne Massie, it became a standard for many Russian contemporary depictions of Mary.In preparation for the 1980 Summer Olympics, a chapel was constructed for athletes to be able to pray before competition which hosted a copy of the icon.

Prompt: ウラジーミルの生神女に焦点を当てて、そのコピーと影響を説明してください。英語で出力して下さい。

1980 Summer Olympics
Russia
Suzanne Massie


section

ウラジーミルの生神女

Even more than most, the original icon has been repeatedly duplicated for centuries, and many copies also have considerable artistic and religious significance of their own. According to Suzanne Massie, it became a standard for many Russian contemporary depictions of Mary.In preparation for the 1980 Summer Olympics, a chapel was constructed for athletes to be able to pray before competition which hosted a copy of the icon.

Prompt: ウラジーミルの生神女のコピーと影響を説明してください。英語で出力して下さい。

1980 Summer Olympics
Russia
Suzanne Massie


section

ウラジーミルの生神女

Even more than most, the original icon has been repeatedly duplicated for centuries, and many copies also have considerable artistic and religious significance of their own. According to Suzanne Massie, it became a standard for many Russian contemporary depictions of Mary.In preparation for the 1980 Summer Olympics, a chapel was constructed for athletes to be able to pray before competition which hosted a copy of the icon.

Prompt: ウラジーミルの生神女はどのようにコピーと影響を説明していますか？英語で出力して下さい。

1980 Summer Olympics
Russia
Suzanne Massie


section

ウラジーミルの生神女

Even more than most, the original icon has been repeatedly duplicated for centuries, and many copies also have considerable artistic and religious significance of their own. According to Suzanne Massie, it became a standard for many Russian contemporary depictions of Mary.In preparation for the 1980 Summer Olympics, a chapel was constructed for athletes to be able to pray before competition which hosted a copy of the icon.

Prompt: ウラジーミルの生神女に関して、どのようにコピーと影響が議論されていますか？英語で出力して下さい。

1980 Summer Olympics
Russia
Suzanne Massie


section

ウラジーミルの生神女

Our dy of Vladimir Church – a church in St. Petersburg dedicated to the icon List of oldest Russian icons

Prompt: ウラジーミルの生神女に焦点を当てて、その参照を説明してください。英語で出力して下さい。


section

ウラジーミルの生神女

Our dy of Vladimir Church – a church in St. Petersburg dedicated to the icon List of oldest Russian icons

Prompt: ウラジーミルの生神女の参照を説明してください。英語で出力して下さい。


section

ウラジーミルの生神女

Our dy of Vladimir Church – a church in St. Petersburg dedicated to the icon List of oldest Russian icons

Prompt: ウラジーミルの生神女はどのように参照を説明していますか？英語で出力して下さい。


section

ウラジーミルの生神女

Our dy of Vladimir Church – a church in St. Petersburg dedicated to the icon List of oldest Russian icons

Prompt: ウラジーミルの生神女に関して、どのように参照が議論されていますか？英語で出力して下さい。


section

ウラジーミルの生神女

ref= language=en}}  language=en}}  doi=10.1093/bjaesthetics/33.2.113 language=en}}    language=en}}  language=en}}   language=fr}}     language=en}}  language=ru}}  ref= language=en}}  language=en}}     pages=109–110 id= language=en}}  date=13 March 2014 language=ru}}

Prompt: ウラジーミルの生神女に焦点を当てて、その参考文献を説明してください。英語で出力して下さい。


section

ウラジーミルの生神女

ref= language=en}}  language=en}}  doi=10.1093/bjaesthetics/33.2.113 language=en}}    language=en}}  language=en}}   language=fr}}     language=en}}  language=ru}}  ref= language=en}}  language=en}}     pages=109–110 id= language=en}}  date=13 March 2014 language=ru}}

Prompt: ウラジーミルの生神女の参考文献を説明してください。英語で出力して下さい。


section

ウラジーミルの生神女

ref= language=en}}  language=en}}  doi=10.1093/bjaesthetics/33.2.113 language=en}}    language=en}}  language=en}}   language=fr}}     language=en}}  language=ru}}  ref= language=en}}  language=en}}     pages=109–110 id= language=en}}  date=13 March 2014 language=ru}}

Prompt: ウラジーミルの生神女はどのように参考文献を説明していますか？英語で出力して下さい。


section

ウラジーミルの生神女

ref= language=en}}  language=en}}  doi=10.1093/bjaesthetics/33.2.113 language=en}}    language=en}}  language=en}}   language=fr}}     language=en}}  language=ru}}  ref= language=en}}  language=en}}     pages=109–110 id= language=en}}  date=13 March 2014 language=ru}}

Prompt: ウラジーミルの生神女に関して、どのように参考文献が議論されていますか？英語で出力して下さい。


subsection

ウラジーミルの生神女

The icon is dated to the earlier part of the 12th century, and arrived in Rus' around 1131. This is consistent with accounts given in Rus' chronicles. Similar to other high quality Byzantine works of art, it is thought to have been painted in Constantinople. Only the faces are original, with the clothes repainted after suffering damage when a metal cover or riza was placed over them Academic Sona Hoisington attributes this in part to a greater effort by Byzantines to convert and Christianize the Slavic peoples at the time. It was kept in a Vyshhorod nunnery until Yuri's son, Andrey of Bogolyubovo, brought it to Vladimir in 1155. The icon was soon moved to the Assumption Cathedral after its consecration in 1160.Following the consecration of the Assumption Cathedral, which was soon followed by other churches dedicated to the Virgin, there is no record of the icon ever leaving Vladimir until 1395. However, its presence did not prevent the sack and burning of the city by the Mongols in 1238, when the icon was damaged in the fire. It was restored soon after the event, and again in 1431 and in 1512.

Prompt: ウラジーミルの生神女の文脈で、起源とヌルを説明してください。英語で出力して下さい。


subsection

ウラジーミルの生神女

The icon is dated to the earlier part of the 12th century, and arrived in Rus' around 1131. This is consistent with accounts given in Rus' chronicles. Similar to other high quality Byzantine works of art, it is thought to have been painted in Constantinople. Only the faces are original, with the clothes repainted after suffering damage when a metal cover or riza was placed over them Academic Sona Hoisington attributes this in part to a greater effort by Byzantines to convert and Christianize the Slavic peoples at the time. It was kept in a Vyshhorod nunnery until Yuri's son, Andrey of Bogolyubovo, brought it to Vladimir in 1155. The icon was soon moved to the Assumption Cathedral after its consecration in 1160.Following the consecration of the Assumption Cathedral, which was soon followed by other churches dedicated to the Virgin, there is no record of the icon ever leaving Vladimir until 1395. However, its presence did not prevent the sack and burning of the city by the Mongols in 1238, when the icon was damaged in the fire. It was restored soon after the event, and again in 1431 and in 1512.

Prompt: ウラジーミルの生神女のヌルに関する起源を説明してください。英語で出力して下さい。


subsection

ウラジーミルの生神女

The icon is dated to the earlier part of the 12th century, and arrived in Rus' around 1131. This is consistent with accounts given in Rus' chronicles. Similar to other high quality Byzantine works of art, it is thought to have been painted in Constantinople. Only the faces are original, with the clothes repainted after suffering damage when a metal cover or riza was placed over them Academic Sona Hoisington attributes this in part to a greater effort by Byzantines to convert and Christianize the Slavic peoples at the time. It was kept in a Vyshhorod nunnery until Yuri's son, Andrey of Bogolyubovo, brought it to Vladimir in 1155. The icon was soon moved to the Assumption Cathedral after its consecration in 1160.Following the consecration of the Assumption Cathedral, which was soon followed by other churches dedicated to the Virgin, there is no record of the icon ever leaving Vladimir until 1395. However, its presence did not prevent the sack and burning of the city by the Mongols in 1238, when the icon was damaged in the fire. It was restored soon after the event, and again in 1431 and in 1512.

Prompt: ウラジーミルの生神女では、どのようにヌルの起源が説明されていますか？英語で出力して下さい。


subsection

ウラジーミルの生神女

The icon is dated to the earlier part of the 12th century, and arrived in Rus' around 1131. This is consistent with accounts given in Rus' chronicles. Similar to other high quality Byzantine works of art, it is thought to have been painted in Constantinople. Only the faces are original, with the clothes repainted after suffering damage when a metal cover or riza was placed over them Academic Sona Hoisington attributes this in part to a greater effort by Byzantines to convert and Christianize the Slavic peoples at the time. It was kept in a Vyshhorod nunnery until Yuri's son, Andrey of Bogolyubovo, brought it to Vladimir in 1155. The icon was soon moved to the Assumption Cathedral after its consecration in 1160.Following the consecration of the Assumption Cathedral, which was soon followed by other churches dedicated to the Virgin, there is no record of the icon ever leaving Vladimir until 1395. However, its presence did not prevent the sack and burning of the city by the Mongols in 1238, when the icon was damaged in the fire. It was restored soon after the event, and again in 1431 and in 1512.

Prompt: ウラジーミルの生神女のヌルにおける起源の特徴を説明してください。英語で出力して下さい。


subsection

ウラジーミルの生神女

A legend formed that the icon was painted by Luke the Evangelist from life; the first written account of this story dates back to 1512. The intercession of the Theotokos through the image has also been credited with saving Moscow from Tatar hordes in 1451 and 1480. Vasily I of Moscow spent a night crying over the icon, and Tamerlane's armies retreated the same day. The Muscovites refused to return the icon to Vladimir and placed it in the Dormition Cathedral of the Moscow Kremlin.David Miller suggests that the icon was in fact normally still in Vladimir, with some excursions to Moscow, until the 1520s. Crediting the icon with saving Moscow in 1395 does not appear in sources until the late 15th century and the full version of the story until accounts of 1512 and then the 1560s. From the 16th century, the Vladimirskaya began to be featured as an important symbol in a series of politicized legends linking Moscow to pre-Mongol Rus and positioning it as the centre of Christianity after Rome and Byzantium—initially to sustain the imperial pretensions of Ivan IV, and later to influence state policy under the Riurikid and Romanov dynasties.

Prompt: ウラジーミルの生神女の文脈で、モスクワへの転勤とヌルを説明してください。英語で出力して下さい。

Byzantium
Luke the Evangelist
Moscow
Kremlin
Rome
Theotokos
Vasily I of Moscow


subsection

ウラジーミルの生神女

A legend formed that the icon was painted by Luke the Evangelist from life; the first written account of this story dates back to 1512. The intercession of the Theotokos through the image has also been credited with saving Moscow from Tatar hordes in 1451 and 1480. Vasily I of Moscow spent a night crying over the icon, and Tamerlane's armies retreated the same day. The Muscovites refused to return the icon to Vladimir and placed it in the Dormition Cathedral of the Moscow Kremlin.David Miller suggests that the icon was in fact normally still in Vladimir, with some excursions to Moscow, until the 1520s. Crediting the icon with saving Moscow in 1395 does not appear in sources until the late 15th century and the full version of the story until accounts of 1512 and then the 1560s. From the 16th century, the Vladimirskaya began to be featured as an important symbol in a series of politicized legends linking Moscow to pre-Mongol Rus and positioning it as the centre of Christianity after Rome and Byzantium—initially to sustain the imperial pretensions of Ivan IV, and later to influence state policy under the Riurikid and Romanov dynasties.

Prompt: ウラジーミルの生神女のヌルに関するモスクワへの転勤を説明してください。英語で出力して下さい。

Byzantium
Luke the Evangelist
Moscow
Kremlin
Rome
Theotokos
Vasily I of Moscow


subsection

ウラジーミルの生神女

A legend formed that the icon was painted by Luke the Evangelist from life; the first written account of this story dates back to 1512. The intercession of the Theotokos through the image has also been credited with saving Moscow from Tatar hordes in 1451 and 1480. Vasily I of Moscow spent a night crying over the icon, and Tamerlane's armies retreated the same day. The Muscovites refused to return the icon to Vladimir and placed it in the Dormition Cathedral of the Moscow Kremlin.David Miller suggests that the icon was in fact normally still in Vladimir, with some excursions to Moscow, until the 1520s. Crediting the icon with saving Moscow in 1395 does not appear in sources until the late 15th century and the full version of the story until accounts of 1512 and then the 1560s. From the 16th century, the Vladimirskaya began to be featured as an important symbol in a series of politicized legends linking Moscow to pre-Mongol Rus and positioning it as the centre of Christianity after Rome and Byzantium—initially to sustain the imperial pretensions of Ivan IV, and later to influence state policy under the Riurikid and Romanov dynasties.

Prompt: ウラジーミルの生神女では、どのようにヌルのモスクワへの転勤が説明されていますか？英語で出力して下さい。

Byzantium
Luke the Evangelist
Moscow
Kremlin
Rome
Theotokos
Vasily I of Moscow


subsection

ウラジーミルの生神女

A legend formed that the icon was painted by Luke the Evangelist from life; the first written account of this story dates back to 1512. The intercession of the Theotokos through the image has also been credited with saving Moscow from Tatar hordes in 1451 and 1480. Vasily I of Moscow spent a night crying over the icon, and Tamerlane's armies retreated the same day. The Muscovites refused to return the icon to Vladimir and placed it in the Dormition Cathedral of the Moscow Kremlin.David Miller suggests that the icon was in fact normally still in Vladimir, with some excursions to Moscow, until the 1520s. Crediting the icon with saving Moscow in 1395 does not appear in sources until the late 15th century and the full version of the story until accounts of 1512 and then the 1560s. From the 16th century, the Vladimirskaya began to be featured as an important symbol in a series of politicized legends linking Moscow to pre-Mongol Rus and positioning it as the centre of Christianity after Rome and Byzantium—initially to sustain the imperial pretensions of Ivan IV, and later to influence state policy under the Riurikid and Romanov dynasties.

Prompt: ウラジーミルの生神女のヌルにおけるモスクワへの転勤の特徴を説明してください。英語で出力して下さい。

Byzantium
Luke the Evangelist
Moscow
Kremlin
Rome
Theotokos
Vasily I of Moscow


subsection

ウラジーミルの生神女

Under the Bolsheviks, the icon came into the possession of the State Tretyakov Gallery. Displayed as a work of art, During the Battle of Moscow, Joseph Stalin allegedly had the icon flown around the city as the Germans began to invade. This was first described by Moscow city official Viktor Volokhov in his 2012 book .

Prompt: ウラジーミルの生神女の文脈で、革命後とヌルを説明してください。英語で出力して下さい。

Battle of Moscow
Joseph Stalin
Moscow
Tretyakov Gallery
Viktor Volokhov


subsection

ウラジーミルの生神女

Under the Bolsheviks, the icon came into the possession of the State Tretyakov Gallery. Displayed as a work of art, During the Battle of Moscow, Joseph Stalin allegedly had the icon flown around the city as the Germans began to invade. This was first described by Moscow city official Viktor Volokhov in his 2012 book .

Prompt: ウラジーミルの生神女のヌルに関する革命後を説明してください。英語で出力して下さい。

Battle of Moscow
Joseph Stalin
Moscow
Tretyakov Gallery
Viktor Volokhov


subsection

ウラジーミルの生神女

Under the Bolsheviks, the icon came into the possession of the State Tretyakov Gallery. Displayed as a work of art, During the Battle of Moscow, Joseph Stalin allegedly had the icon flown around the city as the Germans began to invade. This was first described by Moscow city official Viktor Volokhov in his 2012 book .

Prompt: ウラジーミルの生神女では、どのようにヌルの革命後が説明されていますか？英語で出力して下さい。

Battle of Moscow
Joseph Stalin
Moscow
Tretyakov Gallery
Viktor Volokhov


subsection

ウラジーミルの生神女

Under the Bolsheviks, the icon came into the possession of the State Tretyakov Gallery. Displayed as a work of art, During the Battle of Moscow, Joseph Stalin allegedly had the icon flown around the city as the Germans began to invade. This was first described by Moscow city official Viktor Volokhov in his 2012 book .

Prompt: ウラジーミルの生神女のヌルにおける革命後の特徴を説明してください。英語で出力して下さい。

Battle of Moscow
Joseph Stalin
Moscow
Tretyakov Gallery
Viktor Volokhov


subsection

ウラジーミルの生神女

The icon is generally considered to be one of the most cherished symbols in Russian history. Its transfer from Kiev to Vladimir was used by Bogolyubsky to legitimize Vladimir's claim as the new center of government in Kievan Rus'.Additionally, its intimate association with important Russian historical events gave Our dy of Vladimir the distinction of being a national palladium. The most recent of these events being the 1993 Russian constitutional crisis when it was brought to the Epiphany Cathedral at the request of Patriarch Alexy II and Mayor of Moscow Yury Luzhkov in their attempt to bring peace to the country.

Prompt: ウラジーミルの生神女の文脈で、ロシア史でとヌルを説明してください。英語で出力して下さい。

1993 Russian constitutional crisis
Kievan Rus'
Moscow
Russia
Yury Luzhkov


subsection

ウラジーミルの生神女

The icon is generally considered to be one of the most cherished symbols in Russian history. Its transfer from Kiev to Vladimir was used by Bogolyubsky to legitimize Vladimir's claim as the new center of government in Kievan Rus'.Additionally, its intimate association with important Russian historical events gave Our dy of Vladimir the distinction of being a national palladium. The most recent of these events being the 1993 Russian constitutional crisis when it was brought to the Epiphany Cathedral at the request of Patriarch Alexy II and Mayor of Moscow Yury Luzhkov in their attempt to bring peace to the country.

Prompt: ウラジーミルの生神女のヌルに関するロシア史でを説明してください。英語で出力して下さい。

1993 Russian constitutional crisis
Kievan Rus'
Moscow
Russia
Yury Luzhkov


subsection

ウラジーミルの生神女

The icon is generally considered to be one of the most cherished symbols in Russian history. Its transfer from Kiev to Vladimir was used by Bogolyubsky to legitimize Vladimir's claim as the new center of government in Kievan Rus'.Additionally, its intimate association with important Russian historical events gave Our dy of Vladimir the distinction of being a national palladium. The most recent of these events being the 1993 Russian constitutional crisis when it was brought to the Epiphany Cathedral at the request of Patriarch Alexy II and Mayor of Moscow Yury Luzhkov in their attempt to bring peace to the country.

Prompt: ウラジーミルの生神女では、どのようにヌルのロシア史でが説明されていますか？英語で出力して下さい。

1993 Russian constitutional crisis
Kievan Rus'
Moscow
Russia
Yury Luzhkov


subsection

ウラジーミルの生神女

The icon is generally considered to be one of the most cherished symbols in Russian history. Its transfer from Kiev to Vladimir was used by Bogolyubsky to legitimize Vladimir's claim as the new center of government in Kievan Rus'.Additionally, its intimate association with important Russian historical events gave Our dy of Vladimir the distinction of being a national palladium. The most recent of these events being the 1993 Russian constitutional crisis when it was brought to the Epiphany Cathedral at the request of Patriarch Alexy II and Mayor of Moscow Yury Luzhkov in their attempt to bring peace to the country.

Prompt: ウラジーミルの生神女のヌルにおけるロシア史での特徴を説明してください。英語で出力して下さい。

1993 Russian constitutional crisis
Kievan Rus'
Moscow
Russia
Yury Luzhkov


subsection

ウラジーミルの生神女

Our dy of Vladimir's veneration is also likely enhanced by the fact that the Theotokos is regarded as the holy protectress of Russia. The icon has three feast days held throughout the year in celebration to specific events it is associated with:

Prompt: ウラジーミルの生神女の文脈で、宗教的なアイコンとヌルを説明してください。英語で出力して下さい。


subsection

ウラジーミルの生神女

Our dy of Vladimir's veneration is also likely enhanced by the fact that the Theotokos is regarded as the holy protectress of Russia. The icon has three feast days held throughout the year in celebration to specific events it is associated with:

Prompt: ウラジーミルの生神女のヌルに関する宗教的なアイコンを説明してください。英語で出力して下さい。


subsection

ウラジーミルの生神女

Our dy of Vladimir's veneration is also likely enhanced by the fact that the Theotokos is regarded as the holy protectress of Russia. The icon has three feast days held throughout the year in celebration to specific events it is associated with:

Prompt: ウラジーミルの生神女では、どのようにヌルの宗教的なアイコンが説明されていますか？英語で出力して下さい。


subsection

ウラジーミルの生神女

Our dy of Vladimir's veneration is also likely enhanced by the fact that the Theotokos is regarded as the holy protectress of Russia. The icon has three feast days held throughout the year in celebration to specific events it is associated with:

Prompt: ウラジーミルの生神女のヌルにおける宗教的なアイコンの特徴を説明してください。英語で出力して下さい。


subsection

ウラジーミルの生神女

The icon is dated to the earlier part of the 12th century, and arrived in Rus' around 1131. This is consistent with accounts given in Rus' chronicles. Similar to other high quality Byzantine works of art, it is thought to have been painted in Constantinople. Only the faces are original, with the clothes repainted after suffering damage when a metal cover or riza was placed over them Academic Sona Hoisington attributes this in part to a greater effort by Byzantines to convert and Christianize the Slavic peoples at the time. It was kept in a Vyshhorod nunnery until Yuri's son, Andrey of Bogolyubovo, brought it to Vladimir in 1155. The icon was soon moved to the Assumption Cathedral after its consecration in 1160.Following the consecration of the Assumption Cathedral, which was soon followed by other churches dedicated to the Virgin, there is no record of the icon ever leaving Vladimir until 1395. However, its presence did not prevent the sack and burning of the city by the Mongols in 1238, when the icon was damaged in the fire. It was restored soon after the event, and again in 1431 and in 1512.

Prompt: ウラジーミルの生神女の文脈で、起源と説明を説明してください。英語で出力して下さい。


subsection

ウラジーミルの生神女

The icon is dated to the earlier part of the 12th century, and arrived in Rus' around 1131. This is consistent with accounts given in Rus' chronicles. Similar to other high quality Byzantine works of art, it is thought to have been painted in Constantinople. Only the faces are original, with the clothes repainted after suffering damage when a metal cover or riza was placed over them Academic Sona Hoisington attributes this in part to a greater effort by Byzantines to convert and Christianize the Slavic peoples at the time. It was kept in a Vyshhorod nunnery until Yuri's son, Andrey of Bogolyubovo, brought it to Vladimir in 1155. The icon was soon moved to the Assumption Cathedral after its consecration in 1160.Following the consecration of the Assumption Cathedral, which was soon followed by other churches dedicated to the Virgin, there is no record of the icon ever leaving Vladimir until 1395. However, its presence did not prevent the sack and burning of the city by the Mongols in 1238, when the icon was damaged in the fire. It was restored soon after the event, and again in 1431 and in 1512.

Prompt: ウラジーミルの生神女の説明に関する起源を説明してください。英語で出力して下さい。


subsection

ウラジーミルの生神女

The icon is dated to the earlier part of the 12th century, and arrived in Rus' around 1131. This is consistent with accounts given in Rus' chronicles. Similar to other high quality Byzantine works of art, it is thought to have been painted in Constantinople. Only the faces are original, with the clothes repainted after suffering damage when a metal cover or riza was placed over them Academic Sona Hoisington attributes this in part to a greater effort by Byzantines to convert and Christianize the Slavic peoples at the time. It was kept in a Vyshhorod nunnery until Yuri's son, Andrey of Bogolyubovo, brought it to Vladimir in 1155. The icon was soon moved to the Assumption Cathedral after its consecration in 1160.Following the consecration of the Assumption Cathedral, which was soon followed by other churches dedicated to the Virgin, there is no record of the icon ever leaving Vladimir until 1395. However, its presence did not prevent the sack and burning of the city by the Mongols in 1238, when the icon was damaged in the fire. It was restored soon after the event, and again in 1431 and in 1512.

Prompt: ウラジーミルの生神女では、どのように説明の起源が説明されていますか？英語で出力して下さい。


subsection

ウラジーミルの生神女

The icon is dated to the earlier part of the 12th century, and arrived in Rus' around 1131. This is consistent with accounts given in Rus' chronicles. Similar to other high quality Byzantine works of art, it is thought to have been painted in Constantinople. Only the faces are original, with the clothes repainted after suffering damage when a metal cover or riza was placed over them Academic Sona Hoisington attributes this in part to a greater effort by Byzantines to convert and Christianize the Slavic peoples at the time. It was kept in a Vyshhorod nunnery until Yuri's son, Andrey of Bogolyubovo, brought it to Vladimir in 1155. The icon was soon moved to the Assumption Cathedral after its consecration in 1160.Following the consecration of the Assumption Cathedral, which was soon followed by other churches dedicated to the Virgin, there is no record of the icon ever leaving Vladimir until 1395. However, its presence did not prevent the sack and burning of the city by the Mongols in 1238, when the icon was damaged in the fire. It was restored soon after the event, and again in 1431 and in 1512.

Prompt: ウラジーミルの生神女の説明における起源の特徴を説明してください。英語で出力して下さい。


subsection

ウラジーミルの生神女

A legend formed that the icon was painted by Luke the Evangelist from life; the first written account of this story dates back to 1512. The intercession of the Theotokos through the image has also been credited with saving Moscow from Tatar hordes in 1451 and 1480. Vasily I of Moscow spent a night crying over the icon, and Tamerlane's armies retreated the same day. The Muscovites refused to return the icon to Vladimir and placed it in the Dormition Cathedral of the Moscow Kremlin.David Miller suggests that the icon was in fact normally still in Vladimir, with some excursions to Moscow, until the 1520s. Crediting the icon with saving Moscow in 1395 does not appear in sources until the late 15th century and the full version of the story until accounts of 1512 and then the 1560s. From the 16th century, the Vladimirskaya began to be featured as an important symbol in a series of politicized legends linking Moscow to pre-Mongol Rus and positioning it as the centre of Christianity after Rome and Byzantium—initially to sustain the imperial pretensions of Ivan IV, and later to influence state policy under the Riurikid and Romanov dynasties.

Prompt: ウラジーミルの生神女の文脈で、モスクワへの転勤と説明を説明してください。英語で出力して下さい。

Byzantium
Luke the Evangelist
Moscow
Kremlin
Rome
Theotokos
Vasily I of Moscow


subsection

ウラジーミルの生神女

A legend formed that the icon was painted by Luke the Evangelist from life; the first written account of this story dates back to 1512. The intercession of the Theotokos through the image has also been credited with saving Moscow from Tatar hordes in 1451 and 1480. Vasily I of Moscow spent a night crying over the icon, and Tamerlane's armies retreated the same day. The Muscovites refused to return the icon to Vladimir and placed it in the Dormition Cathedral of the Moscow Kremlin.David Miller suggests that the icon was in fact normally still in Vladimir, with some excursions to Moscow, until the 1520s. Crediting the icon with saving Moscow in 1395 does not appear in sources until the late 15th century and the full version of the story until accounts of 1512 and then the 1560s. From the 16th century, the Vladimirskaya began to be featured as an important symbol in a series of politicized legends linking Moscow to pre-Mongol Rus and positioning it as the centre of Christianity after Rome and Byzantium—initially to sustain the imperial pretensions of Ivan IV, and later to influence state policy under the Riurikid and Romanov dynasties.

Prompt: ウラジーミルの生神女の説明に関するモスクワへの転勤を説明してください。英語で出力して下さい。

Byzantium
Luke the Evangelist
Moscow
Kremlin
Rome
Theotokos
Vasily I of Moscow


subsection

ウラジーミルの生神女

A legend formed that the icon was painted by Luke the Evangelist from life; the first written account of this story dates back to 1512. The intercession of the Theotokos through the image has also been credited with saving Moscow from Tatar hordes in 1451 and 1480. Vasily I of Moscow spent a night crying over the icon, and Tamerlane's armies retreated the same day. The Muscovites refused to return the icon to Vladimir and placed it in the Dormition Cathedral of the Moscow Kremlin.David Miller suggests that the icon was in fact normally still in Vladimir, with some excursions to Moscow, until the 1520s. Crediting the icon with saving Moscow in 1395 does not appear in sources until the late 15th century and the full version of the story until accounts of 1512 and then the 1560s. From the 16th century, the Vladimirskaya began to be featured as an important symbol in a series of politicized legends linking Moscow to pre-Mongol Rus and positioning it as the centre of Christianity after Rome and Byzantium—initially to sustain the imperial pretensions of Ivan IV, and later to influence state policy under the Riurikid and Romanov dynasties.

Prompt: ウラジーミルの生神女では、どのように説明のモスクワへの転勤が説明されていますか？英語で出力して下さい。

Byzantium
Luke the Evangelist
Moscow
Kremlin
Rome
Theotokos
Vasily I of Moscow


subsection

ウラジーミルの生神女

A legend formed that the icon was painted by Luke the Evangelist from life; the first written account of this story dates back to 1512. The intercession of the Theotokos through the image has also been credited with saving Moscow from Tatar hordes in 1451 and 1480. Vasily I of Moscow spent a night crying over the icon, and Tamerlane's armies retreated the same day. The Muscovites refused to return the icon to Vladimir and placed it in the Dormition Cathedral of the Moscow Kremlin.David Miller suggests that the icon was in fact normally still in Vladimir, with some excursions to Moscow, until the 1520s. Crediting the icon with saving Moscow in 1395 does not appear in sources until the late 15th century and the full version of the story until accounts of 1512 and then the 1560s. From the 16th century, the Vladimirskaya began to be featured as an important symbol in a series of politicized legends linking Moscow to pre-Mongol Rus and positioning it as the centre of Christianity after Rome and Byzantium—initially to sustain the imperial pretensions of Ivan IV, and later to influence state policy under the Riurikid and Romanov dynasties.

Prompt: ウラジーミルの生神女の説明におけるモスクワへの転勤の特徴を説明してください。英語で出力して下さい。

Byzantium
Luke the Evangelist
Moscow
Kremlin
Rome
Theotokos
Vasily I of Moscow


subsection

ウラジーミルの生神女

Under the Bolsheviks, the icon came into the possession of the State Tretyakov Gallery. Displayed as a work of art, During the Battle of Moscow, Joseph Stalin allegedly had the icon flown around the city as the Germans began to invade. This was first described by Moscow city official Viktor Volokhov in his 2012 book .

Prompt: ウラジーミルの生神女の文脈で、革命後と説明を説明してください。英語で出力して下さい。

Battle of Moscow
Joseph Stalin
Moscow
Tretyakov Gallery
Viktor Volokhov


subsection

ウラジーミルの生神女

Under the Bolsheviks, the icon came into the possession of the State Tretyakov Gallery. Displayed as a work of art, During the Battle of Moscow, Joseph Stalin allegedly had the icon flown around the city as the Germans began to invade. This was first described by Moscow city official Viktor Volokhov in his 2012 book .

Prompt: ウラジーミルの生神女の説明に関する革命後を説明してください。英語で出力して下さい。

Battle of Moscow
Joseph Stalin
Moscow
Tretyakov Gallery
Viktor Volokhov


subsection

ウラジーミルの生神女

Under the Bolsheviks, the icon came into the possession of the State Tretyakov Gallery. Displayed as a work of art, During the Battle of Moscow, Joseph Stalin allegedly had the icon flown around the city as the Germans began to invade. This was first described by Moscow city official Viktor Volokhov in his 2012 book .

Prompt: ウラジーミルの生神女では、どのように説明の革命後が説明されていますか？英語で出力して下さい。

Battle of Moscow
Joseph Stalin
Moscow
Tretyakov Gallery
Viktor Volokhov


subsection

ウラジーミルの生神女

Under the Bolsheviks, the icon came into the possession of the State Tretyakov Gallery. Displayed as a work of art, During the Battle of Moscow, Joseph Stalin allegedly had the icon flown around the city as the Germans began to invade. This was first described by Moscow city official Viktor Volokhov in his 2012 book .

Prompt: ウラジーミルの生神女の説明における革命後の特徴を説明してください。英語で出力して下さい。

Battle of Moscow
Joseph Stalin
Moscow
Tretyakov Gallery
Viktor Volokhov


subsection

ウラジーミルの生神女

The icon is generally considered to be one of the most cherished symbols in Russian history. Its transfer from Kiev to Vladimir was used by Bogolyubsky to legitimize Vladimir's claim as the new center of government in Kievan Rus'.Additionally, its intimate association with important Russian historical events gave Our dy of Vladimir the distinction of being a national palladium. The most recent of these events being the 1993 Russian constitutional crisis when it was brought to the Epiphany Cathedral at the request of Patriarch Alexy II and Mayor of Moscow Yury Luzhkov in their attempt to bring peace to the country.

Prompt: ウラジーミルの生神女の文脈で、ロシア史でと説明を説明してください。英語で出力して下さい。

1993 Russian constitutional crisis
Kievan Rus'
Moscow
Russia
Yury Luzhkov


subsection

ウラジーミルの生神女

The icon is generally considered to be one of the most cherished symbols in Russian history. Its transfer from Kiev to Vladimir was used by Bogolyubsky to legitimize Vladimir's claim as the new center of government in Kievan Rus'.Additionally, its intimate association with important Russian historical events gave Our dy of Vladimir the distinction of being a national palladium. The most recent of these events being the 1993 Russian constitutional crisis when it was brought to the Epiphany Cathedral at the request of Patriarch Alexy II and Mayor of Moscow Yury Luzhkov in their attempt to bring peace to the country.

Prompt: ウラジーミルの生神女の説明に関するロシア史でを説明してください。英語で出力して下さい。

1993 Russian constitutional crisis
Kievan Rus'
Moscow
Russia
Yury Luzhkov


subsection

ウラジーミルの生神女

The icon is generally considered to be one of the most cherished symbols in Russian history. Its transfer from Kiev to Vladimir was used by Bogolyubsky to legitimize Vladimir's claim as the new center of government in Kievan Rus'.Additionally, its intimate association with important Russian historical events gave Our dy of Vladimir the distinction of being a national palladium. The most recent of these events being the 1993 Russian constitutional crisis when it was brought to the Epiphany Cathedral at the request of Patriarch Alexy II and Mayor of Moscow Yury Luzhkov in their attempt to bring peace to the country.

Prompt: ウラジーミルの生神女では、どのように説明のロシア史でが説明されていますか？英語で出力して下さい。

1993 Russian constitutional crisis
Kievan Rus'
Moscow
Russia
Yury Luzhkov


subsection

ウラジーミルの生神女

The icon is generally considered to be one of the most cherished symbols in Russian history. Its transfer from Kiev to Vladimir was used by Bogolyubsky to legitimize Vladimir's claim as the new center of government in Kievan Rus'.Additionally, its intimate association with important Russian historical events gave Our dy of Vladimir the distinction of being a national palladium. The most recent of these events being the 1993 Russian constitutional crisis when it was brought to the Epiphany Cathedral at the request of Patriarch Alexy II and Mayor of Moscow Yury Luzhkov in their attempt to bring peace to the country.

Prompt: ウラジーミルの生神女の説明におけるロシア史での特徴を説明してください。英語で出力して下さい。

1993 Russian constitutional crisis
Kievan Rus'
Moscow
Russia
Yury Luzhkov


subsection

ウラジーミルの生神女

Our dy of Vladimir's veneration is also likely enhanced by the fact that the Theotokos is regarded as the holy protectress of Russia. The icon has three feast days held throughout the year in celebration to specific events it is associated with:

Prompt: ウラジーミルの生神女の文脈で、宗教的なアイコンと説明を説明してください。英語で出力して下さい。


subsection

ウラジーミルの生神女

Our dy of Vladimir's veneration is also likely enhanced by the fact that the Theotokos is regarded as the holy protectress of Russia. The icon has three feast days held throughout the year in celebration to specific events it is associated with:

Prompt: ウラジーミルの生神女の説明に関する宗教的なアイコンを説明してください。英語で出力して下さい。


subsection

ウラジーミルの生神女

Our dy of Vladimir's veneration is also likely enhanced by the fact that the Theotokos is regarded as the holy protectress of Russia. The icon has three feast days held throughout the year in celebration to specific events it is associated with:

Prompt: ウラジーミルの生神女では、どのように説明の宗教的なアイコンが説明されていますか？英語で出力して下さい。


subsection

ウラジーミルの生神女

Our dy of Vladimir's veneration is also likely enhanced by the fact that the Theotokos is regarded as the holy protectress of Russia. The icon has three feast days held throughout the year in celebration to specific events it is associated with:

Prompt: ウラジーミルの生神女の説明における宗教的なアイコンの特徴を説明してください。英語で出力して下さい。


section

ブロードウェイ・ブギウギ

Broadway Boogie Woogie is a painting by Piet Mondrian completed in 1943, after he had moved to New York in 1940. Compared to his earlier work, the canvas is divided into many more squares. Although he spent most of his career creating abstract work, this painting is inspired by clear real-world examples: the city grid of Manhattan, and boogie-woogie, an African-American Blues music Mondrian loved. The painting was bought by the Brazilian sculptor Maria Martins for the price of $800 at the Valentine Gallery in New York City, after Martins and Mondrian both exhibited there in 1943. Martins later donated the painting to the Museum of Modern Art in New York City.

Prompt: ブロードウェイ・ブギウギに焦点を当てて、その抽象を説明してください。英語で出力して下さい。

Manhattan
Museum of Modern Art
Piet Mondrian


section

ブロードウェイ・ブギウギ

Broadway Boogie Woogie is a painting by Piet Mondrian completed in 1943, after he had moved to New York in 1940. Compared to his earlier work, the canvas is divided into many more squares. Although he spent most of his career creating abstract work, this painting is inspired by clear real-world examples: the city grid of Manhattan, and boogie-woogie, an African-American Blues music Mondrian loved. The painting was bought by the Brazilian sculptor Maria Martins for the price of $800 at the Valentine Gallery in New York City, after Martins and Mondrian both exhibited there in 1943. Martins later donated the painting to the Museum of Modern Art in New York City.

Prompt: ブロードウェイ・ブギウギの抽象を説明してください。英語で出力して下さい。

Manhattan
Museum of Modern Art
Piet Mondrian


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ブロードウェイ・ブギウギ

Broadway Boogie Woogie is a painting by Piet Mondrian completed in 1943, after he had moved to New York in 1940. Compared to his earlier work, the canvas is divided into many more squares. Although he spent most of his career creating abstract work, this painting is inspired by clear real-world examples: the city grid of Manhattan, and boogie-woogie, an African-American Blues music Mondrian loved. The painting was bought by the Brazilian sculptor Maria Martins for the price of $800 at the Valentine Gallery in New York City, after Martins and Mondrian both exhibited there in 1943. Martins later donated the painting to the Museum of Modern Art in New York City.

Prompt: ブロードウェイ・ブギウギはどのように抽象を説明していますか？英語で出力して下さい。

Manhattan
Museum of Modern Art
Piet Mondrian


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ブロードウェイ・ブギウギ

Broadway Boogie Woogie is a painting by Piet Mondrian completed in 1943, after he had moved to New York in 1940. Compared to his earlier work, the canvas is divided into many more squares. Although he spent most of his career creating abstract work, this painting is inspired by clear real-world examples: the city grid of Manhattan, and boogie-woogie, an African-American Blues music Mondrian loved. The painting was bought by the Brazilian sculptor Maria Martins for the price of $800 at the Valentine Gallery in New York City, after Martins and Mondrian both exhibited there in 1943. Martins later donated the painting to the Museum of Modern Art in New York City.

Prompt: ブロードウェイ・ブギウギに関して、どのように抽象が議論されていますか？英語で出力して下さい。

Manhattan
Museum of Modern Art
Piet Mondrian


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ブロードウェイ・ブギウギ

When Piet Mondrian arrived in New York he became fond of the neat, rigid architecture. He integrated the mood and tone of jazz into this work. Mondrian called it the “destruction of natural appearance; and construction through continuous opposition of pure means - dynamic rhythm.”

Prompt: ブロードウェイ・ブギウギに焦点を当てて、その分析を説明してください。英語で出力して下さい。


section

ブロードウェイ・ブギウギ

When Piet Mondrian arrived in New York he became fond of the neat, rigid architecture. He integrated the mood and tone of jazz into this work. Mondrian called it the “destruction of natural appearance; and construction through continuous opposition of pure means - dynamic rhythm.”

Prompt: ブロードウェイ・ブギウギの分析を説明してください。英語で出力して下さい。


section

ブロードウェイ・ブギウギ

When Piet Mondrian arrived in New York he became fond of the neat, rigid architecture. He integrated the mood and tone of jazz into this work. Mondrian called it the “destruction of natural appearance; and construction through continuous opposition of pure means - dynamic rhythm.”

Prompt: ブロードウェイ・ブギウギはどのように分析を説明していますか？英語で出力して下さい。


section

ブロードウェイ・ブギウギ

When Piet Mondrian arrived in New York he became fond of the neat, rigid architecture. He integrated the mood and tone of jazz into this work. Mondrian called it the “destruction of natural appearance; and construction through continuous opposition of pure means - dynamic rhythm.”

Prompt: ブロードウェイ・ブギウギに関して、どのように分析が議論されていますか？英語で出力して下さい。


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ブロードウェイ・ブギウギ

Category:De StijlCategory:1943 paintingsCategory:Paintings by Piet MondrianCategory:Paintings in the Museum of Modern Art

Prompt: ブロードウェイ・ブギウギに焦点を当てて、その外部リンクを説明してください。英語で出力して下さい。


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ブロードウェイ・ブギウギ

Category:De StijlCategory:1943 paintingsCategory:Paintings by Piet MondrianCategory:Paintings in the Museum of Modern Art

Prompt: ブロードウェイ・ブギウギの外部リンクを説明してください。英語で出力して下さい。


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ブロードウェイ・ブギウギ

Category:De StijlCategory:1943 paintingsCategory:Paintings by Piet MondrianCategory:Paintings in the Museum of Modern Art

Prompt: ブロードウェイ・ブギウギはどのように外部リンクを説明していますか？英語で出力して下さい。


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ブロードウェイ・ブギウギ

Category:De StijlCategory:1943 paintingsCategory:Paintings by Piet MondrianCategory:Paintings in the Museum of Modern Art

Prompt: ブロードウェイ・ブギウギに関して、どのように外部リンクが議論されていますか？英語で出力して下さい。


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夜のカフェテラス

F467JH1580 height_metric   = 80.7 width_metric    = 65.3 height_imperial = 31.8 width_imperial  = 25.7 metric_unit     = cm imperial_unit   = in museum          = Kröller-Müller Museum city            = Otterlo}}Café Terrace at Night is an 1888 oil painting by the Dutch artist Vincent van Gogh. It is also known as The Cafe Terrace on the Place du Forum, and, when first exhibited in 1891, was entitled Coffeehouse, in the evening .Van Gogh painted Café Terrace at Night in Arles, France, in mid-September 1888. The painting is not signed, but described and mentioned by the artist in three letters.Visitors to the site can stand at the north eastern corner of the Place du Forum, where the artist set up his easel. The site was refurbished in 1990 and 1991 to replicate van Gogh's painting. He looked south towards the artificially lit terrace of the popular coffee house, as well as into the enforced darkness of the rue du Palais which led up to a building structure  and, beyond this structure, the tower of a former church which is now Musée pidaire.Towards the right, Van Gogh indicated a lighted shop and some branches of the trees surrounding the place, but he omitted the remainders of the Roman monuments just beside this little shop.The painting is currently at the Kröller-Müller Museum in Otterlo, Netherlands.

Prompt: 夜のカフェテラスに焦点を当てて、その抽象を説明してください。英語で出力して下さい。

Arles
Kröller-Müller Museum
Otterlo
Vincent van Gogh


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夜のカフェテラス

F467JH1580 height_metric   = 80.7 width_metric    = 65.3 height_imperial = 31.8 width_imperial  = 25.7 metric_unit     = cm imperial_unit   = in museum          = Kröller-Müller Museum city            = Otterlo}}Café Terrace at Night is an 1888 oil painting by the Dutch artist Vincent van Gogh. It is also known as The Cafe Terrace on the Place du Forum, and, when first exhibited in 1891, was entitled Coffeehouse, in the evening .Van Gogh painted Café Terrace at Night in Arles, France, in mid-September 1888. The painting is not signed, but described and mentioned by the artist in three letters.Visitors to the site can stand at the north eastern corner of the Place du Forum, where the artist set up his easel. The site was refurbished in 1990 and 1991 to replicate van Gogh's painting. He looked south towards the artificially lit terrace of the popular coffee house, as well as into the enforced darkness of the rue du Palais which led up to a building structure  and, beyond this structure, the tower of a former church which is now Musée pidaire.Towards the right, Van Gogh indicated a lighted shop and some branches of the trees surrounding the place, but he omitted the remainders of the Roman monuments just beside this little shop.The painting is currently at the Kröller-Müller Museum in Otterlo, Netherlands.

Prompt: 夜のカフェテラスの抽象を説明してください。英語で出力して下さい。

Arles
Kröller-Müller Museum
Otterlo
Vincent van Gogh


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夜のカフェテラス

F467JH1580 height_metric   = 80.7 width_metric    = 65.3 height_imperial = 31.8 width_imperial  = 25.7 metric_unit     = cm imperial_unit   = in museum          = Kröller-Müller Museum city            = Otterlo}}Café Terrace at Night is an 1888 oil painting by the Dutch artist Vincent van Gogh. It is also known as The Cafe Terrace on the Place du Forum, and, when first exhibited in 1891, was entitled Coffeehouse, in the evening .Van Gogh painted Café Terrace at Night in Arles, France, in mid-September 1888. The painting is not signed, but described and mentioned by the artist in three letters.Visitors to the site can stand at the north eastern corner of the Place du Forum, where the artist set up his easel. The site was refurbished in 1990 and 1991 to replicate van Gogh's painting. He looked south towards the artificially lit terrace of the popular coffee house, as well as into the enforced darkness of the rue du Palais which led up to a building structure  and, beyond this structure, the tower of a former church which is now Musée pidaire.Towards the right, Van Gogh indicated a lighted shop and some branches of the trees surrounding the place, but he omitted the remainders of the Roman monuments just beside this little shop.The painting is currently at the Kröller-Müller Museum in Otterlo, Netherlands.

Prompt: 夜のカフェテラスはどのように抽象を説明していますか？英語で出力して下さい。

Arles
Kröller-Müller Museum
Otterlo
Vincent van Gogh


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夜のカフェテラス

F467JH1580 height_metric   = 80.7 width_metric    = 65.3 height_imperial = 31.8 width_imperial  = 25.7 metric_unit     = cm imperial_unit   = in museum          = Kröller-Müller Museum city            = Otterlo}}Café Terrace at Night is an 1888 oil painting by the Dutch artist Vincent van Gogh. It is also known as The Cafe Terrace on the Place du Forum, and, when first exhibited in 1891, was entitled Coffeehouse, in the evening .Van Gogh painted Café Terrace at Night in Arles, France, in mid-September 1888. The painting is not signed, but described and mentioned by the artist in three letters.Visitors to the site can stand at the north eastern corner of the Place du Forum, where the artist set up his easel. The site was refurbished in 1990 and 1991 to replicate van Gogh's painting. He looked south towards the artificially lit terrace of the popular coffee house, as well as into the enforced darkness of the rue du Palais which led up to a building structure  and, beyond this structure, the tower of a former church which is now Musée pidaire.Towards the right, Van Gogh indicated a lighted shop and some branches of the trees surrounding the place, but he omitted the remainders of the Roman monuments just beside this little shop.The painting is currently at the Kröller-Müller Museum in Otterlo, Netherlands.

Prompt: 夜のカフェテラスに関して、どのように抽象が議論されていますか？英語で出力して下さい。

Arles
Kröller-Müller Museum
Otterlo
Vincent van Gogh


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夜のカフェテラス

After finishing Café Terrace at Night, Van Gogh wrote a letter to his sister expressing his enthusiasm:He continues, in this same letter, This excerpt forms the basis of the  Van Gogh Museum's curators' opinion that the painting is a depiction "of drinkers in the harsh, bright lights of their illuminated facades" from Maupassant's novel Bel Ami, however, they also note that Maupassant makes no mention of a 'starry sky.'An academic paper presented at IAFOR's 2013 European Conference on Arts & Humanities, however, advanced the theory that van Gogh intended the painting to be a uniquely innovated st Supper. The paper was subsequently published by The Art Histories Society in the January 2014 Art History Supplement and the July 2014 fourteenth volume of The Anistoriton Journal of History, Archaeology and Art History.Briefly, the paper examines the myriad artistic influences van Gogh was parsing the summer of 1888: his lifelong devotion to and imitation of Jesus Christ; synthesizing Japonism and Cloisonnism with his own plein air techniques; colorizing Jean-François Millet's pious genre scenes with Eugène Delacroix's luminous palette ; "search-for-sacred-realism" correspondence with his artist friend Émile Bernard; Thomas Carlyle and Boccaccio's examples of dressing old ideas in new clothes; an Émile Burnouf article claiming Buddhist missionaries sowed the seeds Essenes later reaped as Christianity; failed attempts creating his own Christ in the Garden of Olives; two proximal st Supper studies  featuring straw-bottomed chairs he'd just purchased by the dozen ; culminating with his composition of twelve diners drenched in a yellow halo surrounding a Rembrandtesque server framed by a crucifix at the vanishing point of the picture; it's concluded his original starry night is a Symbolist's st Supper.Although van Gogh never explicitly mentioned his intent in any existing letter, he did write his brother Theo two weeks later, "That doesn't stop me having a terrible need for - dare I say the word - for religion. So I go outside at night to paint the stars and I always dream a painting like that with a group of living figures of the pals."

Prompt: 夜のカフェテラスに焦点を当てて、その創世記を説明してください。英語で出力して下さい。

Cloisonnism
Essenes
Eugène Delacroix
Jean-François Millet
Jesus
Thomas Carlyle
Van Gogh Museum


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夜のカフェテラス

After finishing Café Terrace at Night, Van Gogh wrote a letter to his sister expressing his enthusiasm:He continues, in this same letter, This excerpt forms the basis of the  Van Gogh Museum's curators' opinion that the painting is a depiction "of drinkers in the harsh, bright lights of their illuminated facades" from Maupassant's novel Bel Ami, however, they also note that Maupassant makes no mention of a 'starry sky.'An academic paper presented at IAFOR's 2013 European Conference on Arts & Humanities, however, advanced the theory that van Gogh intended the painting to be a uniquely innovated st Supper. The paper was subsequently published by The Art Histories Society in the January 2014 Art History Supplement and the July 2014 fourteenth volume of The Anistoriton Journal of History, Archaeology and Art History.Briefly, the paper examines the myriad artistic influences van Gogh was parsing the summer of 1888: his lifelong devotion to and imitation of Jesus Christ; synthesizing Japonism and Cloisonnism with his own plein air techniques; colorizing Jean-François Millet's pious genre scenes with Eugène Delacroix's luminous palette ; "search-for-sacred-realism" correspondence with his artist friend Émile Bernard; Thomas Carlyle and Boccaccio's examples of dressing old ideas in new clothes; an Émile Burnouf article claiming Buddhist missionaries sowed the seeds Essenes later reaped as Christianity; failed attempts creating his own Christ in the Garden of Olives; two proximal st Supper studies  featuring straw-bottomed chairs he'd just purchased by the dozen ; culminating with his composition of twelve diners drenched in a yellow halo surrounding a Rembrandtesque server framed by a crucifix at the vanishing point of the picture; it's concluded his original starry night is a Symbolist's st Supper.Although van Gogh never explicitly mentioned his intent in any existing letter, he did write his brother Theo two weeks later, "That doesn't stop me having a terrible need for - dare I say the word - for religion. So I go outside at night to paint the stars and I always dream a painting like that with a group of living figures of the pals."

Prompt: 夜のカフェテラスの創世記を説明してください。英語で出力して下さい。

Cloisonnism
Essenes
Eugène Delacroix
Jean-François Millet
Jesus
Thomas Carlyle
Van Gogh Museum