section

アレクサンダー大王の戦い

leftAlexander III of Macedon , best known as Alexander the Great, was an Ancient King of Macedon who reigned from 336 BC until his death. He is widely regarded as one of the greatest military tacticians and strategists in history, and is presumed undefeated in battle. Renowned for his military leadership and charisma, he always led his armies personally and took to the front ranks of battle. By conquering the Persian Empire and unifying Greece, Egypt and Babylon, he forged the largest empire of the ancient world and effected the spread of Hellenism throughout Europe and Northern Africa.Alexander embarked on his expedition to conquer the Persian Empire in the spring of 334 BC, having pacified the warring Greek states and consolidated his military might. During the first months of the Macedonian passage into Persian Asia Minor, Darius III – king of Persia – largely ignored the presence of Alexander's 40,000 men. The Battle of the Granicus, fought in May, He continued inland, travelling northeast through Phrygia before turning southeast toward Cilicia. After passing the Cilician Gates in October, Alexander was delayed by fever in Tarsus. Darius meanwhile mustered an army of up to 100,000  and personally directed it over the eastern slopes of the Amanus Mountains. In early November, as Alexander proceeded about the Gulf of Issus from Mallus via Issus, the two armies inadvertently passed one another on opposite sides of the mountains. It was not until Alexander had encamped at Myriandrus, a seaport on the southeastern shores of the Gulf of İskenderun, that he learned of the Persian position. He immediately retraced his route to the Pinarus River, just south of Issus, to find Darius' force assembled along the northern bank. The Battle of Issus ensued.Darius' initial response was defensive: he immediately stockaded the river bank with stakes to impede the enemy's crossing. A core vanguard of traitorous Greek mercenaries and Persian royal guard was established; as was usual for Persian kings, Darius positioned himself in the centre of this vanguard, in order that he might effectively dispatch commands to any part of his large army. A group of Persian light infantry was soon sent to the foothills, as it was suspected that Alexander would make an approach from the right, away from the coast. A mass of cavalry commanded by Nabarsanes occupied the Persian right.Alexander made a cautious and slow advance, intending to base his strategy on the structure of the Persian force. He led a flank of his Companion cavalry on the right, while the Thessalian cavalry were dispatched to the left, as a counter to Nabarsanes' mounted unit. Aware of the importance of the foothills to his right, Alexander sent a band of light infantry, archers, and cavalry to displace the defence Darius had stationed there. The enterprise was successful – those Persians not killed were forced to seek refuge higher in the mountains.When within missile range of the enemy, Alexander gave the order to charge. He spearheaded the assault of his heavily armed Companion cavalry, who quickly made deep cuts into the Persian left flank. The Macedonian left wing, commanded by Parmenion, Some escaped to regions as remote as Egypt, and others reunited with Darius in the north. The onset of darkness ended the chase after approximately ; Alexander then recalled his army and set about burying the dead. Darius' family were left behind in the Persian camp; it is reported that Alexander treated them well and reassured them of Darius' safety. Darius' royal chariot was found discarded in a ditch, as were his bow and shield. In any case, it is probable that more Persians were killed as they fled than in battle; Ptolemy I, who served with Alexander during the battle, recounts how the Macedonians crossed a ravine on the bodies of their enemies during the pursuit.The Macedonian conquest of Persia continued until 330 BC, when Darius was killed and Alexander took his title as king. Alexander died in 323 BC, having recently returned from campaigning in the Indian subcontinent. The cause of death remains a subject of debate.

Prompt: アレクサンダー大王の戦いに焦点を当てて、その主題を説明してください。英語で出力して下さい。

Alexander the Great
Alexander the Great
Babylon
Battle of Issus
Battle of the Granicus
Cilicia
Cilician Gates
Companion cavalry
Darius III
Greece
Indian subcontinent
Nabarsanes
Parmenion
Phrygia
Pinarus River


section

アレクサンダー大王の戦い

leftAlexander III of Macedon , best known as Alexander the Great, was an Ancient King of Macedon who reigned from 336 BC until his death. He is widely regarded as one of the greatest military tacticians and strategists in history, and is presumed undefeated in battle. Renowned for his military leadership and charisma, he always led his armies personally and took to the front ranks of battle. By conquering the Persian Empire and unifying Greece, Egypt and Babylon, he forged the largest empire of the ancient world and effected the spread of Hellenism throughout Europe and Northern Africa.Alexander embarked on his expedition to conquer the Persian Empire in the spring of 334 BC, having pacified the warring Greek states and consolidated his military might. During the first months of the Macedonian passage into Persian Asia Minor, Darius III – king of Persia – largely ignored the presence of Alexander's 40,000 men. The Battle of the Granicus, fought in May, He continued inland, travelling northeast through Phrygia before turning southeast toward Cilicia. After passing the Cilician Gates in October, Alexander was delayed by fever in Tarsus. Darius meanwhile mustered an army of up to 100,000  and personally directed it over the eastern slopes of the Amanus Mountains. In early November, as Alexander proceeded about the Gulf of Issus from Mallus via Issus, the two armies inadvertently passed one another on opposite sides of the mountains. It was not until Alexander had encamped at Myriandrus, a seaport on the southeastern shores of the Gulf of İskenderun, that he learned of the Persian position. He immediately retraced his route to the Pinarus River, just south of Issus, to find Darius' force assembled along the northern bank. The Battle of Issus ensued.Darius' initial response was defensive: he immediately stockaded the river bank with stakes to impede the enemy's crossing. A core vanguard of traitorous Greek mercenaries and Persian royal guard was established; as was usual for Persian kings, Darius positioned himself in the centre of this vanguard, in order that he might effectively dispatch commands to any part of his large army. A group of Persian light infantry was soon sent to the foothills, as it was suspected that Alexander would make an approach from the right, away from the coast. A mass of cavalry commanded by Nabarsanes occupied the Persian right.Alexander made a cautious and slow advance, intending to base his strategy on the structure of the Persian force. He led a flank of his Companion cavalry on the right, while the Thessalian cavalry were dispatched to the left, as a counter to Nabarsanes' mounted unit. Aware of the importance of the foothills to his right, Alexander sent a band of light infantry, archers, and cavalry to displace the defence Darius had stationed there. The enterprise was successful – those Persians not killed were forced to seek refuge higher in the mountains.When within missile range of the enemy, Alexander gave the order to charge. He spearheaded the assault of his heavily armed Companion cavalry, who quickly made deep cuts into the Persian left flank. The Macedonian left wing, commanded by Parmenion, Some escaped to regions as remote as Egypt, and others reunited with Darius in the north. The onset of darkness ended the chase after approximately ; Alexander then recalled his army and set about burying the dead. Darius' family were left behind in the Persian camp; it is reported that Alexander treated them well and reassured them of Darius' safety. Darius' royal chariot was found discarded in a ditch, as were his bow and shield. In any case, it is probable that more Persians were killed as they fled than in battle; Ptolemy I, who served with Alexander during the battle, recounts how the Macedonians crossed a ravine on the bodies of their enemies during the pursuit.The Macedonian conquest of Persia continued until 330 BC, when Darius was killed and Alexander took his title as king. Alexander died in 323 BC, having recently returned from campaigning in the Indian subcontinent. The cause of death remains a subject of debate.

Prompt: アレクサンダー大王の戦いの主題を説明してください。英語で出力して下さい。

Alexander the Great
Alexander the Great
Babylon
Battle of Issus
Battle of the Granicus
Cilicia
Cilician Gates
Companion cavalry
Darius III
Greece
Indian subcontinent
Nabarsanes
Parmenion
Phrygia
Pinarus River


section

アレクサンダー大王の戦い

leftAlexander III of Macedon , best known as Alexander the Great, was an Ancient King of Macedon who reigned from 336 BC until his death. He is widely regarded as one of the greatest military tacticians and strategists in history, and is presumed undefeated in battle. Renowned for his military leadership and charisma, he always led his armies personally and took to the front ranks of battle. By conquering the Persian Empire and unifying Greece, Egypt and Babylon, he forged the largest empire of the ancient world and effected the spread of Hellenism throughout Europe and Northern Africa.Alexander embarked on his expedition to conquer the Persian Empire in the spring of 334 BC, having pacified the warring Greek states and consolidated his military might. During the first months of the Macedonian passage into Persian Asia Minor, Darius III – king of Persia – largely ignored the presence of Alexander's 40,000 men. The Battle of the Granicus, fought in May, He continued inland, travelling northeast through Phrygia before turning southeast toward Cilicia. After passing the Cilician Gates in October, Alexander was delayed by fever in Tarsus. Darius meanwhile mustered an army of up to 100,000  and personally directed it over the eastern slopes of the Amanus Mountains. In early November, as Alexander proceeded about the Gulf of Issus from Mallus via Issus, the two armies inadvertently passed one another on opposite sides of the mountains. It was not until Alexander had encamped at Myriandrus, a seaport on the southeastern shores of the Gulf of İskenderun, that he learned of the Persian position. He immediately retraced his route to the Pinarus River, just south of Issus, to find Darius' force assembled along the northern bank. The Battle of Issus ensued.Darius' initial response was defensive: he immediately stockaded the river bank with stakes to impede the enemy's crossing. A core vanguard of traitorous Greek mercenaries and Persian royal guard was established; as was usual for Persian kings, Darius positioned himself in the centre of this vanguard, in order that he might effectively dispatch commands to any part of his large army. A group of Persian light infantry was soon sent to the foothills, as it was suspected that Alexander would make an approach from the right, away from the coast. A mass of cavalry commanded by Nabarsanes occupied the Persian right.Alexander made a cautious and slow advance, intending to base his strategy on the structure of the Persian force. He led a flank of his Companion cavalry on the right, while the Thessalian cavalry were dispatched to the left, as a counter to Nabarsanes' mounted unit. Aware of the importance of the foothills to his right, Alexander sent a band of light infantry, archers, and cavalry to displace the defence Darius had stationed there. The enterprise was successful – those Persians not killed were forced to seek refuge higher in the mountains.When within missile range of the enemy, Alexander gave the order to charge. He spearheaded the assault of his heavily armed Companion cavalry, who quickly made deep cuts into the Persian left flank. The Macedonian left wing, commanded by Parmenion, Some escaped to regions as remote as Egypt, and others reunited with Darius in the north. The onset of darkness ended the chase after approximately ; Alexander then recalled his army and set about burying the dead. Darius' family were left behind in the Persian camp; it is reported that Alexander treated them well and reassured them of Darius' safety. Darius' royal chariot was found discarded in a ditch, as were his bow and shield. In any case, it is probable that more Persians were killed as they fled than in battle; Ptolemy I, who served with Alexander during the battle, recounts how the Macedonians crossed a ravine on the bodies of their enemies during the pursuit.The Macedonian conquest of Persia continued until 330 BC, when Darius was killed and Alexander took his title as king. Alexander died in 323 BC, having recently returned from campaigning in the Indian subcontinent. The cause of death remains a subject of debate.

Prompt: アレクサンダー大王の戦いはどのように主題を説明していますか？英語で出力して下さい。

Alexander the Great
Alexander the Great
Babylon
Battle of Issus
Battle of the Granicus
Cilicia
Cilician Gates
Companion cavalry
Darius III
Greece
Indian subcontinent
Nabarsanes
Parmenion
Phrygia
Pinarus River


section

アレクサンダー大王の戦い

leftAlexander III of Macedon , best known as Alexander the Great, was an Ancient King of Macedon who reigned from 336 BC until his death. He is widely regarded as one of the greatest military tacticians and strategists in history, and is presumed undefeated in battle. Renowned for his military leadership and charisma, he always led his armies personally and took to the front ranks of battle. By conquering the Persian Empire and unifying Greece, Egypt and Babylon, he forged the largest empire of the ancient world and effected the spread of Hellenism throughout Europe and Northern Africa.Alexander embarked on his expedition to conquer the Persian Empire in the spring of 334 BC, having pacified the warring Greek states and consolidated his military might. During the first months of the Macedonian passage into Persian Asia Minor, Darius III – king of Persia – largely ignored the presence of Alexander's 40,000 men. The Battle of the Granicus, fought in May, He continued inland, travelling northeast through Phrygia before turning southeast toward Cilicia. After passing the Cilician Gates in October, Alexander was delayed by fever in Tarsus. Darius meanwhile mustered an army of up to 100,000  and personally directed it over the eastern slopes of the Amanus Mountains. In early November, as Alexander proceeded about the Gulf of Issus from Mallus via Issus, the two armies inadvertently passed one another on opposite sides of the mountains. It was not until Alexander had encamped at Myriandrus, a seaport on the southeastern shores of the Gulf of İskenderun, that he learned of the Persian position. He immediately retraced his route to the Pinarus River, just south of Issus, to find Darius' force assembled along the northern bank. The Battle of Issus ensued.Darius' initial response was defensive: he immediately stockaded the river bank with stakes to impede the enemy's crossing. A core vanguard of traitorous Greek mercenaries and Persian royal guard was established; as was usual for Persian kings, Darius positioned himself in the centre of this vanguard, in order that he might effectively dispatch commands to any part of his large army. A group of Persian light infantry was soon sent to the foothills, as it was suspected that Alexander would make an approach from the right, away from the coast. A mass of cavalry commanded by Nabarsanes occupied the Persian right.Alexander made a cautious and slow advance, intending to base his strategy on the structure of the Persian force. He led a flank of his Companion cavalry on the right, while the Thessalian cavalry were dispatched to the left, as a counter to Nabarsanes' mounted unit. Aware of the importance of the foothills to his right, Alexander sent a band of light infantry, archers, and cavalry to displace the defence Darius had stationed there. The enterprise was successful – those Persians not killed were forced to seek refuge higher in the mountains.When within missile range of the enemy, Alexander gave the order to charge. He spearheaded the assault of his heavily armed Companion cavalry, who quickly made deep cuts into the Persian left flank. The Macedonian left wing, commanded by Parmenion, Some escaped to regions as remote as Egypt, and others reunited with Darius in the north. The onset of darkness ended the chase after approximately ; Alexander then recalled his army and set about burying the dead. Darius' family were left behind in the Persian camp; it is reported that Alexander treated them well and reassured them of Darius' safety. Darius' royal chariot was found discarded in a ditch, as were his bow and shield. In any case, it is probable that more Persians were killed as they fled than in battle; Ptolemy I, who served with Alexander during the battle, recounts how the Macedonians crossed a ravine on the bodies of their enemies during the pursuit.The Macedonian conquest of Persia continued until 330 BC, when Darius was killed and Alexander took his title as king. Alexander died in 323 BC, having recently returned from campaigning in the Indian subcontinent. The cause of death remains a subject of debate.

Prompt: アレクサンダー大王の戦いに関して、どのように主題が議論されていますか？英語で出力して下さい。

Alexander the Great
Alexander the Great
Babylon
Battle of Issus
Battle of the Granicus
Cilicia
Cilician Gates
Companion cavalry
Darius III
Greece
Indian subcontinent
Nabarsanes
Parmenion
Phrygia
Pinarus River


section

アレクサンダー大王の戦い

The Battle of Alexander at Issus remained part of the royal collection of the Dukes of Bavaria for centuries. By the late 18th century, it was regularly featured in public galleries at the Schleissheim Palace. The painting was one of 72 taken to Paris in 1800 by the invading armies of Napoleon I , who was a noted admirer of Alexander the Great. The Louvre held it until 1804, when Napoleon declared himself Emperor of France and took it for his own use. When the Prussians captured the Château de Saint-Cloud in 1814 as part of the War of the Sixth Coalition, they supposedly found the painting hanging in Napoleon's bathroom.The Battle of Alexander at Issus and 26 others taken in the 1800 invasion were subsequently restored to the King of Bavaria in 1815. Susannah and the Elders is the only other work by Altdorfer in the Alte Pinakothek.The Battle of Alexander at Issus is typically considered to be Altdorfer's masterpiece. Cuneo states that the painting is usually "considered in splendid isolation from its fifteen other companion pieces, based on the assumption that it either metonymically stands in for the entire cycle, or that its perceived aesthetic predominance merits exclusive focus." German writer Karl Wilhelm Friedrich Schlegel  was one of many who saw the painting in the Louvre and marvelled, calling it a "small painted Iliad". Reinhart Koselleck comments that Altdorfer's depiction of the thousands of soldiers was executed with "a mastery previously unknown", and Kathleen Davis describes the painting as "epochal in every sense".

Prompt: アレクサンダー大王の戦いに焦点を当てて、その遺産を説明してください。英語で出力して下さい。

Alexander the Great
Alexander the Great
Alte Pinakothek
Château de Saint-Cloud
Iliad
Friedrich Schlegel
Louvre
Napoleon
Reinhart Koselleck
Schleissheim Palace
War of the Sixth Coalition


section

アレクサンダー大王の戦い

The Battle of Alexander at Issus remained part of the royal collection of the Dukes of Bavaria for centuries. By the late 18th century, it was regularly featured in public galleries at the Schleissheim Palace. The painting was one of 72 taken to Paris in 1800 by the invading armies of Napoleon I , who was a noted admirer of Alexander the Great. The Louvre held it until 1804, when Napoleon declared himself Emperor of France and took it for his own use. When the Prussians captured the Château de Saint-Cloud in 1814 as part of the War of the Sixth Coalition, they supposedly found the painting hanging in Napoleon's bathroom.The Battle of Alexander at Issus and 26 others taken in the 1800 invasion were subsequently restored to the King of Bavaria in 1815. Susannah and the Elders is the only other work by Altdorfer in the Alte Pinakothek.The Battle of Alexander at Issus is typically considered to be Altdorfer's masterpiece. Cuneo states that the painting is usually "considered in splendid isolation from its fifteen other companion pieces, based on the assumption that it either metonymically stands in for the entire cycle, or that its perceived aesthetic predominance merits exclusive focus." German writer Karl Wilhelm Friedrich Schlegel  was one of many who saw the painting in the Louvre and marvelled, calling it a "small painted Iliad". Reinhart Koselleck comments that Altdorfer's depiction of the thousands of soldiers was executed with "a mastery previously unknown", and Kathleen Davis describes the painting as "epochal in every sense".

Prompt: アレクサンダー大王の戦いの遺産を説明してください。英語で出力して下さい。

Alexander the Great
Alexander the Great
Alte Pinakothek
Château de Saint-Cloud
Iliad
Friedrich Schlegel
Louvre
Napoleon
Reinhart Koselleck
Schleissheim Palace
War of the Sixth Coalition


section

アレクサンダー大王の戦い

The Battle of Alexander at Issus remained part of the royal collection of the Dukes of Bavaria for centuries. By the late 18th century, it was regularly featured in public galleries at the Schleissheim Palace. The painting was one of 72 taken to Paris in 1800 by the invading armies of Napoleon I , who was a noted admirer of Alexander the Great. The Louvre held it until 1804, when Napoleon declared himself Emperor of France and took it for his own use. When the Prussians captured the Château de Saint-Cloud in 1814 as part of the War of the Sixth Coalition, they supposedly found the painting hanging in Napoleon's bathroom.The Battle of Alexander at Issus and 26 others taken in the 1800 invasion were subsequently restored to the King of Bavaria in 1815. Susannah and the Elders is the only other work by Altdorfer in the Alte Pinakothek.The Battle of Alexander at Issus is typically considered to be Altdorfer's masterpiece. Cuneo states that the painting is usually "considered in splendid isolation from its fifteen other companion pieces, based on the assumption that it either metonymically stands in for the entire cycle, or that its perceived aesthetic predominance merits exclusive focus." German writer Karl Wilhelm Friedrich Schlegel  was one of many who saw the painting in the Louvre and marvelled, calling it a "small painted Iliad". Reinhart Koselleck comments that Altdorfer's depiction of the thousands of soldiers was executed with "a mastery previously unknown", and Kathleen Davis describes the painting as "epochal in every sense".

Prompt: アレクサンダー大王の戦いはどのように遺産を説明していますか？英語で出力して下さい。

Alexander the Great
Alexander the Great
Alte Pinakothek
Château de Saint-Cloud
Iliad
Friedrich Schlegel
Louvre
Napoleon
Reinhart Koselleck
Schleissheim Palace
War of the Sixth Coalition


section

アレクサンダー大王の戦い

The Battle of Alexander at Issus remained part of the royal collection of the Dukes of Bavaria for centuries. By the late 18th century, it was regularly featured in public galleries at the Schleissheim Palace. The painting was one of 72 taken to Paris in 1800 by the invading armies of Napoleon I , who was a noted admirer of Alexander the Great. The Louvre held it until 1804, when Napoleon declared himself Emperor of France and took it for his own use. When the Prussians captured the Château de Saint-Cloud in 1814 as part of the War of the Sixth Coalition, they supposedly found the painting hanging in Napoleon's bathroom.The Battle of Alexander at Issus and 26 others taken in the 1800 invasion were subsequently restored to the King of Bavaria in 1815. Susannah and the Elders is the only other work by Altdorfer in the Alte Pinakothek.The Battle of Alexander at Issus is typically considered to be Altdorfer's masterpiece. Cuneo states that the painting is usually "considered in splendid isolation from its fifteen other companion pieces, based on the assumption that it either metonymically stands in for the entire cycle, or that its perceived aesthetic predominance merits exclusive focus." German writer Karl Wilhelm Friedrich Schlegel  was one of many who saw the painting in the Louvre and marvelled, calling it a "small painted Iliad". Reinhart Koselleck comments that Altdorfer's depiction of the thousands of soldiers was executed with "a mastery previously unknown", and Kathleen Davis describes the painting as "epochal in every sense".

Prompt: アレクサンダー大王の戦いに関して、どのように遺産が議論されていますか？英語で出力して下さい。

Alexander the Great
Alexander the Great
Alte Pinakothek
Château de Saint-Cloud
Iliad
Friedrich Schlegel
Louvre
Napoleon
Reinhart Koselleck
Schleissheim Palace
War of the Sixth Coalition


section

アレクサンダー大王の戦い

100 Great Paintings List of landscapes by Albrecht Altdorfer

Prompt: アレクサンダー大王の戦いに焦点を当てて、その参照を説明してください。英語で出力して下さい。


section

アレクサンダー大王の戦い

100 Great Paintings List of landscapes by Albrecht Altdorfer

Prompt: アレクサンダー大王の戦いの参照を説明してください。英語で出力して下さい。


section

アレクサンダー大王の戦い

100 Great Paintings List of landscapes by Albrecht Altdorfer

Prompt: アレクサンダー大王の戦い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

アレクサンダー大王の戦い

100 Great Paintings List of landscapes by Albrecht Altdorfer

Prompt: アレクサンダー大王の戦いに関して、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

アレクサンダー大王の戦い

Alte Pinakothek. Summary Catalogue. Edition Lipp, 1986. .

Prompt: アレクサンダー大王の戦いに焦点を当てて、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

アレクサンダー大王の戦い

Alte Pinakothek. Summary Catalogue. Edition Lipp, 1986. .

Prompt: アレクサンダー大王の戦い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

アレクサンダー大王の戦い

Alte Pinakothek. Summary Catalogue. Edition Lipp, 1986. .

Prompt: アレクサンダー大王の戦い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

アレクサンダー大王の戦い

Alte Pinakothek. Summary Catalogue. Edition Lipp, 1986. .

Prompt: アレクサンダー大王の戦いに関して、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

アレクサンダー大王の戦い

Albrecht Altdorfer is regarded as one of the founders of Western landscape art. He was a painter, etcher, architect, and engraver, and the leader of the Danube school of German art. As evidenced by such paintings as Saint George in the Forest  and Allegory , much of Altdorfer's work is characterised by an attachment to sprawling landscapes that dwarf the figures within them; The Battle of Alexander at Issus epitomises this facet of his style. With reference to St George and the Dragon in particular, art historian Mark W. Roskill comments that "The accessory material of landscape [in Altdorfer's work] is played with and ornamentally elaborated so that it reverberates with the sense of a sequestered and inhospitable environment". Inspired by his travels around the Austrian Alps and the Danube River, Altdorfer painted a number of landscapes that contain no figures at all, including ndscape with a Footbridge  and Danube ndscape near Regensburg . These were the first "pure" landscapes since antiquity. Most of Altdorfer's landscapes were made with a vertical format, in contrast with the modern conception of the genre. The horizontal landscape was an innovation of Altdorfer's Flemish contemporary Joachim Patinir and his followers.Altdorfer also produced a great deal of religious artwork, in reflection of his devout Catholicism. His most frequent subjects were the Virgin Mary and the life and crucifixion of Christ. As in The Battle of Alexander at Issus, these paintings often feature settings of great majesty and use the sky to convey symbolic meaning. This meaning is not uniform throughout Altdorfer's corpus – for example, the visage of the setting sun connotes loss and tragedy in Agony in the Garden, but serves as "the emblem of power and glory" in The Battle of Alexander at Issus.rry Silver of The Art Bulletin explains that The Battle of Alexander at Issus is both similar to and in direct contrast with Altdorfer's previous work: "Instead of the peaceful landscape of retreat for Christian events or holy figures, this panel offers just the opposite: a battleground for one of ancient history's principal epoch-making encounters ... Yet despite its global or cosmic dimensions, the Battle of Issus still looks like Altdorfer's earlier, contemplative liminal landscapes of retreat, complete with craggy peaks, bodies of water, and distant castles."Although the Battle of Alexander is atypical of Altdorfer in its size and in that it depicts war, his  Triumphal Procession – a 1512–16 illuminated manuscript commissioned by Maximilian I of the Holy Roman Empire – has been described as a conceptual antecedent. The Procession was produced in parallel with the Triumph of Maximilian, a series of 137 woodcuts collaboratively executed by Altdorfer, Hans Springinklee, Albrecht Dürer, Leonhard Beck and Hans Schäufelein.

Prompt: アレクサンダー大王の戦いの文脈で、前作と主題を説明してください。英語で出力して下さい。

Albrecht Altdorfer
Albrecht Dürer
Austria
Battle of Issus
Danube
Danube school
Hans Springinklee
Joachim Patinir
Leonhard Beck
Regensburg
Saint George in the Forest


subsection

アレクサンダー大王の戦い

Albrecht Altdorfer is regarded as one of the founders of Western landscape art. He was a painter, etcher, architect, and engraver, and the leader of the Danube school of German art. As evidenced by such paintings as Saint George in the Forest  and Allegory , much of Altdorfer's work is characterised by an attachment to sprawling landscapes that dwarf the figures within them; The Battle of Alexander at Issus epitomises this facet of his style. With reference to St George and the Dragon in particular, art historian Mark W. Roskill comments that "The accessory material of landscape [in Altdorfer's work] is played with and ornamentally elaborated so that it reverberates with the sense of a sequestered and inhospitable environment". Inspired by his travels around the Austrian Alps and the Danube River, Altdorfer painted a number of landscapes that contain no figures at all, including ndscape with a Footbridge  and Danube ndscape near Regensburg . These were the first "pure" landscapes since antiquity. Most of Altdorfer's landscapes were made with a vertical format, in contrast with the modern conception of the genre. The horizontal landscape was an innovation of Altdorfer's Flemish contemporary Joachim Patinir and his followers.Altdorfer also produced a great deal of religious artwork, in reflection of his devout Catholicism. His most frequent subjects were the Virgin Mary and the life and crucifixion of Christ. As in The Battle of Alexander at Issus, these paintings often feature settings of great majesty and use the sky to convey symbolic meaning. This meaning is not uniform throughout Altdorfer's corpus – for example, the visage of the setting sun connotes loss and tragedy in Agony in the Garden, but serves as "the emblem of power and glory" in The Battle of Alexander at Issus.rry Silver of The Art Bulletin explains that The Battle of Alexander at Issus is both similar to and in direct contrast with Altdorfer's previous work: "Instead of the peaceful landscape of retreat for Christian events or holy figures, this panel offers just the opposite: a battleground for one of ancient history's principal epoch-making encounters ... Yet despite its global or cosmic dimensions, the Battle of Issus still looks like Altdorfer's earlier, contemplative liminal landscapes of retreat, complete with craggy peaks, bodies of water, and distant castles."Although the Battle of Alexander is atypical of Altdorfer in its size and in that it depicts war, his  Triumphal Procession – a 1512–16 illuminated manuscript commissioned by Maximilian I of the Holy Roman Empire – has been described as a conceptual antecedent. The Procession was produced in parallel with the Triumph of Maximilian, a series of 137 woodcuts collaboratively executed by Altdorfer, Hans Springinklee, Albrecht Dürer, Leonhard Beck and Hans Schäufelein.

Prompt: アレクサンダー大王の戦いの主題に関する前作を説明してください。英語で出力して下さい。

Albrecht Altdorfer
Albrecht Dürer
Austria
Battle of Issus
Danube
Danube school
Hans Springinklee
Joachim Patinir
Leonhard Beck
Regensburg
Saint George in the Forest


subsection

アレクサンダー大王の戦い

Albrecht Altdorfer is regarded as one of the founders of Western landscape art. He was a painter, etcher, architect, and engraver, and the leader of the Danube school of German art. As evidenced by such paintings as Saint George in the Forest  and Allegory , much of Altdorfer's work is characterised by an attachment to sprawling landscapes that dwarf the figures within them; The Battle of Alexander at Issus epitomises this facet of his style. With reference to St George and the Dragon in particular, art historian Mark W. Roskill comments that "The accessory material of landscape [in Altdorfer's work] is played with and ornamentally elaborated so that it reverberates with the sense of a sequestered and inhospitable environment". Inspired by his travels around the Austrian Alps and the Danube River, Altdorfer painted a number of landscapes that contain no figures at all, including ndscape with a Footbridge  and Danube ndscape near Regensburg . These were the first "pure" landscapes since antiquity. Most of Altdorfer's landscapes were made with a vertical format, in contrast with the modern conception of the genre. The horizontal landscape was an innovation of Altdorfer's Flemish contemporary Joachim Patinir and his followers.Altdorfer also produced a great deal of religious artwork, in reflection of his devout Catholicism. His most frequent subjects were the Virgin Mary and the life and crucifixion of Christ. As in The Battle of Alexander at Issus, these paintings often feature settings of great majesty and use the sky to convey symbolic meaning. This meaning is not uniform throughout Altdorfer's corpus – for example, the visage of the setting sun connotes loss and tragedy in Agony in the Garden, but serves as "the emblem of power and glory" in The Battle of Alexander at Issus.rry Silver of The Art Bulletin explains that The Battle of Alexander at Issus is both similar to and in direct contrast with Altdorfer's previous work: "Instead of the peaceful landscape of retreat for Christian events or holy figures, this panel offers just the opposite: a battleground for one of ancient history's principal epoch-making encounters ... Yet despite its global or cosmic dimensions, the Battle of Issus still looks like Altdorfer's earlier, contemplative liminal landscapes of retreat, complete with craggy peaks, bodies of water, and distant castles."Although the Battle of Alexander is atypical of Altdorfer in its size and in that it depicts war, his  Triumphal Procession – a 1512–16 illuminated manuscript commissioned by Maximilian I of the Holy Roman Empire – has been described as a conceptual antecedent. The Procession was produced in parallel with the Triumph of Maximilian, a series of 137 woodcuts collaboratively executed by Altdorfer, Hans Springinklee, Albrecht Dürer, Leonhard Beck and Hans Schäufelein.

Prompt: アレクサンダー大王の戦いでは、どのように主題の前作が説明されていますか？英語で出力して下さい。

Albrecht Altdorfer
Albrecht Dürer
Austria
Battle of Issus
Danube
Danube school
Hans Springinklee
Joachim Patinir
Leonhard Beck
Regensburg
Saint George in the Forest


subsection

アレクサンダー大王の戦い

Albrecht Altdorfer is regarded as one of the founders of Western landscape art. He was a painter, etcher, architect, and engraver, and the leader of the Danube school of German art. As evidenced by such paintings as Saint George in the Forest  and Allegory , much of Altdorfer's work is characterised by an attachment to sprawling landscapes that dwarf the figures within them; The Battle of Alexander at Issus epitomises this facet of his style. With reference to St George and the Dragon in particular, art historian Mark W. Roskill comments that "The accessory material of landscape [in Altdorfer's work] is played with and ornamentally elaborated so that it reverberates with the sense of a sequestered and inhospitable environment". Inspired by his travels around the Austrian Alps and the Danube River, Altdorfer painted a number of landscapes that contain no figures at all, including ndscape with a Footbridge  and Danube ndscape near Regensburg . These were the first "pure" landscapes since antiquity. Most of Altdorfer's landscapes were made with a vertical format, in contrast with the modern conception of the genre. The horizontal landscape was an innovation of Altdorfer's Flemish contemporary Joachim Patinir and his followers.Altdorfer also produced a great deal of religious artwork, in reflection of his devout Catholicism. His most frequent subjects were the Virgin Mary and the life and crucifixion of Christ. As in The Battle of Alexander at Issus, these paintings often feature settings of great majesty and use the sky to convey symbolic meaning. This meaning is not uniform throughout Altdorfer's corpus – for example, the visage of the setting sun connotes loss and tragedy in Agony in the Garden, but serves as "the emblem of power and glory" in The Battle of Alexander at Issus.rry Silver of The Art Bulletin explains that The Battle of Alexander at Issus is both similar to and in direct contrast with Altdorfer's previous work: "Instead of the peaceful landscape of retreat for Christian events or holy figures, this panel offers just the opposite: a battleground for one of ancient history's principal epoch-making encounters ... Yet despite its global or cosmic dimensions, the Battle of Issus still looks like Altdorfer's earlier, contemplative liminal landscapes of retreat, complete with craggy peaks, bodies of water, and distant castles."Although the Battle of Alexander is atypical of Altdorfer in its size and in that it depicts war, his  Triumphal Procession – a 1512–16 illuminated manuscript commissioned by Maximilian I of the Holy Roman Empire – has been described as a conceptual antecedent. The Procession was produced in parallel with the Triumph of Maximilian, a series of 137 woodcuts collaboratively executed by Altdorfer, Hans Springinklee, Albrecht Dürer, Leonhard Beck and Hans Schäufelein.

Prompt: アレクサンダー大王の戦いの主題における前作の特徴を説明してください。英語で出力して下さい。

Albrecht Altdorfer
Albrecht Dürer
Austria
Battle of Issus
Danube
Danube school
Hans Springinklee
Joachim Patinir
Leonhard Beck
Regensburg
Saint George in the Forest


subsection

アレクサンダー大王の戦い

Altdorfer's most significant contemporary influence was Matthias Grünewald . Art historian Horst W. Janson remarked that their paintings "show the same 'unruly' imagination". Elements of The Battle of Alexander at Issus – particularly the sky – have been compared to Grünewald's Heavenly Host above the Virgin and Child, which forms part of his masterpiece, the Isenheim Altarpiece. Lucas Cranach the Elder , also associated with the Danube school, was another important influence for Altdorfer. According to Roskill, works by Cranach from about 1500 "give a prominent role to landscape settings, using them as mood-enhancing backgrounds for portraits, and for images of hermits and visionary saints", and seem to play a "preparatory role" for the onset of pure landscape. Altdorfer owed much of his style, particularly in his religious artwork, to Albrecht Dürer ; rry Silver writes that Altdorfer's "use of convincing German landscapes in combination with celestial phenomena for his religious narrative" is "firmly tied" to a tradition "modeled by Albrecht Dürer."William IV, Duke of Bavaria commissioned The Battle of Alexander at Issus in 1528. Altdorfer was approximately 50 at the time, and was living in the Free Imperial City of Regensburg. As a result of over a decade of involvement with the Regensburg city council, Altdorfer was offered the position of Burgomaster on 18 September 1528. He declined; the council annals reported his reasoning as such: "He much desires to execute a special work in Bavaria for my Serene Highness and gracious Lord, Duke [William]." There, it was to hang alongside seven other paintings with a similar format and subject matter, including Ludwig Refinger's The Matyrdom of Marcus Curtius, Melchior Feselen's The Siege of Alesia by Caesar, and the painting of Battle of Cannae by Hans Burgkmair . Another eight, each portraying a famous woman from history, were later added to the set, probably at the behest of the Duke's wife, Jacobaea of Baden.

Prompt: アレクサンダー大王の戦いの文脈で、影響、委任と主題を説明してください。英語で出力して下さい。

Albrecht Dürer
Battle of Cannae
Burgomaster
Danube
Danube school
Hans Burgkmair
Isenheim Altarpiece
Lucas Cranach the Elder
Ludwig Refinger
Matthias Grünewald
Melchior Feselen
Regensburg
William IV, Duke of Bavaria


subsection

アレクサンダー大王の戦い

Altdorfer's most significant contemporary influence was Matthias Grünewald . Art historian Horst W. Janson remarked that their paintings "show the same 'unruly' imagination". Elements of The Battle of Alexander at Issus – particularly the sky – have been compared to Grünewald's Heavenly Host above the Virgin and Child, which forms part of his masterpiece, the Isenheim Altarpiece. Lucas Cranach the Elder , also associated with the Danube school, was another important influence for Altdorfer. According to Roskill, works by Cranach from about 1500 "give a prominent role to landscape settings, using them as mood-enhancing backgrounds for portraits, and for images of hermits and visionary saints", and seem to play a "preparatory role" for the onset of pure landscape. Altdorfer owed much of his style, particularly in his religious artwork, to Albrecht Dürer ; rry Silver writes that Altdorfer's "use of convincing German landscapes in combination with celestial phenomena for his religious narrative" is "firmly tied" to a tradition "modeled by Albrecht Dürer."William IV, Duke of Bavaria commissioned The Battle of Alexander at Issus in 1528. Altdorfer was approximately 50 at the time, and was living in the Free Imperial City of Regensburg. As a result of over a decade of involvement with the Regensburg city council, Altdorfer was offered the position of Burgomaster on 18 September 1528. He declined; the council annals reported his reasoning as such: "He much desires to execute a special work in Bavaria for my Serene Highness and gracious Lord, Duke [William]." There, it was to hang alongside seven other paintings with a similar format and subject matter, including Ludwig Refinger's The Matyrdom of Marcus Curtius, Melchior Feselen's The Siege of Alesia by Caesar, and the painting of Battle of Cannae by Hans Burgkmair . Another eight, each portraying a famous woman from history, were later added to the set, probably at the behest of the Duke's wife, Jacobaea of Baden.

Prompt: アレクサンダー大王の戦いの主題に関する影響、委任を説明してください。英語で出力して下さい。

Albrecht Dürer
Battle of Cannae
Burgomaster
Danube
Danube school
Hans Burgkmair
Isenheim Altarpiece
Lucas Cranach the Elder
Ludwig Refinger
Matthias Grünewald
Melchior Feselen
Regensburg
William IV, Duke of Bavaria


subsection

アレクサンダー大王の戦い

Altdorfer's most significant contemporary influence was Matthias Grünewald . Art historian Horst W. Janson remarked that their paintings "show the same 'unruly' imagination". Elements of The Battle of Alexander at Issus – particularly the sky – have been compared to Grünewald's Heavenly Host above the Virgin and Child, which forms part of his masterpiece, the Isenheim Altarpiece. Lucas Cranach the Elder , also associated with the Danube school, was another important influence for Altdorfer. According to Roskill, works by Cranach from about 1500 "give a prominent role to landscape settings, using them as mood-enhancing backgrounds for portraits, and for images of hermits and visionary saints", and seem to play a "preparatory role" for the onset of pure landscape. Altdorfer owed much of his style, particularly in his religious artwork, to Albrecht Dürer ; rry Silver writes that Altdorfer's "use of convincing German landscapes in combination with celestial phenomena for his religious narrative" is "firmly tied" to a tradition "modeled by Albrecht Dürer."William IV, Duke of Bavaria commissioned The Battle of Alexander at Issus in 1528. Altdorfer was approximately 50 at the time, and was living in the Free Imperial City of Regensburg. As a result of over a decade of involvement with the Regensburg city council, Altdorfer was offered the position of Burgomaster on 18 September 1528. He declined; the council annals reported his reasoning as such: "He much desires to execute a special work in Bavaria for my Serene Highness and gracious Lord, Duke [William]." There, it was to hang alongside seven other paintings with a similar format and subject matter, including Ludwig Refinger's The Matyrdom of Marcus Curtius, Melchior Feselen's The Siege of Alesia by Caesar, and the painting of Battle of Cannae by Hans Burgkmair . Another eight, each portraying a famous woman from history, were later added to the set, probably at the behest of the Duke's wife, Jacobaea of Baden.

Prompt: アレクサンダー大王の戦いでは、どのように主題の影響、委任が説明されていますか？英語で出力して下さい。

Albrecht Dürer
Battle of Cannae
Burgomaster
Danube
Danube school
Hans Burgkmair
Isenheim Altarpiece
Lucas Cranach the Elder
Ludwig Refinger
Matthias Grünewald
Melchior Feselen
Regensburg
William IV, Duke of Bavaria


subsection

アレクサンダー大王の戦い

Altdorfer's most significant contemporary influence was Matthias Grünewald . Art historian Horst W. Janson remarked that their paintings "show the same 'unruly' imagination". Elements of The Battle of Alexander at Issus – particularly the sky – have been compared to Grünewald's Heavenly Host above the Virgin and Child, which forms part of his masterpiece, the Isenheim Altarpiece. Lucas Cranach the Elder , also associated with the Danube school, was another important influence for Altdorfer. According to Roskill, works by Cranach from about 1500 "give a prominent role to landscape settings, using them as mood-enhancing backgrounds for portraits, and for images of hermits and visionary saints", and seem to play a "preparatory role" for the onset of pure landscape. Altdorfer owed much of his style, particularly in his religious artwork, to Albrecht Dürer ; rry Silver writes that Altdorfer's "use of convincing German landscapes in combination with celestial phenomena for his religious narrative" is "firmly tied" to a tradition "modeled by Albrecht Dürer."William IV, Duke of Bavaria commissioned The Battle of Alexander at Issus in 1528. Altdorfer was approximately 50 at the time, and was living in the Free Imperial City of Regensburg. As a result of over a decade of involvement with the Regensburg city council, Altdorfer was offered the position of Burgomaster on 18 September 1528. He declined; the council annals reported his reasoning as such: "He much desires to execute a special work in Bavaria for my Serene Highness and gracious Lord, Duke [William]." There, it was to hang alongside seven other paintings with a similar format and subject matter, including Ludwig Refinger's The Matyrdom of Marcus Curtius, Melchior Feselen's The Siege of Alesia by Caesar, and the painting of Battle of Cannae by Hans Burgkmair . Another eight, each portraying a famous woman from history, were later added to the set, probably at the behest of the Duke's wife, Jacobaea of Baden.

Prompt: アレクサンダー大王の戦いの主題における影響、委任の特徴を説明してください。英語で出力して下さい。

Albrecht Dürer
Battle of Cannae
Burgomaster
Danube
Danube school
Hans Burgkmair
Isenheim Altarpiece
Lucas Cranach the Elder
Ludwig Refinger
Matthias Grünewald
Melchior Feselen
Regensburg
William IV, Duke of Bavaria


subsection

アレクサンダー大王の戦い

Earlier depictions of the Battle of Issus are few. Battle of Issus, a fresco by Philoxenus of Eretria, is probably the first such. It was painted sometime around 310 BC for Cassander , who was one of Alexander the Great's successors. Alexander and Darius – each within a lance's length of the other – are pictured among a wild fray of mounted and downed soldiers. While Alexander maintains an aura of unshaken confidence, fear is etched in Darius' face, and his charioteer has already turned to rein his horses and escape. she was reputed to have produced a painting of the battle of Issus which hung in the Temple of Peace during the time of Vespasian.The Alexander Mosaic, a floor mosaic dating from c. 100 BC, is believed to be a "reasonably faithful" copy of Battle of Issus, who produced several portraits of Alexander the Great. It measures , and consists of approximately 1.5 million tesserae , each about  square. The mosaicist is unknown. Since the mosaic was not rediscovered until 1831, during excavations of Pompeii's House of the Faun, Altdorfer could never have seen it. It was later moved to the Naples National Archaeological Museum in Naples, Italy, where it currently resides.

Prompt: アレクサンダー大王の戦いの文脈で、以前の描写と主題を説明してください。英語で出力して下さい。

Alexander the Great
Alexander Mosaic
Alexander the Great
Battle of Issus
Cassander
House of the Faun
Naples
Philoxenus of Eretria
Pompeii
Vespasian


subsection

アレクサンダー大王の戦い

Earlier depictions of the Battle of Issus are few. Battle of Issus, a fresco by Philoxenus of Eretria, is probably the first such. It was painted sometime around 310 BC for Cassander , who was one of Alexander the Great's successors. Alexander and Darius – each within a lance's length of the other – are pictured among a wild fray of mounted and downed soldiers. While Alexander maintains an aura of unshaken confidence, fear is etched in Darius' face, and his charioteer has already turned to rein his horses and escape. she was reputed to have produced a painting of the battle of Issus which hung in the Temple of Peace during the time of Vespasian.The Alexander Mosaic, a floor mosaic dating from c. 100 BC, is believed to be a "reasonably faithful" copy of Battle of Issus, who produced several portraits of Alexander the Great. It measures , and consists of approximately 1.5 million tesserae , each about  square. The mosaicist is unknown. Since the mosaic was not rediscovered until 1831, during excavations of Pompeii's House of the Faun, Altdorfer could never have seen it. It was later moved to the Naples National Archaeological Museum in Naples, Italy, where it currently resides.

Prompt: アレクサンダー大王の戦いの主題に関する以前の描写を説明してください。英語で出力して下さい。

Alexander the Great
Alexander Mosaic
Alexander the Great
Battle of Issus
Cassander
House of the Faun
Naples
Philoxenus of Eretria
Pompeii
Vespasian


subsection

アレクサンダー大王の戦い

Earlier depictions of the Battle of Issus are few. Battle of Issus, a fresco by Philoxenus of Eretria, is probably the first such. It was painted sometime around 310 BC for Cassander , who was one of Alexander the Great's successors. Alexander and Darius – each within a lance's length of the other – are pictured among a wild fray of mounted and downed soldiers. While Alexander maintains an aura of unshaken confidence, fear is etched in Darius' face, and his charioteer has already turned to rein his horses and escape. she was reputed to have produced a painting of the battle of Issus which hung in the Temple of Peace during the time of Vespasian.The Alexander Mosaic, a floor mosaic dating from c. 100 BC, is believed to be a "reasonably faithful" copy of Battle of Issus, who produced several portraits of Alexander the Great. It measures , and consists of approximately 1.5 million tesserae , each about  square. The mosaicist is unknown. Since the mosaic was not rediscovered until 1831, during excavations of Pompeii's House of the Faun, Altdorfer could never have seen it. It was later moved to the Naples National Archaeological Museum in Naples, Italy, where it currently resides.

Prompt: アレクサンダー大王の戦いでは、どのように主題の以前の描写が説明されていますか？英語で出力して下さい。

Alexander the Great
Alexander Mosaic
Alexander the Great
Battle of Issus
Cassander
House of the Faun
Naples
Philoxenus of Eretria
Pompeii
Vespasian


subsection

アレクサンダー大王の戦い

Earlier depictions of the Battle of Issus are few. Battle of Issus, a fresco by Philoxenus of Eretria, is probably the first such. It was painted sometime around 310 BC for Cassander , who was one of Alexander the Great's successors. Alexander and Darius – each within a lance's length of the other – are pictured among a wild fray of mounted and downed soldiers. While Alexander maintains an aura of unshaken confidence, fear is etched in Darius' face, and his charioteer has already turned to rein his horses and escape. she was reputed to have produced a painting of the battle of Issus which hung in the Temple of Peace during the time of Vespasian.The Alexander Mosaic, a floor mosaic dating from c. 100 BC, is believed to be a "reasonably faithful" copy of Battle of Issus, who produced several portraits of Alexander the Great. It measures , and consists of approximately 1.5 million tesserae , each about  square. The mosaicist is unknown. Since the mosaic was not rediscovered until 1831, during excavations of Pompeii's House of the Faun, Altdorfer could never have seen it. It was later moved to the Naples National Archaeological Museum in Naples, Italy, where it currently resides.

Prompt: アレクサンダー大王の戦いの主題における以前の描写の特徴を説明してください。英語で出力して下さい。

Alexander the Great
Alexander Mosaic
Alexander the Great
Battle of Issus
Cassander
House of the Faun
Naples
Philoxenus of Eretria
Pompeii
Vespasian


subsection

アレクサンダー大王の戦い

The Battle of Alexander at Issus is painted on a limewood panel measuring , and portrays the moment of Alexander the Great's victory. The vertical format was dictated by the space available in the room for which the painting was commissioned – each in William's set of eight was made to be the same size. At an unknown date, the panel was cut down on all sides, particularly at the top, so the sky was originally larger and the moon further from the corner of the scene.Thousands of horse and foot soldiers immersed in a sea of spears and lances populate the foreground. The two armies are distinguished by their dress, anachronistic though it is: whereas Alexander's men clad themselves and their horses in full suits of heavy armour, many of Darius' wear turbans and ride naked mounts. Here, a transition in hue is made, from the browns that prevail in the lower half of the painting to the aquas that saturate the upper half. The Nile River meanders in the far distance, emptying its seven arms into the Mediterranean at the Nile Delta. The rain-heavy clouds swirling ominously around each celestial entity are separated by a gulf of calmness, intensifying the contrast and infusing the heavens with an unearthly glow. Light from the sky spills onto the landscape: while the western continent and the Nile are bathed in the sun's light, the east and the Tower of Babel are cloaked in shadow.The painting's subject is explained in the tablet suspended from the heavens. The wording, probably supplied by William's court historian Johannes Aventinus, was originally in German but was later replaced by a tin inscription. It translates:No date is provided for the battle alongside these casualty figures. The lower left-hand corner features Altdorfer's monogram – an 'A' within an 'A' – and the lower edge of the tablet is inscribed with "" . Tiny inscriptions on their chariot and harness identify Darius and Alexander, respectively.

Prompt: アレクサンダー大王の戦いの文脈で、説明と主題を説明してください。英語で出力して下さい。

Alexander the Great
Alexander the Great
Johannes Aventinus
Nile Delta
Nile
Tower of Babel


subsection

アレクサンダー大王の戦い

The Battle of Alexander at Issus is painted on a limewood panel measuring , and portrays the moment of Alexander the Great's victory. The vertical format was dictated by the space available in the room for which the painting was commissioned – each in William's set of eight was made to be the same size. At an unknown date, the panel was cut down on all sides, particularly at the top, so the sky was originally larger and the moon further from the corner of the scene.Thousands of horse and foot soldiers immersed in a sea of spears and lances populate the foreground. The two armies are distinguished by their dress, anachronistic though it is: whereas Alexander's men clad themselves and their horses in full suits of heavy armour, many of Darius' wear turbans and ride naked mounts. Here, a transition in hue is made, from the browns that prevail in the lower half of the painting to the aquas that saturate the upper half. The Nile River meanders in the far distance, emptying its seven arms into the Mediterranean at the Nile Delta. The rain-heavy clouds swirling ominously around each celestial entity are separated by a gulf of calmness, intensifying the contrast and infusing the heavens with an unearthly glow. Light from the sky spills onto the landscape: while the western continent and the Nile are bathed in the sun's light, the east and the Tower of Babel are cloaked in shadow.The painting's subject is explained in the tablet suspended from the heavens. The wording, probably supplied by William's court historian Johannes Aventinus, was originally in German but was later replaced by a tin inscription. It translates:No date is provided for the battle alongside these casualty figures. The lower left-hand corner features Altdorfer's monogram – an 'A' within an 'A' – and the lower edge of the tablet is inscribed with "" . Tiny inscriptions on their chariot and harness identify Darius and Alexander, respectively.

Prompt: アレクサンダー大王の戦いの主題に関する説明を説明してください。英語で出力して下さい。

Alexander the Great
Alexander the Great
Johannes Aventinus
Nile Delta
Nile
Tower of Babel


subsection

アレクサンダー大王の戦い

The Battle of Alexander at Issus is painted on a limewood panel measuring , and portrays the moment of Alexander the Great's victory. The vertical format was dictated by the space available in the room for which the painting was commissioned – each in William's set of eight was made to be the same size. At an unknown date, the panel was cut down on all sides, particularly at the top, so the sky was originally larger and the moon further from the corner of the scene.Thousands of horse and foot soldiers immersed in a sea of spears and lances populate the foreground. The two armies are distinguished by their dress, anachronistic though it is: whereas Alexander's men clad themselves and their horses in full suits of heavy armour, many of Darius' wear turbans and ride naked mounts. Here, a transition in hue is made, from the browns that prevail in the lower half of the painting to the aquas that saturate the upper half. The Nile River meanders in the far distance, emptying its seven arms into the Mediterranean at the Nile Delta. The rain-heavy clouds swirling ominously around each celestial entity are separated by a gulf of calmness, intensifying the contrast and infusing the heavens with an unearthly glow. Light from the sky spills onto the landscape: while the western continent and the Nile are bathed in the sun's light, the east and the Tower of Babel are cloaked in shadow.The painting's subject is explained in the tablet suspended from the heavens. The wording, probably supplied by William's court historian Johannes Aventinus, was originally in German but was later replaced by a tin inscription. It translates:No date is provided for the battle alongside these casualty figures. The lower left-hand corner features Altdorfer's monogram – an 'A' within an 'A' – and the lower edge of the tablet is inscribed with "" . Tiny inscriptions on their chariot and harness identify Darius and Alexander, respectively.

Prompt: アレクサンダー大王の戦いでは、どのように主題の説明が説明されていますか？英語で出力して下さい。

Alexander the Great
Alexander the Great
Johannes Aventinus
Nile Delta
Nile
Tower of Babel


subsection

アレクサンダー大王の戦い

The Battle of Alexander at Issus is painted on a limewood panel measuring , and portrays the moment of Alexander the Great's victory. The vertical format was dictated by the space available in the room for which the painting was commissioned – each in William's set of eight was made to be the same size. At an unknown date, the panel was cut down on all sides, particularly at the top, so the sky was originally larger and the moon further from the corner of the scene.Thousands of horse and foot soldiers immersed in a sea of spears and lances populate the foreground. The two armies are distinguished by their dress, anachronistic though it is: whereas Alexander's men clad themselves and their horses in full suits of heavy armour, many of Darius' wear turbans and ride naked mounts. Here, a transition in hue is made, from the browns that prevail in the lower half of the painting to the aquas that saturate the upper half. The Nile River meanders in the far distance, emptying its seven arms into the Mediterranean at the Nile Delta. The rain-heavy clouds swirling ominously around each celestial entity are separated by a gulf of calmness, intensifying the contrast and infusing the heavens with an unearthly glow. Light from the sky spills onto the landscape: while the western continent and the Nile are bathed in the sun's light, the east and the Tower of Babel are cloaked in shadow.The painting's subject is explained in the tablet suspended from the heavens. The wording, probably supplied by William's court historian Johannes Aventinus, was originally in German but was later replaced by a tin inscription. It translates:No date is provided for the battle alongside these casualty figures. The lower left-hand corner features Altdorfer's monogram – an 'A' within an 'A' – and the lower edge of the tablet is inscribed with "" . Tiny inscriptions on their chariot and harness identify Darius and Alexander, respectively.

Prompt: アレクサンダー大王の戦いの主題における説明の特徴を説明してください。英語で出力して下さい。

Alexander the Great
Alexander the Great
Johannes Aventinus
Nile Delta
Nile
Tower of Babel


subsection

アレクサンダー大王の戦い

leftAnachronism is a major component of The Battle of Alexander at Issus. By dressing Alexander's men in 16th-century steel armour and Darius' men in Turkish battle dress, Altdorfer draws deliberate parallels between the Macedonian campaign and the contemporary European–Ottoman conflict. In 1529 – the year of the painting's commissioning – the Ottoman forces under Suleiman the Magnificent laid siege to the Austrian city of Vienna,Featured alongside the anachronism in The Battle of Alexander at Issus is a genuine lack of historicity. Altdorfer demonstrates minimal hesitance in neglecting the painting's historical integrity for the sake of its heroic style, in spite of the pains he took to research the battle. That the Persian army was up to twice the size of the Macedonian army is not clear, and the relative positioning of the soldiers as reported by ancient sources has been disregarded. According to art critic Rose-Marie Hagen, "The artist was faithful to the historical truth only when it suited him, when historical facts were compatible with the demands of his composition." True to form, however, Altdorfer made the aristocratic ladies "look like German courtly ladies, dressed for a hunting party" in their feathered toques: from Creation to the birth of Christ and ending with the Apocalypse. Altdorfer's statistics for the battle of Issus mirror those of Schedel. Furthermore, the errors in Schedel's maps of the Mediterranean and Northern Africa are also present in The Battle of Alexander at Issus: the island of Cyprus is noticeably oversized, and both the mountain rise in the painting's centre and the range adjacent to the Nile do not exist. Considered in terms of the painting's contemporary context, the sun's triumph over the moon represents Christendom's victory over the Islamism of the Ottomans. Eschatological meaning, probably inspired by prophecies in the Book of Daniel, is imbued in the heavenly setting. In particular, Daniel 7 predicts the rise and fall of four kingdoms before the Second Coming; these were thought to be Babylon, Persia, Greece, and Rome at the time of the painting's creation. Altdorfer saw the Battle of Issus as a principal indicator of the transition of power from Persia to Greece, and thus as an event of cosmic significance. The battle also marked a progression toward the end of the world – an important theological concern in the 16th century, given that the last traces of Rome were diminishing with the papacy. As a member of the Regensburg council and a practising Catholic, Altdorfer frequently interacted with the Church and was surely aware of this trend of eschatological thought. Schedel, too, had calculated that the final age of the seven he identified was nigh. It may therefore be inferred that the sky's expression of the momentous event at Issus was intended to be of contemporary relevance as well.

Prompt: アレクサンダー大王の戦いの文脈で、分析と解釈と主題を説明してください。英語で出力して下さい。

Anachronism
Apocalypse
Austria
Babylon
Battle of Issus
Book of Daniel
Christendom
Cyprus
Daniel 7
Greece
Islamism
Nile
Regensburg
Second Coming
Suleiman the Magnificent


subsection

アレクサンダー大王の戦い

leftAnachronism is a major component of The Battle of Alexander at Issus. By dressing Alexander's men in 16th-century steel armour and Darius' men in Turkish battle dress, Altdorfer draws deliberate parallels between the Macedonian campaign and the contemporary European–Ottoman conflict. In 1529 – the year of the painting's commissioning – the Ottoman forces under Suleiman the Magnificent laid siege to the Austrian city of Vienna,Featured alongside the anachronism in The Battle of Alexander at Issus is a genuine lack of historicity. Altdorfer demonstrates minimal hesitance in neglecting the painting's historical integrity for the sake of its heroic style, in spite of the pains he took to research the battle. That the Persian army was up to twice the size of the Macedonian army is not clear, and the relative positioning of the soldiers as reported by ancient sources has been disregarded. According to art critic Rose-Marie Hagen, "The artist was faithful to the historical truth only when it suited him, when historical facts were compatible with the demands of his composition." True to form, however, Altdorfer made the aristocratic ladies "look like German courtly ladies, dressed for a hunting party" in their feathered toques: from Creation to the birth of Christ and ending with the Apocalypse. Altdorfer's statistics for the battle of Issus mirror those of Schedel. Furthermore, the errors in Schedel's maps of the Mediterranean and Northern Africa are also present in The Battle of Alexander at Issus: the island of Cyprus is noticeably oversized, and both the mountain rise in the painting's centre and the range adjacent to the Nile do not exist. Considered in terms of the painting's contemporary context, the sun's triumph over the moon represents Christendom's victory over the Islamism of the Ottomans. Eschatological meaning, probably inspired by prophecies in the Book of Daniel, is imbued in the heavenly setting. In particular, Daniel 7 predicts the rise and fall of four kingdoms before the Second Coming; these were thought to be Babylon, Persia, Greece, and Rome at the time of the painting's creation. Altdorfer saw the Battle of Issus as a principal indicator of the transition of power from Persia to Greece, and thus as an event of cosmic significance. The battle also marked a progression toward the end of the world – an important theological concern in the 16th century, given that the last traces of Rome were diminishing with the papacy. As a member of the Regensburg council and a practising Catholic, Altdorfer frequently interacted with the Church and was surely aware of this trend of eschatological thought. Schedel, too, had calculated that the final age of the seven he identified was nigh. It may therefore be inferred that the sky's expression of the momentous event at Issus was intended to be of contemporary relevance as well.

Prompt: アレクサンダー大王の戦いの主題に関する分析と解釈を説明してください。英語で出力して下さい。

Anachronism
Apocalypse
Austria
Babylon
Battle of Issus
Book of Daniel
Christendom
Cyprus
Daniel 7
Greece
Islamism
Nile
Regensburg
Second Coming
Suleiman the Magnificent


subsection

アレクサンダー大王の戦い

leftAnachronism is a major component of The Battle of Alexander at Issus. By dressing Alexander's men in 16th-century steel armour and Darius' men in Turkish battle dress, Altdorfer draws deliberate parallels between the Macedonian campaign and the contemporary European–Ottoman conflict. In 1529 – the year of the painting's commissioning – the Ottoman forces under Suleiman the Magnificent laid siege to the Austrian city of Vienna,Featured alongside the anachronism in The Battle of Alexander at Issus is a genuine lack of historicity. Altdorfer demonstrates minimal hesitance in neglecting the painting's historical integrity for the sake of its heroic style, in spite of the pains he took to research the battle. That the Persian army was up to twice the size of the Macedonian army is not clear, and the relative positioning of the soldiers as reported by ancient sources has been disregarded. According to art critic Rose-Marie Hagen, "The artist was faithful to the historical truth only when it suited him, when historical facts were compatible with the demands of his composition." True to form, however, Altdorfer made the aristocratic ladies "look like German courtly ladies, dressed for a hunting party" in their feathered toques: from Creation to the birth of Christ and ending with the Apocalypse. Altdorfer's statistics for the battle of Issus mirror those of Schedel. Furthermore, the errors in Schedel's maps of the Mediterranean and Northern Africa are also present in The Battle of Alexander at Issus: the island of Cyprus is noticeably oversized, and both the mountain rise in the painting's centre and the range adjacent to the Nile do not exist. Considered in terms of the painting's contemporary context, the sun's triumph over the moon represents Christendom's victory over the Islamism of the Ottomans. Eschatological meaning, probably inspired by prophecies in the Book of Daniel, is imbued in the heavenly setting. In particular, Daniel 7 predicts the rise and fall of four kingdoms before the Second Coming; these were thought to be Babylon, Persia, Greece, and Rome at the time of the painting's creation. Altdorfer saw the Battle of Issus as a principal indicator of the transition of power from Persia to Greece, and thus as an event of cosmic significance. The battle also marked a progression toward the end of the world – an important theological concern in the 16th century, given that the last traces of Rome were diminishing with the papacy. As a member of the Regensburg council and a practising Catholic, Altdorfer frequently interacted with the Church and was surely aware of this trend of eschatological thought. Schedel, too, had calculated that the final age of the seven he identified was nigh. It may therefore be inferred that the sky's expression of the momentous event at Issus was intended to be of contemporary relevance as well.

Prompt: アレクサンダー大王の戦いでは、どのように主題の分析と解釈が説明されていますか？英語で出力して下さい。

Anachronism
Apocalypse
Austria
Babylon
Battle of Issus
Book of Daniel
Christendom
Cyprus
Daniel 7
Greece
Islamism
Nile
Regensburg
Second Coming
Suleiman the Magnificent


subsection

アレクサンダー大王の戦い

leftAnachronism is a major component of The Battle of Alexander at Issus. By dressing Alexander's men in 16th-century steel armour and Darius' men in Turkish battle dress, Altdorfer draws deliberate parallels between the Macedonian campaign and the contemporary European–Ottoman conflict. In 1529 – the year of the painting's commissioning – the Ottoman forces under Suleiman the Magnificent laid siege to the Austrian city of Vienna,Featured alongside the anachronism in The Battle of Alexander at Issus is a genuine lack of historicity. Altdorfer demonstrates minimal hesitance in neglecting the painting's historical integrity for the sake of its heroic style, in spite of the pains he took to research the battle. That the Persian army was up to twice the size of the Macedonian army is not clear, and the relative positioning of the soldiers as reported by ancient sources has been disregarded. According to art critic Rose-Marie Hagen, "The artist was faithful to the historical truth only when it suited him, when historical facts were compatible with the demands of his composition." True to form, however, Altdorfer made the aristocratic ladies "look like German courtly ladies, dressed for a hunting party" in their feathered toques: from Creation to the birth of Christ and ending with the Apocalypse. Altdorfer's statistics for the battle of Issus mirror those of Schedel. Furthermore, the errors in Schedel's maps of the Mediterranean and Northern Africa are also present in The Battle of Alexander at Issus: the island of Cyprus is noticeably oversized, and both the mountain rise in the painting's centre and the range adjacent to the Nile do not exist. Considered in terms of the painting's contemporary context, the sun's triumph over the moon represents Christendom's victory over the Islamism of the Ottomans. Eschatological meaning, probably inspired by prophecies in the Book of Daniel, is imbued in the heavenly setting. In particular, Daniel 7 predicts the rise and fall of four kingdoms before the Second Coming; these were thought to be Babylon, Persia, Greece, and Rome at the time of the painting's creation. Altdorfer saw the Battle of Issus as a principal indicator of the transition of power from Persia to Greece, and thus as an event of cosmic significance. The battle also marked a progression toward the end of the world – an important theological concern in the 16th century, given that the last traces of Rome were diminishing with the papacy. As a member of the Regensburg council and a practising Catholic, Altdorfer frequently interacted with the Church and was surely aware of this trend of eschatological thought. Schedel, too, had calculated that the final age of the seven he identified was nigh. It may therefore be inferred that the sky's expression of the momentous event at Issus was intended to be of contemporary relevance as well.

Prompt: アレクサンダー大王の戦いの主題における分析と解釈の特徴を説明してください。英語で出力して下さい。

Anachronism
Apocalypse
Austria
Babylon
Battle of Issus
Book of Daniel
Christendom
Cyprus
Daniel 7
Greece
Islamism
Nile
Regensburg
Second Coming
Suleiman the Magnificent


section

名所江戸百景

One Hundred Famous Views of Edo  is a series of 119 ukiyo-e prints begun and largely completed by the Japanese artist Hiroshige . The prints were first published in serialized form in 1856–59, with Hiroshige II completing the series after Hiroshige's death. It was tremendously popular and much reprinted.

Prompt: 名所江戸百景に焦点を当てて、その抽象を説明してください。英語で出力して下さい。


section

名所江戸百景

One Hundred Famous Views of Edo  is a series of 119 ukiyo-e prints begun and largely completed by the Japanese artist Hiroshige . The prints were first published in serialized form in 1856–59, with Hiroshige II completing the series after Hiroshige's death. It was tremendously popular and much reprinted.

Prompt: 名所江戸百景の抽象を説明してください。英語で出力して下さい。


section

名所江戸百景

One Hundred Famous Views of Edo  is a series of 119 ukiyo-e prints begun and largely completed by the Japanese artist Hiroshige . The prints were first published in serialized form in 1856–59, with Hiroshige II completing the series after Hiroshige's death. It was tremendously popular and much reprinted.

Prompt: 名所江戸百景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。


section

名所江戸百景

One Hundred Famous Views of Edo  is a series of 119 ukiyo-e prints begun and largely completed by the Japanese artist Hiroshige . The prints were first published in serialized form in 1856–59, with Hiroshige II completing the series after Hiroshige's death. It was tremendously popular and much reprinted.

Prompt: 名所江戸百景に関して、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。


section

名所江戸百景

Hiroshige produced designs in the style of the Utagawa school, a 19th-century popular style in woodblock prints, much favoured during his lifetime. Increasingly large series of prints were produced. This trend can be seen in Hiroshige’s work, such as The Fifty-three Stations of the Tōkaidō and The Sixty-nine Stations of the Kisokaidō.Many publishing houses arose and grew, publishing both books and individual prints. A publisher's ownership of the physical woodblocks used to print a given text or image constituted the closest equivalent to a concept of "copyright" that existed at this time.Woodblock prints such as these were produced in large numbers in 18th- and 19th-century Japan, created by artists, block cutters and printers working independently to the instructions of specialist publishers. Prints such as these were called ukiyo-e, which means 'pictures of the floating world'. This world was one of transient delights and changing fashions centred on the licensed pleasure districts and popular theatres found in the major cities of Japan.In the years 1829–36, a seven volume illustrated guidebook Pictures of famous places of  Edo  was published. It was begun by Saitō Yukio  in 1790 and illustrated very accurately by Hasegawa Settan . The pictures and text describe the important temples and shrines, but also the famous stores, restaurants, tea-houses etc. of Edo as well as the Sumida river and its channels and surrounding landscape.Hiroshige, in several cases, makes use of this guide for his series of colour prints . His series covered the place too which the guide didn’t describe, and he drew casual views of Edo.   His series is a work that inspired a number of Western artists, including Vincent van Gogh, to experiment with imitations of Japanese methods. Elements of Hiroshige's work can be found in Western cinema and comics produced during the 20th-century, particularly The Adventures of Tintin, and they "profoundly influenced" the development of modernism.The series uses a vertical format which Hiroshige pioneered in his preceding series, Famous Views of the Sixty-odd Provinces, and was a departure from the horizontal format used in his previous major print series.

Prompt: 名所江戸百景に焦点を当てて、その歴史を説明してください。英語で出力して下さい。

Edo
Famous Views of the Sixty-odd Provinces
Hasegawa Settan
Hiroshige
Saitō Yukio
The Fifty-three Stations of the Tōkaidō
Vincent van Gogh


section

名所江戸百景

Hiroshige produced designs in the style of the Utagawa school, a 19th-century popular style in woodblock prints, much favoured during his lifetime. Increasingly large series of prints were produced. This trend can be seen in Hiroshige’s work, such as The Fifty-three Stations of the Tōkaidō and The Sixty-nine Stations of the Kisokaidō.Many publishing houses arose and grew, publishing both books and individual prints. A publisher's ownership of the physical woodblocks used to print a given text or image constituted the closest equivalent to a concept of "copyright" that existed at this time.Woodblock prints such as these were produced in large numbers in 18th- and 19th-century Japan, created by artists, block cutters and printers working independently to the instructions of specialist publishers. Prints such as these were called ukiyo-e, which means 'pictures of the floating world'. This world was one of transient delights and changing fashions centred on the licensed pleasure districts and popular theatres found in the major cities of Japan.In the years 1829–36, a seven volume illustrated guidebook Pictures of famous places of  Edo  was published. It was begun by Saitō Yukio  in 1790 and illustrated very accurately by Hasegawa Settan . The pictures and text describe the important temples and shrines, but also the famous stores, restaurants, tea-houses etc. of Edo as well as the Sumida river and its channels and surrounding landscape.Hiroshige, in several cases, makes use of this guide for his series of colour prints . His series covered the place too which the guide didn’t describe, and he drew casual views of Edo.   His series is a work that inspired a number of Western artists, including Vincent van Gogh, to experiment with imitations of Japanese methods. Elements of Hiroshige's work can be found in Western cinema and comics produced during the 20th-century, particularly The Adventures of Tintin, and they "profoundly influenced" the development of modernism.The series uses a vertical format which Hiroshige pioneered in his preceding series, Famous Views of the Sixty-odd Provinces, and was a departure from the horizontal format used in his previous major print series.

Prompt: 名所江戸百景の歴史を説明してください。英語で出力して下さい。

Edo
Famous Views of the Sixty-odd Provinces
Hasegawa Settan
Hiroshige
Saitō Yukio
The Fifty-three Stations of the Tōkaidō
Vincent van Gogh


section

名所江戸百景

Hiroshige produced designs in the style of the Utagawa school, a 19th-century popular style in woodblock prints, much favoured during his lifetime. Increasingly large series of prints were produced. This trend can be seen in Hiroshige’s work, such as The Fifty-three Stations of the Tōkaidō and The Sixty-nine Stations of the Kisokaidō.Many publishing houses arose and grew, publishing both books and individual prints. A publisher's ownership of the physical woodblocks used to print a given text or image constituted the closest equivalent to a concept of "copyright" that existed at this time.Woodblock prints such as these were produced in large numbers in 18th- and 19th-century Japan, created by artists, block cutters and printers working independently to the instructions of specialist publishers. Prints such as these were called ukiyo-e, which means 'pictures of the floating world'. This world was one of transient delights and changing fashions centred on the licensed pleasure districts and popular theatres found in the major cities of Japan.In the years 1829–36, a seven volume illustrated guidebook Pictures of famous places of  Edo  was published. It was begun by Saitō Yukio  in 1790 and illustrated very accurately by Hasegawa Settan . The pictures and text describe the important temples and shrines, but also the famous stores, restaurants, tea-houses etc. of Edo as well as the Sumida river and its channels and surrounding landscape.Hiroshige, in several cases, makes use of this guide for his series of colour prints . His series covered the place too which the guide didn’t describe, and he drew casual views of Edo.   His series is a work that inspired a number of Western artists, including Vincent van Gogh, to experiment with imitations of Japanese methods. Elements of Hiroshige's work can be found in Western cinema and comics produced during the 20th-century, particularly The Adventures of Tintin, and they "profoundly influenced" the development of modernism.The series uses a vertical format which Hiroshige pioneered in his preceding series, Famous Views of the Sixty-odd Provinces, and was a departure from the horizontal format used in his previous major print series.

Prompt: 名所江戸百景はどのように歴史を説明していますか？英語で出力して下さい。

Edo
Famous Views of the Sixty-odd Provinces
Hasegawa Settan
Hiroshige
Saitō Yukio
The Fifty-three Stations of the Tōkaidō
Vincent van Gogh


section

名所江戸百景

Hiroshige produced designs in the style of the Utagawa school, a 19th-century popular style in woodblock prints, much favoured during his lifetime. Increasingly large series of prints were produced. This trend can be seen in Hiroshige’s work, such as The Fifty-three Stations of the Tōkaidō and The Sixty-nine Stations of the Kisokaidō.Many publishing houses arose and grew, publishing both books and individual prints. A publisher's ownership of the physical woodblocks used to print a given text or image constituted the closest equivalent to a concept of "copyright" that existed at this time.Woodblock prints such as these were produced in large numbers in 18th- and 19th-century Japan, created by artists, block cutters and printers working independently to the instructions of specialist publishers. Prints such as these were called ukiyo-e, which means 'pictures of the floating world'. This world was one of transient delights and changing fashions centred on the licensed pleasure districts and popular theatres found in the major cities of Japan.In the years 1829–36, a seven volume illustrated guidebook Pictures of famous places of  Edo  was published. It was begun by Saitō Yukio  in 1790 and illustrated very accurately by Hasegawa Settan . The pictures and text describe the important temples and shrines, but also the famous stores, restaurants, tea-houses etc. of Edo as well as the Sumida river and its channels and surrounding landscape.Hiroshige, in several cases, makes use of this guide for his series of colour prints . His series covered the place too which the guide didn’t describe, and he drew casual views of Edo.   His series is a work that inspired a number of Western artists, including Vincent van Gogh, to experiment with imitations of Japanese methods. Elements of Hiroshige's work can be found in Western cinema and comics produced during the 20th-century, particularly The Adventures of Tintin, and they "profoundly influenced" the development of modernism.The series uses a vertical format which Hiroshige pioneered in his preceding series, Famous Views of the Sixty-odd Provinces, and was a departure from the horizontal format used in his previous major print series.

Prompt: 名所江戸百景に関して、どのように歴史が議論されていますか？英語で出力して下さい。

Edo
Famous Views of the Sixty-odd Provinces
Hasegawa Settan
Hiroshige
Saitō Yukio
The Fifty-three Stations of the Tōkaidō
Vincent van Gogh


section

名所江戸百景

Forbes, Andrew; Henley, David . 100 Famous Views of Edo. Chiang Mai: Cognoscenti Books. ASIN: B00HR3RHUY Melanie Trede, Hiroshige: 100 Views of Edo. Taschen, 2007.  Henry D. Smith, Hiroshige: One Hundred Famous Views of Edo. George Braziller, 1986.

Prompt: 名所江戸百景に焦点を当てて、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

名所江戸百景

Forbes, Andrew; Henley, David . 100 Famous Views of Edo. Chiang Mai: Cognoscenti Books. ASIN: B00HR3RHUY Melanie Trede, Hiroshige: 100 Views of Edo. Taschen, 2007.  Henry D. Smith, Hiroshige: One Hundred Famous Views of Edo. George Braziller, 1986.

Prompt: 名所江戸百景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

名所江戸百景

Forbes, Andrew; Henley, David . 100 Famous Views of Edo. Chiang Mai: Cognoscenti Books. ASIN: B00HR3RHUY Melanie Trede, Hiroshige: 100 Views of Edo. Taschen, 2007.  Henry D. Smith, Hiroshige: One Hundred Famous Views of Edo. George Braziller, 1986.

Prompt: 名所江戸百景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

名所江戸百景

Forbes, Andrew; Henley, David . 100 Famous Views of Edo. Chiang Mai: Cognoscenti Books. ASIN: B00HR3RHUY Melanie Trede, Hiroshige: 100 Views of Edo. Taschen, 2007.  Henry D. Smith, Hiroshige: One Hundred Famous Views of Edo. George Braziller, 1986.

Prompt: 名所江戸百景に関して、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。